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Title: Booklet making
An art-craft problem
Author: Henry Turner Bailey
Release date: February 13, 2026 [eBook #77925]
Language: English
Original publication: New York: The Prang Company, 1912
Credits: Charlene Taylor, Dori Allard and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive/American Libraries.)
*** START OF THE PROJECT GUTENBERG EBOOK BOOKLET MAKING ***
Transcriber’s notes: Italicized text is surrounded by underscores:
_italics_. Bold text is surrounded by equal signs: =bold=.
Booklet Making
An Art-Craft Problem
Booklet Making
An Art-Craft Problem
Henry Turner Bailey
Editor of “The School Arts Book”
[Illustration: (Colophon)]
The Prang Company
New York Chicago Boston Atlanta Dallas
Copyright, 1912
By Henry Turner Bailey
[Illustration: (Decorative border)]
BOOKLET MAKING
THE MODERN BOOK SHOULD BE THE OUTGROWTH OF ITS OWN TIME,
CONSISTENT IN ALL ITS FEATURES.--_DE VINNE_
The making of a good booklet involves the vital correlation of
several school topics and processes, presents many opportunities for
sound instruction, gives a wide scope for individuality and furnishes
genuine training of hand and eye. From such work the pupils derive
more pleasure and more solid satisfaction than from any other school
project yet discovered.
Success depends upon forethought. The teacher who thinks the problem
through to the end, who sees clearly the steps to be taken in order
from first to last, and who makes adequate preparation for the taking
of each step with the class, will not be disappointed in the result.
One may rise to a higher level in many ways: the ancient “spiral”
incline, the notched log, the ladder, stairs, and, in these days, the
moving sidewalk, and the elevator, are all good lifts. These all have
their correspondences in school work, and all have been efficient.
This little book presents ten well-worn, fireproof steps which, if
taken without haste, will land the aspirant safely on the floor above
the present level of average school work.
=First, Decide upon the Kind of Booklet=
The choice would be influenced by the grade of school, by the
previous experiences and achievements of the children, by the course
of study, and by the amount of time to be devoted to the work. In
primary grades, possibly a six- or eight-paged pamphlet with paper
covers, bound with a single thread, may be all that should be
attempted. In the grammar grades a booklet with covers of paper or
cloth over cardboard may be achieved, while in the high school a book
properly bound in boards may not be too desperate a venture.
=Second, Decide upon the Subject=
Here, again, a wide range presents itself. The subject, also, must
be determined by local conditions. A classified list may serve to
present a general survey of the field.
_Personal_--Records of adventures, mishaps, strolls, games, fads.
_Geographical_--Records of journeys, real and imaginary; studies
of towns, cities, counties, states and countries, and of world
features such as a pond or lake, the ocean, a mountain, etc.
_Natural_--Studies of individual objects or of a group of objects
in the realm of the plants, the birds, the animals, insects,
fishes, or among the elements, clouds, minerals, metals, etc.
_Historical_--Studies of myths and legends, the records of events
and achievements, of famous sites, buildings, etc., of historic
significance.
_Industrial_--Studies of occupations, trades, manufactured
materials and processes, commerce, inventions, etc.
_Biographical_--Studies of the lives of famous people, inventors,
leaders of thought, statesmen, poets, artists, sculptors,
architects, authors, musicians, etc.
_Appreciative_--Studies of masterpieces in the arts, pictures,
poems and other forms of literature, statues and other forms of
sculpture, architecture and handicraft, pieces of music, etc.
_Technical_--Collections of papers having to do with such school
topics as writing, spelling, arithmetic, algebra, geometry,
mechanical drawing, grammar, and the like.
The subject selected for the first booklet should be a popular one
with the class, and one for which illustrative material is available
or may be easily made.
=Third, Determine the Contents=
To make this discussion as helpful as possible I have decided to make
it concrete, and therefore have selected a project--a grammar-grade
booklet bound in paper covers--and a subject--the poet Longfellow.
