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At present the cumbrous stone and the slow-moving flat-bed press are being supplanted by the light and pliable aluminum plates and the fast-moving rotary presses. The aluminum plate has all the requisites for the highest grades of lithographic or surface printing, and the rotary press is beyond doubt a vast improvement over the flat-bed press, not only as to speed, but also as to the quality and uniformity of its product. The mode of procedure in making transfers to aluminum plates is much the same as that employed in making transfers to stone. The pliability of the aluminum plate and the ease with which it can be adjusted to a printing cylinder has resulted in the successful introduction and use of two-and three-color lithographic rotary presses, printing at one operation two or three colors. It has been demonstrated that the result is fully equal to that obtained from the single-color press, provided good judgment be used as to the succession of the colors or printings. This marks a new epoch in the art of lithography and enables it to compete with the typographic three-color process, which has been making such wonderful progress during the last five years, and at one time seriously threatened lithography as a medium for the reproduction of certain classes of colored illustrations.
Our experience teaches us, however, that the surface or lithographic and the relief or typographic method will never seriously interfere with each other, but on the contrary by actively competing in all matter relating to the reproductive art will continue to improve their respective methods, and thus enable them to satisfy the continually increasing demands on the part of the public for colored illustrations, not only as to the quantity but particularly as to the quality thereof.
COVER DESIGNING
By Amy Richards.
So many books of the present day have decorative book covers especially designed to fit each book that many people who buy the books are beginning to ask what suggests these designs and how they are executed.
Having made book-cover designs for a number of years, I have been asked to write a practical account of how these book covers are made, which will give an answer to some of these questions. This account will have no bearing on the designs used on hand-bound books with their beautiful "tooled" covers. These are a different branch of the art altogether from the so-called "commercial bindings" which I am about to describe. The designs for these tooled covers are as a rule made by the same hands that bind the books.
Every year hundreds of books are published that need "commercial" book covers. In many cases these covers are used to help sell the book; that is, they must be attractive enough to draw attention to the book as it lies on the counter in the bookshops and other places where the book is on sale.
Some publishers have artists, regularly employed, to make their own designs exclusively; but as a rule each publisher keeps in touch with a number of designers, sending for one or the other as the needs of a particular book require. When a design is needed, the particular sort of cover required is discussed with the publisher, the number of colors that can be used is mentioned, also the exact dimensions of the book and the material to be used in binding the book. Almost every designer prefers to read the manuscript of the book, if possible, or to have a synopsis of it, for, naturally, he can make a much more suitable and successful cover if he has a complete idea of the subject of the book.
Having read the book, or having been told what it is about, the designer makes one or more rough sketches in color, giving a general idea of the book cover, both as to design, color scheme, and material to be used in binding. If one of these sketches is selected, the designer then makes an accurate "working" drawing, either in color, or black and white. If a black-and-white drawing is made, a rough color sketch is sent with it to indicate how the die is to be cut.
A finished book-cover design can be made on water-color paper, bristol-board, or a piece of book-cover linen. This last method is popular with publishers, as it shows them how the cover will look when finished. A designer keeps sample books of all the most popular bookbinding materials, which the manufacturers are glad to supply. A practical designer always chooses for the ground color of a design a cloth that is to be found at one of the regular book-cloth manufacturers.
When a book-cover design is finished, it is neatly mounted on cardboard and a careful note is written on the margin, telling how the design is to be executed by the binder, the kind of cloth to be used, and its number in a particular sample book. Unless the design is executed on a piece of book cloth, a sample of the cloth desired is pasted under the directions. The design is then cut in brass by a die cutter, as described in the next chapter, and the covers are stamped in gold or inks from this die by the binder. The design must be the exact size of the future book or drawn larger in exact proportion for reduction to the proper size.
Gold is of course the most expensive way of reproducing a cover design, and a publisher generally tries to get as good an effect as possible without the use of gold, or he limits its use to the title lines or to a small part of the design. Four inks is usually the extreme number used, and more often only two or three are used, or gold and one ink.
Several styles of decoration are used in designing book covers; but they may be put roughly into two classes,—those that are purely ornamental and those that are pictorial. Personally I am in favor of the purely ornamental cover, as being more dignified; but there are books that seem to require a pictorial cover that is treated somewhat in the fashion of a decorative poster.
A book-cover designer to be successful should be very versatile and able to make use of figures as well as thoroughly versed in the use of ornament.
One of the most important parts of a book cover is the title, to which the amateur and inexperienced designer does not always give sufficient attention. The title must be clearly drawn and everything else in the cover made subservient to it, so that the first thing the eye falls on is the title. For this reason a thorough study of lettering is necessary for the successful cover designer, and much practice in order to become proficient. A very successful cover may be due simply to a well-selected cloth with lettering properly drawn and placed so that the eye is perfectly satisfied and the whole has an air of distinction. Each designer grows insensibly into his or her own particular style, which those who are interested in book covers grow to know; but the more varied his style the more in demand will be the designer.
The designing of book covers is a minor art, but since there is a constant demand for ornamented covers, the more taste and skill that can be devoted to the making of them, the better. When one looks back to the covers of fifteen years ago, one realizes what an advance has been made, and that the standard has been raised higher and higher, until at the present time many a famous illustrator or decorative painter occasionally turns his or her hand to the designing of book covers.
THE COVER STAMPS
By George Becker.
Not many years ago the crudest and most primitive devices were used in the production of a book cover. The artist, if such he could be called, who was responsible for the design, seldom went to the trouble of furnishing the engraver with anything more than a pencil sketch, which the latter transferred to a brass plate about one-quarter of an inch thick by coating the plate with beeswax and laying the sketch on it, face downward. When the paper was removed the beeswax retained the marks of the lead pencil. He then began the tedious process of outlining it by hand with a graver and afterward finished it with a chisel.
But the exacting demands of modern artistic taste, the improvement of scientific methods and the pressure of competition have marked a complete transformation in the business of making dies for book covers. A few pencils and gravers, a vise bench, and a grindstone no longer make an engraving establishment. Colored sketches of most painstaking execution, accompanied by a working drawing in black and white, have taken the place of the old pencil sketch. These artistic productions, having passed the ordeal of critical examination, are handed over to the photographer, who, if he understands his part, does all that the beeswax did, and a good deal more. He takes the black-and-white drawing above referred to and reproduces it, in the size desired, directly on a brass plate covered with a sensitive coating, and then having prepared it with acid-proof preparations, he passes it over to the etcher.
The etcher in his turn, with unerring judgment in the strength of his acids, does what the most careful outliner could not accomplish; he produces a perfect facsimile of the original drawing, with all its artistic freedom. The process used is practically the same as the zinc etching process described in the chapter on half-tones and line plates. The plate, having been etched as deep as is safe, is then turned over to the router, whose business it is to cut out all the metal between ornaments and lettering to the proper depth. This done, the engraver, who in former years practically dug out the entire plate with his hand tools, comes in to give the finishing touches and correct any slight imperfection that may remain. It is of the utmost importance, of course, that the dies should be clear-cut and deep, to avoid clogging up in printing, particularly in the plates used for stamping in inks. The experienced and watchful engraver is expected to detect any spots where the etching process has not fully accomplished its purpose. Lettering, especially, should be cut clear, deep, and free from "feather," or ragged edges.
The above process applies to single plates or to plates intended for printing in one color only, or in gold. Where two or more colors are wanted, the photographer has to make as many prints as there are colors in the artist's design, as each one calls for a separate plate. The proceeding otherwise remains the same, excepting that to the engraver's task is added the necessity of making sure of a perfect register or fitting together of the various parts.
The transformation in the demands of publishers and writers has become so great since the days of the primitive little shop above referred to, that a die cutter, working on those lines, would be hopelessly out of the race at the present day. In order to meet satisfactorily the artistic expectation of the present generation a first-class engraving establishment must have: an accomplished staff of artists, supplied with a library of standard authorities on the various schools of art, as well as a good selection of modern art publications; a skilled photographer with a complete photographic outfit, including, of course, a suitable gallery with the best obtainable light, both natural and artificial; and lastly a complete staff of routers and engravers, some of whom should be specialists in lettering, while others should devote their attention exclusively to figures.
