Studio production Famous Artists Course Fomous Artists Schools, Inc, Westpert, Connecticut Lesson Albert Dorne. Fred Ludekens Norman Rockwell AlParker Ben Stahl Stevan Dohanos Jon Whitcomb Robert Fawcett Peter Helck George Giusti Austin Briggs Harold Von SchmidtStudio production Av a commercial ari, you are jiged on the quality of our ‘work, However, yr original work i seen by relatively fee peo ple she ay be sexta Uy millions ate it sprinted. I other Irons your work is mone widely judged after Tes reproduce — Andie not wally "hnishe™ nil esi print, To achieve the tent printed feels you need thorough tindertanuling of the aroun methods of repredtion 30 Hat you know which one 10 the for parriculr job and how to prepare your work for that tmethod. “The more yot know about suo production, the more liable you will be to your employers and the more money sou will evenly extn or yours Ti this Teson ee will seqiaint you wih dhree of the most common metals of sepratetion ~ evterprss, oft lithogra pys and silk seen —and how your att ork should be pre pated for cach one. There is a fourth tethod called gravure, Inve since arti prepared for gravure much as tis for offer, we ‘wll eanfine or emonstrations co the first th “Ave work for reprodction is ivked into evo genera rypes— “te” and “tonal” Line ats compose of lines and areas of 2 solid color —usvally black ~and white; 4 pen and ink drasing fs 1 gpical example, Tonal art contains not just black and whic, but also varios ones of gray such as you se ina photo, Mechanicals Im Lesson 21 we demonuiratel nny of the things you will be ning in yout fst ob in an att sndio or agency. Several of the ppocedures you learned i hat feson wil eveneally be applied tothe making of mechanieal on pastewpy A mechanical i the de from which a printing plhte fs made. The enact sie, color lind position of ever clement that f to appear in the Gashed printed pivce ate peciely indicated on this mechanical, Am Ung pisied on a riechanial usually type proofs for sepro- Suction (pro pool) and smal le drawings or gosy stars of| line arti considera “cops” for reproduction, unles other wise marked “Toma art. whether wo be reproduced same size, enlarged. oF redived isnot pasted dos on the mechanical but sent along ra sepatate piece. Ie in shown on the mechanical by a photosat sr a iney Aratings which fas onfy one purpose —to indicate wo the printer the exact sre of te tonal are aa dhe peition itis to occupy in the printed piece. Ald phowestas ae extremely helpful ia making 2 me anieal, hey sve not avaiable everywhere, In place of sas, « Maing or a0 scent sketch can serve just a» well tof dicate the sie and poston ofthe tonal ar. the course ofthis Ieuan se will demonstrate ow to pre: Sieve Hinds uf anechanials. Mechanicals we have said, Ares guide for the making of printing plotex~ an so printing pltes te the next subject we must look into Plates ‘The preparation of priming plates vies considerably according torane method of repreution to be sed, but the general p1o- Caalure greatly simplifed — goes something Wke this: (2) The feta stages Huey all of ghe att ork —Hine and tonal— is Fhowagphed ono nepuives to the exact siae masked on your rt) Supping, or negative acembiy: Now, using the mechan feal obi, al ofthe meatives Rat have uae been prepared in Step I ae fted oF “stripped together. (8) Opaquing: With brush and opaque punt, the platemaker “opiques (cones tp) reas om the negative that should not appear on the finshed ora brown late, Nt this stage fst Hhography, a bn Proof called a vandske is mace trom ae negative for checking By the art or production man. (3) Making the plate: The hegative i placed on 2 semsitved meal plite and expined to Tight. The plate fs then deselopel. (8) Paving: Now a proof ix pled, This proving is usually omitted in ofbct, where a bive pint has afrecdy been seem and cortected. But for lterpres Sha silkscreen, the art oe predaeion man now marks this pool and returns ic for corsatin and printing. Later in this Tesson we will show yon howe the aris procedure difers for cvth ofthe thuce printing poceses ut for naye le us se jut hat the proceset are and how they WOE Letterpress In the leterpress proves Tine and tonal art are usually plated separately, These plates are etched deeply #0 that the trface {hie wil prt i rlsed, Type often combined wih these