Practical photo-engraving: explained in fifty letters from a photo-engraver to his son

Contents

On getting the entire picture first -- Something about newspaper plates -- On the penalties of "rush" -- On some human equations and speed vs. quality -- On line negatives -- On compensating for inadequate copies for line work -- More about copies for line work -- With some examples of the foregoing -- Principles of the halftone -- On screens and patterns -- The hills and valleys of halftones and of paper -- On some good medicine for bad paper -- On emergency treatment for very large plates -- Some stupidity and some deep orthochromatic stuff -- More about orthochromatics -- On combination plates -- On tints, positives, and negatives -- On tint borders -- On scaling and laying out -- On surprinting and double printing -- Shall it be copper or zinc? -- On the technique of deep etching -- Summing up what has gone before -- The beginning of "finishing" -- On shilhouetting -- On vignetting -- On gertones, quartertones, and blow-ups -- On some very technical "highlight" photography -- On the squared plate -- On brurnishing and painting in solids -- On what is called proofing -- On make ready, overlays, and underlays -- On the make ready for vignettes -- Shades of Benjamin Day -- More about Ben Day work -- Still more about Ben Day work -- On Ben Day color plates -- Still more about Ben Day color work -- On process color plates -- More about process color work -- Four-color process work -- On the mechanical features of process work -- On process plates for wet printing -- On the so-called "fake process" -- On "trick" plates -- On blocking, and patent bases -- On electros and stereos -- On making out orders -- The photo-engraver's letter to you.