Of all the elements that go to make book-cover decoration the lettering is by far the most important. It should receive special care, as in some cases it constitutes the entire decoration. In this respect the critical taste of the present day shows itself even more strongly than in the matter of decorative ornamentation, and no amount of ornamentation, whatever its artistic value, can redeem a cover whose lettering is lacking in style, character, or typographical merit of some kind. Experience is such a good teacher that I can usually tell, by looking at a die, not only who designed the lettering, but also what workman engraved it.
Some dies are intended for stamping in gold or colored leaf and consequently have to be heated sufficiently to cause the leaf to adhere to the cloth cover, while others are meant simply for black stamping or stamping in ink of various colors; but all are engraved on brass for the sake of durability. Sometimes, where very large editions are expected, as of school books, steel is substituted for brass.
The die, when finished, is used by the binder in a stamping press. Color work calls for considerable skill on the part of the stamper, who should be an expert in mixing inks as the best-cut die will often show poor results if not properly handled. In fact, the success of a book cover depends on three individuals,—the artist who designs it, the engraver who cuts it, and the stamper who prints it.
BOOK CLOTHS
By Henry P. Kendall.
The great increase in the number of books produced each year has brought a corresponding development in the use of prepared cloth for the bindings. Previous to the beginning of the last century cloth was almost unknown as a material for covering a book. Books were then very costly. They were printed laboriously by hand, on paper also made by hand, and were naturally considered worthy of the most lasting bindings. As the life of books depends on the strength and wearing quality of the covers, such materials as wood, vellum, and leather, often reenforced with metal, were generally used.
The nineteenth century has marked a great progress in the variety and quantity, if not in the quality, of published books. Improvements in methods and in machinery have progressed side by side with economies in paper making. As the cost of producing the printed sheets became less, a demand arose for a correspondingly cheaper material for bindings. The want was satisfactorily met by the use of cloth, and from the day that it was first used it has become more and more a factor in book manufacturing.
When so commonplace a binding material as cloth was selected, artists and binders and publishers considered that ornamentation on such a material was almost a waste of time and money. So the libraries of our grandfathers contained rows of gloomy and unattractive books, bound in black cloth stamped in old-fashioned designs, with a back title of lemon gold, and it is only comparatively a few years ago that binding in cloth began to be considered worthy of the attention of the designer and the artist, but since then the demand for a more varied assortment and a wider choice of colors and patterns has been steadily growing.
Let us consider briefly the different kinds of book cloths that are most commonly used to-day and try to make clear to the lay reader the different fabrics, whose nomenclature is so frequently confused even by binders and publishers.
Book cloths, from their appearance and manufacture, fall into two natural divisions, the first being the so-called "solid colors," in which the threads of the cloth are not easily distinguishable. This division contains two grades of cloth, generally known as common colors and extra colors. The standard width of all book cloths is thirty-eight inches. The commons and extras are sold by the roll, and the standard number of yards to the roll of these fabrics is thirty-eight.
The second division consists of the so-called "linens" and "buckrams," in which each thread, with the imperfections and peculiarities of the weaving, are plainly seen and form a large part of their picturesque effect.
The first of the "common colors" to be used was the black cloth already referred to, but they are now made in many colors, though chiefly in simple, pronounced shades, such as browns, blues, greens, and reds. These cloths have been dyed, and sized with a stiffening preparation. They are the cheapest of the solid colors and are used in various patterns, which are embossed on the surface during the process of manufacture.
The ordinary patterns which are in the greatest use to-day are designated in the trade by letters. Perhaps the most familiar is the "T" pattern, straight parallel ridges or striations, about forty to the inch, and running across the cloth from selvage to selvage. When properly used, these ribs run from top to bottom of a book cover. For this reason it is not economical to use the "T" pattern if the height of the cover is not a multiple of the width of the cloth, as it results in a waste of cloth. This explains why the cost of the book bound in "T" pattern is frequently somewhat higher than the same book bound in another pattern of the same cloth.
A similar design is the "S" or silk pattern, made up of finer lines running diagonally across the cloth, giving the surface a sheen somewhat resembling silk. Also in common use are a group of patterns composed of small irregular dots or points, the finest of which is known as the "C" pattern, a coarser pattern of similar design, the "J," and, coarser still, the "L," which has somewhat the appearance of the coarse grain of a morocco leather. The pattern known as "H" is a simple diamond made by intersecting diagonal lines similar to the ribs of the "T" pattern. Other patterns in less common use are those resembling morocco leather, pigskin, and patterns in fancy designs.
Following the increased use of the common cloths, attention was given to the artistic effects which might be obtained by using colored inks and gold on lettering and design, and also to the effect obtained by pressure of hot binders' dies or stamps upon covers made with embossed cloths, which latter process is known in binding as "blanking" or "blind" stamping.
With these advances in the art of cover decoration came the demand for the more delicate tints and richer shades of the colors, and as a result finer colors than could be produced in the common cloths were introduced to meet this demand; these fabrics were called the "extra" cloths. They have a solid, smooth surface, more "body," and are in every way firmer and better fabrics, and more costly, too, some of the shades costing from twenty to forty per cent more than the common cloths.
Extra cloths are used largely on the better class of bindings, such as the popular fiction, holiday books, scientific books, and books of reference, and whenever fine coloring or a better appearance is desired. These cloths are chiefly used in the plain fabric, which is known as "vellum," and in the "T," "S," and "H" patterns. The trained eye easily recognizes extra cloth from the common cloths, by the appearance of the surface; but any one may readily distinguish them by the appearance of the back, which in the extra cloths is not colored, but in the commons is the same color as the face.
Of the second division of cloths, in which the appearance of the threads becomes a part of the effect, there are first the "linen" cloths. The name "linen" applied to this group is really a misnomer, for many laymen are led to think that such cloths have flax as a foundation and are therefore genuine linens. This is not so, for there is but one genuine linen book cloth to be had, and that is a coarse, irregularly woven cloth, dyed in dull colors, and manufactured by a foreign house. It is quite expensive, costing sixty cents a square yard, which is one of the reasons why it is seldom used.
The chief characteristics of the linen cloths are that the coloring used fills the interstices, but allows all the threads to be clearly seen. The irregularities of the weaving, therefore, stand out plainly, and produce to a certain extent the appearance of woven linen fabrics.
Linen book cloths are made in two grades, and are sold by the yard under special names given to them by the manufacturers. The cheaper grade is sold under the name of "vellum de luxe," "X" grade, or "Oxford." A better grade of linen book cloth sells (in 1906) at about sixteen cents per yard under the names "art vellum," "B" grade, and "linen finish." It is a very durable fabric and extensively used.
The linen cloths are made principally in the plain surface, and in the "T" pattern, but almost never in any other patterns, the reason for this being the fact that the character of the cloth is very little changed by the embossing, which is used with greater effect on the solid colors. These linen cloths are especially adapted for school and other books which are constantly handled, as their construction shows the wear less than do the solid colors.
The buckrams might have been properly classed with the linens, as that is what, in fact, they are. Linen cloth observed through a microscope which magnifies the threads to a coarseness of about forty to the inch gives us the exact appearance of the buckram, which is a heavy, strong cloth well adapted to large books, and which furnishes the most durable binding of all the book cloths. The colors of buckrams correspond closely with those of the linens; they are also sold under trade names given them by manufacturers, such as "art canvas" and "E" grade.
Buckrams are sometimes embossed to imitate in part the appearance of an irregularly woven fabric called "crash." Crash is a special cloth which might properly be classed with the buckrams, and when suitably used is a very artistic material.
Basket cloth is still another material which could properly be included with the buckrams. This grade of cloth gains its name from the fact that the threads are woven in squares resembling a basket mesh. They are made in the same coloring as the linen cloths.
In describing the cloths above, only those of American manufacture have been considered. There are English cloths which correspond to nearly all of these fabrics, but they are little used in America on account of the delay in importing them and because of the duty, which makes the price here higher than for corresponding grades of domestic manufacture.
One cannot stand before the windows of the large book stores at holiday time without being impressed by the possibilities offered by the many colors and patterns of cloths and the varied hues of inks and foil, in helping the artist to make books attractive to the eye, and suggestive of the sentiment and motive of their contents. One feels that the designer of book covers has surely a wider field to-day than when he confined his attention entirely to making intricate designs for single leather-bound folios.
BOOK LEATHERS
By Ellery C. Bartlett.