plates “and bo are "locked wp togetce into one “orm fr pinging rinsing ik i tranofrned fora the raised stnfae ofthis form ite to paper Yoru are actully painting by leerpres every time yn prem a cubber simp to af ink pa and then to pape. Offset In offet, che camera sage is almunt decal with sha of eter res. Afcr your monk photographed, everthing fy ranted {Da thin mca pte ~ ae acual type oF Fates ave be locked Up tgeter into a form, as shey wef leterpres. Intend ll {onal an in clement, inctding repro proofs of the typ see plowgraphed ftom the art at meuniere on Fim which is chen exposed ante thi single place Offer so ills from feces tte inked epresion is tanstered tn alber from the plte to “ruler blanket” and then tothe paper The mond “oie: derives fro she process of ofeting Ine tmage rom the plane co he ber blnker before contacts the paper. Exept forthe color lwo, the textbook of our CCoune ere repre by dhe ott proces Silk sereen {mechanical for sk sreem i prepared much the seme asi ‘rould befor effet and the eames stage fs abo similar. Other in hat poe gucgees” or squeered hough ney oxen Sibvucen stencil deny onto the paper oF ater ointing oF qoee The paint is usually deported tm a much Reavicr yer than the ink inthe ofker ena processes Sik sexcening can be done on ved surfaces and surfaces ether than paper. Exa plo can be seen ll around you on sch objects as wood oF met Signs an lasso plastic bots aa abc. Thc thee major printing processes discus inthis tenon ‘am be ws ws teproduce any Bind of copy, whether line o ona Ech proces however, pradices 9 somewhat diferent eet on the printed page and cach has advantages and lmitsions. The Alecsion of thteh proce to use fa given scution¥ asa true bythe prdation department “The reproduction of art work isan intricate and involved ay which can ay be troy lemed tough experience. We Sousent that you build upon the foundation you will acquize fn this eon by visting pn shops and engraving houses in your trex Talk with the men who wil soeday be your coworkers. Yow will aly fd them exper to help anne who shows 3 respet for der craft and secksa beter understanding ottms yy} Feros Ari Coos e: Studio production Line reproduction “The man who makes plates for leterpress printing is called & phowengraver, and hie plates a called photoengravingy or ew [ravingy The simples form of engraving i a ine plate, ar Tine ft, Hike che one ohown at he right. Line plates are usvally made of zinc and ave “blocked” —that ie attached to a hard trod base-—so that when looked fn 2 printing form, they will be exactly pe hight 0918 ofa inch, Line cus can be printed sion hppa cally aaa oem pp Sich a newsprint ‘Tine plate i made from art work compoved entely of lines and areas of slid cao (usually Black) ad white Te may con tain crontatching, suppling, dots, and solid lack areas. This eis sally done in pen or brveh ard ink. Line apy een con Sits of eepreciction proofs ofrype wit ruled or decorate boe- fers speverter type atts graphs, ec, Make sure tat work snhich Ito be reproduced in Tie contains no gray er tonal areas Your drawing shold be sharply lack and white "To make a lne plate, the engraver folloes the steps generally as eutlined on tie previous page. The negative he "shoots" is ‘uch lke the one you would sake with on ordinary camera Reniimber, this a negative; the areas in your drawing which svete originally black ave now elear inthis negative, an all of the white aan ane sled blsek. During the making of the plate, ‘eis he clear porsions ofthe negative which allo ight to pass {ough and hit the sensed micial. The exposed plate then foes throng several procees, ering im one or mone acid baths (thich “etch or ene aay the unexposed portions. When enough ites" have been taken to make the deign stnd out in cle reli any large blank areas are “routed out” ee cut aay Before blocking, the plate is proved and the proofs are given te the attat of production man for OK or comectons, While fore corrections ar changes can be rade imam engravers plate than in the other process, a strong cautionary word for proces et Make sire you begin with sorsect ar work, Says be the mos stilatory and least costly method of obtain fing the results you wat Halftone reproduction Anything dat the engraver cnet soot as Kine must be shot in halftone: A halfione engraving is usally made of copper and can