A PRACTICAL GUIDE TO EMBOSSING AND DIE STAMPING TOGETHER WITH EXPLANATORY TEXT ON COPPERPLATE ENCRAVING AND PRINTING, CHAPTERS ON THE THEORY AND PRACTICE OF COLOR PRINTING, AND OTHER SUBJECTS RELATED TO EMBOSSING AND DIE WORK 1908 THE INLAND PRINTER COMPANY CHICAGOCopyright, 1898, By James P. Burbank. Copyright, 1902, By The Inland Printer Co., Chicago. Copyright, 1908, By The Inland Printer Co.. Chicago.Publisher’s Preface THIS book first appeared in pamphlet form. It was writ--L ten and published by P. J. Lawler, and was afterward issued by J. P. Burbank. It was purchased and rewritten and revised by The Inland Printer Company in 1902. The present edition has been much enlarged, and contributions from a number of writers have been incorporated. Experience has shown that many printers are curious to know the methods of die-stamping as well as embossing, and an interesting chapter on this subject has been added. Copper and steel plate printing is also described, and other suggestive and informing text matter added. Modern methods change as the intelligent worker finds better ways of manipulating his material or finds material better suited to his needs. In this work, therefore, much time has unavoidably been taken up in gathering the latest information, and no pains have been spared to bring the procedures strictly up to date. THE INLAND PRINTER COMPANY. Chicago, 111., July, 1908.CONTENTS. PAGE Introduction ...................................................... 9 Air, Interference of Imprisoned................................... 32 Bases, Iron, for Dies............................................. 34 Bronzes .......................................................... 33 Calcimine as Embossing Composition................................ 37 Cardboard Dies, Embossing from.................................... 11 Clay Counter...................................................... 23 Cold Embossing.................................................... 31 Color Wheel ...................................................... 69 Colored Effects, Hand-made Stamps for............................. 46 Colors, The Use of................................................ 62 Composition, Calcimine............................................ 37 Copperplate Engraving............................................. 50 Copperplate Printing.............................................. 52 Counter, Clay..................................................... 23 “ Dies ...................................................... 18 “ Leather.................................................... 24 “ Papier-mache' ............................................. 25 44 Rubber ................................................19, 21 “ Sealing Wax................................................ 26 “ Strawboard ................................................ 27 Cylinder Press, How to Emboss on.................................. 35 Dies, Cardboard................................................... 11 “ Counter .................................................... 18 “ Duplication of Brass........................................ 18 “ Electrotype ................................................ 18 “ Imperfect .................................................. 33 “ Wooden ..................................................... 12 44 Zinc ....................................................... 15 Electrotype Dies.................................................. 18 “ Embossing ” and “ Stamping/’ Difference Between................. 29 Engraving Copperplate............................................. 50 Foils............................................................. 39 “ Force ” (counter die)........................................... 18 General Instructions About Embossing.............................. 28 Gold Laying....................................................... 39 Gold Leaf......................................................... 336 CONTENTS. PAGE Half-tone Designs, Modeling for.................................... 56 Hartnett Vulcograph Method......................................... 48 Home-made Stamps for Colored Effects............................... 46 Hot Embossing...................................................... 32 Inks .............................................................. 33 Inking ............................................................ 39 Leather Counter.................................................... 24 Lettering, Clay and Wax Modeling of................................ 59 Male Dies.......................................................... 18 Metallic Leaf...................................................... 33 Modeling Board..................................................... 58 Clay ................................................... 56 “ Designs ................................................ 56 " Lettering .............................................. 59 “ Plaster ................................................ 59 « Putty .................................................. 56 Wax..................................................... 56 Mounting Dies...................................................... 34 Novel Effects...................................................... 34 Paper, Suitability of............................................ 33 Papier-mache' Counter............................................. 25 Photo Embossing.................................................... 48 Plaster Modeling................................................... 59 Platen Press, Embossing on......................................... 28 Presses for Embossing.............................................. 34 Presses, Strain on................................................. 30 Pressure, “ Centering "of.......................................... 31 Pressure, Correct.................................................. 30 Printing, Copperplate.............................................. 52 “ Steel Die.................................................... 54 “ and Embossing at one Operation............................... 31 Putty for Modeling................................................. 56 Raised Stamping.................................................... 45 Rubber Counters................................................19, 21 Scorched Designs on Leather........................................ 40 Sealing Wax Counter................................................ 26 Silver Leaf........................................................ 33 Sizing ............................................................ 42 Spectrum, Diagram of............................................... 65 Stamping .......................................................... 39 44 Stamping and Embossing,” Difference Between..................... 29 Steel-die Printing .............................................. 54 Strawboard Counter................................................. 27CONTENTS. 7 PAGE Tints, How to Make................................................ 12 Tools, Engravers’................................................. 13 Type-faces for Embossing, Suitable and Unsuitable................. 14 Type-form, Embossing a............................................ 28 Vulcograph Method of Photo-embossing............................... 48 Wax Counter........................................................ 26 Wax Modeling ..................................................... 56 Wooden Dies, Embossing from........................................ 12 Zinc Dies.......................................................... 15ILLUSTRATIONS. PAGE Clay Model “ Our Paper ”....................................... 57 Clay Model “Iris”.............................................. 60 Color Wheel ................................................... 69 Diagram of Arrangement of Embossing Dies on Press............. 12 Diagram of Color Values........................................ 70 Hand Copperplate Press......................................... 52 Hand Embossing Press........................................... 54 Hartnett Vulcograph Embossing.................................. 48 Hickok Hand Stamping Press..................................... 44 Home-made Stamp Cut from Strawboard............................ 47 Primary Colors ................................................ 65 Primary and Secondary Colors................................... 66 Primary, Secondary and Tertiary Colors...................... 68 Spectrum....................................................... 65 Steel-die Embossing; Specimens..............................36, 52 Straight-edge for Modeling Board............................... 59 * Tool for Cutting Dies.......................................... 13 Type, Suitable for Embossing................................... 14Introduction EMBOSSING is the art of raising in relief from a surface, though the term is sometimes confused with the art of sinking beneath a surface, properly known as die stamping. Embossed work judiciously applied and carefully executed gives a distinction and finish that no other process in the art of printing can equal; and, inversely, injudiciously applied and imperfectly executed, nothing in the art more loudly and lamentably proclaims incompetent overambition. In giving this warning it is not the purpose to discourage the reader who aspires to rival some of the beautiful creations of the high-class printers doing embossed work, but rather to point out that there is no royal road to excellence. The principles are simple and easily understood, but the judgment and skill to execute them can not be acquired from a book — not even from this one. Practice and failure and again practice make for success. Experimenting in embossing will not be profitable at the start, except to those readers who love their art and find pleasure in working patiently to an ultimate achievement, finding comfort in the reflection that they might spend their time and money much more readily and perhaps less satisfactorily in some other way. The printer who has no experience in embossing, and who is called on to supply such work at rare intervals only, may do well to experiment, if his taste runs that way. But it will not be well for him to experiment at his customers’ expense and run the risk of having his work thrown back on his hands or subject to a heavy discount. There are houses equipped to do this work for the trade. Let the printer take the discount and give his customer a good job at a fair price and thus sustain his reputation the while he is amusing himself in practicing, and in studying — in thesepages it may be hoped — to acquire the ability to meet the occasional requirements before mentioned. While the printer may be ambitious to make his own dies — particularly for embossing from zinc etchings — it will be the part of wisdom for him to have these made by some good engraving house. They can be quickly made, are comparatively cheap, and can be sent by mail. The general printer can then note how a good zinc die is finished, and can practice until he has the art of embossing from such a die approximately mastered. He may then take up the work of making his own dies, but, time and materials considered, he will rarely be able to make as good a die or obtain as cheap a die as he can obtain from the regular engraver.Embossing from Cardboard Dies THOSE inexperienced in embossing will find a conception of its principles very easily acquired in working out effects with cardboard. Cardboard dies are, of course, best adapted for embossing panels and similar fiat designs. They are made from any tough stock, such as bristol or pressboard. If it is desired to emboss a panel for the front page of a folder or card, the design should first be drawn on a piece of heavy cardboard. Any moderately thick, hard-finished stock will answer, but the best thing for the purpose is pressboard, which can be obtained from bookbinders or dealers in bookbinders’ stock. Having the design laid out and ready to cut, take a sharp knife and cut through the cardboard, following the lines of the design. The knife should be inclined at a slight angle away from the center. Take an old electrotype block with a solid face that will stand pressure. Lock it up in a chase face downward, and then paste or glue the outer part of the cardboard die to the bottom of the electrotype block. Place the inside piece in position and secure it with a very little paste. Then cover the back with paste and place in the press, from which the rollers have been removed, and on closing the press this inside portion will adhere to the platen in the proper position. (See Fig. 1, page 12.) The section of the cardboard on the electrotype block is called the female die, that on the platen is called the male die, die counter or counter. The dotted line in the illustration shows the effect of the dies on a sheet of paper or card laid in between them. A single sheet of thin paper may be stretched over the counter die on the platen, and after the gauges have been set the sheets may be run through, the rollers having been removed from the press before commencing operation.12 A PRACTICAL GUIDE TO Modifications of this procedure may be made. Two or three pieces of cardboard pasted together, with a different pattern cut on each, and the whole combined into some harmonious design, make elaborate effects. If tints are desired these may be made from watered silk glued or pasted to a block and cut out carefully to match the lines of the embossed surface. Linoleum is used in the same way for a double tint combination with a Fig. 1. mottled effect. For the second tint the form must be shifted slightly so that the raised portions of the linoleum surface will strike where the white places show after the first impression. These manipulations require careful register and a good deal of dexterity, and can only be recommended to those who have a taste for achieving results from the most simple materials. Wooden Dies MANY printers have the idea that there is some simple and easy method of embossing direct from type. This is a mistake. A female die is necessary for every job, and the only way to make such dies is by hand engraving on wood or metal or by etching on zinc by the photo-engraving process.EMBOSSING AND DIE-STAMPING. 