There is hardly any part of the world that has not been drawn upon for suitable skins to be made into leather for bookbinding. The skins generally used are goat, seal, pigskin, cowhide, calf, and sheep, and they vary in quality according to the country they come from and the manner in which the animals are cared for, the stall-fed animals, or those that are protected from storm and have regular food, producing the best skins.
In preparing these skins for bookbinders, great care has to be taken to extract as much of the natural oil as possible, as this is apt to discolor the gold leaf decorations put on by the artistic binder.
Tanners usually buy skins with the hair on. They are first put into water, for the purpose of softening them, after which they are laid over a beam and a knife is drawn over them, to still further soften them. They are then put into vats containing slack lime-water, which loosens the hair and kills the animal life remaining in the skin. After having been in these vats for a period of about ten days, they are washed in water, to remove the lime and clean the skin. Afterwards they are put through a process called "bating," which destroys any animal matter in the skins which may have escaped the first process, and they are then finally cleansed by a solution of bran and water, which also prepares them for tanning.
After the skins have been in tan for a week or more, they are taken out, tacked on drying frames and all the wrinkles stretched out of them. When thoroughly dry, they are ready for the coloring process. After being colored, they are again tacked on the frames; and when they are thoroughly dry again they are taken to the graining room, where the finishing processes are done by skilled workmen, the utmost care being needed to produce the desired result.
The matching of shades is a very difficult process, as the question of color must be decided while the skins are still wet. Weather conditions have a very important bearing on the manufacture of leather, and changes in the atmosphere often spoil all the careful work that has previously been put on a skin.
The finest leather for books comes from France, although a good quality is made in England and Germany, and the United States is rapidly improving its output.
The graining of the leather to bring out the natural grain in the skin, is done by hand and sometimes by electroplate reproductions of the natural grain by means of the embossing press. When large grain is wanted, the skins are shaved only slightly on the back; if small grains are wanted, the skins are shaved thinner. This process removes all roughness from the back of the skin, leaving it smooth and clean.
Formerly the binder, in preparing his covers, was compelled to pare the edges with a knife, which was a slow and laborious process; but now—thanks to the inventive American talent—he can have the whole skin split to any desired thickness or thinness, without injury; or, he can have the edges pared by cleverly devised machinery.
Leather manufacturers are able, by using splitting machines, to split skins so that both parts of a skin can be used—the upper part of the skin being called the grain and the lower the flesh. Were this not the case, it would be impossible for the binder to supply the needs of his customers, as the output does not keep pace with the constantly increasing demand. In fact, binders are constantly looking for substitutes, but, after all, there is nothing so good as leather.
THE BINDING
By Jesse Fellowes Tapley.
The changes in the methods of bookbinding during the last sixty years have been very great, and during the last twenty-five years the invention of machines for doing the work rapidly has created almost a revolution in the art.
Fifty years ago the pay of journeymen bookbinders ranged from eight to ten dollars a week, for a day of ten hours, and the cost of binding an ordinary 12mo volume of 500 pages in cloth was from sixteen to eighteen cents. To-day the same volume can be bound for eight to ten cents, with the pay of the journeyman from eighteen to twenty dollars a week, for a day of nine hours. The pay of girls has, as a general thing, been proportionally increased, while the amount of work they can turn out with the newly invented machinery is triple as much as could be done by hand, and on some branches of the work it is more than six times as much.
The first process of making a book is the folding. The sheets are usually printed so as to fold in sections of sixteen pages, with signature figures, as 1, 2, 3, or alphabet letters, as A, B, C, printed at the bottom of the first page of each section, for the guidance of the binder in placing the signatures in regular order for gathering the book.
Usually two or four forms are printed on one sheet. One girl could fold by hand from 3500 to 4000 sections of 16 pages a day. With modern machines the range is from 17,000 to 48,000, according to the make of the machine and whether it is equipped with an automatic feeder or not.
There are three styles of machines in general use. The point machine, fed by hand, has needle points on the feed board, on which is placed the sheet, which has proper holes made by the printing press. The next is called a drop-roll machine, which, if equipped with an automatic feeder, will fold 24,000 sections a day, delivering two sections at each revolution. The next is called a quadruple machine, which, with an automatic feeder, will fold 48,000 sections a day or as many as twelve girls could do by hand.
In binderies where large editions of books are done, it would be almost impossible to keep the different sections from getting mixed, unless they were put into compact bundles and tied up until the complete book is folded. This is accomplished by putting a quantity of each section into hydraulic or screw presses, with a board at the top and bottom of the bundle, which is tied with a strong cord. They are then marked with name and signature, and piled up until wanted for gathering into books.
If the book has plates printed separately from the text, they have to be inserted before it can be gathered. Plating is done by girls, 5000 being a day's work for an experienced hand.
Gathering comes next. The sections are laid out in separate piles in consecutive order, and one signature taken from each pile, making a complete book. From 30,000 to 45,000 sections is a day's work.
After gathering, the book is pressed to make it solid. This is done by passing it through a powerful press, called a smashing machine. The old-fashioned way was to pile the books between boards in a standing press, running the screw down with an iron lever, and allowing them to stay in same for several hours. In a modern smashing machine a book can be made as solid in half a minute as the standing press will make it by ten hours' pressing.
From the smashing machine it goes to the collator, by whom it is examined to see if any signature is misplaced or left out.
It then goes to the modern sewing machine. This is one of the most valuable labor-saving machines for the binder ever invented, as it almost, if not entirely, supersedes hand sewing on what is called edition work. This machine will sew from 15,000 to 18,000 signatures a day, and do it better than it can be done by hand. Each signature is sewed independently and with from two to five stitches, so that if one breaks the signature is held fast by the others, while in hand sewing the thread goes through the whole length of the signature, and if by chance it is broken, the book is ruined so far as the sewing is concerned. In addition the machine does more work, in the same time, than five or six girls sewing by hand.
After sewing, the books are prepared for trimming by "jogging up" in bunches of the proper thickness, for the cutting machine. If the work is large or the paper highly sized and slippery, a light coating of glue is applied to the centre of the back, to keep the signatures in place. In olden times books were trimmed in a press having hardwood jaws and wood screws near each end, worked with an iron lever. Into this press the books were clamped, the rough edge to be trimmed off projecting above the jaws. To trim the book, a plough was used, made of two thick side pieces of hard wood about one foot long and six inches high, with a long hand screw passing through them. (The end at the right had a handle outside of the side piece, and the end at the left engaged a screw in the left side piece.) At the bottom of the right side piece, and resting on the jaw of the press, was a sharp-pointed knife. The plough was worked back and forth, and at each motion the screw in the plough was turned enough for the knife to take a shaving from the book. To keep the plough in place, the left-hand jaw had a deep groove on its surface, in which the plough worked. This was slow and hard work.
Sometime between the years 1840 and 1850, a machine was invented in which books were clamped, and a heavy knife descended perpendicularly. This was an improvement on the old-fashioned press and plough, but it was found that, unless the knife was very sharp, the tendency was to draw the paper, and in effect jam it off rather than cut it.
To obviate this, the next move was to arrange the knife so that it would give a drawing cut, or come down on a slant, rather than a rigid descent. This is the principle on which most book and paper cutting machines are made to-day.
About 1850 a machine was invented in which a vibrating knife worked back and forth on the paper to be cut. This was thought at the time to be the best principle for a cutting machine.
Ten or twenty years later a new machine made its appearance. This one had a knife held rigidly in the frame of the machine, and the books were clamped into a carriage drawn up by a chain against the edge of the knife. It was the most rapid trimmer that had appeared, and held its position for a good many years; but in the meantime, for general work, the machines with a descending slanting knife held their own and multiplied.
Within a very short time a new machine has appeared. This has two slanting descending knives and doubles the work of the older machines, as it cuts two sides at one blow, and will trim from 7000 to 8000 ordinary books a day, against 500 or 600 by the old-fashioned press and plough.
After the edges are trimmed, the book is rounded and backed. In this process, too, great improvement has been made. Originally this work was done by hand with a hammer, the rounding being accomplished by striking one side of the back as the book lay flat, and then the other, forming it at the same time by the hand, to give the back the convex, and the front the concave, form. Some persons are found now who think the hollow or concave front of the book is made by trimming it in that way.
The backing process gives the groove on which the cover is hinged. In olden times this was done by clamping the book in a press between backing irons, with the back projecting enough to give the proper groove, and gradually drawing it over from the centre with the hammer. In small job shops this is the practice to-day, but in large establishments it has given place to modern machines. The first innovation was what is called the roller backer. This makes the groove, the book being first rounded as described. Then came the rounder and backer, which is run by power, and both rounds and backs the book at one operation.