be eo repadice virtually any toma subject —2 photograph, minting, or drawing "The steret of the hutfione processes te photographing the material trough 3 halfone screen —not unlike an ondinar trindow screen. The engravers seeen, however, consis of #0 ple of gos that ave ener with very Ste parallel fines. “The fbvo glass plate ace cemented togcer with the lines in one plate erossng the Lines fo the other at right angles. "The seen Ei plced in the engravers camera dieety in front of his im. Tight strikes the sreen fit when the exposure is made, and the seen breaks the tonal inage inte thousands of very sal dots the negative i, Except for sing a ere, the engraver gos ‘magi the anne procedire in making hulltove plate a he fdes in making a Hine plate. I face, the very small black dots fon the nid hallone engraving cea, in eet, a miniature ec as you ca ee ithe enlarged section ofthe balfione at the Lar right. You can alo vce dat where the drawing ws ight, black Uot on the corresponding section of the plate are smal Where copy wasdarh, shew dots are large Out ese Blends al these ots into toner which range frm white through gray to lack, ahaa da fo i a ie hn ew Feemiieasoe fig ent mdr fr berarnad a See aro lane on ue et tw fo Neto ree i ar ia Se i il ‘bu en ea ch tr elrgcant- oie ht he bole hs hn, 2 ed Ine 2or commercial snc, essem generally range from 50 Times per inch to move than 188. The coke of screen iy usually deter mined bythe Rial of paper the jas sto be printed on. A course ough per wil sly lietate couse screen. A highly finished pope will usally sequite x fine acieen, When exdering hale gravy for leterpren eave eomaider the paper upon which 2 be printed. The microwopie plowographs of teeny Seenetieen Qedea™” eae the engraving Jper repriced ay the tppcr right il serve asa guide aml #8 Re ewer Fe yi to understand the need for carefully selecting the ap propre alone een Line and halftone in offset printing As we sated euiler, there 6a great similarity between letter pressand ote he cauena stage The major diference is chat Dike elon wie seems coarer than [2OTine and ten Rees as fine a+ $0, while i letterpres65 ne sceens ae used every day mn offet, os in Iiterprem the same separate tretment mut bee given to line and tonal copy, ad the same names apply to the various iypes of tna urt when reproduced. ‘The simplest Ki of reproduction of onal ar ie called square halftone. and is lsat at the lower let ofthe prsions page. Occasionally Sou may desire am elect that cannot be achieved rough the ne of simple sure halfone ~ these are several other kinds fof halftones to ehoose trom llustraions ofthese various pes {or both proceses ate shown below. Stuy them carefully ~ they will give you a bever understanding of aueia production, a a a a Ihe errs cm mph lo tt as — fm $081 DURGA ey ante pene “han ming tlt sven eee He paper oad he we mas Examples of halftones eel we oe ee meron te od gy ancien cotatboga Ta Set ceo et iThe three printing processes compared ‘Here, in greatly simplified form, ve demonstrate che asi steps in lecerpres, offset lithography, nd silkscreen printing, For each prosen we begin eh the came simple layout and follow i thoug the vatious stage of predcion tml femerges a a printed piece. Note the ilerences land the similarities between the thtee processes and you will have a better understanding of our sole in preparing at for reproduction. Letterpress In leerpren metal plate with a raised image is inked ‘amd. presed gains paper — the principle much the suune as dat of «rubber stamp and fink pad. The art work bs seat to a uraser. who photographs It onto 8 sczeen halftones imu flony paper fr good fe vbicked up ors ‘woeen beck 1h ese The eur anes op in ete SU Bee as ta see te bed td 2 pr of ae fated Te gem ce ee Sa ae eid ta Offset lithography ‘fis plates ae made Wy the fix printer Alla wont aa al. resi en diel the poner fer perstng Cet py i SEN eoatton on oe meinen, Galati Song wil eprucian poo fhe Spetand both ve poset ther Hatton ioe pt very Sat simon any paper=en vey eee Tiinmseramanane | gehen te weynmtte | Bt cee ta hem on = Snes wa te hen Stokaee et Tol eye ae Sa getan Silk seroon Sik crc is basically a highly deve oped stencil process est wel for te producing line work, ten reproduce halftone se ak, of reprniciion will rarely math that Df leterpres or ot. Sik seen is tmore