[Sidenote: “_Engraver’s Copy_”]
Material and instructions for the illustrations should be furnished
to the publishers apart from the manuscript, as the former, known
as “engraver’s copy,” is used by the engraver, while the latter,
“printer’s copy,” is used only by the printers. If the two kinds
of copy are furnished in one mass, they must be separated by the
publishers. It is not necessary that the places for the illustrations
be indicated on the margins of the manuscript. The place for such
instructions is on the margin of the galley-proofs.
Drawings, prints, and unmounted photographs should not be folded or
rolled, but furnished flat. Valuable books, from which cuts are to
be copied, should be covered with Manila paper, in order to avoid
soiling them by handling in the various departments of an engraving
establishment. Cuts to be reproduced from books should be described in
written lists, not indicated by slips of paper inserted between leaves.
Such slips, if dropped out by accident, can not always be properly
replaced.
[Sidenote: _Half-tones_]
Relief cuts, whether engraved in line or in stipple, can be printed on
ordinary book paper, but those made by the half-tone process require
a coated paper, which, being less flexible in the binding and more
expensive, is not used except for books containing a large number of
half-tone plates of varying sizes--some full page, some set into the
text.
[Sidenote: “_Insets_”]
For a book containing no half-tones, one class of paper, never coated
or calendered, is used throughout. But in a book to be illustrated
with half-tones in addition to the line cuts, two kinds must be
used--the ordinary and the coated. In such cases it is desirable that
the number of half-tones shall be limited to 4 or 8 or to multiples
of 4 or 8. They must each be made of the uniform size of a full page
of the book, so that they can be separately printed on the coated
paper. Such illustrations are pasted in by the bookbinder and are
called insets. Insets add materially to the expense of binding. If
the half-tones are very numerous, it may be found best, as a matter
of economy, to print the entire book on a coated paper. Coated paper,
however, makes a heavy book and is not flexible.
Illustrations in colors are usually given as full-page insets; a
separate printing being required for each color.
[Sidenote: _Proofs of Cuts_]
When the number of illustrations, their size and style of treatment,
have been decided upon, the photographs, or drawings, are put into the
engraver’s hands. When the plates have been made, proofs are sent to
the author in duplicate, as are galley and page proofs of the text. One
set is for the author’s use in attaching them at the proper places in
the galley-proofs, the other is to be kept by him. A proof of each cut
should be carefully pasted on the margin of the galley-proof, showing
where it is to be inserted. Its title should be given, and if the
cuts are to be numbered as “figures,” the number should be accurately
written at the bottom of the cut. The printer will then place the cut
at the place in the page most convenient to the one indicated by the
author. The author should carefully examine the cuts and titles on
receipt of the page-proof.
[Sidenote: _Identification of Cuts_]
It is not sufficient to write on the galley-proof the words “insert
cut” or “insert portrait” or “cuts already made,” etc. As stated
before, a proof of the cut itself must be placed there. Among
hundreds of cuts constantly on hand for “make-up” at the office of
the publishers, there are frequently many which are similar in their
general appearance but quite different in the purposes for which
they are intended. For example, there may be several pictures of the
same object, but each different from the other in size and style of
engraving. The printer, it should be remembered, has no certain means
of identifying the cut, except by its proof, as furnished by the author.
[Sidenote: _Text and Cuts_]
Galley-proofs requiring the insertion of cuts for which engraver’s
proofs have not reached the author, should be held until the cuts
arrive. A notification to the publishers that a certain galley is
ready to be returned, but requires the proof of a certain cut, will
hasten the matter. If galleys requiring cuts are inadvertently returned
without proofs of the cuts, the make-up of pages may go forward
beyond the point where the cut should have been inserted. The cost of
insertion afterward will in consequence be largely increased and may
even be prohibitory. When such an omission is discovered, the make-up
may be stopped in time if prompt notification reaches the publishers.
In the case of insets, however, such an omission would make no
difference, these directions applying only to such cuts as are printed
with the text.
[Sidenote: _Resetting around Cuts_]
The cost of authors’ alterations in a book in which there are cuts in
the text is generally greater than in one without them, as the changes
in the pages frequently cause resetting in order that the lines may be
rearranged about the cuts.
[Sidenote: _Credit for Borrowed Cuts_]
When an illustration has been taken from another book, credit should
be given, in a line printed just under the illustration itself at the
right-hand side, permission being first secured from the author and
the publishers of the book from which it is taken. In the list of
illustrations printed in the front of the book, it is not necessary to
repeat the credit.
VI
OF PUBLICITY
“Join we together, for the public good,
In what we can.”
_2d Part King Henry VI._