W.H.SMITH＆SON：配布パンフレット（雑誌「CRAFT」）
箱番号＋整理番号
PP284-024
発行主・広告主
・W.H.SMITH＆SON
旧蔵者
萬年社
内容
その他広告スクラップ
内容日付／文字情報／備考
雑誌の紹介パンフレット
朱印あり（No,30）
CRAFT WHS
NOTICE: CRAFT is essentially an informal monthly devoted to the craft of printing- not without intention to interest the reader in the particular work done by W. H. Smith & Son. Its informality allows it to change from grave to gay, to give sound but untechnically phrased technical information as well as to be irrelevant on occasion. Also to be somewhat casual and unpunctual.
CRAFT will gladly be sent to responsible members of business firms. But we do not wish it to reach the office boy or the wastepaper-basket; so if you wish it, may we know to whom to address it?
Please send me CRAFT each month as (and when ) it appears.
Vol. 1 MAY No. IV
Rapid Growth Points III: Initials Our Illustrations A Legend of the Deep At the Fair Q. E. D.
CRAFT
A MONTHLY MESSAGE TO ADVERTISERS AND OTHERS
MCMXIII
W. H. SMITH & SON 55 FETTER LANE E. C.
RAPID GROWTH etc.
THE perceptive will observe that CRAFT is growing. Unparalleled success, etc. The fact is some critics said that it was too small. They wanted more of a good thing. The fact that they’ve got it has very little to do with their having wanted it.
The Editor of CRAFT has all along intended that CRAFT should be just the size and kind of thing that pleased him. That it should wax and wane as circumstances (and he) dictated. That occasionally it shouldn’t come out at all.
What’s the good of announcing yourself as an informal and unpunctual monthly only to comport yourself like every other entirely regular publication of the kind?
We are rather pleased with this month’s cover. (Shade of Morris, your pardon!) It is what is widely known in the trade as an IDEA. We find this kind of thing very easy, really.
POINTS: III. INITIALS
Every item of stupid tradition which survives in craft or creed has an explanation in some saner origin. (We say “every” chiefly because the initial E was designed for the page before the matter to fill it was definitely decided upon. Perhaps the universal should be qualified.)
THE awkward arrangement of the initial letter with which this paragraph opens is one which admits of a very simple explanation. The part below the line of every metal type letter is called the beard. It ensures the space of white between its line and the next, and it takes the “descenders” of certain lowercase letters, that is to say the part projecting below the line as in p, q, y. In capitals the beard is nearly always blank (J and Q are occasional exceptions). When, then, in distant imitation of the initial or versal letters of illuminated manuscripts and early printed books, a capital say of a fount twice as large was used for the initial letter, the beard being bigger than the corresponding beard of its own type prevented the third line coming close up to the capital- as at the beginning of this paragraph. The awkward space thus left on account of a purely mechanical difficulty became a consecrated custom in the trade. It is a villainous custom. Titling letters having practically no beard should be used- or the beard should be shaved. But the initial as used above, so far from being a decoration is an obvious blemish which ought to be forthwith cut out of the printing tradition. Other subtle points in regard of the initial which will need illustration to make clear will be dealt with next month. Meanwhile, please help us to scotch this particular imbecility.
OUR ILLUSTRATIONS
WE present to our readers a very charming supplement in the shape of a page reduced from the Fioretti of St Francis of Assisi, printed at the Ashendene Press of Mr C. H. St John Hornby.
It is not necessary to say that it has lost considerably in reduction. That almost always happens to a page designed for one size and reduced to another. Moreover, even the admirable Batchelor hand-made paper on which it is reproduced- probably the best paper obtainable in the world- does not show up the solidity of the beautiful red and black as does the original vellum.
Both the Fetter Lane press and the Arden Press at Letchworth have owed a great deal to the knowledge and connoisseurship of Mr Hornby, and we hope that there are traces in CRAFT, heavily diluted as they must necessarily be for trade purposes, of the traditions on which that famous private press was founded.
The little sheaf of stationery for Sheba, a well-known Sloane Street dressmaker, shows how effectively a simple central motive can be worked out so as to give distinction and individuality to every piece of paper handled by a firm, and that at no great cost.
These two version of the clever Portrait of a Man Strumming by Fred Pegram exemplify two ways of treating a half-tone block made from a pencil drawing. The first reproduction is a deep-etched half-tone. It will be noted that the fine dots which appear even in the lightest portions of an ordinary half-tone plate are not to be found. They have been very carefully etched out with acid after the first rough process of the plate-making has been completed, the lines of the drawing being carefully “stopped out.” This requires considerable skill and time on the part of the engraver.
A readier and cheaper method of approximating to the same result is the vignetted half-tone. The “dots” at the edges of the plate are etched down with great care so as to give a graduated effect. But the final perfection of the printing of a vignetted plate depends on the skill of the printer’s make-ready. The addition of the tint block adds notably to the effect.
The engraved half-tone plate, whereinto a good deal of hand tooling is put, is commoner in America (where large prices are willingly paid for fine blocks) than here in England. Scribner’s and the Century are noted for their admirable engraved half-tone plates.
A LEGEND
The Man of Business put out to sea with a fair craft and favouring breezes.
Which latter began to fail, and the Mermaid Advertising hopped up out of the sea and with a very tactful tale besought him to let her help him.
But he simply glued his eye to his ledger saying many times, “Do I not know my own business best?”
To which she, sliding down again into the blue depths, but chuckling, said, “But not my business.”
And shortly thereafter it came to pass that the poor good man stuck upon the sands of No Sales. And he cudgelled his brains to think of the right telephone number.