To show the advance made, it may be stated that 500 books was a good day's work with press and hammer. With the advent of the roller backer 1000 was a fair day's work, but when the power machine was invented, the production jumped up to 4000 and over, a day.
After the book is rounded and grooved, the back is glued and a piece of coarse woven cloth, wide enough to lap over each side an inch or more, is put on, and over this another coat of glue and a piece of paper the width of the back are applied.
The book is then ready for the cover, which is put on by pasting the first and last leaf, drawing the cover on, and putting it in press between boards whose edges are bound with a brass band, the rim projecting above the surface of the board. This rim presses the cloth between the covers and the back of the book, making a hinge upon which the cover opens. Two men can paste and press 1500 to 2000 books a day. A new machine has been put on the market within a year, that, with the same help, will do the work at the rate of 4000 a day. This process is termed "casing in."
The making of the book cover is a distinct branch in binding edition work. The pasteboard formerly was cut by hand shears, one piece at a time. It is now done by rotary shears, cutting from six to ten pieces as fast as the sheets of board can be fed to the machine.
The cloth for the cover is cut to the proper size, glued by hand, the boards laid on by gauge, and the edges turned in with a folder. A man expert at the work can make from 600 to 800 covers a day. About fifteen years ago a machine was invented, which turns out from 3000 to 4500 a day. This machine is automatic in its operation, gluing the cloth, laying on the boards, turning in the edges, and delivering a more perfect cover than can be made by hand.
Stamping the cover is a trade by itself. It requires long experience and skill to make an expert. There are several branches in this trade, such as blank or blind stamping, stamping with ink (or a colored leaf made to take the place of ink), and stamping with gold. Laying gold preparatory to stamping is a distinct branch, and is done by girls. This is such a delicate operation that it requires long experience. There has been no improvement in the principle of the stamping or embossing press since the first machines came into use. The die or stamp is held in the head of the press by clamps, and the cover is placed on the platen or bed of the press, which is raised up to the stamp by a "toggle joint" operated with a "cam."
Since covers began to be ornamented with ink, attachments have been added to the presses for inking the stamps. There have also been invented powerful printing presses, made for stamping covers in ink. The process is the same as on common printing presses.
The dies used for stamping covers are cut on hardened brass, and are capable of standing an immense pressure. They are not set in chases, as are the forms on printing presses, but are glued to iron plates. The head of the press to which the plates are clamped is heated, either by running a jet of live steam through it, or by gas jets.
For gilt work, or colored leaf, heat is necessary. The cover is prepared with a coat of size. The gold or ink leaf is then laid on and an impression is given with the heated die, which melts the size and fastens the leaf only at the point where the die strikes. The surplus leaf is brushed off, leaving only the design visible.
The binding of cheap leather-covered books is essentially the same as with cloth. The difference is that the covers must be made by hand. No machine will do any part, except paring the edges of the covers. There are several machines that will do this work, one machine doing as much in a day as three men could with knife and paring stone in the old way.
Edge-gilding is another distinct branch of the trade, and is generally done before books are rounded and backed. The books are clamped, after trimming, between the jaws of powerful screw presses and the edges scraped to make them perfectly smooth. They are then colored with a mixture of red chalk, or black lead, applied with a sponge, to give the gold a dark color. A size made of the white of eggs is then applied with a brush, the gold leaf floated on, and when dry burnished with an agate or bloodstone. No machine has yet been invented that will do this work.
Edge-marbling is another branch. A shallow trough is filled with a solution of gum hog or gum tragacanth of the consistency of thick cream. Each color, which must be ground very fine, is mixed in water and ox-gall, and sprinkled separately over the surface of the gum with brushes. The ox-gall prevents the colors from mixing together on the solution, every drop being distinct. If three or more colors are used, the first one containing a little gall, the second more than the first, and the third more than the second, each color will make a place for itself by crowding the others into a narrower space. The books are held firmly in a clamp, and as the edges are dipped into the solution they take up the colors as they lie on the surface.
There are other edges called for besides the gilt, the marbled, or the plain smooth cut. The deckle edge is left uncut, just as it comes from the paper-maker. The uncut or rough cut is made by taking off any projecting edges of the leaves. There are machines for doing this, one having a circular knife rigged like a circular saw, the book being run lengthwise against it. There are also other methods of removing overhanging leaves, one by using hand shears, another by filing.
In fine leather binding, while the preparation of the book for the cover is essentially the same as in cloth work, the covering is all hand-work, requiring experience and skill, and is a distinct branch of the trade.
Finishing by hand is another, and requires long experience to become an expert. Gold ornamentation requires heated tools, and in the hands of a practised finisher beautiful designs can be worked out with quite a limited assortment of rolls, straight and curved lines, and a few sprigs, dots, and stars.
In olden times, when all work was done by hand, the product of a good-sized cloth bindery was from 500 to 1000 books a day. Now, with modern machinery, in a well-equipped bindery, the product is from 5000 to 10,000 copies of an ordinary 12mo book.
There are a number of other machines in use, run by power, which have not been enumerated in the above sketch, such as wire and thread stitching machines, gluing and pasting machines, brushing machines, and last but not least a gold-saving machine, out of whose bowels large binders take from $200 to $400 worth of waste gold each month. This waste gold comes from the surplus gold brushed from the covers after stamping.
SPECIAL BINDINGS
By Henry Blackwell.
Much has been written about the art of special binding, and many lengthy treatises have been written on the various methods of early and modern "extra," or fine binders. It will be my province to describe the stages through which a book passes, from the time it is received in the bindery until it is shipped out of the establishment. I will take for my subject a rare old book that is to be rebound in a half-levant morocco binding. In a good shop, all books, no matter what the binding is to be, are treated alike in regard to workmanship, care, and materials. If a binder puts his name in the completed book, it is a sign that the book has been to the best of his ability honestly and well bound.
When the customer brings the book to the binder, the style of binding, color of the leather, amount and kind of ornamentation, and all the other details are determined upon and entered carefully in a numbered order book, and the number of the order is marked in pencil on an inside leaf of the book itself, so that the original instructions may be referred to from time to time. This number is usually left in the book after it has been finished and delivered to the owner, and not infrequently has been the means of identifying a lost or stolen volume.
The book is then given to the first operator, usually a girl, who removes the cover, if there is any, and takes the book apart, separating carefully each of the "signatures," or sections, and removing the threads of the old binding. If any of the pages are loose, they are pasted neatly in their proper places and the "insert plates" (illustrations, maps, etc.), which had been printed separately from the text and pasted in the volume, are examined to make sure that they are firmly fixed. Another operator goes over the entire volume and cleans any of the pages that have become soiled.
The book is then prepared for the sewing by a man who hammers the back until it is flat and all the edges of the signatures lie evenly. He then divides it into sections of half a dozen or more signatures, places each of these between smooth wooden boards, and puts the whole into an upright iron press, in which it is subjected to a great pressure, and where it ought to remain over night in order to make it entirely flat and solid. A better way of pressing a book at this stage of the operation is to pass it several times through a rolling machine, which is made for this special purpose with two heavy iron rollers, say twenty inches long and ten inches in diameter. These machines are seldom used in America, but are invariably found in the equipment of binders' workshops abroad, which is perhaps one reason why English books are so solidly bound.
Following the pressing, or the rolling, the book is placed, back uppermost, in another press, something like a wooden vise. By means of a handsaw, several cuts, just deep enough to cut entirely through the fold of each signature, are made across the back of the book. Seven of these saw marks are usually made, the five in the middle being for the cords on which the book is sewed, and the two at the ends for threads which help to make the sewing more secure. If the book is to have a binding with raised bands across the back, no actual cuts are made, the back being simply scratched to guide the girl in sewing, so that the heavy twine on which she sews will stand out on the back, forcing the leather up in the five middle places and forming the raised bands.
After it has been sawed, or scratched, the book goes to a girl who collates it—that is, examines it thoroughly, signature by signature, and makes sure that everything is in its right place. If the volume is old or especially valuable, it is gone over page by page. The first and last signatures are then whip-stitched, or sewed over and over along the back edges, and then put in their places.