13 Embossing, as commonly understood and employed by general job printers, is simply throwing up in relief the lines of a type form or engraved cut. For this two impressions are necessary — the first being printed in the ordinary way with gold size and sequent bronzing in gold or silver, or fine printing ink, and then run through the press again, when the printed design is forced into a die locked up in the chase, by means of a counter die on the platen. No special skill is required, although some practice is necessary in order to do the work quickly and well, but the feeding must be very accurately done and carefully looked after so that the embossed impression may register accurately with the printed one. Boxwood or maple are the best woods for use in this form of die. They can be obtained from any printers’ supply house for from 2 to 5 cents per square inch. The tools can be supplied by any first-class tool store. For cutting wood dies the printer should provide himself with several round-pointed engraver’s tools. The design Fiu. 2.—Too! for cutting dies, with sectional view of the most useful si*es. to be embossed may be drawn on the block, or a transfer may be made when the subject is a line of type or a cut. An easy way to make a transfer is to take a fresh impression of the form and place it face downward on the block. Then cover it with two or three thicknesses of blotting-paper and give it a moderate pressure on a hand press or14 A PRACTICAL GUIDE TO under the clamp of a paper-cutter, or in any other way that may be convenient. A little practice with the tools will enable any printer to cut out simple patterns and type lines, so as to make serviceable dies. The main point to be observed is to cut the lines smoothly, and of uniform depth. Dies intended for embossing cardboard should be cut slightly deeper than those intended for paper only. Trial impressions can be taken with blotting-paper as the work progresses, enabling the engraver to test the quality of his work. If type is the subject for embossing it is desirable to select a letter with an even face. Letters with light and heavy lines are more troublesome to work. LEARN TO LETTER M LEARN TO LETTER M An even face — desirable for embossing. LEARN TO LETTER M LEARN TO LETTER n Uneven face — undesirable for embossing. The type for embossing being selected, it is desirable to space between the letters from one point to three points. The shoulder on the letter will decide what space to use. The spacing allows for the give of the paper and throws ilp the letter in a distinct way after it is embossed. The spacing also avoids the danger of the letters running together in the female die when cutting. The job is set otherwise as usual. It is absolutely necessary, however, that the job should not be unlocked or the tension of theEMBOSSING AND DIE-STAMPING. lock-up changed after the transfer is made. Any change here throws out the register and it is almost impossible to restore it. For this reason it is best to make an electrotype if much type matter is used, and print and make the transfer from it. For a short line, however, this will not be necessary. Zinc Dies ZINC dies are made by photographing the design on a zinc plate and then etching it. This method gives only one uniform depth, and must be trimmed smooth and the die deepened by hand where necessary. Zinc dies will not stand much heat, and can not be used for the heavier kinds of embossing, like steel or brass; yet for most purposes they answer quite well, besides being less expensive. Although the process of making embossing dies by etching on zinc is too complicated for the average printer to operate successfully or economically, a brief outline of the method employed is given below. Take a piece of sheet zinc, about one-eighth inch in thickness (such as is used by photoengravers), polish the surface with charcoal — a special grade made for the purpose — and coat with the following solution: Water, 8 ounces. Bichromatic ammonium, 20 grains. White of one egg. Dissolve the bichromate in the water, add the white of egg, and beat up with an egg-beater. Filter through absorbent cotton. Coat over the plate in a darkroom or closet by lamplight, flow it two or three times with the solution, allowing it to drain off at one corner, then hold plate over an oil or gas stove until dry, keeping it slightly inclined to permit the surplus solution to drain off. Move the plate about so as to warm it evenly. The printing-frames used by photoengravers are massive affairs, with plate-glass an inch thick, to support the16 A PRACTICAL GUIDE TO plate while being exposed to the light. For small work an ordinary photographic printing-frame will answer. A piece of clear glass should be first put into the frame; on this should be placed, face up, a good proof of the job for which the die is to be made. The proof should be taken with deep black ink on thin paper, and then bronzed so that it will be opaque. On top of the proof put the sensitized zinc plate — the coated side next to the proof. Next, the back of the frame should be fixed in place and the zinc plate exposed to sunlight for about five minutes. It requires some little experience to determine the proper length of exposure — the strength of the light and the thickness of the paper on which the proof is printed must be considered. After exposure, remove the zinc plate and cover the surface with stiff black printing-ink, applied with a hand roller. A special grade of ink, known as etching ink, is made for this purpose, but for experimental work a good grade of cut ink will answer. Now lay the plate in a dish of water, and after allowing it to remain for a few minutes, take a tuft of absorbent cotton and gently brush over the surface. If the exposure is correctly timed, the ink will wash away from the zinc where it has been protected from the action of light by the printed lines on the proof. If the ink comes off easily all over the plate, then the exposure has not been long enough; but if the ink adheres all over the plate, then the exposure has been too long. Sometimes a faint outline of the proof can be seen on the plate, but the ink does not come away freely, or only a part of it can be washed away. In such case take half a cup of water, add three or four drops of ammonia, and rub the plate gently with absorbent cotton wet with this solution. If the print is imperfect, wash off the ink with benzine, polish the plate again with charcoal, coat it-with the solution and then make another print. After the plate has been developed as above described, warm it gently to drive off all moisture; then cover it withfinely powdered dragon’s-blood, which is a species of gum or resin. Brush off the surplus powder lightly with a flat camel’s-hair brush, taking care to see that the bare parts of the zinc are left perfectly clean. Now heat the plate evenly until the gum melts, which can be readily discerned, as it changes to a dark brown color. Do not heat plate longer than necessary. Then cover the back of plate with shellac varnish, also varnish over any spots or unprotected spaces on the face of plate, and it is then ready for the etching bath. The bath for the first “ bite ” should be rather weak, as follows: Three or four ounces of nitric acid to a quart of water. The tray or bath in which the prepared plate is placed should be moderately rocked while etching the plate, and the face of the zinc brushed occasionally with a tuft of cotton, or a camel’s-hair brush. As soon as the acid has etched away the zinc to the thickness of a sheet of moderately thick paper, the plate should be removed from the bath and washed. If left in the acid too long, the edges of the lines will be attacked by the acid, making them ragged and uneven. To protect the sides of the lines against the action of the acid, it is necessary to powder up the plate again with the dragon’s-blood, as follows: Dry the plate thoroughly, heating it moderately warm, then cover with the powder, and brush it clean, moving the brush in one direction only, from top to bottom. Now melt the powder as before, cool the plate, apply the powder again, this time brushing from right to left. Heat plate again, cool, apply powder, brush from left to right; melt, cool and finally apply powder from bottom to top and melt. It is necessary to brush up and melt the powder on each side separately. To cool the plate quickly while powdering, saturate several sheets of blotting-paper with water and place the plate, face up, on them for a few minutes. Now add a little more acid to the bath, and give the plate another “ bite,” a little deeper than the first. This will give18 A PRACTICAL GUIDE TO a depth that will answer for embossing dies to be used on paper. For thicker material, the dies should be deeper and should be powdered up again as already described, and then given one or two more “ bites.” During this operation the plate should be carefully watched all the time and occasionally taken out of the bath for that purpose, because the acid is liable to eat into the sides of the lines. Electrotype Dies ELECTROTYPE dies are made from designs cut in wood or other substances, and then electrotyped. They should have an extra heavy copper face, and should be mounted on a solid body, or on an iron block. The edges of electrotyped dies will round off if used on very hard stock, and become shallow, but, properly used on suitable stock, they will meet all ordinary requirements. When a large edition is to be worked, brass dies may be duplicated by electrotyping, in order to save presswork by embossing two or more at a time. The Male or Counter Die rnHE male or counter die, or force, as it is sometimes X called, is usually made directly on the platen of press, from hard rubber, leather, cardboard, papier-mache, plaster preparations, sealing-wax, or from various other substances. A Simple but Effective Counter For Small Etched or Engraved Dies CLEAN the metal embossing base with a piece of emery cloth, and apply a very thin, even coat of prepared fish-glue over the center of the base and let it dry. Then take a piece of soft book-paper, and to this also apply a thin coat of glue. Lay it on another sheet of paper and rub it slightly on the back so as to take off some of the surplus glue. Then stick it to the base, rubbing it down well. Brighten the backSPECIMEN OF STEEL DIE EMBOSSING.EMBOSSING AND DIE-STAMPING. 19 of the die, making sure there are no nicks on the edges to keep the die from coming in perfect contact with the base. Apply a very thin, even coat of glue to the die and let it dry. Now apply a thin coat of glue to the paper on the base, and as soon as it begins to get a little stiff, press the die firmly down on to the base, moving it slightly to work the two glued surfaces together. By the time die and base are locked up on the press the gluing should be set. Take the packing all off the press and the rollers out. Brighten the platen where the die is to strike, and set the impression so that the platen and die come firmly together — not too hard, but just enough so that it will hold a thin sheet of paper when on the center. Then put a thin coat of glue on the cleaned surface of the platen, and stick down a piece of bond (ordinary letter paper) large enough to cover the die; apply more (not quite as sparingly as on the iron) and another sheet, more glue, and so on until four sheets are stuck to the platen. The last three sheets may be dampened, but not wet. Pull these and a fairly good impression of the die should result. Cut out carefully around the work, and pull a few impressions on tissue. Then stick on another sheet of bond-paper over the counter, apply the glue very sparingly to the paper, not the counter. Oil the die slightly and pull it. A little soapstone may be used on the counter at this stage to prevent it sticking, but should be dusted off clean each time. With a little practice these counters can be put on and the form running in thirty minutes. They are as durable and effective as any for this class of work. Set the guides right on the platen with a piece of paper, same as in mounting the die.— W. H. Brown. Hard Rubber Counter TIIHIS method is used in connection with steel or brass L dies, and should not be attempted for small dies on a heavily built job press. The rubber comes in sheets, from one-sixteenth to one-fourth of an inch thick, and is sold by20 A PRACTICAL GUIDE TO the pound. It is known as vulcanized rubber, and is black in color, brittle in texture, and can be used only with the aid of heat. A saw must be used in cutting the rubber, as it is liable to split into irregular pieces if cut with a knife. Iron or steel furniture, similar to the ordinary printer’s furniture, should be placed around the solid block or base containing the die, and the form locked up with metal quoins. The object of the metal furniture is to allow the die to be heated. The heating can be done over a gas stove or burner, according to the size of the die, or on any kind of a stove. Two or three impressions should also be taken on thin card, to form the overlays. The die is then placed on the stove for heating. The degree of heat necessary may be such as will permit the face of the die to slowly imbed itself into the rubber; this can be told after a little experience. While the die is being heated, all the heavy parts of the design should be cut from the cards. The design, of course, will show white lines on a black ground. All the blacks should be cut away. This overlay is pasted on to the packing on the press. On a heavy design it may require two or three overlays to bring it up properly. The rubber is then cut to the necessary size, and the back of it scratched or roughened. Rubber cement is then quickly spread over the roughened surface, and the rubber is then placed over the impression on the packing. The rollers are taken from the press, and then the form, at the proper heat, is placed in the press. The platen is then run up to the form with enough pressure to gradually force the rubber into the die, where it should remain until the die becomes cold, which will take from ten to fifteen minutes, according to the size of die. The platen can then be run back. If the rubber does not show the full depth of the die, the latter must then be reheated and more overlays, cut from cardboard, placed under the rubber. This is continued until the rubber shows a perfect counter die. The edges are cut away with suitable chisels, and the press gauges set. If a die is very large,EMBOSSING AND DIE-STAMPING. 