Let us suppose I am a seventh-grade teacher. My pupils have heard
about Longfellow from their first-grade days; they know by heart some
of his poems. Moreover, he is one of my own favorite poets. With the
first money I ever earned working for strangers I purchased a copy
of Longfellow’s poems. I have that book in my desk this moment. I
visited his home in Cambridge once. I know a man who knew him. I can
make Longfellow real to the children, make them enthusiastic about
him and his poetry.
I therefore present the matter to my class.
With a beautiful booklet or two that I have borrowed from some
other teacher, or with a copy of the “School Arts Book,” describing
and illustrating a booklet,[A] I present the project and call for
suggestions as to subject. All subjects offered are considered and
discussed, but being in the saddle, so to speak, I guide my class,
without their knowing it, toward the subject I have decided upon
as best for them, and we all vote with high anticipation to make
Longfellow booklets.[B]
We next discuss how large a booklet we should attempt. Better do a
little thing well than a big thing ill. We jot down on the blackboard
a few possibilities. We could make or find the following, at least:
A portrait of Longfellow.
A picture of his home.
A map of the region where he lived.
An account of his life.
A list of his most popular poems.
Quotations about him and his work.
A copy of a favorite poem or verse.
A brief statement as to why the quotation is a favorite.
An illustration for this favorite quotation.
A cover of appropriate color.
An appropriate cover design.
We may not include all these items in every booklet, but we are now
ready to take the next step.
=Fourth, Gather the Material=
A large flat open box is now placed on my desk or in some other
convenient place in the schoolroom, in which the children may deposit
any appropriate material they find. They begin with the pictures.
They search everywhere for portraits of Longfellow, pictures of
his house, illustrations for his poems, etc., that they can bring
to school for use in the booklets. Each contribution to the box
is marked with the initials of the pupil who brings it. We gather
all the suggestive material we can--examples of well-arranged
pages, ornamental initials, head bands, tail pieces, covers, cover
ornaments, and the like, and secure through the superintendent, if
possible (if not, by some other means),[C] such penny pictures as we
foresee to be necessary.
Ultimately all this material will be distributed to the children and
used in one way or another. I lead the children in the quest for
information. I teach them how to “read up” and to make notes and
quotations. I show them almost every day what I am gathering, for of
course I am going to make a booklet myself. A teacher is a shepherd,
not a cowboy! He doesn’t round up to drive; he calls together to
lead. Here is what I have gathered for my booklet on Longfellow:
Several different portraits of Longfellow.
The Longfellow statue at Portland, Maine.
The house where he was born, Portland.
The Longfellow mansion at Portland.
Longfellow’s home at Cambridge.
Longfellow’s armchair.
Longfellow’s daughters.
Evangeline.
The Wayside Inn, Sudbury.
A half-dozen pictures illustrating “Hiawatha.”
Two illustrating “The Building of the Ship.”
Five illustrating “Evangeline.”
“The Bridge at Midnight.”
“The Bell of Atri.”
Three pictures that might be used in illustrating “The
Birds of Killingworth.”
A picture of the tower which contains the belfry of Bruges.
A picture of a Viking ship and the head of an old Viking.
A drawing of a prow of a Viking ship.
A photograph of the portal of the old church of Trondhjem.
A dozen examples of Scandinavian ornament.
Several symbols appropriate to the subject of poetry, such
as Pegasus the winged horse, the flying torch, the scroll of
inspiration, a wreath of victory for the successful poet, a
bouquet of flowers symbolical of a volume of fine poems, etc.