The book is then sewn on a "sewing frame." This is a small wooden table about twelve by eighteen inches, with legs only one inch high. At two corners there are upright wooden screws, some fifteen inches long with movable collars which support a crosspiece. To this crosspiece are fastened three stout cords, their other ends being attached to the table. The position of these cords are regulated to fit the saw marks on the back of the book, then they are tightened by means of the screw collars. The sections of the book are then placed against these cords, one by one, and the threads passed through the saw cuts and outside the cords, thus sewing them firmly to the back of the book. When several books of the same size are being bound at one time, the operator goes right on sewing book after book, one signature after the other, until she has finished a pile of books a foot or more high. When the sewing is finished the cords are cut so as to leave a free end of an inch and a half on each side of the book, and to these ends are fastened the boards, as described later.
Linen or silk thread is used in sewing, the heaviness of which depends upon the size of the book and the thickness of the paper of the book. If the book has many single leaves, or illustrations, it is sometimes necessary to whip-stitch each signature before sewing.
The book, or the pile of books, then passes to the "forwarder," who "draws off" or separates each book from the others in the pile, and again hammers the book, to flatten out any "swell" which may be present after the sewing. He then pastes, or "tacks," the first and last whip-stitched signatures to the signatures next them, this pasting being only, say, an eighth of an inch wide along the back edge.
The paper is then chosen for the "end papers," usually matching closely the paper of the book. They are cut a little larger than the paper page of the book, and pasted along the edge to the outside and whip-stitched signatures. Marble paper in suitable harmony or contrast with the leather to be used on the book is then selected for lining the inside of the covers cut to the same size as the "end papers," and pasted to them, after having been folded so that the colored sides come face to face.
When all this pasting has dried thoroughly, the back of the book is covered with a thin coating of glue, to preserve its shape and then, while the back is quite flat, the front edges of the leaves are trimmed off evenly in a cutting machine. If this edge is to be gilded, special care is taken to have the edges cut smoothly.
The back is then "rounded" by use of a hammer; if the book is to be a "flat back" one, the rounding is very slight. It is necessary even in the case of a flat back book to round it somewhat so that it will retain its shape when the finished book is placed on the shelf. After the rounding, the top, or "head," and the bottom, or "tail," of the book are trimmed evenly in the cutting machine.
The book is then ready for the gilder, who places it, with the edge which is to be gilded uppermost, in a press. This edge is covered with red chalk, which shows all the uneven places, which are then scraped with a steel scraper. This operation is repeated until the edge is very smooth, and it is then treated with a sizing made of white of egg and water, which is to hold the gold leaf to the edges of the leaves. The gold leaf is laid on the still wet edge, and when slightly dry is covered with a sheet of paper and rubbed down with a burnisher, and when entirely dry is burnished again with a smooth piece of agate or bloodstone.
The boards, pieces of strong and durable binders' "boards" made of paper or tarred rope, are then selected and cut to fit the book, extending about one-eighth of an inch over the head, tail, and front edges of the leaves. Each of the cords, on which the book has been sewed, is moistened with paste, and put through two holes which are punched side by side in the board and within a quarter of an inch of the inside edge. The cord is carried down through one hole, and up through the other, and the remaining end is cut off and hammered down smooth where it stays firmly fastened by the paste. This is called "lacing on the boards" and when finished makes, so far as strength is concerned, the cover-boards and the inside of the book practically one piece. The book is then given another long pressing.
The coverer then takes the volume. He first wraps the edges with paper to keep them clean and then puts on the headbands. These are either sewn directly on to the book or may be bought ready-made, when they are put on with glue.
The back is covered with a strip of coarsely woven crash lined with several pieces of paper. This is glued to the back to make it hard and solid and to prevent it from cracking, or "breaking," when the book is opened.
The leather is then cut out for the corners and for the back, in the latter case allowance being made for its extension over and on to the boards to the proper distance. The back lining is trimmed off to the top of the headbands, and the leather is pasted on the rough side in position and turned in at the "head" and "tail" of the back. The five raised bands are then "pinched up" and the whole back is polished, or "crushed," with a hot polisher until the leather is smoothed down to the desired surface.
In decorating the cover, or "tooling" it, as it is called, the design is first pressed into the leather of the back with heated tools. These designs, appearing "blank," or sunken, in the leather, are washed over with a thin coat of paste and water, followed by a sizing of albumen, and finally with vaseline, to make the gold stick. Gold leaf is laid over the "blank" designs and the same heated tools used to press the gold into the leather. As many as three layers of gold are frequently put on in this way until the design is full and clear. The waste edges of the pieces of gold leaf are removed with a piece of soft rubber and the whole back washed with benzine to remove the grease of the vaseline and that of the natural leather.
The part of the leather which projects over the sides is pasted to the boards, trimmed off straight, and pared down until the edges are very thin. Another piece of plain paper is then cut out and pasted on the board, covering it right up to the edges of the leather. This makes the side board and the leather even in height and prevents the outside marbled paper from showing ridges made by the edges of the leather.
When the outside has dried, a piece of paper is pasted on the inside of each board. This paper has a tendency to shrink a little and to warp the boards, so that they will hold tightly to the inside of the book. If this paper were not put on the inside of the covers, the marbled paper on the outside might cause the boards to warp away from the book itself.
The end papers are then pasted down on to the board, and when thoroughly dry all the leather along the inside and the outside edges of the cover sides is carefully washed and polished with an iron polisher. The book is then placed between plates made of steel, either nickel or silver plated, and placed in the press to remain a day or two, after which the back is polished again and the sides are finished with gilt lines along the edges of the leather next to the marbled paper. Then the book is finally inspected, a silk marker inserted, and the volume is done and ready for delivery.
COPYRIGHTING
By Frederick H. Hitchcock.
Copyrighting a book is in most instances not a difficult matter, but the present United States laws are so complicated and inconsistent that an inexperienced author may readily fall into errors of one kind or another.
In a modern publishing house, the routine work of complying with the provisions of the copyright laws is usually in the hands of one clerk, who is responsible for the preparation and filing of the necessary documents at the proper time and for keeping a complete record of all that he does. Experience soon brings such a clerk a really valuable knowledge of the law, but as many questions of vital importance arise from time to time, it is customary for one of the most responsible men in the concern, generally a member of the firm or an officer in the corporation, to exercise a general supervision of all copyright matters.
When a book is ready to be sent to the bindery, the manufacturing department will generally order a certain number of copies to be finished in advance of the rest of the edition. Some of these will be for the travelling salesman's use, some for the publicity department, and at least two for copyright purposes. With the copies delivered to the copyright clerk, the manufacturing department will send one or two separate title-pages, either torn from the printed sheets or taken from the early proofs made by the printer. With these in hand and with information from the selling department as to the day when the book is to be published, the clerk in charge will then take the first step toward copyrighting it. This is the filing of the claim for copyright and of the title of the book.
The Copyright Office in the Library of Congress at Washington supplies free upon request application blanks, and one of these must be carefully filled in. The information called for by this blank is as follows: the amount of the fees enclosed, whether a sealed copy of the record, or certificate as it is called, is desired, whether the volume is to be classed as a book, periodical, or dramatic composition, an abbreviated title of the book, the name of the author, or proprietor, the name and address of the applicant, the name of the country where the book was printed, whether the applicant is the author, or (having an assignment from the author) the proprietor, the name of the country of which the author is a citizen, or subject, and whether the whole or a part of the book is sought to be copyrighted.
There is a blank page in the form where the print or proof of the title-page must be pasted. If neither of these is available at the time, it is customary to use a typewritten title-page, but as the law distinctly calls for a "printed" title and as the courts have not decided whether typewriting is printing within the intention of the law, it is best to follow the exact letter of the law.
The fee for filing the application or claim for copyright is fifty cents if the author is a citizen or resident of the United States, or one dollar if he is a foreigner. If a copy of the record entered at the Copyright Office is desired, an additional fifty cents is required. The fees, preferably in the form of a money-order, are enclosed in the envelope containing the claim, and the whole forwarded, postage prepaid, to the Register of Copyrights at the Library of Congress.
Upon receiving these, the Copyright Office will acknowledge the receipt of the fees and make a record of the claim and of the title in books provided for the purpose. The law specifies that this record shall be in the following words:—
"Library of Congress, to wit: Be it remembered that on the_day of__190___ of__has deposited in this Office the title of a BOOK, the title of which is in the following words, to wit:__, the right whereof__ claims as author and proprietor in conformity with the laws of the United States respecting copyrights. ___Librarian of Congress."