21 considerable pressure will be necessary to force the rubber into the die, and it may require one or two persons exerting all their strength on the fly-wheel to put the press on the center of the impression. Another Hard Rubber Counter rnHE base for mounting the die should be, say, 6 by 9 inches, and should be drilled and countersunk at intervals of about one and one-half inches across the base corner-wise both ways, making a base large enough for any job that ordinarily comes to the commercial printer. In thickness it should be about 68-100 of an inch. Have it drilled for 12-24 flat-head machine screws. In mounting the die lay it on the center of the base, find two holes (four if the die is very large) that will clear the work in the die in case it is drilled a little deep, mark the location for the holes with a bodkin or scriver through the holes in the base, using care that the die does not slip, then center-punch for the drill, and drill and tap carefully, and screw on the die. Do not attempt to glue a die on when making this kind of a counter. The following is considered the most satisfactory way of locking it up. Take two twelve-pica pieces of good wooden furniture long enough to reach from the bottom of the base nearly to the bottom of the chase, then fill in with furniture, reglet, etc., next the chase, making sure that the die is in the center of the chase; proceed the same way all around, using shorter pieces on the top and right-hand side to allow for quoins and side-sticks in locking up. Wooden quoins are preferable for this work, as they are less liable to be affected by the heat, and are not as apt to find the form loose when it gets cold, which of course means lock up again and heat up the die again. Set the quoins up firmly with the fingers, try the furniture; if it is all equally tight (if not, make it so by justifying with paper) lock up carefully and firmly, and there should be no trouble.22 A PRACTICAL GUIDE TO The packing should consist of one or two sheets of strong manila paper and pressboard or some hard paper equal in thickness to the rubber to be used for the counter. One-sixteenth of an inch thick will be found satisfactory on most work. Lift the bottom clamp, raise the top sheet, and let it hang over the front edge of the platen. Put down the clamp, and pull an impression. This should be done with the impression bolts all the way up on the arch if the press is of the Universal type. If the impression is light, put the necessary stuffing behind the form, not in the packing, get a good solid impression on the bottom sheet, then put the top sheet back and get one on that. Now take four or five impressions on some thin card stock to make the overlays with, and take out the rollers. Remove the pressboard or paper from the packing, clean the platen with a piece of emery cloth under the impression on the sheet, and apply a thin coat of glue and stick the bottom sheet fast to the platen. The overlay may now be cut by simply cutting out the work to be embossed. Where the embossing consists only of lettering or shallow work, two sheets will suffice. If there is any deep work in the die, three, four, or five sheets may be necessary on those places. The overlay made, stick it onto the top sheet with a little glue. The job is now ready for the rubber. Roughen one side of it with a coarse file, or by scratching with a penknife. Cover this surface with rubber cement and stick it on over the overlay. Take the form and heat the die over a gas stove or an alcohol lamp; of course the flame must not come in contact with the furniture. Get the die hot enough so it will sizz good when touched with the moistened finger, then put the form in the press, plug the chase if there is any side play in it (plug should be all ready before the form is taken from the stove) run it up by hand, losing no more time than is necessary. On any ordinary work, office stationery, etc., one manEMBOSSING AND DIE-STAMPING. 23 should be able to run the press up on the center without any great effort. Once on the center the fly-wheel may be worked back and forth slightly a few times, which will assist in molding the counter. Then let it remain squarely on the center fifteen or twenty minutes to cool. Do not take it off until it is cold. Watch the counter as you start the press off the center to see that it releases itself from the die readily. If it does not, help it along by reaching it with a piece of reglet or a screw-driver. Examine the counter; in case you have not got all there is in the die raise the top sheet and spot up the low places on the under sheet. Then apply a thin coat of glue so as to have the counter securely fastened to the platen. Heat the die and proceed as before, and you should have a perfect counter. Note — This rubber may be used two or three times on different jobs if desired, by simply heating it slightly on a gas flame or over a lamp. It will soon become pliable and will return to its original form, when the underlay may be picked off. Lay it on a flat surface to cool. The Clay Counter THIS is now seldom employed, except for large, heavy work. The dies are secured to a steam-blank, fitted to the bed of the press. The die should be hot while making up the counter die, and should be kept about the same heat during the run; but for embossing, less heat is required, or none at all, depending upon the character of the work. Take binders’ boards, two or three different thicknesses, and with good bookbinders’ paste thoroughly saturate one of the heaviest sheets, and lay smoothly and evenly on the platen. Paste enough of these in this way to take a good impression of the die; the die must first be slightly oiled, taking a number of impressions on each sheet until the counter is brought up and well defined. The work at this point may be facilitated by taking pulverized pipe-clay, or modeling clay, liquid gum arabic and paste, using as fol-24 lows: Take about as much paste (good, thick quality) as is desirable to have quality of composition, and mix it thoroughly with the dissolved gum — about one part gum to five parts paste. Then add the pulverized pipe-clay. Thoroughly mix and work the pipe-clay in until the mixture is as thick as putty and will “ lay ” smoothly without “ crawling.” Too much gum will cause it to “ crawl.” With a flat stick or knife, lay this composition on the high parts of the counter die evenly and high in the center, covering all high lines or fine work requiring to be brought out very sharp. Oil the die, cover the clay composition with tissue-paper and give a number of impressions until thoroughly dry and hard as glass. Any parts still low may be retouched as before. After long use, if the counter works down, it may be renewed and made as sharp as at first, by simply covering the whole face of the counter as before described with the clay composition. Do not let the machine stand on the impression if the die or blank is warm, as that would sweat the counter instead of drying it. Leather Counter THE best kind of leather is sole leather or new belting, which, when dampened and then pressed, becomes very hard and firm. Soak the leather in warm water for an hour or two before using. One sheet of hard, stout paper should be used for the packing. Take an impression on this with ink. This can be done by putting a card below the packing and removing it after taking the impression. Glue the leather over this impression and lower the platen far enough to permit the press to freely go over the impression. Bring the platen up to the form, and let it stand on the impression for a few minutes, to force the leather into the die. Run the platen back, and if not enough pressure, put on more with the impression screws. Repeat the operation until deep enough.EMBOSSING AND DIE-STAMPING. 25 It is better to use the screws rather than pack the platen with card or press board. Glue the tympan sheet to the platen to prevent any danger of slipping. The margin around the raised portion of the male die should be cut away to prevent marking the sheet that is being embossed. If you leave the press for any length of time, close it up on the impression so as to keep the leather flat. If the die is unusually deep, an underlay of card should be used under the leather, as described in the rubber process. Papier-Mache Counter THESE can be used with almost any kind of die, and are prepared similar to a matrix for stereotyping, by pasting together several sheets of soft paper, using paste mixed with barytes, which becomes very hard when dry. To emboss by this method, after cleaning the die, oil it slightly. Take blotting-paper, cut a little larger than needed, and coat it evenly with glue or strong paste on one side. Place this on the packing and rub down smooth. Take a second piece and glue and fasten to the first; both should cover a little more space than the impression. Then paste two or three sheets of tissue on the blotters, and dust a little French chalk on the top tissue. Close up the press on the center and leave in that position until dry, which will take from three to ten minutes. When opened, which should be done slowly, a perfect matrix will be found. Cut away the surplus margin of the blotter outside of the matrix, so that nothing will show on the embossed work which does not belong there. This method will do very well for short runs, but there is a chance of the packing sheet warping or shrinking. To obviate this the blotter should be glued directly to the surface of the platen. Another simple method of making papier-mache matrix is to mix equal quantities of mucilage and barytes, or dextrin and barytes, and apply it with a brush to the packing, covering with sheets of tissue paper until the required thick-26 A PRACTICAL GUIDE TO ness is obtained. This dries quickly without the aid of heat, and becomes very hard. Another method may be followed by making the matrix in a stereotype casting-box, drying it with heat and then placing it on the press. Some experienced embossers find it preferable to make the counter dies before they are wanted for use on the press, using either the papier-mache process or some other method. This is an advantage on hurried work, as no time need be lost in waiting for the counter to dry. A hand press will be found useful for such work, and the clamp of a paper-cutter will serve to give an impression when nothing better is available. Having the counter all ready, the best way to prepare for embossing is as follows: Lock up the die and put it on the press; make ready with ink, being careful to obtain a firm, even impression. There should be only a thin card and two or three sheets of tough paper on the platen. Now set the gauges so that the impression strikes the proper position, remove the rollers and fit the counter die to the female die, using a little paste to keep it in place. Cover the back of the counter die with paste, and close the press, first removing enough of the packing to allow for the thickness of the counter die. When the press is opened, the counter will be found transferred to the platen in the proper position. Wax Counter, Etc. SEALING-WAX may be used for counters. The best grade is jewelers’ wax, which is not so brittle as the ordinary sealing-wax. When used for embossing, it may easily be spread out on the platen of the press after being heated, or upon a sheet of paper, and then pasted to the packing. The die is first heated and an impression taken in the wax. The counter may be made before putting the die on the press, by melting it into the die while the latter is warm. While the wax is still soft, a piece of blotting-paper can be placed over it, and then, by covering the back of theEMBOSSING AND DIE-STAMPING. 27 paper with paste, the counter die can be transferred to the platen when the die is put on the press. Within the last few years a number of special preparations for use in making counter dies have been placed on the market. As a rule, they will be found more convenient and effective than anything the printer can make up himself, being the inventions of specialists in this class of work. Strawboard Counter rilHE strawboard method of making a counter is com-J_ monly used at the present time by a good many embossing pressmen on hot or cold dies. If the die is hot, it will have to be oiled slightly to prevent sticking. Take one sheet of strawboard of medium weight, glue it thoroughly on both sides and stick it on to the platen. Then take another and paste it on both sides and put that on top of the first, then a sheet of white paper pasted on one side and laid over that and rubbed down well with the hand. Put impression enough on this so as to get a fairly good impression of the die. Then cut out carefully, pull a few impressions, so that the work will show firm and even. The form is now ready for the composition counter. The following will be found satisfactory. Take sufficient pulverized glue, dissolve some of it in a glue-pot, heat it up, and get it thoroughly melted and thick enough so that as it drops from a stick it will string a little. Keep it hot, and stir in calcimine until the mixture when applied with a brush to a sheet of paper is about the consistency of a stiff paste. Give the counter a thin coat of this; put a piece of onion-skin bond over it, oil the die slightly, and pull it. Keep the die clean and the surface free from glue, and in a few minutes a strong, sharp counter will be obtained.