olen sed for art work whic x too lange te Ue exonomiealy printed by offi or leerpres, or when the length of the run sade ton sal those procenes Mt is alo lealhy {or printing other than Ha surface, The proces decribed here is nea screen: Foe seprodicig syle Tine copy. a silk sere stencil Is ten cay hana. pe gear hte nt hth Dro enor a” ay rect tre toes ora oo pr cae ingot pred pryPreparing art for reproduction (On this and the following pages we give you a guide to how rechaals ate prepared for onecolor printing and for color {eparation in ewocolor pening The fast ustrtion in exh fequence isthe hed print pce, while the numbered pho- Conran to te igh of i nponstate hoe the art spree {o-obain the eet shoen inthe pried piece. To ge the mow. ‘ut ofthese pages study thems horoughly unt yuu understand the prinipen demote We have Bepr our examples spe fo that pos cam relate your own at to them mere esi You Td dha valle guide othe solaton of many problems Sn preparing black and while and color separated mechanical ‘Two-color proparation Unit now, we have been deating with printing in one colon “The method ee hasily the se whe 2 pcre with 0 oF nore colors is pringed, In every cae, no matter bow many colors {job ew be printed in a vepirate plate must he made for each Before he ca wake his plates the printer or platemaker must nave a guide showing him whore each colar i to be printed. Pre: faving these guides aualy the jos ofthe avs, a the work Teele called color separation. Thi simplest form, ie can be done on the BSSCECRATT-n ocr cans the areas of color tay be oullned on a sve overlay or these areas may acually be pained in ith black ink om acetate o veliom averlay which are gunied on the base mechanical aul Leyed to it. The Black Simply indiestes where a particular coor is to got does not tncan that the sre wil be pried in black. Tn the ease of calor photographs, paintings. or ustatons ‘she contain clos that ae blended together, the plateaker mie wil do the color separation, photographing dhe art ‘hgh fren les which separate the cor In most ote {ave he separation shoud Be dnc by the artist. Since he crete. ‘he devgn and selected the colors no one Ts sexy smporean tha this job be done ould exly waste hundreds of dollar of bis li Fncorrect plats which must be made ove. “Alough thee are many variations the methods of preparing art for black and white and color reproduction that we sow Ihre and inthe following ction on the Bourges proces sre the 2s aad ase or predcing quality work ‘One thing every fore: lays be sure 0 Key your over lay to your mechanical with regiter marks, These are a guide to the plntemater in making bis begaives and pstes and Color priming will elp amare that the indigo! coor plates ‘Sanh accoratly and print im prtee eit Key lines ond holding Fines. Another guide to the plate maker is ¢ ed "key line, This je used to draw on the mechanical ‘he outline ofan arc thats to be photographed separately and in- ‘lade on the negative, The platemaker Knoss that Lines drawn fn eed indicate ae wid potion only and sre nt toe print, ‘Wena line ft he prin "held,” ff rane flack and Incalled 3 “holding” line ‘Mechanical are usvally made on inexpensive smooth ius: tastion board. Ie should he able to take ink without Bling. Remeruber, «huey dravng ot an aecirste sketch ean be used i plsee of state so ndiente sre and positon on a mechanical. iin tnd Examples in line Bias Decne Pee eel al ere eSeminar its on'ton de goat oe mie Eo Woot warms ere ott eraser econ maf rein ey tba of tes aa ety foe pause Teg od po ‘Soc te mea ae eon ond yaw ao nantes o a phe wo en and mesa i tte enges Aaed be eieg w er oesalr tne ry Te on wok hed, Bd he ang fn, fm eet pont CECE Thamsteceton acer Slated keene Feiwel ar nope SGT htt we Soren aces nan wo on ‘tue eed eon at it goth et eo10 Tint examples Aa axNEEE ieee ritelesuraer proce oa eee a ere ad onthe pages that follow, we demonstrate the Bourges "ho wan wa iy Bi a pa recta of color separition. For the purpose of clarity we present, Us In to sections ine separation and altone separation We wil alo explain bow to handle tint copy and, finally, show howe one drawing con be teat in ix dierent ways t0 create diferent ells "The Bourges process f ued on the we of transparent color sheets whieh are matched to standard printing inks. They ofer the commercial arist a simple