It is generally the custom to obtain a copy of this record, which, if the fee is enclosed, is sent to the claimant as soon after the receipt of the application as it can be made out in the regular course of the business of the Copyright Office. This copy is signed by the Register of Copyrights and is sealed with the official seal of the Library of Congress. The period of protection under an original claim is twenty-eight years.
It is important to remember that the application and the title are required by law to be delivered to the Register of Copyrights "on or before the day of publication in this or any other country." If delayed until after that day, the book cannot have the protection of the copyright law.
Prior to 1891 none but citizens or residents of the United States could obtain copyright, but in July of that year the privilege was extended to the citizens, or subjects, of such other countries as grant to the citizens of the United States the same copyright privileges which they afford to their own countrymen. At the present time these privileged countries are Belgium, France, Great Britain and her possessions, Switzerland, Germany, Italy, Denmark, Portugal, Spain, Mexico, Chile, Costa Rica, the Netherlands (Holland) and her possessions, Cuba, China, and Norway.
The law also requires that a book desired to be copyrighted in the United States must be printed in this country. It is, therefore, not possible to copyright a book which has been put into type and electrotyped in England and sent here for the presswork and binding. Copies of a book manufactured in this country may, however, be sent to England and copyrighted there.
The second step is to send two copies of the printed book for deposit in the Copyright Office, and until this has been done, the copyright is incomplete. These copies, like the title, must be delivered on or before the day of publication.
A printed receipt-form for books to be deposited is supplied by the Copyright Office, and it is the usual practice for the sender to fill in his address, and the names of the book and of the author, so that when the books are received, the Register of Copyrights needs only to date and sign the receipt-form and return it to the sender. This receipt-form should be enclosed with the books when they are forwarded. The package must be plainly addressed (the Copyright Office furnishes printed labels if desired) and sent, carriage prepaid, through the mail.
It not infrequently happens that publication must be made before the two copies of a book can reach Washington. In such cases the copyright clerk may take the books to the nearest post-office and obtain from the postmaster a dated receipt for them which is equivalent to delivery to the Copyright Office. The package is not finally wrapped until the postmaster has examined it.
When these steps have been properly taken, and the certificate, or sealed copy, of the record and the receipt for the two copies have been received, the copyright is secure so far as our laws can render it. It should be borne in mind that the Copyright Office does not grant a copyright in a manner similar to the granting of a patent right by the patent office. Its function is simply to record in a permanent place and in official form the claim made by the author, or by the proprietor, of that right. When a book is "pirated" and the offender sued, it must first be established by the records that the provisions of the law have been complied with fully and correctly. In this way a copyright is always subject to review by the courts.
Every copy of a book for which copyright has been claimed must have a formal notice to that effect, printed on its "title-page or on the page following." As prescribed by law, this notice must read either "Entered according to the Act of Congress in the year 1906 by A. B. in the Office of the Library of Congress," or simply, "Copyright, 1906, by A. B." The omission of such a notice from the book would make it impossible for its owner to prevent its being reprinted. There is a penalty of $100 for using the notice of copyright in an uncopyrighted book, and when the notice is used, there is a penalty of $25, if the two copies as required by law are not deposited. This latter penalty also applies in the case of failure to deposit one copy of a new edition differing from the former one, if a notice of copyright is used in the new edition.
In order to obtain a renewal of a copyright, the claim and the title must be filed on a form provided for the purpose with the Register of Copyrights "within six months before the expiration of the first term," which would be sometime between twenty-seven and one-half and twenty-eight years from the date of filing the original title. The copyright period runs from the date of filing the original claim, and not from the time of depositing the books, and great care should be taken to ascertain the date of the registration of the original title, and to compute the time so that the filing of the application for renewal will surely fall within the specified six months. The renewal period is fourteen years, and the fees are the same as in the case of the original application, but a certificate, or copy of the record, of the renewal claim must be taken and paid for by the claimant.
Only one copy of a book is required to be deposited to complete the claim for a renewal term of copyright. This copy also must be delivered within "six months before the expiration of the first term," and should be accompanied by a receipt as in the case of the original deposit. In order to complete the claim, a copy of the certificate must be published verbatim, within two months of the date of renewal for four weeks in one or more newspapers printed in the United States.
In obtaining international copyright, publication on the same day here and abroad is necessary, and this is sometimes a cause of considerable inconvenience in actual practice. When a New York publisher wishes to copyright in England a novel which he is about to publish, he must prepare six special copies of the finished book, bind them in cloth, print the copyright notice on the back of the title-page, and the name and address of the London firm or the individual who is willing to act as the English publisher of the book, and forward the copies to that person. At the same time he will write to this agent, telling him of the shipment and requesting him to enter the book for copyright and publish it in England on or about such a date. He will, of course, allow sufficient time for the books to reach London, and he will carefully point out in his letter any American holidays which occur near the probable date of publication. Upon receiving the books, the London agent will cable the New York publisher the date on which he will publish the book, taking care to allow an interval of a day or two, because of a possible delay.
On the day agreed upon, the New York publisher proceeds to copyright and publish his book in this country in the usual manner, while the London agent does the same abroad, delivering to the British Museum one copy of the book, and to Stationer's Hall, for use in certain libraries, four copies. Both of them will on that day sell at least one or two copies which will constitute a legal publication.
It is the custom with many publishers to establish the publication day of all of their books, by displaying a few copies, or by actually selling one or more copies to some one. In the case of a very popular copyrighted book which it is desirable to have the retailers all over the country begin to sell on the same day, it is deemed safer to make this technical publication before any of the books are distributed through the trade. A record of the first sales entered in a publisher's sales-book in the course of business would effectually prevent any one from claiming in after years a right to reprint a book on the ground that the claim, title, and copies were not originally filed until after the book had been put upon the market.
Under a recent amendment in our law, an author of a book in a foreign language, who is a citizen of one of the foreign countries which allows to our citizens the same copyright privileges as are allowed to its own countrymen, is permitted to file in the Copyright Office within thirty days after its publication in a foreign country a copy of his book with a formal declaration that he is the author and that he intends to translate it or to print it in its original language and to apply for copyright in the United States. After doing this, he is allowed one year in which to complete his proposed translation or to print it in the original language and copyright it here.
Before this statute was passed, two or more persons could translate a foreign book, and each could copyright his own translation. Every copy of a book for which such protection is desired under this law must bear a notice stating, "Published —— Nineteen Hundred and ——. Privilege of copyright in the United States reserved under the Act approved March 3, 1905, by A. B."
Only the author or his assignee (i.e. the proprietor) may secure copyright in a book. An author may transfer orally all or part of his rights before publication, but after publication it is necessary for him to make the assignment by some form of written instrument. In order to make it a valid assignment, the original instrument must be sent to be recorded in the office of the Librarian of Congress within sixty days after its execution. The fee for recording an assignment is one dollar. After the original document has been recorded, it is signed and sealed and returned to the sender, who should preserve it with the certificate.
It is a common practice to have in the contract between the author and his publisher a clause assigning to the publisher all of the author's rights for the "full term of copyright and for any and all renewals." The agreement, of course, includes other provisions such as for the payment of the usual royalties, accounting, etc. Having been made before publication such an assignment does not need to be recorded in the Copyright Office.
The history of copyright is an extremely interesting subject, but it cannot be properly treated in the limits of this article. It may be mentioned, however, that the first copyright law was enacted by Parliament during Queen Anne's reign and is known as "8 Anne, c. 9." This statute provided that an author should have complete control of his literary productions during a first term of fourteen years after publication, and a renewal term of the same length, and provided penalties against piracy. A great many questions concerning this law arose from time to time in trials before various courts, but perhaps the chief one of interest was that of whether the limitation of the period during which it granted protection had destroyed the author's rights which had existed previously. For fifty years after the passage of the law, the decisions were that the right of ownership existed for all time as a right in common law unaffected by the statute, but in 1774 the highest English court held that while the rights of the author before the publication of his book remained unaffected, after publication he had no rights except during the period specified by the statute. This decision is still believed by many authorities to have been a wrong one, but it has been the basis for all subsequent copyright law in this country as well as in England. Therefore in the United States to-day, the right of ownership lies in the author until his work is published, but upon publication he has no rights except those given him by law, and these he can obtain only by a strict compliance with the requirements of the law. Any one who is sufficiently interested to read the first hundred pages of Drone's "Treatise on the Law of Property in Intellectual Productions" will be well repaid for the effort, and will obtain considerable light upon how the "right of copying," or printing, a book developed, why its duration is not unlimited, and why we must observe certain formalities in order to protect our literary work by it.