=Fifth, Plan the Booklet=
The orderly format of modern books and pamphlets is displayed in the
following table:
THE ORDERLY FORMAT OF BOOKS AND PAMPHLETS
+------+------+--------------------+------+------+------+------+-----+
|The |Leaves| Order of Elements |Paging|For a |For a |For a |For a|
|Essen-| | in a Sumptuous | |Bound |Thick |Thin |Leaf-|
|tial | | Edition of a Book | |Volume|Pamph-|Pamph-|let |
|Fea- | | An Edition-de-Luxe | | | let |let | |
|tures | | | | | | | |
| | | | | | | | |
+------+------+--------------------+------+------+------+------+-----+
|FRONT | |Outside: Title | | A |A[10] |A[10] | |
|COVER | |Inside: Pasted end | | B |B[11] |B[11] | |
| | | paper[1] | | | | | |
| | | | | | | | |
|FRONT | |End paper {decorated| | | | | |
|MATTER| | { side | | | | | |
| | | {blank | | | | | |
| | | | | | | | |
| |1st |Fly leaf {blank | | C | C | | |
| | | {blank | | D | D | | |
| | | | | | | | |
| | |Half-title[2] | i[8] | E | | | |
| | |Blank, or with | | | | | |
| |2d | notice of other | | | | | |
| | | work by same | ii | F | | | |
| | | author | | | | | |
| | | | | | | | |
| |3d |Blank | | G | E | | |
| | |Frontispiece[3] | | H | F | | |
| | | | | | | | |
| | |Title-page[4] | iii | I | G | C |A[12]|
| |4th |Copyright notice, | | | | | |
| | | printer’s | | | | | |
| | | imprint, etc. | iv | J | H | D |B[13]|
| | | | | | | | |
| | |Dedication, or | v | K | | | |
| |5th | quotation[5] | | | | | |
| | |Blank | vi | L | | | |
| | | | | | | | |
| | |Preface | vii | M | | | |
| |6th |Preface continued, | viii | | | | |
| | | or blank | | | | | |
| | | | | | | | |
| | |Table of contents | ix | N | I | | |
| |7th |Contents continued, | x | | | | |
| | | or blank | | | | | |
| | | | | | | | |
| | |List of | xi | O | | | |
| |8th | illustrations[6] | | | | | |
| | |List continued, or | xii | | | | |
| | | blank | | | | | |
| | | | | | | | |
| | |Introduction | xiii | P | | | |
| |9th |Introduction con- | | | | | |
| | | tinued, or blank | xiv | | | | |
| | | | | | | | |
| | |Repetition of | xv | Q | | | |
| |10th | half-title | | | | | |
| | |Blank | xvi | | | | |
| | | | | | | | |
|MAIN | |Chapter heading. I. | 1[9] | R | J | E | C |
|TEXT |11th | Text | | | | | |
| | |Text continued | 2 | | | | |
| | | | | | | | |
| | |Text continued | 3 | | | | |
| | |through this and | | | | | |
| |12th |succeeding | 4 | | | | |
| | |chapters; pages are | | | | | |
| |etc. |numbered, in order, | 5 | | | | |
| | |throughout to the | etc. | | | | |
| | |end of the index | | | | | |
| | | | | | | | |
|END | |Appendix[7] | | S | | | |
|MATTER| | | | | | | |
| | |Notes[7] | | T | | | |
| | | | | | | | |
| | |Glossary[7] | | U | | | |
| | | | | | | | |
| | |Index | | V | K | | |
| | | | | | | | |
| | |Fly leaf {blank | | W | L | | |
| | | {blank | | X | M | | |
| | | | | | | | |
| | | {blank | | | | | |
| | |End paper {decorated| | | | | |
| | | { side[1] | | | | | |
| | | | | | | | |
|BACK | |{Pasted end paper | | Y |N[11] |F[11] | |
|COVER | |{Outside | | Z | O | G | |
+------+------+--------------------+------+------+------+------+-----+
NOTES:
[1] Sometimes plain, but often decorated.
[2] Sometimes omitted. In such a case this leaf is blank.
[3] Usually tipped in (pasted) when the book is bound, and therefore
not paged. Always on a verso page.
[4] When the half-title is omitted the paging of the front matter
begins as i.
[5] Sometimes omitted. In such a case the preface begins on this page.
[6] The illustrations themselves may be scattered through the text,
or inserted in the form of plates, where easily referred to, or
grouped together at the end of the volume, after the index. As a rule
single plates should occupy a right-hand (recto, odd number) page. If
the plate is an insert the back of the leaf (verso) is left blank. A
leaf of thin paper called a tissue is sometimes inserted to protect
the plate. In such a case the title of the plate is printed on the
recto of this leaf in the middle, or on the verso at the foot.
[7] Sometimes omitted. In such a case the index follows upon the
first recto page after the ending of the text.