way to create trocolor oF mult calor separation using thee sheets as overlays. There are evo types available: overlay secs aed adhesive sheets. The adhesive fleets are wa primarily for indieting color on layouts while the overay sheets are wed for dhe most part in color separation. [Bot «ype of sheets havea unique surface which can be worked ‘on by the arti, removing of adding color ashe fads neeesy ‘The only materiale you ned, in addition tothe Bourges sheets ania bil are some cotton, 9 ays, and Hid “coloremoter.” Iihich are wed for earing the color coating far bat Hine and Tullione separation; liguidolore and pencils for adding calor. modeling. and tonal gradations on halftone art; "B” adhesive, Irhic is ded to liquid color when if dluted co restore its faesive quality: and he modeling eraser, which i use mainly fon votening hate edges and creating ventura elects. “The Bourges proces can ali be wed o produce the same results shown in several of the demonstrations in the previous font pogen sul as two solo tight regvter, tool overprint, line surprint and ethers Yo ing clr operon Fox ns te 700 160 x ene i ole mi {ny ol, Tor our demonstration we wil 100 yor cont yale of vey ut we Line separation — coiid have used any other color 30 percent or stronger Heyin by attaching the ng lige of the overlay she oy uration wih aking ape. The wi ‘trary yur avs to te lation ane you ar esd fo oto wok mele ao Be od et mot ol woe ot rae af the eran can i vmod apn ce made any wih leo SRP ees QELS Sea eter c Site's cow bee Sed ih fad cer SLIT Se nd tn inten by tei Sen Srna oon pew a oes mer pa SGEGR Rebate sean an we ad hgh She pene tne et, SRR eng ee“4 ae 2” Fonous Ait Couse Studio production 2 hn fren le ‘on fe ra edge a our se Bourges — halftone separation atone eparation is handed in much the same manner as Iie separation. One ‘gradations. The liquid calor come fll suength and ean be diy for lighter valves, Alo, exces liquid color can be removed with tMlecting the enlor coating on the overlay sheet. A oft brush er cotton is best for {his operation. Cation: Halfone overlays on which pencil and lig color are twed should be sprayed with clear Inquer to protect diem in handling; or a sheet Df clear acetate shouldbe taped overdue ata protective overly “The denonscation bogine a the vight, with 80 percent Bourges overlay tape ‘ver the illustration ad keyed ot with regiter marks. ccmpees Spa pe tors Deol aa he i od dag Be he seo gt ged xiDD inte 16 Studio production Bourges — line, tint, and tone |Asyou have already lenrme, tne, tnt, and tone ave the three base estegoies for reproduction, This holds wue for art prepared by the Rourges process of color separation sy well, You know dhat the simplest kind of color to reproduce is line, which woukd nea gh sal olor neem tint ofthat color would give you a Ha ight color find create quite» different effect, You would prepare your color overlay Just 38 {you woul fr Hine copy, and insrace dhe platcmaber to give percentage you desire This generally coms slightly more than ordinary Hine copy “h color overlay with gradations of tone and modeling must be reproduced a8 3 ails, taltone, of course, cass snore than cther the line or sine overlay, but with preseparated art this would illyepretent a saying ower the cox of zeprodscng a drawing pated in twa colors ex. o o ) tm new ame tay ondWw ALBERT DORNE paints with colored inks—~99 == Studio production 9 How to make a mechanical “Much ofthe knowledge sou have gained in sis and the previous fewon may eventually be put ia uve fm making mechanical. Ie fs said lat mechanials ate the backbone of the art busines (Certainly thic tru of ar studios — and the artist who ean mike the be mechanical wil be the backbone of his particular stu. "Never underestimate the importance of rendering 1 mechan eal carctlly, A mechanical is the layout come to Tile The Finest Inyout ean be ruined by thougless preparation uf dhe mechan- ‘and ie is the roponsbilty of a good studio arnt to see td dis never hopper A mechonfeal must be clean snd ace urate retucmber the sights stadge or Bur may cause tr bie tor the platemaker. A mechanical well rendered by an expe cnced arte almost spathles wih cleanliness nd aceacy. The Bs and pethaps the mow important requirement for making good mechanical is thought. Whe you receive tnechanieal vo prepare isthe