— \V. H. Brown.28 A PRACTICAL GUIDE TO General Instructions in Regard to Embossing IT VERY precaution that is in vogue by experienced press-Ij men in the production of fine registered colorwork should be equally observed in the presswork of an embossed job. The chase should fit the press tightly, or, if loose, wedged to one side so that it can not move while the job is being printed or embossed, nor should it be removed from the press unless absolutely necessary until the job is finished. Quads should be used for both bottom and side gauges, and the gauges should be placed in exactly the same position for both printing and embossing. A trifling variation in the position of any of the gauges frequently throws a job out of perfect register, which is so essential for first-class work. The grippers should be carefully looked after. They sometimes have enough side play to push the sheets away from the side gauge as to seriously affect the register. Frequently it is advisable to set the grippers so as to clear the sheet entirely, running strings or rubber bands across to pull the sheets from the form. One of the first printed sheets should be run through the press at intervals to detect any possible variation in the register. When the job to be embossed is a type-form, it is advisable to have an electrotype made and have the die made to fit the latter, because in locking and unlocking a form slight changes are liable to occur that will render the register of the die faulty, hence it would be difficult to reset the job for a second order, or expect it to register as exactly as in the first case. Sufficient time should be allowed for the counter die to harden and become firmly secured to the platen. Many failures to produce satisfactory results may be traced to the slipping of the counter on the platen of the press, because ifEMBOSSING AND DIE-STAMPING. 29 an impression is taken on stiff paper or cardboard before the counter is hard, the counter will be pressed down and lose much of its sharpness and effectiveness. Use only tissue or French folio in making ready. It is well for the reader to get a clear idea of the principles upon which he is working, and to differentiate between the work of “ embossing ” and “ stamping.” A recent catalogue of the John Thompson Press Company emphasizes these points by saying that much of the so-called embossing is mere creasing or indenting. To obtain a satisfactory result not only requires very heavy pressure, but an exceedingly rigid resistance. Thus, ten tons pressure upon a die supported by a wooden block or a massive anvil would produce an entirely different effect in the embossed sheet. No refinement of manipulation can take the place of these conditions. On the other hand, no amount of power or pressure alone can substitute the skill of an expert in the make-ready or in the cutting of the die. That’s why intelligence counts for something in such matters; as it always has and always will. Possibilities There are more commercial possibilities in the way of embossing than in any other line of work open to printers and lithographers; moreover, there is a wider field for its introduction. ** Embossing ” and ** Stamping ” There is considerable difference between “ embossing ” and “ stamping ”: To “ emboss ” means to raise a design out of, or beyond the surface of, a flat sheet. This involves a pair of dies; the design in the metal part (usually brass) being cut out of, or “ sunk ” beneath, its finished surface; while the composite part, termed the “ force ” or the “ counter,” is built up by the operator, usually from paper and fish glue, or various plastic compounds. Obviously, all portions of the die, the flat surfaces as well as the recesses,30 A PRACTICAL GUIDE TO must be subjected to pressure; but the skill in making ready is shown by building up the high parts, or in paring down the flats, in such manner that the recesses of the die shall be reached without absorbing needless pressure upon its plane surface. To “ stamp ” means to impress a metallic figure, formed in relief, like type, into and beneath the surface of a flat sheet or card. This expressly refers to book-covers, and largely, but not exclusively, to photographic cards and the like. Stamping does not, ordinarily, permit of as much cushioning nor the exercise of as much skill in the make-ready as in embossing; the pressure being uniformly increased to the degree which a satisfactory result, as shown by the card, determines. Strain on Presses Such work is exceedingly severe on iron and steel, as nearly the entire capacity of the press is focused into a very short period of time, frequently not exceeding one-fourth of a second. The result of such sledging, for that is exactly what the work simulates, may ultimately produce hollow beds and platens and even crystallize the shafts and bearings. There is no remedy for this except the adoption of such materials and dimensions as would make the price of such machinery prohibitive for the majority of purchasers. There is no class of work in which the pressure necessary to produce a satisfactory result is so likely to be under-estimated as in embossing. This, doubtless, is the reason why so many “ come to grief ” through attempting to do such work on presses not properly designed and constructed for such purpose. An embossing die of large surface is not, necessarily, one requiring as much pressure to produce a satisfactory result as a die of, say, half the area of the larger; but which is filled with more cavities, and especially so if it contains many fine lines. Moreover, a die of small area may impose a more severe duty upon the press than would a die of largerEMBOSSING AND DIE-STAMPING. 31 area even when the total pressure is the same in either instance; the reason for this being that in the smaller die the pressure is borne on less surface — hence the unit pressure is greater — and there is more opportunity for deflection of the bed and platen. Importance of Centering Pressure It is exceedingly important, both in embossing and stamping, that the die be located in the bed by its center of pressure. That is to say, the design in the die should be “ sized up ” to determine the center of its area; and this center should be set to approximately coincide with the vertical and horizontal centers of the press. If this is not done the press will be subjected to a cramping strain and the load on the bearings will not be evenly distributed; or the “ force ” may be caused to “ crawl,” thereby breaking down the make-ready, causing defective work and loss of time. When conditions are such that the die must be operated out of its center of pressure, then it is ordinarily better to give the platen a bearing at each of its four corners, using therefor blocks of wood or type-metal. While this will necessitate a heavier total load upon the press, it will prevent excessive cramping strains, and usually, too, creeping of the ‘‘force ”; hence, this is regarded as the safer practice. But, whenever possible, don’t do it. Embossing and Printing at One Operation There are certain classes of dies which may be used to print and emboss at one and the same impression. This involves the use of heavy printing-presses. In such work the embossed portion is the color of the paper; the ink being applied to the flat surface of the die, producing a tinted background. Cold Embossing In heavy presses heat is not as essential in many classes of work as in the less rigid machines of the older types.Still, in some instances, satisfactory results can not be obtained unless the die is heated. Thus, in that class of book-covers which are bound with woven textures more or less impregnated with sizing, no amount of pressure alone will eliminate the grain of the fabric; but with a heated die the sizing is caused to flow and the result is to produce a surface glass-like in smoothness. Again, in embossing deep figures from short-grained cards, like wood or mineralized fibers, the sheets may first require to be moistened to prevent cracking; and here heat is necessary to assist in “ setting ” the impression. So, too, heat is often of advantage, and saves time, in building the “ force ” or “ counter.” Hot Embossing When a hot die is to be used, especially if the lines are fine and the die of large area, the “ counter ” should be built when the die is at the temperature it is to be operated under. Moreover, when so made ready no impressions should be taken when the die is cold. The reason for this precaution is that the contraction of the die may be sufficient to smash the fine lines or shift them out of register; hence this often “ deadens,” or may even ruin, a carefully constructed make-ready. Imprisoned Air Interference In dies having large and deep cavities air may be a troublesome factor, in that it becomes imprisoned, acting as a cushion, preventing intimate, hard contact between the paper and the metal. We have known of instances where fine holes were drilled through the die, and also through the “ counter,” permitting the air to escape. Generally, however, in such special cases the press is speeded up to as high a rate as it can readily be fed and two impressions are taken. Thus, under the second contact, the volume of air is less and a sharper impression is secured.Suitability of Paper for Embossing Care should be taken to select suitable stock when laying out a job for embossing. The finer grades of cover-stocks and writing-papers will nearly all emboss beautifully. Some kinds of bristol board will emboss well. A good test for the stock is to fold it double. If it cracks and breaks, it is usually unsuitable for embossing. Die Imperfections If a die is cut too deep for the stock, causing the latter to crack, the difficulty may sometimes be overcome by scraping or sandpapering the counter so as to lessen the pressure at the points where the cracking occurs. Another way is to stretch a sheet of oiled manila or tough writing-paper over the die, fastening it with tacks to the furniture in the chase. A slight cracking is not always objectionable, as the weight of the stock, when piled up after being run through the press, has a tendency to smooth down and obliterate such imperfections. Inks, Bronzes, Gold and other Metallic Leaf The most brilliant and effective results in embossing are secured by using gold or colored bronze, which should be briskly rubbed over impressions taken in gold size in the usual manner. Gloss inks are better than the ordinary kind for embossing. When an extra fine effect is desired, two impressions may be made with the same color; the first being allowed to dry before printing the second. This gives an unusually brilliant and glossy color. For the tops of confectionary boxes and some other kinds of work, gold leaf is more often used than bronze. This is applied over gold size ink, made extra stiff by a “ long ” varnish, and that is “ tacky,” in printing with which it is necessary to operate the press very slowly to avoid pulling the surface coating from the paper. “ Dutch ”metal is the best kind of leaf to use. It should be rubbed down on the impression with a piece of smooth paper on top, when the surplus may be brushed off with cotton batting after the size has dried. Iron Bases or Blocks Where more embossing is done, it is advisable to have one or more solid iron blocks of suitable thickness for mounting the dies. These blocks should have two holes near the center, countersunk on one side. Machine screws are inserted through these holes into corresponding holes drilled and tapped, made in the backs of the dies. Thin zinc dies, and thicker ones also, may be secured to iron blocks by applying glue to both sides of a piece of manila paper, which is inserted between die and block, after which a weight should be put on top. Fish glue, sold at all hardware stores, is about the most convenient to use. Care should be taken to have both die and block sandpapered clean, because if this is not done the glue will not hold securely. Use very little glue, for if too much is applied it will take a long time to harden. To remove the die after using, insert a knife-blade between the die and the block and then pry them apart. Many novel effects may be secured by embossing bands or borders on circulars or other jobs by using as designs for embossing dies such materials as coarse sandpaper, wire cloth, coarse lace, or stereotype or electrotype plates made from bookbinders’ cloth, leather, etc. Presses for Embossing Embossing presses are built by some of the leading press manufacturers. These presses are stronger and heavier than regular job presses, because one of the essential requirements for this class of work is great force of impression, although with some of the methods which are applied to the making of the counter or male die on theplaten of the press, the strain is much reduced. Good work can be done on any of the standard job presses now in use, but embossing should not be attempted on presses without side arms. Presses of the Universal or Colt’s Armory type are usually given the preference when a press is selected with special reference to its use on embossed work, owing to their extra weight and strength. How to Emboss on a Cylinder Press* COMMENCE with locking up your embossing plates, which are the same height as a type-form, on the bed, and then, before registering, it would be well to have your packing about as near right as possible, the same as when printing. You will have to use your judgment as to your packing, as, for instance, you must have a sheet of zinc (not tin) and have a straight band of about an inch, so as to put into clamps and hold it on cylinder same as a pressboard. You must also allow for a draw-sheet on top of zinc and a few manilas under the zinc, if you have space for them. If not, you will have to take off your pressboard and build with manila sheets, which you can take out if your impression is too heavy after you have the die on the zinc; then register your form. Now as to the die: Take two sheets of tissue-paper, large enough for your form, and paste them together with very thin paste, for if too thick you will have trouble to paste them, as they will wrinkle up (have two of these tissue sheets, as you will need them). Now oil the form on the face very thoroughly, then lay on one of the pasted sheets. Then mix your preparation, which consists of barytes, which looks like pulverized chalk, or whiting, and which you can buy at any paint store — it is very cheap — and plaster of paris. Put this on a stone slab and mix with warm, thin glue and liquid gum arabic, enough to make a putty — not too thin, just so that you can carry on your ink By courtesy of the Miehle Printing Press & Manufacturing Co., Chicago.knife to spread on the tissue sheet on top of the form. Of course, you will have to have the sheet held by some one so that you can spread your preparation on evenly, somewhat thinner toward the rear end of the sheet, as it is crushed to that end when you take an impression. When you have your surface covered as near as you can judge, lay on your other pasted tissue sheet so that