[8] The front matter is usually set after the main text has been
completed, hence the numbering separately. (_See Page 9._)
[9] In some cases, especially in pamphlets, this numbering begins at
once, with the title-page.
[10] Paper cover, or, at least, flexible.
[11] In pamphlets the end paper is omitted and the inside of both
the front and the back cover is left blank, whenever possible.
Advertisements are printed on these pages.
[12] In leaflets the title-page and the chapter heading are often one
and the same.
[13] Often omitted. In such a case this page continues the text
commenced on the first page. The imprint is then placed at the end of
the leaflet.
However simple our booklet is to be, its plan should be orderly.
With this table as a guide and with such books as the children may
have for reference, we work out on the blackboard the plan for our
booklets. We will not be too ambitious at first. Here is our plan:
_Front Cover_ {Outside: Cover design
of colored paper {Inside: Blank
_Front matter_ 1st leaf. Fly leaf {blank
on white paper {blank
2d leaf {Blank
{Frontispiece
3d leaf {Title-page
{Imprint[D]
_Main Text_ 4th leaf {Chapter heading, I. Text
on white paper {Text
5th leaf, Text continued with illustrations
etc. to include the following
chapters:
I. Life.
II. Most Popular Poems.
III. My Favorite Poem.
_End Matter_ Appendix List of books consulted and
on white paper sources of illustrations.
Fly leaf {Blank
{Blank
_Back Cover_ {Inside: Blank
of colored paper {Outside: Cover design
The _x_ in this equation is the main text. Inasmuch as all our leaves
must be one-half of a folio[E] to bind properly, we must know just
how many pages our booklet is to contain, before we begin to forecast
its final form. This means that we make a dummy.
=Sixth, Make a Dummy=
A dummy is a sketch of the book, so to speak, made of cheap paper,
but having the exact size and right number of pages.
Before we can make a dummy we must, of course, decide upon the size
and shape of the pages. The illustrations will determine this.
The game is now “Follow the leader,” more closely than ever.
I lay out my illustrative material, the pictures I have gathered for
my own booklet, on my desk, and decide how I would better use them.
Not being limited by conditions imposed by the printer or publisher,
or by “the trade,” I will have all my pictures “read” with the text,
so that I shall not have to hold the book one way to read the text
and another way to look at the pictures. As a rule it is well to have
the choicest, the most important, the most significant picture used
as the frontispiece. If this happens to be the largest the problem of
size and shape of pages is solved--almost. The picture is placed on
a sheet of manila paper, and proper widths of margins to set off the
picture to best advantage are determined by experiment. In the case
of a picture on a page to be seen by itself, the top margin should be
narrower than the bottom margin and the side margins slightly wider
than the top margin (in the case of a wide picture), or slightly
narrower than the top margin (in the case of a narrow picture) and
equal to each other. In an opened book the two pages become the unit
perceived by the eye. In this case the inner margins are narrower
than the top margin. As the book presents a more harmonious
appearance when the pages are uniform, picture pages and text pages
are treated alike.[F]
[Illustration: PLATE I.
The frontispiece may determine the size and shape of the pages and
the widths of the margins throughout the entire booklet.]
If the picture to be used as frontispiece is not the largest, the
size and shape of pages may be determined by that picture just the
same; but it may be necessary to discard the largest picture in
favor of the best one. In the case of my own booklet, for example,
I decided to use a picture of the Longfellow monument at Portland
as my frontispiece, Plate I. This, with proper margins, gave me a
“vertical” page, nearly square in shape.[G] I found it necessary to
discard the larger pictures I happened to have of his birthplace
and home, and to trim severely my picture of the Wayside Inn. The
illustrations should seem to place emphasis where it belongs. A
picture of Mount Vernon, for instance, filling an entire page and a
portrait of Washington cut from a postage stamp would be incongruous.
The man should receive the emphasis rather than his house.
The children should now do as the teacher has done. The resultant
frontispiece pages will vary, of course, each pupil having his own,
thus insuring booklets of various sizes and shapes (unless the
pictures selected happen to be uniform in size). From an educational
point of view the greater the variety the better.