sing, checking. and planning sou do in the fs ten sates that often determine whether you ; 1 ‘a mF are going 0 put this one together fst or lox —and perhaps ghtor wrong. Ping errors can be very tne consuming Te far Iptter to take a lite longer st the sat and do the job corey Th thisdemonseation ee sho you how to prepare a two-color suechaneal. Ler say that yo have jus teceived the fale ay tout cn the facing page frm an art direstor aad he fas asked ou to make a mechanical for it He has ale given you the ee- rca that go eth eclan begin by making Sire your Teyuate, triangles, al table top are cleat — penis Sharp eventing on hand and resly. AU photographs, photo- Sate gpe pois ee, from previous jobs should now be Bled or ised wo hat nothing wll inerfete or dst. "AI! the procedures shown in this section have been demon: suited in tre detail eater. IC thee is anything you do not Understand, we suggest hat you review Leson 27 and the pre ceding pages of Lesion 22 The snechanical which is vo be mode ould be tied in either oie or leerpres,roman saree24 penton prot he yb CECE irae pte ites a tsih at ingen, hee eo oe naed sae ia a Eye ie mate hee Sp then te cetyl an emo Bee We ata 8 Be Seem eee erm: Se Sere aa oa Sot es as 1 pean iy id arto mp ts Examples of mechanicals and art Here, and on the following pages, we showr you adiionsl examples of mechanical tind finished ave so yea sce ov diferent Binds of mechanieals are prepared and presented to the punter, Shown immediately above iva mechanical reduced about 50 pet cent for page in Leson 21 of your Course. In this and our ather examples o- fice that all Lie at, including the type, ie cemented onto the mechanical Hallione fart prevented separately and is indented on the mechanical wih ated hey lie: a ‘lack holding Hine fs used this Hine i to print. Finished art that i presented sep srotely fs sles keyed to the mechanical with its cotesponding cic leer. Notice, too. how Gop marks ate wed und "ee i indicated.2 Four-page foldernon Famous As Cour 722 Assignment layout A BETTER TOMORROW FOR AMERICA AMERICAN BASIC RESEARCH FOUNDATIONvio QD Reproduction type and photostats “39 Type A BETTER TOMORROW FOR AMERICA A BETTER TOMORROW FOR AMERICA Photostets AMERICAN BASIC RESEARCH FOUNDATION AMERICAN BASIC RESEARCH FOUNDATION Eat, Reseach, Pilla Gast, Resear, Eiulda‘PAMDS AREISTS COURSE Stident work Leeson 22 Studio production HOW 70 PRACTICE AND PREPARE FOR HIS LESSON The purpoee of this Lesson ie to chow you hov to prepare art ork Tor reproduction. "We have explained the min processes of reproduction. If possible, visit your local type ahop, er graver, offtet, letterpress and silk sereen Printers. Anything you can do to learn gore about printing processes will help you do @ etter job in preparing your art vork for thea. Jn addition to mitertals you have used in other lessons, you will need these materiale for Tassen 22) Snooth.finish ‘ilustration board Red ink -- red poneil will do. Freeted acetate —- 2 oheet, ot teeoe 20 x 22h gee Kleerkote 1s tine; hovever, Sposa eesti pee Peete eta Black paper -- 1 sheet 6 x 9 inches, or 100%, Fed Bourges adhesive sheet. ed pencil. Light blue peneit. eg er for flap -- 1 sheet 12 x 16 FOR PRACFICE, you may wish to get: In afition to Geterinle to try out color seperation aethots in the lessoa, this kit contains treated ace- tate and adhesive sheet mentioned shove Do the folloving practice work before you be= gin vork on the assignment you send in for criticise: 2. Reread the toxt of the leseon and pay par ‘icular attention to the exeuples in the sec- ion "Preparing Art for Reproduction,” oa page 8 through 11. These exaapies vill be pervieu- larly helpful ase reference on Jobe you do 4a ‘the future. 2. Select several Line drovings you have pre- ‘viously dcne end sake color separation overlays ‘ae chom in the "vo color -- tight register” foconstration on page 9. be sure £0 xey the overlays accurately, with register marks, v0 fhe dravings benesth. You can etther use the prepared athesive-back register marks or rule Jour om. (Simply rule little crosses =~ you don't need to crav circles as in the prepeved rarks.) Tf you don't have treated acctate sheeté or tracing Yellun, you can we regular clear tracing paper for thie practice work. Select a stuple tonal dreving and make @ ight register" color separetion overlay as shown at the botton of page 10. Key this with register marks. 