PUBLICITY
By Vivian Burnett.
The duty of bringing the productions of a publishing house to the attention of the public is a very important one, and much depends upon the cleverness and energy with which it is discharged. It can easily be seen that no matter how good the books brought out by a firm, they would be likely to remain on stockroom shelves if readers were not properly made aware of their issue. The name "Publicity department" is the most descriptive title that can be given to the part of the staff devoting its energies to the many variations of news-spreading involved in this work.
Publicity involves both editorial and commercial elements. From the editorial side it is of prime importance that the person in charge of the publicity have at the very beginning a complete and definite idea of the reasons that have ruled in the acceptance of a book,—what class of people it was published for, and just what species of a book it is considered to be. Is it purposed to appeal to a certain religious class of people? Is it for the distinctly literary? Perhaps it is one of those volumes on the border line between a juvenile and an adult's book, which may be presented either as a volume for young or for grown-up folks. The publicity man must be in full understanding of this estimate before he can do his work properly. On the commercial side, he must know just the feeling of the trade in regard to an author and any type of book; and must be in close touch with the salesmen, not only at the beginning, but all through the life of the volume. He can learn from them what amount of success the author's previous books have met, and thus be enabled to present his volume in a way that will hitch on to a previous success or avoid the odium of a recent failure. Salesmen can help him to know the interests of every section of the country, so that advantage can be taken of them in bringing the book to the local bookseller's attention and influencing him to a special effort in its behalf.
Few people are aware of the influence exerted by the book clerk, who can substitute something "just as good" much more easily than a drug or dry goods clerk, especially if he has a good argument to offer. The largest part of the publicity of a publishing house is aimed to influence the general reader, but more and more attention is to-day being paid to the salesman in the bookshop, and quite wisely, too. He cannot be expected to read all the books, and any effort made to give him an acquaintance with your books that goes beyond their covers is clear gain to him, to the publisher, and distinctly to the book-buying public.
Now, a book can be made or marred by the publicity it gets. If it is wrongly launched, it will have an uphill climb, whatever its virtues. This is especially true, as a result of the fact that a good deal is written and printed about a book before it is off press and present to speak for itself.
One general rule should be most strictly adhered to in publicity, and that is, be honest and be sincere. Nowhere is the rule "honesty is the best policy" more unanimously justified. You may be as enthusiastic as you please, but the book should be put forward for what it really is. Only under such handling does it stand a chance for the full success its qualities warrant. This all reverts to the question of the editorial conception of a volume. Some books are not made for great sellers; they are written for the keen enjoyment of a select educated few; and if so presented that they fall into the hands of the popular novel devourer, they will surely be condemned, and the condemnation will reach and have its effect upon many who should legitimately have bought the book. On the other hand, a novel of no literary quality thrust into the hands of a person of bookish tastes will make an influential enemy, who will doubtless have among his followers many persons to whom the book would appeal. It is best to find out what people will take the book, and advertise it to them. The process of emasculating your presentation of it by cutting out everything that would keep anybody from reading it is a dangerous one. The dislikes of the world of readers are too many for one to be able to dodge them all, and, after all, most of us like a positive rather than a negative volume. Just because many people do not read essays,—to take an extreme case,—is no reason for avoiding the statement that yours is a volume of essays. Fortunately, there are thousands upon thousands of people who do read essays; and if the book is a good book of essays, they will bring their influence—that word-of-mouth influence which is almost as powerful as a "puff" by President Roosevelt—to bear upon non-essay reading people, and you will be the gainer by that much for your wisdom and honesty.
These observations are germane, and worthy consideration because commercialism and the endeavor to produce big sellers are always an influence to overstate, misstate, and be extravagant in the praise of a volume. But such extravagance always discounts itself in the mind of the reader, and experience has pretty definitely proved that what a prospective buyer wants is a straightforward concise indication of the story and its quality. A word of praise quoted from a review may help him make up his mind, yet he probably knows it is a pretty poor book of which some newspaper doesn't say "Holds the reader's interest from cover to cover" or "We hail the author of this volume as one of the most promising of our American writers."
In considering the practical details of publicity, it will be clearest to take them in chronological order. First: The book should be thoroughly and critically read. The person in charge of the publicity ought to have every volume put into his hands as soon as it is accepted. When he has read it thoroughly and has formed his idea of it, he discusses it thoroughly with the person responsible for its acceptance. From this discussion, in which the sales department is represented, evolves naturally the "editorial attitude" upon which every line of future publicity and every sentence of salesman's talk will be based. Without a complete understanding throughout the establishment of the "editorial attitude" the entire publicity will be aimless and unconvincing.
The first work in publicity on a season's book is probably the catalogue, which must be had ready for the salesmen when they go off on their trips. The aim of the catalogue is to present as full an account of the book as possible. It is meant for the eye of an interested person, who can be counted upon to read rather a lengthy notice. Every possible detail of price, number of illustrations, paper, size, kind of binding, table of contents, previous works by the same author, are given, and thus it becomes a complete reference book. It is the general custom of publishing houses to issue a complete catalogue in the Fall, with a supplemental catalogue in the Spring containing the books of the Spring season. Most firms also bring out a Fall list, to present their Fall books, which would be buried beyond notice in a bulky complete catalogue. In this Fall list not infrequently the Spring books are included, making what is really an annual catalogue. These three catalogues are essential, and they are as a rule supplemented by many special book lists and pamphlets. A holiday catalogue is a steady institution in nearly every publishing house. Its aim is to present to Christmas buyers the most attractive volumes of the house's issue, and it is usually elaborate, with many illustrations, a fine cover, and it is often printed in colors. Then there are frequently issued catalogues of books on special subjects, art, children's books, special editions, etc.
The uses of catalogues are many. A large number are sent to the publisher's best friend, the bookseller,—sometimes imprinted with his name,—who distributes them. They also go out by mail to special lists of people who are known to be interested in books, and a large number are sent to persons who write asking information.
In elaborateness the circular follows close on the catalogue, and it has quite as wide if not a wider field. It is large or small, depending upon the importance of the book. Sometimes it reaches the dignity of a bound pamphlet, but it is usually a single leaf or at most a four-page folder. Here again, all necessary information of price and contents is given at length. But as the person into whose hands the circular falls cannot be counted on to be interested beforehand, the whole make-up and arrangement of the circular is calculated for drawing attention and fixing interest. The circular, therefore, must be made attractive.
And here should be introduced a word in general on the appearance of the printed matter that is sent out by a publishing house. It must be good printing. It must be attractive printing. It is the indication to the people whose eyes it meets of the work of the house it advertises. Few people want to buy badly made books; and, unconsciously, if a circular or catalogue is commonplace and badly printed, those qualities will be attached to the book advertised. And it is quite true, on the other hand, that the distinction and comely appearance of a circular will prejudice in favor of the book. Moreover, a circular's service can be rendered only when it attracts attention, and what is spent in aiding it to catch the eye, through making it artistically beautiful and printing it in color, will bring its return and more in the added efficiency produced. There are, doubtless, people who would not be affected by bad printing, but people of taste, the people who most influence the sale of books, are sure to be antagonized.
Probably, the most useful circular of all is the little leaf or "slip" circular. It is printed on both sides, and is inserted between the leaves of books of similar interest to the one it advertises, usually about three to a book. It is made the size of the ordinary business envelope, for it is also used in direct circularization of lists and as an enclosure with bills, statements, and sometimes with general correspondence. Often, when advertising two or more books, it has four or even eight pages, though the latter makes it almost too bulky for insertion in books. These larger circulars have an order form attached giving the list of books, and a place for the name and address of the prospective buyer,—a device to make it as easy as possible for him to order his selection. When such circulars are inserted in books either the order form is left off, or something substituted in its place, for, as can readily be seen, the order form is a bid for direct business by the publisher which would naturally be obnoxious to the bookseller. Larger and more elaborate circulars than these as a rule are used only for direct circularization. The subject of circularization is much too important and complicated to be exhausted in a few paragraphs, or even in an extended article. Enough has been said here, however, at least to suggest the circular's field.