Having decided the size and shape of my pages, I next estimate
the number of pages I can fill with my other illustrations and my
probable text, and then proceed to make a dummy of any sort of
inexpensive paper I can find. The folios must, of course, be twice
the size of the frontispiece page, to fold to that size. I have
decided to make six folios, giving me a total of twelve leaves, or
twenty-four pages. The cover will make one folio more. But that need
not be considered as yet. This dummy may be bound by using a couple
of ordinary pins in the fold. Place the folios one inside another,
open the whole, flat, and insert the pins so that the heads and
points will be inside when the dummy is folded in pamphlet form. I
now number the pages and designate them as follows:
(First page, outside) i. Fly leaf.
(Second page, inside) ii. Fly leaf.
(Third page, recto[H]) iii. Blank.
(Fourth page, verso) iv. Frontispiece.
(Fifth page, recto) v. Title-page.
(Sixth page, verso) vi. Personal.
(Seventh page, recto) 1. Chapter I. Longfellow’s Life.
Initial.
(Eighth page, verso) 2. Text.
And so continue, leaving the last leaf unnumbered.
Up to this point the booklets of the children will be alike in
arrangement. Beyond this point they will vary according to contents.
My own booklet continues as follows:
Page 3. Portrait of Longfellow.
4. Text.
5. Text with two small illustrations, Birthplace and
Home.
6. Text.
7. Chapter II. Popular Poems. Initial.
8. Text.
9. Chapter III. My Favorite Poem. Initial.
10. Text.
11. Text with illustration, The Wayside Inn.
12. Text.
13. Illustration, Ships of the Norsemen.
14. Text.
15. Text.
16. Text with tailpiece.
Fly leaf.
The margins decided upon, with the aid of the frontispiece, should
now be transferred to all the pages of the dummy (except the fly
leaves). This may be done by pricking through the frontispiece sheet
with a pin. The margin lines should be ruled lightly, in pencil, on
all the pages, and the position and size of each illustration should
be indicated by drawn rectangles. Space should be set apart for the
chapter headings.
“The amount of blank space at the head of a chapter should be
governed by the amount of matter, shape of the page, the style of
leading, and often by the character of an initial letter. In very
open text matter (lines far apart) nearly half a page of blank may be
given to the chapter heading and head piece; in leaded matter (lines
not very far apart) one-third or less is sufficient; when there is
no head piece the space is usually less, one-quarter or one-fifth.
The space allowed for the first chapter heading of a book should
be, when practicable, the same in other similar headings.”[I] In
some manuscript books no space is allowed, the chapter heading being
emphasized by the ornamental initial and first line.
The chapter heading should be uniform in style with the text, but
written larger if the heading is brief. If the text is a somewhat
formal hand the heading may be in caps. Script caps and Old English
caps should never be used for entire words except under extraordinary
conditions.
“When the chapter heading is long and will not readily come into one
line, make two lines of it, the first one less than the full measure
and the over-run a shorter line in the center below it. To make the
first line full, in this case, and to put in the second line one word
or syllable only, is not good arrangement. Two short lines, properly
spaced, are more pleasing, as well as more legible, than one line
crowded at the ends.”[I]
=Seventh, Write the Text=
_Chapter I_--This chapter, Longfellow’s Life, may be written from
an outline worked out by the class and placed on the blackboard as
a guide to each individual pupil. The traditional topics may be
included:
His parentage.
Place and date of birth.
Boyhood.
Education.
Manhood.
Work.
Honors.
Date and place of death.
Present standing as a poet.
While the outline will be the same for all, the text will vary,
or should vary, according to the individuality of the pupils. The
teacher should not force even children to occupy a Procrustean bed.
The charm in children’s work lies in its freshness, its independence,
its lack of deference to traditionalism. On the other hand, the
teacher’s business is guidance. The children should be led to
recognize good form. Slang should be avoided. A certain precision
is necessary in written words, where quality of voice, expression
of countenance and gesture cannot assist in making clear the
intention of language.[J] To secure good English without destroying
originality--but that is another story.
The children should write their essays on scrap paper, keeping in
mind the space allotted to the chapter in the dummy. Of course the
dummy is not final. A new folio may be added at any time, or a folio
may be removed. But the pupil must remember that a folio means four
pages. The adaptation of text to space is another good opportunity
for self-discipline in English.