4. Uf you have Bourges materials, try a nun- ber of the mothods shova on pages 12 through A7. Make several difverent color overlays over ‘the sane drawing to see what different effects you can create, as shown on page 17. 9. Reread and study pages 18 through 23 on "iow to Maxe a Mechanical” and stuay the exan- ples of nechanicals on pages 2 through 26 ASSIGIVGNT YOU ARE 1 SEND TH FOR CRITICISM ‘Your assigment fer this lesson te to make a completely color-separated mechanical for the ‘two-color layout on Plate 1. om Plate 2 are all of the eleuents you will eed to make this mechanical. You vill find "photestets” of the hand-lettered section of ‘the headline, the photograph, and the erade- mark which appears in the bottle stopper. You VILL algo find a reverse photostat of the com pany nace. Also, there are reproduction Sroore of the balance of the headline, the Saption, the body copy and the address. You will see that each of these elenente appears Evie -- 59 you have an extra proc? Ja ence you poll one. At first glance, the layout on Plate 1 may ap- pear to be very complicated. Hevever, ve as- Sure you that It vill be easy to do if you simply follow the step-by-step procedure des~ cribea below. Don't be concerned vith how Jong it may take you to make this mechanical. Speed, in this cace, is not ae dmportant as securacy. 20 SPECIFTCAPIONS. TBLa Sa a full-page ad The pose alse Te BL x 1 inches. The sechon= ical te to be made. "same size” -- the actual Sige the ad vould be printed. he xl bleeds 1/8 inch at the top, botto and right. The Photograph bleeds at the top, so extend it 1/8 Inch beyond the pase size. Ike coupeny nine bleeds at the Tigre, so extend 42 1/8 inch to the right and carry’ she ouzline end. che tine area in the dostie 1/8 sno beyend the votes: (ore, pisase)Student vork -+ Lesson 22 edge vhere it bleeds. Your assignment is in ‘three parts: Part 1 is the basic mechenicel or flat on Saieh you vill” cement or Grav BveryiRing that, te to be printed in black. Do this on illus- tration beard. Fert 2 is the color separation overlay on ‘aieh you place everything that te to print in rei. This overlay ie tracing paper or acetate or vellia. Fart 3 is the tracine-paper flap on which you Teilvite your Soler Geukap ant write your fi ‘al directions to the platenaker, and the prom kective flap vaich covers the mechanical. part 1 A. Tape or tack an 11 x lh-inch piece of snooth-finish 11ustretion board to your draw ing board. Yow, using your ruler, Tesquare, tHiangle, and a Light blue pened, measure an aren 8-1/h x 1 inches in the center of your {ustration board and rule the outline for your ed. Then rule line 1/8 inch beyend the Yop, bottom and right side to indicate bleed. Mais viii give you an outside size of 8-3/8 x Li-1/l inches. “hie piece vill becone your ‘paste flee. By Set your muling pen to make very fine Lines fan drav in the crop tarks to indicate the cor nere of the page. (See Page 20, te. 8.) ©, Using dividers or @ ruler and your Light Diue peneil, mark on the mechanicel the post ‘tion of all’ the elenents show in the layout. These uarks serve as guides for making the asic fiat -- end also for going the color separation overlay in Part 2. D._Yow begin at the top of the mechanical and Andicate the area for your photogrerh with a ped key Line. You do this by ruling a rea Line to the size of the photograph, including 1/8 inch at the top for bleed as 4m step 6 on page 20. (Gecause this 1s an accurately done Ynyout, tt vill not be necessary for you to yale the key Line zectangle on & seperate sheet as demonstrated in step 6.) F. Next, ext out the photostat of the phote- grep. Prim St abevt 1/16 inch sualler alt Sround than your rea Xey Line and cament tt ‘Within that Fea key ine for tdentit ication. Tne platenicer will nace the photograph £0 she Size shorn by the sed Lins. F, the black outlines for the bottle, the top Of the flask, end the black arzove can be Aran directly on your Plat with brush or pen ‘and ink, Or they can be drava on a seperate Page 2 heot of paper and then cemented into position. G, Rule your req xey ine to inateate the gray tint ares within the bottle, alloving 1/8 Sneh for bleed at the botton. Stop the red Key Line about 1/32 inch chort on efther cide of the black arrove for a clear separation. ‘Then rule the red