Mem: 5630 Holborn.
9
NOTICE: CRAFT is essentially an informal monthly devoted to the craft of printing- not without intention to interest the reader in the particular work done by W. H. Smith & Son. Its informality allows it to change from grave to gay, to give sound but untechnically phrased technical information as well as to be irrelevant on occasion. Also to be somewhat casual and unpunctual.
CRAFT will gladly be sent to responsible members of business firms. But we do not wish it to reach the office boy or the wastepaper-basket; so if you wish it, may we know to whom to address it?
Please send me CRAFT each month as (and when ) it appears.
Vol. 1 MAY No. IV
Rapid Growth Points III: Initials Our Illustrations A Legend of the Deep At the Fair Q. E. D.
CRAFT
A MONTHLY MESSAGE TO ADVERTISERS AND OTHERS
MCMXIII
W. H. SMITH & SON 55 FETTER LANE E. C.
RAPID GROWTH etc.
THE perceptive will observe that CRAFT is growing. Unparalleled success, etc. The fact is some critics said that it was too small. They wanted more of a good thing. The fact that they’ve got it has very little to do with their having wanted it.
The Editor of CRAFT has all along intended that CRAFT should be just the size and kind of thing that pleased him. That it should wax and wane as circumstances (and he) dictated. That occasionally it shouldn’t come out at all.
What’s the good of announcing yourself as an informal and unpunctual monthly only to comport yourself like every other entirely regular publication of the kind?
We are rather pleased with this month’s cover. (Shade of Morris, your pardon!) It is what is widely known in the trade as an IDEA. We find this kind of thing very easy, really.
POINTS: III. INITIALS
Every item of stupid tradition which survives in craft or creed has an explanation in some saner origin. (We say “every” chiefly because the initial E was designed for the page before the matter to fill it was definitely decided upon. Perhaps the universal should be qualified.)
THE awkward arrangement of the initial letter with which this paragraph opens is one which admits of a very simple explanation. The part below the line of every metal type letter is called the beard. It ensures the space of white between its line and the next, and it takes the “descenders” of certain lowercase letters, that is to say the part projecting below the line as in p, q, y. In capitals the beard is nearly always blank (J and Q are occasional exceptions). When, then, in distant imitation of the initial or versal letters of illuminated manuscripts and early printed books, a capital say of a fount twice as large was used for the initial letter, the beard being bigger than the corresponding beard of its own type prevented the third line coming close up to the capital- as at the beginning of this paragraph. The awkward space thus left on account of a purely mechanical difficulty became a consecrated custom in the trade. It is a villainous custom. Titling letters having practically no beard should be used- or the beard should be shaved. But the initial as used above, so far from being a decoration is an obvious blemish which ought to be forthwith cut out of the printing tradition. Other subtle points in regard of the initial which will need illustration to make clear will be dealt with next month. Meanwhile, please help us to scotch this particular imbecility.
OUR ILLUSTRATIONS
WE present to our readers a very charming supplement in the shape of a page reduced from the Fioretti of St Francis of Assisi, printed at the Ashendene Press of Mr C. H. St John Hornby.
It is not necessary to say that it has lost considerably in reduction. That almost always happens to a page designed for one size and reduced to another. Moreover, even the admirable Batchelor hand-made paper on which it is reproduced- probably the best paper obtainable in the world- does not show up the solidity of the beautiful red and black as does the original vellum.
Both the Fetter Lane press and the Arden Press at Letchworth have owed a great deal to the knowledge and connoisseurship of Mr Hornby, and we hope that there are traces in CRAFT, heavily diluted as they must necessarily be for trade purposes, of the traditions on which that famous private press was founded.
The little sheaf of stationery for Sheba, a well-known Sloane Street dressmaker, shows how effectively a simple central motive can be worked out so as to give distinction and individuality to every piece of paper handled by a firm, and that at no great cost.
These two version of the clever Portrait of a Man Strumming by Fred Pegram exemplify two ways of treating a half-tone block made from a pencil drawing. The first reproduction is a deep-etched half-tone. It will be noted that the fine dots which appear even in the lightest portions of an ordinary half-tone plate are not to be found. They have been very carefully etched out with acid after the first rough process of the plate-making has been completed, the lines of the drawing being carefully “stopped out.” This requires considerable skill and time on the part of the engraver.
A readier and cheaper method of approximating to the same result is the vignetted half-tone. The “dots” at the edges of the plate are etched down with great care so as to give a graduated effect. But the final perfection of the printing of a vignetted plate depends on the skill of the printer’s make-ready. The addition of the tint block adds notably to the effect.
The engraved half-tone plate, whereinto a good deal of hand tooling is put, is commoner in America (where large prices are willingly paid for fine blocks) than here in England. Scribner’s and the Century are noted for their admirable engraved half-tone plates.
A LEGEND
The Man of Business put out to sea with a fair craft and favouring breezes.
Which latter began to fail, and the Mermaid Advertising hopped up out of the sea and with a very tactful tale besought him to let her help him.
But he simply glued his eye to his ledger saying many times, “Do I not know my own business best?”
To which she, sliding down again into the blue depths, but chuckling, said, “But not my business.”
And shortly thereafter it came to pass that the poor good man stuck upon the sands of No Sales. And he cudgelled his brains to think of the right telephone number.
Mem: 5630 Holborn.
9
資料形態
大型古資料
制作者
アメリカ
高さｘ幅（mm）
200x140
物理媒体／状態
表紙切抜き文字使用(h205mm)