_Chapter II_--This will consist of a list of titles, with a suitable
introductory paragraph and, perhaps, a final paragraph of comment.
The list should be worked out by the children. What poems have they
learned? What poems do their parents know? What poems are most
frequently quoted, or referred to in conversation, in books, etc.?[K]
Why are such poems popular? Is the poet still waxing or waning in
popularity? The substance of this chapter will be the same in all the
booklets.
_Chapter III_--Here individuality blossoms! No two of these chapters
will be alike. Each pupil is to reveal himself, speak his own
mind, in his own way. The teacher must here keep in the background
until the pupils have arrived at an honest expression of their own
preferences. Then what the teacher has written about her own favorite
selection may be read to the school as a suggestion, to give the
children some idea of how to proceed in the writing of this third
chapter. Here is my third chapter:
Of all the poems of Longfellow I enjoy most that part of the
“Tales of a Wayside Inn” known as “The Saga of King Olaf.”
When I was a little boy my mother used to recite to me long
passages from “Hiawatha.” I liked that poem best then, but that
was before I could read for myself. Later I liked to read about
the “Courtship of Miles Standish”--but now I like the Olaf Saga
best. Perhaps it is because I was born within sight of the
Atlantic, and love
the ocean’s dirges,
When the old harper heaves and rocks
His hoary locks,
Flowing and flashing in the surges.
I have seen “the red light in the sky” and watched the north when
the rifted streamers o’er me shook and shifted. I have seen
Eyvind Kallda’s crew,
Of warlocks blue,
With their caps of darkness hooded.
And I have watched the morning when
Athwart the vapors dun
The Easter sun
Streamed with one broad track of splendor.
Perhaps I love it because so many of my ancestors were soldiers
or sailors or ship builders in northern Europe or in America.
Perhaps it is because of the story itself and the way it ends.
Perhaps it is because of the appropriate variety in the rhythms
of the different sections, so expressive of the occasion in each
case. Perhaps I cannot tell why.
Anyhow, I like the bold defiance in the Challenge of Thor,
the swing of rollers at sea in King Olaf’s Return, the creepy
repetition in The Wraith of Odin, the hurry and the lingering
in Gudrun, the jolly swing in Thangbrand the Priest. I might go
on in this way through the entire series, mentioning the clash
and rattle in the fight at sea, and the beautiful dignity of the
musical voice that speaks to Astrid the Abbess, but I want to
mention other reasons why I like the Saga.
I like it because it is full of such vivid pictures. When I read
I am right there sailing and fighting and feasting with the king
and his men.
I like some of the people I meet, and admire almost all of them.
Queen Sigrid is a _queen_! Old Iron-Beard is splendid. Raud the
Strong is an “Old Roman,” game to the end! Thorberg Skafting is
a true craftsman. Einar Tamberskelver is a brilliant hero, and
Kolbiorn as faithful a friend as ever lived and died.
But I think some parts of these poems are as perfect poetry as
I ever read. Is there anywhere in four lines a more beautiful
description of moonlight than this?
On King Olaf’s bridal night
Shines the moon with tender light,
And across the chamber streams
Its tide of dreams.
Where are there better pictures in a few musical lines than these?
Short of stature, large of limb,
Burly face and russet beard,
All the women stared at him
When in Iceland he appeared.
“Look,” they said,
With nodding head,
“There goes Thangbrand, Olaf’s priest.”
When they landed from the fleet,
How they roared through Drontheim’s street,
Boisterous as the gale!
How they laughed and stamped and pounded
Till the tavern roof resounded
And the host looked on astounded
As they drank the ale!
In the convent of Drontheim,
Alone in her chamber,
Knelt Astrid the Abbess,
At midnight, adoring,
Beseeching, entreating,
The Virgin and Mother.
Then, think of this as a description of ships putting out to sea:
On the gray sea sands
King Olaf stands,
Northward and seaward
He points with his hands.
With eddy and whirl
The sea tides curl,
Washing the sandals
Of Sigvald the Earl.