The next problem in publicity to be taken up is the poster. The poster has had its ups and downs, and in some quarters is a somewhat discredited form of advertising, but it has its value. The booksellers always demand posters. The one great argument against them is that posters good enough to attract attention, that is, with a good design and in colors, are somewhat expensive for book advertising. If properly exhibited, they sell books, but the difficulty lies in the fact that if they are too attractive, they are likely to find their way into a poster collector's portfolio before they have been exposed long on the board. Yet, especially with leading books of fiction, this is one of the risks that must be taken, for with each such publication, the public eye must be caught with the fact of the book's issue, and for this purpose a striking poster has no equal. For serious books inexpensive clear type posters are quite sufficient.
The book being now nearly off press, there will be needed some matter for the paper jacket that slips over and protects the cloth cover while the book is on the stall. Most important is the brief note on the front that serves to indicate the quality of the volume and thus guide the purchaser. On a book of fiction fifty or not more than seventy-five words of the very best possible presentation of the book is required. Here is the place where most of all the prospective purchaser's interest must be aroused. Here the most felicitous publicity inspiration is needed—and the problem is to indicate the story, yet not tell it, and to pique curiosity to the buying point. On books of a serious nature a jacket note is just as essential, if not more so, but the problem is different. The prospective purchaser of such a book as "Irish History and the Irish Question," "The Flower Garden," for example, has an interest in the subject already aroused. What he wishes to know is the scope of the volume and the manner in which the subject is treated. The note for such a volume, therefore, should contain a plain, straightforward statement of the importance of the book, the point of view taken, a brief table of contents indicating the most important divisions of the subject, and some mention of the author's special qualification for writing the volume. On the back of the paper "jacket" and on the little flaps that turn at the sides of a book, it is customary to put advertisements of cognate books. Often these paper jackets are treated in elaborate poster style, and for good reason, since as a rule they are the first part of a book a buyer sees, and his attention is not likely to be attracted if only cheap paper be used.
The date of the book's publication has probably now been set, and the next step in publicity—a most important one—is the sending out of review copies. This is the last thing in which haphazard methods would be permissible. The list of newspapers who get complimentary copies should be carefully selected, not so much with an eye to size of circulation, as to quality and standing. A paper that is known to give attention to books is worth two that have merely large circulations and no distinction; first, because the books sent will be appreciatively reviewed, and, second, because people in the habit of buying books will consult the review columns and be influenced by them. There are possibly one hundred and fifty or one hundred and seventy-five papers in the United States to whom it would be profitable to send a book. A great many more, however, think they should receive them. With even the most popular novel two hundred review copies is a generously sufficient number to place for review. In deciding where these should go, the contents of the book itself is of course the guide. Some books can be calculated to appeal more to one section of the country than to another because of their subject-matter. Certain classes of people—ministers, school-teachers, sportsmen, doctors—can sometimes be drawn upon by the judicious distribution of a few complimentary copies, to assist the sale of a book, and then there is the home of the author, where special attention can always be expected.
Opinions differ as to the amount of influence exerted by reviews upon the fortunes of a book. It is certainly true that to trace direct returns from reviews is often difficult. Frequently books which are splendidly reviewed move slowly, and there seems no explanation of their failure to "catch on." They may be, and frequently are, books of real value and quality. The history of publishing is full of such mysteries. On the other hand, returns are visible enough when a book is slated by the press; there its power is amply evident.
The American press is notably fair, notably discriminating, and notably independent. It gives its own views fearlessly, and resents any efforts made by publishers to get their own adjective-besprinkled puffs printed. In rush seasons it will make use of publisher's description, after carefully blue-pencilling obtrusive adjectives, but it goes no farther. In fact, the newspaper-review part of publishing publicity is best left alone. The book must do the work itself.
The book has now reached the place where that which is commonly called advertising should begin; that is, publicity in newspapers and magazines. The use of newspapers, to any great extent at least, is a comparatively recent development in the publishing business, dating back not much more than ten years. Its efficiency, that is to say, its proportion of return to outlay, is far from being established. While at the beginning of the movement great rewards were reaped, the light of more mature experience seems to show that those books which, under heavy newspaper advertising, reached editions of 100,000 to 150,000 were really special cases,—books of a peculiarly popular, almost low-grade, quality, that had an exceptional public. It is sure that what brought success with them would not succeed with the average publication. For this reason, publishers to-day are by no means as lavish as they used to be with their appropriation for newspaper advertising. Yet even in this era of retrenchment a very large proportion of the money devoted to publicity still goes to the newspapers.
While it would be foolish to attempt formulating a set of fixed rules for newspaper advertising, there are certain underlying principles that should be borne in mind.
Books are in the class of luxuries; most books at least. There is no natural demand for them to assist the advertiser, such as there is for food-stuffs. With a book, it is the advertiser's business to persuade the buyer that he will be interested or instructed or amused by the volume to the value of his outlay, be it a quarter or fifty dollars,—where in the matter of necessities and food commodities the advertiser's task is the much more simple one of proving that his product is intrinsically better or better value than any similar thing on the market. The sale of a book depends entirely upon the almost artificial desire that is created for it, whereas with other things there is a real need, and it is necessary only to prove that the article fills this need. For these reasons book advertising—with piano, picture, music, candy, and perhaps automobile advertising—is difficult to carry out profitably. It is the class most expensive proportionately to the value of the product, for it can count in only the smallest degree upon what is known as the "cumulative" effect of a campaign. Every advertisement of such an article as a breakfast food, for example, whether it be on a bill-board, in a newspaper, or in a circular, adds to the effect of every other one. The repetition of the name, whether it be consciously or unconsciously observed by the public, assists in forcing attention and thus interest, and finally results in a sale. Half a million dollars can be spent in making "Whipped Oats" a household word. Every dollar backs up every other dollar, and the demand for Whipped Oats will last for years. "The Return from Davy Jones," which can have at the very most say $5000 spent on it, benefits the very least from the cumulative effect, and the demand for the book is practically over in a year, especially if it be a popular novel. Each newspaper advertisement of a book must in fact bring returns to pay for itself, and this, of course, demands the very cleverest kind of "copy."
Many elements enter into the popularity and sale-ability of a book, but no one seems to know just what they are. Even the best and most experienced readers fail to pick successes—let big books go by them, and conversely praise volumes that turn out flat failures. Yet certain things in the line of publicity can be counted upon to assist in making a volume's success. The name of a well-known author is the best asset a book can have. That gets it good advance sales and a quick and appreciative attention from the book reviewers. In this respect, nothing could better exemplify the New England homely proverb, "Sich as has, gits." The work of publicity on a book by a well-known author is easy, if care is taken always to bring that author's name forward in connection with his previous achievements. This is especially true in regard to newspaper advertising.
Doctors violently disagree over book advertising principles, and possibly it is best to start by saying that there are none and that each book is a rule unto itself. Certainly a close and careful study of a book's points and the class of people to whom it would likely appeal, its "editorial qualities," is the only proper basis for a campaign. For the average novel by a well-known author the main problem is to let the world know it has been issued. Therefore, in advertising in a newspaper, the announcement of the book's publication should be made in such a manner that all the readers of that paper will notice it. The campaign should start with what is technically known as a "must be seen" notice. It is the publisher's business to shout loud enough to be heard above the clatter of the small advertisements, "Just out—New book by Donan Coyle, 'The Return from Davy Jones.'" If some piquant description of the book follow, this should be sure to send all those readers of the paper interested in Donan Coyle to the bookshop in search of the new volume. Much smaller "ads." following from time to time, that may catch the eye of the forgetful ones and arouse their interest by some words of personal or press commendation on the volume, would close a campaign of this kind, which would have naturally gathered in its trail many readers and even non-readers not distinctly interested in Donan Coyle. It would at least have started the mouth-to-mouth advertising of the book, to which paid-for advertising can after all be regarded only as assistant and support. In fact, when all is said and done the greatest service advertising does is in reminding people of books they have heard praised, and the best advertising is that placed on the road to the bookstalls, a strong argument for the poster, since it is exhibited in front of the bookshop, where it can catch the passer-by. In tune with this conception of the advertisement as an announcement is this general rule—advertise prominently the name of the book, and the author's name if it is important. These are commodities you have to sell, the things you wish people to ask for—just as the bacon-maker wants you to ask for "Blank's Bacons." |
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