it will cover your form and preparation; then wait a few minutes. Now lay a smooth sheet of any kind on top and pull an impression so as to squeeze your preparation into the form; then take off the smooth sheet you laid over the top tissue sheet and wait a few minutes and lift up the nipper end and try if the die is stiff enough to lift from the form. If so, put some warm glue on the tissue on the back of the die with a brush (as thin as you can); then try with your finger to feel when the glue is tacky. You can take off the draw-sheet you have over your zinc sheet and turn your press by hand very slow so that you will lift the die from the form with the zinc on the cylinder. The glued die must stick to the zinc, and if the die does not readily lift up and stick to the zinc and has any indication of sticking to the form, help it along by turning the press very slowly, and use a knife or a screw-driver and assist it to lift. After succeeding in getting it transferred to your zinc, cut away all surplus and then leave it to harden. It is advisable to arrange to have this done so as to let the die harden over night and not lose any time. When dry, put on a draw-sheet over the die and try your impression— if too heavy you can pull out a sheet or two from below your zinc. To make up for the crawling or shortening of the sheet, it is well before putting the preparation on the form to set the plates a little closer together, so they will register with the sheet around the cylinder; or, in other words, take out a lead from between the opening of the plates, as your sheet will be that much smaller or shorter on account of your die, which when printing or embossing, makes your sheetshorter. In case some parts of the form may emboss too heavy, take a piece of fine emery or sandpaper and rub off high parts of the die. If it does not emboss heavy enough, paste a piece of soft paper over the die, same as making ready. Be careful and not have too much impression, as you will have your sheets wrinkle. A small wrinkle will not bother — of course, it depends upon the nature of your job. You will also have to take away your steel sheet guards, and be careful that nothing rubs your die, as it might injure it. Another good idea is to run a soft composition form roller against the cylinder, so as to make the sheet conform to your die before coming in contact with your form, as thereby you prevent wrinkling to a great extent. Have your roller in the first roller-socket nearest to the cylinder, but have longer ends put on the sockets so that the roller can be raised high enough to reach the cylinder and set up against your sheet as tightly as the roller will stand. If it is found that the register is not just right, the plates may be moved to a limited extent without hurting the die materially. Calcimine as a Composition for Embossing on a Cylinder Press Take ordinary book paper the size of the form to be embossed, mix the calcimine as described under the strawboard method, dampen a sheet of the paper on both sides and apply a thin coat of the calcimine. Then lay on another damp sheet and some more calcimine, and so on until a matrix of say four or five sheets is thus prepared. Lay this on the oiled form and run the press around by hand. Lift the counter, first one side and then the other, to see that it has received all the detail in the dies; if not, spot up on the back with paper; lay a thin sheet over this, dry and pull again carefully by hand. Go over the zinc on the cylinder with a piece of coarseemery cloth, and the counter with a thin, even coat of glue. When the counter becomes a little tacky run the press around again by hand, watching the counter to see that it is lifting properly. When the counter transfers to the cylinder, then proceed with a sharp knife to cut away the surplus. By the time this is done the counter should be hard enough to pull an impression, and should be hard enough to go ahead within an hour or so; it will depend upon how the composition is mixed and handled. The writer has put on a large form of dies by this method with two draw-sheets — the bottom one being greased to keep out the moisture — without the zinc at all. This ran fifty thousand impressions without any trouble. The draw-sheets must be heavy, and it requires some practice to cut out and not cut through.— W. H. Brown.STAMPING, SIZING, GOLDLAYING, FOILS AND INKING By A. HUGHMAR.K UNDER the head of stamping is included the work of impressing lettering or other design in gold, aluminum or alloy, in blind and color or any of these combinations. Embossing under this head refers especially to cover-papers where raised designs are desired. In Germany embossing is carried on to a greater degree of perfection than with us. There cloth and leather work is raised and embellished in colors with as much success as we attain with the flat impressions. There are well defined limits to machine embellishments in all industries that can only be overstepped by lack of good taste. It is not pleasing to see a book-cover so decorated as to appear like an advertisement for the binder’s stock ornaments. Neither should an effort be made to cover up the material, which in most instances is of a cheap cloth, with gold or other less precious metals. Gold should be confined to titles, and in special cases, if nothing else appears on the cover, a narrow fillet in gold is permissible near the edges. As a matter of fact, simplicity is to be commended. Color impressions are made on cloth covers much the same as in printing, except that the inks are made stiff and contain more driers. They are classed as bookbinders’ inks and so labeled on the cans. It is best to blind in the impression first before applying the ink, and then it may be necessary to run the color twice in order to make it cover evenly. Foils White can not be run with ink, therefore a foil or color leaf is used. These come in sizes of five by eighteen inches and are made in all colors. If black or dark-colored cloth isused it is usually difficult to get satisfactory results from inks, but these foils are more certain. The application of foils is accomplished with sizing and heat the same as for metal. The embossing press is one of the many styles of machines equipped with inking attachments. It can be run with steam heat only, but without the inking device gas heat can also be used. Steam is preferable because it is not necessary to regulate the heat. Gas heat is needed if scorched designs are wanted on leather covers. This can only be done on calf and sheep of light colors, not on skivers and buffings, with nickel-plated dies. The steam-fitted head should have a cold-water pipe fitted into it and a drain-pipe to carry off the water. Thus fitted a die can be fixed for blinding with the steam on, and when this is finished the steam is shut off and the cold water turned on. This will then flow through the head and into the drain pipe, completely cooling the press in twenty minutes, when it will be ready for inking. If this arrangement can not be made, it is better to use a stamping machine without the inking and print afterward on a press of the Universal type. It will not be necessary to knock down the dies, as the plate can be locked up in a suitable chase and put on the press. Dies should be cut in brass for designs and embossing, although short runs can be made from electrotypes with heavy shells, mounted on thin metal bases. Several iron plates should be made for each machine, on which to fasten dies. Suppose one cover has gold and three colors of ink; it will take four dies with as many separate impressions. Each die should be retained on its plate as long as the job is running, even if it has to be taken out a number of times to put in the others to complete the covers. Then again, other jobs may have to be run between, and these require dies and plates. These plates can be made of various sizes, but they must be of a thickness of one-half inch and at least one must be the full size of the jaws and depth of the head. The dies belonging to a job are placed onEMBOSSING AND DIE-STAMPING. 41 the cover on which they are to be impressed and a suitable plate selected. This is covered by gluing with fish glue on one side a stout piece of coarse backing-paper or heavy wrapping. The next move is to mark out the place where the die is to go and attach it with the same adhesive. If the die is smooth and bright on the back, scratch it with the point of an old knife or other sharp tool to make it hold securely. When the die is glued on, lay a board over it and turn it over; then insert the plate between the jaws and tighten up. The bed should be raised up by hand until it is tight up against the die and then left to bake. When taken out it can be made more secure by pouring glue around the edges, forming a wall enclosing and gripping them solid. From each job a pick-up board should be taken and put away, so that if the same job comes back, the stamp can be fitted right into the impression of this pick-up and shoved into the press, saving all measuring and setting time. When only one die is on the plate, the gages on the bed are moved to bring it into the desired position without much measuring. If there are cover and back dies on the same plate the spaces will have to be accurately measured and marked off on the plate before attaching the dies. The gages in this case can only be used to square the impression on the cover. Where gold only is used the setting of the gages for feeding is governed by the distance from the head and front of the cover. Where two or more dies are to be used on each side the largest is first set up and an impression taken on a piece of board the exact size of the board in the cover to be stamped. This impression must be correctly placed before we proceed with the next. Now the next larger die is laid face down in proper position on this same board and the stamp lifted up and pushed well up against the gages. The bed is then run up the same as before. This performance is repeated as many times as there are dies in the design. It does not matter how many times changes are made, any one of these dies can be quickly set in the register by simply fitting it inits own depression on the board, then locking it up in the machine by bringing the bed up and resetting the gages against the board while thus locked tight. Sizing Before metal or color leaf can be laid on, a size must be applied by sponging with long, even strokes. For gold, dissolved albumen, blood or egg; for composition leaf or aluminum, shellac, gelatin or water-glass size. Blood albumen is the cheapest, but owing to its dark color and muddy appearance it is not as satisfactory as the more expensive egg albumen. The albumen crystals are dissolved in cold water, in quantity according to the amount of work on hand. The proportion should be about four ounces of albumen to a quart of water. When dissolved, add a tablespoonful of skim-milk 01* a teaspoonful of condensed milk. This is to keep the size from frothing while sponging. A few drops of formaldehyde should also be added if it is intended to keep the size some days. This is especially necessary in warm weather, as albumen becomes putrid in a very short time. The work will have to be protected carefully by keeping the covers standing close together with papers laid over them while drying after being sized. The flies not only eat the size but part of the covering of the cloth with it, leaving unsightly spots. It is not necessary to use thick size; if not thin enough, add more water. This can be used on ploth, leather, silk and paper. When using it on silk, sponge on the wrong side of the silk, and after stamping wash off the ribbon with another clean sponge and clean water, going over it with quick, even strokes. This will restore the softness and finish of the material when drying out. If the size is thin it will not stain or streak any cloth. It can also be used on cover-papers for gold stamping. Aluminum or metal leaves can be applied with shellac size, this being stronger in binding power than albumen, a quality necessary because aluminum or metal leaves aremuch thicker than gold. To make this size, a pound of white flake or lump shellac is dissolved in a quart of water, to which is added four ounces of borax. This should be kept simmering on a stove and constantly stirred until no lumps are discernible. This size when cool is ready for use and can be kept in a closed jar indefinitely. Gelatin size is dissolved in the same manner, about one cake to a half pint of water. This must be used warm. Gold or colored leaf can be stamped on cloth covers, if not too dry, without any sizing. The covers are rubbed with a pad saturated slightly with olive oil, after which the leaf is picked up on another pad and laid on. A strawboard or paper gage should be made to guide the operator in placing the leaf. It is estimated that the thickness of a gold leaf is .280 of an inch, so considerable dexterity is required to cut and handle it quickly and without loss. Great care must be exercised to avoid an excess of oil, as a surplus will stain light cloths. In the case of cover papers, the smallest possible quantity of oil only should be applied to the cotton or pad used for the w'ork. The leaf is picked up on a “ gold knife ” or spatula and laid on a cushion, where it is cut to the required size by drawing the edge of the knife across the sheet with a steady and firm movement. A pad, squared and slightly curved, covered with a piece of cotton flannel, and having a small piece of wood glued on top in the center for a handle, is used to pick up the leaf with. If this pad is drawn across the forehead enough oil will be imparted to it wherewith to pick up and hold the gold until it is deposited in the position wanted. The surface to which it is applied having been rubbed over with the oiled cotton wool, the leaf readily detaches from the pad. Calf or morocco leather for finer grades of work should be blinded in first. The size is then penciled in with a camel’s-hair brush, and the leaf laid on and stamped in. Leather which it is designed to use for labels, loose backs, etc., not “ made up,” as it is termed, should be pre-pared for stamping by tipping on strawboard or supplied with special gages. A soft piece of leather can not be fed into place unless