The mariners shout,
The ships swing about,
The yards are all hoisted,
The sails flutter out.
The war horns are played,
The anchors are weighed,
Like moths in the distance
The sails flit and fade.
The sea is like lead,
The harbor lies dead,
As a corse on the seashore
Whose spirit has fled!
On that fatal day,
The histories say,
Seventy vessels
Sailed out of the bay.
This simple rhythm is capable of great variety of
expression--meditation, weird movement, hurry and bustle,
solitude, sadness, despair. It is wonderful.
There are other reasons why I like the Olaf Saga, but these are
all I care to tell.
Having read this to the children, not only to illustrate the kind
of a chapter required, but to inspire them to do their enthusiastic
best, wait for results. Meanwhile, push ahead with the design.
=Eighth, Complete the Design=
We have now reached the point where individuality may reveal
itself in form and color. We want our booklets to be works of fine
art--_each one_ a work of fine art, reflecting the thought and
feeling and exhibiting the skill of the artist-craftsman who produced
it.
The key to success is to be found in Hegel’s definition: “A work
of fine art is the free and adequate embodiment of the Idea, in
a form peculiarly appropriate to the Idea itself.” By Idea Hegel
means what we mean when we say: “What is your _idea_ in doing that?”
Idea includes thought, purpose, reason, aim, intention, motive,
principle, and the like. The _idea_ is the soul of the thing, the
spirit of which the outward act, form, thing, is the manifestation or
embodiment. A concrete illustration will make this thought clearer.
Here is my Longfellow booklet. It must reflect in every detail _my_
thought and feeling about _Longfellow_.
I find in the poet a note of sadness. “Hiawatha” has it--he sails
into the sunset; the Indian era has come to an end; it will never
return. Miles Standish lost his Priscilla. The Village Blacksmith’s
wife was in heaven. Turning rapidly the pages of my Longfellow I
read titles and first and last lines, all striking the same note:
“I wish that I was dead”; “It is not always May”; “The day is cold
and dark and dreary”; “There in the twilight cold and gray, lifeless
and beautiful he lay”; “The twilight is sad and cloudy”; “And like
a dream, in the Gulf Stream sinking, vanish all away”; “There is
no flock, however watched and tended, but one dead lamb is there”;
“Black shadows fall from the lindens tall”; “My Lost Youth”; “In the
Churchyard at Cambridge”; “Weariness”--O, there are so many of them!
The Old Clock on the Stairs ticks in every poem! Even my King Olaf
failed.
The young grew old and gray,
But never, by night or by day,
In his kingdom of Norroway,
Was King Olaf seen again!
And Evangeline? Pitifully sad. Here, then, is a part of the _idea_ to
be embodied in my booklet. I have already expressed in words another
part of it, namely, my preference for the Olaf Saga. Moreover,
Longfellow seems to me a man of the kindliest, most benevolent, sweet
spirit, cultivated and lovable. How can I embody all this, my Idea,
in the make-up of my booklet?
Three opportunities present themselves--first, color; second,
decoration; third, technique.
_Color_--In all ages, in all the arts making use of color--painting,
decoration, costume, jewelry and (in language) literature--color has
been used not only for its own sake but for its symbolism. Colors
have taken on meaning. “They are manifest signs to those who think,”
said Mohammed. Here is a concise statement of the almost universal
symbolism of color:
MEANING OF THE PRINCIPAL COLORS AND THEIR
APPROPRIATE USES
RED, _the symbol of_
Blood
Love--Passion
Valor, Patriotism
Christ
ORANGE, _the symbol of_
Fire
Marriage--the Home
Hospitality
Benevolence
Earthly Wisdom
Holy Spirit
YELLOW, _the symbol of_
Sun--Gold
Supreme Wisdom
Divinity
GREEN, _the symbol of_
Vegetation
Life--Immortality
Fruitfulness
Prosperity
Hope
BLUE, _the symbol of_
Truth
Constancy
Justice
God the Father
PURPLE, _the symbol of_
Royalty
Love of Truth
Loyalty
Martyrdom
Mourning
WHITE, _the symbol of_
Purity
Perfection
Innocence
GRAY and BROWN, _the symbol of_
Barrenness
Renunciation
Unfruitfulness
Penitence
BLACK, _the symbol of_
Night--Despair--Evil--Sin--Death
Glancing over this table with my Idea in mind, I conclude that
orange best expresses my feeling about Longfellow, especially
when I remember that orange, dulled, becomes brown, symbol of the
“renunciation” and “unfruitfulness” so often dominant in his poems.