key Lines for the tint areas which form the stopper in the triangular-sbaped. flack. H. Moxt, conent the stat of the tredenari sn- to the bottle stomper. Then rule the chepe for ‘the company gene, "auericsa Basie Fesearca Founaation” (elloving 1/8 inch et the Tight for Bleed), and tein and cement the negative stat ‘the company mane vithin this ghape. See the ‘Raverse Line” dosonstration at the dotton of pase 9. T. Finally, comont into post tion tho heaiine type, the caption, the body copy and the cox Feny sddress, Before ceaenting the body cosy, Teneaber to cut out the boldface capital ini ‘tial which you will Inter cement on your over- Iny, beceuce it 16 to be printed in red. At ‘this stage everything that is to bo printed in black should be on your basic flat, Fert 2 Tow comes the ceparation for the red overlay. For this it is best to use acetate or vellum. However, since this ie an ascignsent, ve vill alloy you to use tracing paper if you do not have acetate or veilu, (Tracing paper showld over be used on a jeb you ate S5ing PROTSE= — ‘A. Tape your overlay on top of the basic flat a! and key it to the flat vith three patra of Fegister tance placed sbout 1/8 inch outside Gach oide end the bottom of your ad. 3. ext, coment tha stat of the handalnttared headline'sn position on the overlay. ©. How, on the overlay, aray (vith black Ink) the rea’ stopper for the bottle and the red ar- D. Cut out of black paper the shape of the red Flask and cenent Se to the overley. Or you een use a 100% red edhewlve-back Bourges shoct if you hove it, (Step 22, page 22, denonstrates his method.) If you use acetate or velium, you nay prefer to ink the Sask shape Atrectly: ‘on the overlay. Don't try to une snk in large areas on tracing paper; it will buckle, B. Conent in the initial cepitel 3 vhteh vill print in zed. You vill find smll pleces Like Unie are nore easily positioned vith tweezers At this point everything vhich 4s to eppear in the finished ad should be in position on the asic fist and on the overlay (continued)Student vork -= Lesaon 22 Berta A, pub a tracing-paper flap over your pechan- deal, fastening 18 with tape along the top B, Shade in red peneil or pastel alt arvas Ghat are to appear in color, such as your head- Line, the bottle stepper, the exrow, the int- Hal capital and the red flask. If you use pastel, spray it vith fimtive. C. With pencil or gray pastel, 2111 in the pray exces that are to be senecned by the Platonaker and select a percentage tint £0 Batch the layout. Refer to the screen tints ‘on page 5 in this 1esson to wake your selee- tion, and write this percentage on the tissue overlay within or nee the eray area. b. Where the rea bottle overlaps the gray aereen tint of the second bottle, you should indieate to the platonakor that the red will. overprint the gray. Simply vrite » brief no- tation to thie effect on that area. E, Lift dota overtays and, with ark penes2 meonzam: Page 3 or ink, cross out the "stat of the photosraph fon the basic flat co that the platonaker vould koow he must refer to a plece of finished art. for that (Llustration. F. A protective flap of vhite bond or brom ‘veapping paper chould nov be cemented to the top edge of the back ant folded over to cover ‘the entire mechanical aa in step 25, page 23. Give the mechanical s final check £0 mane mire everything is in position as the layout calls for. HE you have followed these directions careful- ly and referred to the sectica on mechanical you should now have a mechanical thoroughly color-separated and ready for the plntemiker. Since this mechanical 1s prepared sane size, simply Lift the two flaps and the overlay and on the bottom of the besie flat write the let tere "5S", which indicate to the placenaker ‘that this mechanical ie to be reproduced "eame size.” Tf this voro a Job to be actually re- produced, you would hand him, nt the sane tine, the paotograpa (keyed to the Eechanieal by & Jeter = see step 2h, page 23) from which he ‘wOULA shoot his beureane. Be gure to letter your mane, adress, ani stilent number neatly at the Lover 1eFt-hand comer of your assigment. comer, place the lesson musbe: ‘in the lover 2 Do this Ietter= ng on the back of your mechanical. ‘Your lesson carton shoulé contain: 2 Complete mechanical 1 Return shipping label filled out completely ‘FAMOUS ARTISTS COURSE, WESTEORT, CORI. chee