it is temporarily mounted. Ribbon and pieces of leather will curl up when sized. To make gages for these, take a firm piece of board of suitable size which has two edges squared at right angles. On this board glue four projecting strips — “ finger strips ” — and under these finger gages the material to be stamped can be placed. These finger gages should be on the left and on the side farthest from the stamper, so that he can shove the board containing the strip guides against the gages on the bed of the machine. The front cover and backbone of a case can be stamped at the same time, if not too large for the bed. To do this, it Hickok Hand Stamping Press is necessary to glue a strip of board on the bed corresponding to the backbone and equal to the thickness of the board in the cover. If a light color effect is desired on dark cloth covers, it is better to use colored leaf. This is kept in stock by the supply houses. The covers are sized if dry and theleaf is laid on in the same manner as the gold leaf, after which the cover is fed into the stamping machine and given a hot impression. The surplus leaf is then brushed off with a stiff brush. The smaller remaining particles and dust are next removed with a rag and a piece of para rubber. Black and dark inks usually give satisfactory results with one impression if the work is first blinded. In stamping covers with a combination of gold and ink or aluminum and ink, the metals are laid and stamped first. Imitation leather such as fibroid, kerotol or others of that class, can be stamped with gold by using a size made by dissolving shellac in alcohol. When sizing, it should be borne in mind that if too many covers are prepared ahead of the laying-on they may dry out so that the gold will stick in spots only. It is, therefore, advisable to keep just enough work sized and spread out so that it will be just sufficiently dry to run the hand over without spotting at the time of laying-on. A guide for the leaf laying should be made by cutting a piece of tough paper or strawboard to the width of the cover. The exact location and size of the die as it is to appear on the cover is then marked off and cut out in this pattern. Two sides, the right and lower, can be cut away, leaving the top and left as a guide when placing the leaf with the pad. Embossing or raised stamping is done by using two plates, male and female. The last named is cut in brass and adjusted in the stamping machine in the same manner as the stamping dies. A piece of tarboard the thickness of a No. 30 is used as an underlay and on this a piece of thick blotter is laid. Six impressions on extra tough cover-stock is then run off on top of this blotter-covered board. The board is then taken out and stripped of the blotter. In its place is glued one of the cover impressions. The low portions of this cover is next cut away, each contour being carefully followed. Another of the six is glued on this in reg-ister and this also is cut in the same manner as the first. The underlay is then put back on the bed of the press and a new impression struck off to see how it looks. If the new impression is not raised enough for the depth of the stamp another layer is added and cut away as before. If weak in spots only, these parts are raised by laying on pieces cut from corresponding parts of the covers on hand for that purpose. A spot may also be strengthened by gluing small pieces under the board. When all of the design or lettering is uniform in appearance, the board underlay is fastened on the bed by glue tips here and there, and the job is ready to run. If the underlay is glued all over it will warp so it can not be used. This is the best bas-relief that can be made for durability, as any number of impressions can be run off from it without deteriorating. Many stampers use plaster and composition which can be modeled more quickly, but it does not wear well, and unless watched carefully pieces may break out while stamping. Home-made Stamps for Colored Effects Any design can be drawn and copied on carbon onto a piece of thick strawboard. This board being easy to cut, a sharp-pointed knife is the only tool necessary to cut out the design. The knife should be held perpendicular, so that a clean edge can be obtained. Two or more of the designs can be cut out and glued together, and then glued down on a piece of cloth board, cut to size, on which it is squared to two edges. It is now ready for use on any material that can be stamped in the machine. The impressions will be deep and distinct and can be run for a long while. Another impression for inlaying, in complementary or contrast color, can be taken on paper, cloth or leather with the same stamp. If this is cut carefully on outlines it will fit into the blind impression of the heavier material, where it can be firmly fixed with paste or glue. The writer has made and used designs of this kind on boxEMBOSSING AND DIE-STAMPING. 47 panels, wastebasket sides, etc., as large as the bed of the machine would take. The embossing machine is also used by fancy leather manufacturers for artificial graining, the seal grain skivers and buffings being familiar examples of this work. Machines for this purpose are made with larger beds and heads. HOME-MADE STAMPS CUT FROM STRAWBOARD.THE VULCOGRAPH METHOD OF PHOTO-EMBOSSING By N. S. AM5TUTZ EMBOSSING has heretofore been largely dependent on manual dexterity for its accomplishment. If this were of a superior kind, the results would be all that could be desired so far as the purely artistic phase is concerned. But if the preparation of the dies is unskilfully done, the product must be unsatisfactory. The results of such methods necessarily fall short of the best interpretation of accurate details — photographic precision. A semi-plastic compound has been produced which is said to be sensitive to light action, without the incorporation of any of the usual colloids, such as gelatin, etc. The Hartnett Vulcograph Company, of Baltimore, Maryland, are the owners of the process, which has been developed by Dr. John Hartnett, Jr., after three years of uninterrupted labor. It is claimed that the process will do away with hand engraving, or the heretofore indispensable cutting of dies. Numerous but unsatisfactory attempts have been made to accomplish this, roughness of the finished plate, individual interpretation of the artist and unfaithfulness to the original being the chief defects. The Hartnett process renders the subject in relief, line for line and shade for shade, without human aid and without the use of gelatin, cellulose, etc. The lights and shadows of the negative bear a direct proportion to the object photographed, and the process renders that relief back again from the negative, which was originally present before the camera. It is claimed that a practical mastery of the method is easily acquired, so that the services of a skilled operator are unnecessary. Prior attempts have been made in photo-relief work for embossing, but Doctor Hartnett claims that the relief pro-duced by swelling in gelatin, pulp, cellulose and gums generally, is accidental rather than a direct qualification. He uses a synthetic compound that is sensitive to the chemical rays of the spectrum, and which hardens sufficiently after passing through the manipulative stages to enable it to be used in making a replica in copper, by electro-deposition. Such a replica forms the embossing die. It is immaterial whether a negative, positive, film or transparency is used, as a faithful rendition of the relief which originally enabled the object to be photographed or drawn will produce the same results.ENGRAVING COPPER PLATE By GEORGE ATKINSON A PENCIL sketch should be made of the matter to be engraved so as to determine the proper arrangement and position of the different lines. From this drawing, a tracing is made on gelatin, using a sharp, steel point, and afterward filling in the tracing with vermilion or some other dry color. The copper plate, which comes polished and ready for use from the manufacturers, should then be coated with a thin coat of white wax, either by heating the plate and melting the wax on the surface of the plate, or by dissolving the wax with turpentine and spreading thinly over the plate. Place the tracing in proper position on the plate, and rub lightly with a burnisher, remove the gelatin, and the tracing will be transferred to the plate. Draw guide lines lightly with a steel point along the top and bottom of the lettering, and proceed to draw or mark in the lettering lightly with a steel point. At this point the skill of the engraver is called into service, as the lettering must be correctly drawn and spaced, and unless this work is properly done, the job will be a failure. In some cases where the arrangement is simple, the guide lines are drawn on the plate, and the lettering drawn backwards on the plate, thus doing away with the pencil sketch and tracing. After the copy has been marked in, the plate is placed on a small engraver’s pad, and the lettering engraved or cut into the plate, using a square graver for the heavy lines, and a lozenge or hair-line graver for the fine lines. In some styles of lettering a flat-bottomed tool is used, as such a tool cuts a wider line than the square, running from about one sixty-fourth of an inch in width up to about one-sixteenth —graduated and about twenty-four in a set — so that a graver is at hand for almost any width of letter. After the plate is engraved, the guide lines and scratches must be removed by polishing the plate with charcoal. Care must be used in this so that the fine lines are not destroyed or polished off the plate. The same rules apply to engraving a steel die, with the exception that the engraving must be deeper on the die, owing to the different process of printing, and in cleaning the die emery-paper is used to remove guide lines and scratches.COPPERPLATE PRINTING By GEORGE ATKINSON THE plate-printer places the plate on the bed of his plate-press, inks in the plate with his ink-roller, polishes the surface of the plate, leaving the ink in the engraving, and takes an impression on a piece of soft, damp paper. He then takes the impression, and with a pair of scissors cuts away the paper close to and around the engraving, and this is called the patch. This patch he pastes on the back of the HAND COPPERPLATE PRESS. plate, directly opposite the engraving, taking his measurements with dividers, or calipers. Over this patch a piece of cardboard the size of the plate is pasted to protect the patch and keep it in place. The plate, with the patch and backing, is then glued to the press. As there is an extra thickness directly opposite the engraving, it can be readily seen thatwhen the plate passes under the roller of the press, the pressure will be greater, or altogether, on that part which has been patched, so that any part of the engraving can be omitted from the print by merely cutting off the patch on the back. After the plate has been stuck to the press, he proceeds to ink and polish as before, using a rag to remove most of the ink from the surface of the plate, and with a little whiting cleans the plate with the palm of his hand, taking care that no ink is left on the surface of the plate, and that none is wiped out of the engraving. The feeder places the card or sheet on the plate. The printer adjusts it to the proper position, pulls the handle of the press, draws back the bed, and the feeder removes the card or sheet, and so on to the end of the run, from four to twelve hundred impressions being a day’s work, according to the size of the plate to be wiped. The ink used in this work is specially mixed and ground in oil for plate-printing.STEEL DIE PRINTING By GEORGE ATKINSON IMPRESSIONS from steel dies are made on a steel-die embossing press, either hand or power, and differ considerably in appearance from plate-printing, the color used being either mixed with water or varnish, instead of oil. The die is fastened to the chuck or shoe of the press by means of a piece of cardboard, glued on both sides; one to hold the die, the other to fasten to the chuck. A piece of soft cardboard is glued to the counter-bed, directly under the die; the operator strikes the die on this cardboard until HAND EMBOSSING PRESS. an impression is made, then another piece of board is placed over this, and struck as before until a perfect impression of the die is on the cardboard or counter, thus making a male die which fits into the steel die. That part of the counter on which there happens to be no engraving is cut away so as toSPECIMEN OF STEEL DIE EMBOSSING.lessen the pressure and prevent the edges of the die from showing on the impression. Pins are used for the gage, and the sheet is usually held in position with one hand, while the press is operated with the other. The die is inked with a small brush, and polished on a pad of print-paper which has been saturated with turpentine, and care must be used that all the ink is removed from the surface, and none from the engraving. After the die is polished, the chuck is placed in position in the press, the sheet is brought up to the gage pins on side and end, and the operator swings the handle of the press, striking the die on the sheet with enough force or pressure to bring up the engraving, the sheet is laid out on the drying-rack, and the die inked and wiped as before for each impression.MODELING DESIGNS FOR DIE-CUTTING OR HALF-TONE REPRODUCTION By WILLIAM Q. TOLMAN MBODELED designs for embossing or half-tone reproduction are very popular, although more expensive than those made by other methods. Modeling wax or clay may be obtained from any dealer in artists’ supplies. For the convenience of those who prefer to make their own compounds, the following formula is given: To make the compound mix two hundred parts of dry, sifted china clay or powdered soapstone with one hundred parts wheat flour. Stir the mixture carefully into three hundred parts melted white wax, not too hot. The mass may be colored any desired tint. The so-called modeling clay is made by kneading dry china clay with glycerin until the right consistency is reached. The mass must be worked thoroughly with the hands, and moistened at intervals of two or three days. It should be kept covered closely with a piece of rubber cloth to prevent evaporation of the fluid ingredients. Powdered slate may be mixed with wax and glycerin to produce a colored composition. Paraffin wax having a low melting point may also be used for modeling purposes if it is kept away from heat. Some designers use common mottled German washing soap for carving and modeling special forms. To model with this substance, it must be kept slightly warm, when it can be pressed into any desired shape. Glaziers’ putty may also be used. If it is desired to allow the design to harden exactly as it is formed, the addition of a small quantity of powdered whiting to the soft putty will make it drier and more rigid when it sets. If it is to be used in a plastic state, soft enough to work, half a tablespoonful of olive oil added to each pound of putty willsecure this condition. Putty is made of common whiting, mixed with white lead. The work of modeling is done on a modeling board, the size depending on the size of the work. This board has a raised border of from one to three inches in height, the purpose of which is to hold the modeling medium, whether clay or wax, from falling off the board. The traylike space is then filled with the compound, which is leveled off with a straight-edge, drawn diagonally across the board. The design may now be drawn direct upon the clay or wax, and built up to the required height. If both sides of the design are alike, it should be drawn on paper, and placed face upward on the clay, and the lines gone over with a soft lead-pencil, so that they will be slightly impressed in the underlying compound. When these impressions are gone over with a pointed stick, the design is prepared without the necessity of taking measurements. For a symmetrical design it is best to draw a straight line in the center of the paper, draw one-half of the design with a soft pencil, fold the pattern on the line, inward, and then rub the back of the paper firmly. This will give a good imprint of the first half of the design, when the paper may then be unfolded and put on the modeling clay and the lines marked in as before. Designs that are made with the same outline on both sides may be varied by allowing foliage or other part of the decoration to run under or over the center line. This relieves the stiffness of the design, and is subject to individual interpretation. If a raised border is wanted, make it as wide as required, fill in with clay and level off the surface. Make a straight-edge as long as the width of the entire design, and measure the width between the inside edges of the border. Mark equal distances from the center of the straight-edge to the ends, and cut notches in the ends as deep as the sunken background is to be. If done properly, the straightedge will look something like the figure on opposite page.Place the edges AA on the border at the top of the frame, and the edge B will make the sunken background, on which the design is to be modeled. Large models are best made in plaster of paris. The artist first makes a rough model in clay, a little heavier than he would use for a finished clay model, taking care that there are no undercuts. From this a mold of plaster paris is made, and after it has well set, it is rinsed out to cleanse it from the superfluous clay, and then allowed to dry. When dry, the mold is oiled with lard oil. Plaster of paris of the consistency of thick cream is then poured into the mold, and when dry it is turned upside down, and the cast comes out easily, provided there were no undercuts in the clay model. This must be carefully avoided, or trouble will be almost certain. After the plaster cast is made the design may be carved out with steel model tools, and any amount of undercutting may be indulged in if the design is to be photographed for a half-tone plate. In fact, the more the design is undercut the sharper the lines will appear in the reproduction. If the design includes lettering, make a drawing of the letters, and mark them on the plaster mold which was taken from the rough clay model, cutting them in with steel tools. Be sure to cut them in intaglio, and reversed, so that they will read properly on the cast taken from the mold. If lettering is to be in intaglio instead of relief, they are cut into the space in the plaster model intended for them, also in reverse. Another precaution to be observed is to have the letters cut in the mold a little wider at the surface than the bottom, so that they, like the rest of the design, will not stick to the mold when the cast is dry. The reason formaking a model this way instead of direct from the clay is obvious: To make small models direct in clay or wax is well enough, but on larger work, involving considerable handling, the modeler is apt to strike the clay with tools, or something may happen to mar the work already done. A plaster model only requires to be sprinkled with water now and then, or have a wet towel laid over it to keep it moist and in working order, while clay requires careful attention. In making calculations for reduction, the model is usually made to reduce one-third. To make a successful reproduction of a clay model, as much responsibility rests on the photographer as on the modeler, for if good judgment in lighting is not exercised the effect will be ruined. The lighting must be arranged so that the shadows will throw the design up in high relief.THE USE OF COLORS By F. J. TREZISE IT has been truly said that the printer in handling color is making an appeal of the most subtle and delicate nature, vastly more so than is made by the type-matter that may form the body of the piece of printing he is embellishing with color. This being true, a working knowledge of color is essential to the pressman. It is only by an understanding of the theory of color and its application to the printed page that he can hope to turn out uniformly pleasing work. He must know that the question of color is not a question of personal likes and dislikes, but a question of scientific facts; he must know that certain colors produce certain sensations on the optic nerve and that certain combinations of colors produce pleasing sensations, while other combinations produce the reverse; and, furthermore, he should know why these things are so. In the first place, the pressman should understand what constitutes color, and in order to understand what color really is we must take up a consideration of light. Light is the form of radiant energy that acts on the retina of the eye and renders visible the objects from which it comes; the illumination or radiance that is apprehended by the sense of vision. Without going too deeply into the science of light and color it may be stated that light is a combination of all colors and rays, some of which are visible while others are invisible—in fact it is estimated that the human eye is able to see but about twenty per cent of these rays. That light is a combination of all colors and rays we may readily prove to our satisfaction by letting a ray of sunlight pass through a prism, or three-sided piece of glass, and fall on white paper — preferably in a darkened room. Theresult will be the dividing of the ray of light into its component colors, and we will have a rainbow or spectrum — a beautiful band of six colors ranging from red at one end to violet at the other, the colors gradually blending into each other. The rainbow is formed in the same manner, the raindrops acting as the prism. These spectrum colors being, like the rainbow, always the same, they form an unvarying standard of color. Fig. 1 shows a diagram of the spectrum thus formed, and gives the six colors — red, orange, yellow, green, blue and violet — in their proper order. If we carry this experiment still further, and pass this band of colors through a second prism, they will again unite and form a ray of white light, but if instead of passing the whole band of color through the second prism we pass but one color through — for instance, red — we will still have red. These colors also produce varying sensations of heat and cold, red producing the greatest sensation of heat, orange next and so on, until, at the other end of the spectrum, in violet we realize the greatest sensation of cold. As shown in the diagram, red, orange and yellow are the warm colors, while green, blue and violet are cold colors. In the case of green, however, there are sometimes exceptions. The green of the spectrum is a cold color, but the addition of yellow, making a yellow-green, will give the feeling of warmth. This fact that green, unlike the other colors, may be either warm or cold, gives it a wide range of usefulness. The extremes of green harmonize with each other, while those of other colors do not. Therefore, because of the fact that green in itself contains both the warm and cool tones, we can get more variety by its use than we can through the use of any other single color. Just as different kinds of music affect us in different ways, so it is with color. Violet, blue and blue-green, or cool green, have a restful action on the brain, while red, orange and yellow irritate it. Recent experiments have shown that blue and violet quiet the nerves and are success-fully used in the treatment of nervous disorders, while red is employed with excellent results in the treatment of melancholia. Red is universally recognized as the color of danger, violence and passion. Therefore, if color, as stated above, is a matter of scientific facts and not a question of personal tastes, and that if by the use of certain colors or combinations of colors certain sensations are produced on the nerves, then he who would successfully print in colors must have an understanding of this action of color and the reasons therefor. He must know when to use colors that are restful and soothing to the eye and when to use colors that will tend to excite or irritate the nerves. It follows, then, that without light there is no color. When light, which contains all of the colors in their proper proportions, falls upon an object, that object reflects some of the rays and absorbs others. If it reflects only the blue rays we say that it is blue, while if it reflects the red rays we say that it is red, etc. Any substance that reflects all of the rays we call white, while a substance which absorbs all of the rays, and reflects none, we call black. Three of the colors of the spectrum—red, green and violet—will, by mixture, produce all of the other colors, and for this reason these three colors are called the fundamental colors. While that is of the utmost importance to photoengravers and process-printers, it does not apply to ordinary work in colors, and the fundamental colors must not be confused with the primary colors. Fundamental colors are spoken of and used in relation to transparent light, but when we come to use printing-inks or other pigments, we are dealing with an opaque substance and reflected light. Sir Isaac Newton, after much experimenting, discovered that in pigments there were three colors which could not be produced by mixing, but from which, by mixture, all other colors could be made. These three colors are red, yellow, and blue, and are known as the primary colors. InFig. 1.— Diagram of the spectrum, a rainbow-like band of color formed by passing a ray of sunlight through a prism, or three-sided piece of glass. Kio. 2.— Diagram showing the primary colors — none of which can be produced by mixture, but from which, by mixture, all the other colors may be made.order to fix this more clearly on the mind, Fig. 2 shows a triangle, each corner of which represents one of the primary colors. In Fig. 3 we have added another triangle, inside of the first, at the corners of which are the colors known as secondary colors—so-called because they are produced by YELLOW Flo. 8.— Primary ami secondary colors. Each secondary color is a combination ol the two primary colors between which it appears. combinations of the primary colors, two of the primary colors entering into the make-up of each secondary color. These secondary colors, as will be noticed, are the remaining colors of the spectrum—green, orange and violet. Each secondary color is shown between the two primary colors of which it is formed — yellow and blue forming green, blue and red forming violet, and red and yellow forming orange. What are known as the tertiary colors — each of whichis formed by a combination of two secondary colors — are shown in Fig. 4. Thus we see that orange and green form citron, green and violet form olive, and violet and orange form russet. All of the primary, secondary and tertiary colors are shown in this diagram, and its careful study will do much to assist to an understanding of the theory of colors and consequently the mixing of colors. Having fixed in our minds the primary, secondary and tertiary colors, together with a knowledge of how they are formed, we come to a consideration of their use one with the other. Which colors may be used together with pleasing results? Harmony of colors as applied to the printed page may usually be divided into three groups, as follows: Complementary harmony, or harmony of contrast. Harmony of a shade and a tint of a color. Harmony of black with other colors. Taking them up in the order above named, we will first consider complementary harmony. As before stated, white light is a combination of all the colors. In order to have a complementary harmony we must use two colors which, when mixed, will give the equivalent of white light. In other words, the complement of a color is that other color which, when mixed with it, will give the sensation of complete white light. We can not take this literally in connection with printing-ink, however, for, as before stated, we are dealing with opaque substance and reflected light. Theoretically, complementary colors when mixed will produce white, but in printing-ink the mixture of complementary colors gives a neutral gray, possessing no trace of either of the colors used in the mixing. Now, if red, yellow and blue, combined, form white light, it follows that if we wish to form white light with, for instance, blue and one other color, the other color must contain the red and the yellow. The mixing of the red and the yellow gives us orange — the complement of blue. Again, the complement of a secondary color is that primary color not included in itsmake-up. Thus red is the complement of green, blue is the complement of orange, and yellow is the complement of violet. That these colors, which are as far removed from each other as possible, will harmonize, seems strange at first, but a simple experiment will show the reason for this. Take a piece of white paper and place on it a spot of ink or YELLOW Fig. 4.— Primary, secondary nnd tertiary colors. Each tertiary color ia shown between the secondary colors of which it ia composed. paint or a piece of colored paper. Look steadily at it for thirty or forty seconds and then, keeping the eyes fixed on the same spot, suddenly cover it with a piece of plain white paper. In a few seconds the image will appear plainly on the white paper, but in the complement of the color which was used. For instance, if a spot of red ink is used, the white paper will appear to show the same spot, but in green instead of red. Look at the flame of a gas jet steadily for thirty or forty seconds, then turn out the light, keeping theeyes fixed on the same spot, and the flame will reappear, but in the complement of the yellow-orange of the original flame. The optic nerve, becoming satiated with the one color, reacts, when that color is removed, to the exact opposite of that color. It may be likened to a pendulum, which, drawn up on one side and released, does not return to a Fio. 5.— Diagram of color wheel for determining complementary harmonies, harmonies of shades and tints, and harmonies of black with colors. normal position at the bottom, and remain there, but reacts to practically the same height on the reverse side. The nerves which are tired by the one color are unaffected by its opposite, and vice versa, and thus a normal condition is preserved. A simple and convenient aid to the study of color harmony will be found in the color-wheel reproduced in Fig. 5.* * Diagrams of this color wheel, together with materials for making and instructions for using same, may be procured from The Inland Printer Company. See advertisement elsewhere.This is nothing more nor less than the spectrum, shown in Fig. 1, arranged in the form of a circle instead of a straight Fio. 0.— Diagram showing the value* of the colon — the amount of light which they contain.line, with the addition of extra hues caused by mixing the spectrum colors. It readily shows the complementary harmonies, the harmonies of shades and tints and the harmonies of black with other colors, as will be later explained. By keeping in mind the simple instructions here given for the use of this wheel one need never be at a loss for harmonious color combinations. The original of the wheel here reproduced is fourteen inches in diameter, with the diagram drawn on heavy ledger paper and the little spaces filled with colored papers. The papers are colored with approximately the true spectrum colors. The twenty-four colors necessary to complete the wheel are given, together with two shades and two tints of each color. They are pasted on the wheel as shown in the diagram — taking red for example — darker red in the outer circle, dark red in the next, red in the next, light red in the next, and lighter red in the circle nearest the center of the wheel. This gives a gradual gradation of each color from a deep shade to a light tint — five in all. The colors themselves are designated by letters, the explanation of which is as follows: Y —Yellow. YYG —Yellow-yellow-green. YG —Yellow-green. GYG —Green-yellow-green. G —Green. GBG —Green-blue-green. BG —Blue-green. BBG —Blue-blue-green. B —Blue. BBV —Blue-blue-violet. BV —Blue-violet. VBV —Violet-blue-violet. V —Violet. VRV —Violet-red-violet. RV —Red-violet. RRV —Red-red-violet.R —Red. RRO —Red-red-orange. RO —Red-orange. ORO —Orange-red-orange. O —Orange. OYO —Orange-yellow-orange. YO —Yellow-orange. YYO —Yellow-yellow-orange. A glance at the diagram will show the simplicity of this arrangement. For example, B stands for blue and G for green. A mixture of blue and green gives blue-green (BG) — placed half-way between blue and green. This blue-green mixed with green gives us still another step — green-blue-green (GBG)—a blue-green nearer the green than blue, while the blue-green mixed with blue gives us a blue-blue-green (BBG), a blue-green nearer the blue than the green. The same is true of the other colors. There may be still further subdivision, as far as the eye could distinguish, but for ordinary use the 120 colors, shades and tints will be found ample. Complementary harmony then is the harmony of contrast. The colors which are the farthest apart may be combined with pleasing results. The color-wheel being arranged in such manner that the colors which are the farthest apart are on opposite sides of the wheel, we can readily see that, having selected one color for our job and desiring another which will harmonize with it, we will find it directly across the wheel. We have already seen that violet and yellow form a complementary harmony — yellow being a primary color and violet being a secondary color composed of the other two primary colors — red and blue. If, however, instead of using the violet, we move two points to the right on the diagram and use the blue-violet, we must move a corresponding two points to the right from the yellow and use the yellow-orange. As the violet inclines toward the blue, the yellow must incline toward the red inorder to preserve a proper balance. If, on the other hand, the violet inclined toward the red, the yellow would incline toward the blue in the same proportion. Then, too, the complementary colors are directly opposite each other in value, or the amount of light they contain. As will be seen by the accompanying diagram (Fig. 6), yellow is the brightest color, followed by orange, green, red, blue, and violet, the latter being the darkest color or the one nearest to black. Thus we see that in a complementary harmony — or harmony of contrast — the lightest color, yellow, is used with the darkest color, violet; the orange is used with blue and the red with green. The color-wheel shown in Fig. 5 is arranged in such manner that the yellow is at the top and the violet at the bottom, thus being in keeping with the proper values of the colors. We see by consulting our color-wheel that blue and orange form a complementary harmony. The next question is as to the proportions of these two colors which we must use in order to secure a pleasing result. While they may be used in equal proportions in some cases, in printing we usually find that greater satisfaction is gained by the use of a large proportion of one color with a small proportion of the other — and the large proportion must be of the colder color. Therefore we use a large amount of blue with a small amount of orange, a large amount of violet with a small amount of yellow, and a large amount of green with a small amount of red — the green, blue, and violet being, as before stated, cold colors, while the red, orange, and yellow are warm colors. A small spot of one of the warmer colors is sufficient to brighten up a page. Then, too, the eye overestimates the warm colors. Complementary colors intensify each other. In other words, any color will appear stronger and brighter if placed close to, or surrounded by, its complement. For example, a spot of red will look brighter and more attractive on a background of green than under any other circumstances. Thisfact must be taken into consideration if we wish to secure pleasing results, for no matter how excellent may be the quality of the inks we use, if they are not combined properly their effect will be deadened. The same ink which looks dull and unattractive in some combinations will brighten up and appear beautiful if properly surrounded by its complement. The people who turn out the fine colorwork have no mysterious color secrets — they merely study and apply the simple principles of color harmony. We have seen that color harmony may be secured by the use of complementary colors. But a still more pleasing harmony may be obtained by the use of the shade of a color with a tint of its complement. For instance, if instead of using red-violet and yellow-green we use a shade of the red-violet with a tint of the yellow-green, a much more satisfactory result will be obtained. And in this connection it must be remembered that a shade of a color is that color mixed with black, giving the effect of shadow, while a tint of a color is that color mixed with white. Then for a three-color combination we may use a shade and a tint of a color with its complement — for example, light blue and dark blue with orange. This gives a very pleasing result. This question of complementary harmony, or the harmony of contrasts, is of great value when using colored stock, such as cover-papers, etc. The stock may be treated as one of the colors of a complementary harmony and the ink may be of a color complementary to the color of the stock. For instance, supposing the stock to be brown (and in this connection it must be remembered that brown is practically always either a red, orange or yellow hue, being usually a shade of one of these colors), we would decide whether the red, orange or yellow prevailed in the brown and then use the complement of the prevailing color. If an orange-brown, we would use blue as the contrasting color; if a red-brown we would use green, and if a yellow-brownwe would use violet. The use of a shade and a tint of a color with its complement, above referred to, may be taken advantage of in this connection, as, for example, a combination of orange and dark blue on light-blue stock. Very effective color combinations are produced by the use of a harmony of a shade and a tint of a color. Combinations of this character result in softer and more subdued effects than do the complementary harmonies. They may be printed on stock of the same hue or a hue of the complementary color — for example, light blue and dark blue on blue-tinted stock, or the same colors on stock of an orange hue. And right at this point let us set ourselves right concerning the hues and the shades of colors — an item frequently misunderstood. As stated before, a shade of a color is that color deepened with black, giving the effect of shadow, while a tint of a color is that color mixed with white, weakening the color. A hue of a color, however, is made by the addition of a quantity of another color. Supposing we take green and blue to illustrate this. By adding a little of the green to the blue we change it from a pure blue to a hue of blue — not a shade of blue as it is so frequently called. By increasing the proportion of the green our hues of blue gradually become greener until the green predominates, giving, instead of a blue with a green hue a green with a blue hue. Thus, prussian blue, with which we are all familiar, is not pure blue but a hue of blue, from the fact that it is slightly tinged with green. A comparison of the color of the stock selected for a job with the color-wheel will immediately show just what hue of the color is necessary. Supposing that we wish to run a combination of a shade and a tint of blue on blue stock. We compare our stock with the colors on the wheel and find, for instance, that it is of a greenish hue — and select a blue ink of a greenish hue rather than a blue ink of a violet hue. This is an important feature, for the combining of different hues of the same color frequently gives an unpleasant effect.Then, too, the color-wheel above referred to gives us light in the securing of harmony in the use of black with other colors. Black will, of course, harmonize with any of the colors, but when it is used in combination with one of the cold colors — green, blue and violet — the latter should be of a tint instead of a full color, as otherwise neither of these colors furnishes enough contrast to the black nor brightens up the page sufficiently. In case of the blue and violet, white should, of course, be used in making the tint; but in making a tint of green, to be used in combination with black, greater satisfaction is gained if yellow is used in the place of white. This gives in reality a tint of yellow-green instead of green, the addition of the yellow — the brightest color — furnishing a more pleasing contrast to the black. The warm colors — which are also the brightest colors — red, orange, and yellow, may be used with black as full colors. Briefly stated, then, we may roughly divide our color-wheel into two parts, the warm colors on one side and the cold colors on the other, and in selecting colors to work with black we may use the colors on the warm side in their full tones and the colors on the cold side in tints. In this connection attention may well be called to the use of red and black — probably the colors most frequently used in the production of printed matter. While there are occasions on which the pure red of the spectrum may be combined pleasingly with black, still in the great majority of instances the addition of a little yellow to the red — making a red-orange — will give us a color that is far more satisfactory. This, as in the case of mixing the green tint with yellow instead of white, gives us more brightness and consequently a stronger contrast to the black. In mixing colors, the lightest color should always be put on the slab first and the darker color added to it. This will save much time and ink, as one will readily discover when he tries, for instance, to make a blue tint by starting with the blue and adding white to it. The amount of whitenecessary to sufficiently lighten a small particle of color is surprising — as many a pressman who has mixed a tint on this basis and found that by the time it was sufficiently light he had mixed three or four times the amount of ink necessary for the job, can testify. This also holds good in the mixing of a shade of a color. A very small proportion of black will darken a color so that it will appear almost black. Gold will harmonize with all colors except yellow-orange. When used with other colors which harmonize in themselves it does not in any way lessen this harmony; on the other hand, colors which do not in themselves harmonize may be brought into harmony by being separated by gold lines — or, at least, their antagonism neutralized. Care should be taken not to use too much gold, as an excess of gold gives a flashy, unpleasant effect.