The cover of my booklet shall be brown, and whatever I place upon
it shall be in orange and black. This will not only express my idea
but be a pleasing combination of color--another important element.
Longfellow’s character could not be suggested in violent and
brilliant contrasts of loud colors!
_Decoration_--Inasmuch as Longfellow means to me, first, the Olaf
Saga, my decoration shall be Celtic. There seems to be a peculiar
appropriateness in using the Celtic interlaced ornament, for its
intricate convolutions, weaves, and knots are said to symbolize the
mysterious ways of Providence and his unity of purpose in everything.
Longfellow held that faith, although he saw the darker side of the
shield.
_Technique_--Longfellow was a gentleman and a scholar. He respected
all the fine conventionalities of life, he upheld the best traditions
in thought and speech. What a contrast between his art and that of
Walt Whitman! For a Whitman booklet I might use a paper strong and
rough in texture, and print the title in green ink! My cover design
might be as unconventional as a granite boulder, and my technique
as bold as the signature of John Hancock! But for Longfellow my
technique must be restrained, temperate, orderly, conventional,
refined.
The cover is the “advance agent.” It should win at sight; it should
arouse interest in the contents of the book, and suggest its
character; it should fittingly protect and recommend the contents, as
a frame protects a picture and enhances all its good qualities.
_Arrangement._--The problem now is the arrangement of the material
for the cover. However it is arranged, the page must be (1) legible
and (2) pleasing to the eye.
1. Legibility. This means that only easily recognizable letters be
used for the title and author’s name. “When in doubt use Roman” is
good advice. The style of lettering chosen should echo in some way
the style of the text within. If the booklet is to be written freely,
in ordinary hand, a free Roman letter, such as Mr. Hall has used in
Plate X, is appropriate for the title-page. If the hand is to be more
formal, such, for example, as that shown in Plate XI, the title-page
should be drawn in such a style as that exhibited in the heading of
the plate. In short, what is said about ornamental initials and their
relation to the text, on page 36, applies in a general way to the
title-page. The title-page may, however, be a little further removed
from the text, a little more formal in character than the initial,
because it is not so directly associated with the text. Then, too,
the title-page is like the outside front door. It first meets the
stranger. The introduction demands certain formalities. Once within
the house greater freedom may be granted.
Legibility means also freedom from entangling alliances. Text should
be text with ample space for itself, and ornament should be ornament
within its own field. The two should never quarrel, should never be
snarled up together, should never wrestle with each other or compete
for first place.
2. Pleasing Appearance. Pleasing appearance in a cover design means
four things: (_a_) The design as a whole must appeal first to the
eye. (_b_) Among the parts of this whole the title should stand first
in importance. (_c_) All the parts should have an orderly relation to
each other and to the whole in size and position. (_d_) This orderly
relation involves balance.
Balance means the distribution of attractions with reference to
some center. Lines, spots, areas, contrasts, colors all constitute
attractions for the eye. These must be so distributed that they
balance on the vertical axis of the page, and upon a point in that
axis slightly above its geometric center.
[Illustration: PLATE II.
Three types of cover designs. In the upper row badly arranged; in the
lower row well arranged.]
Plate II shows the covers of six school reports. The bad ones are in
the upper row.
The first does not present itself as a whole. The seal has the first
word. The cover below is better in design.
The second has unfortunately four styles of type in three lines (!)
where one style would have been enough. The type mass is too low on
the page. The cover below it is better.
The third repeats the defect of the first in its seal. Moreover, it
is unbalanced. The seal is on the vertical axis, but the type mass is
not. If the upper mass is at the left of the central axis, the lower
must be at the right. The cover below this is better.
[Illustration: PLATE III.
Three covers, severe to ornate in character, all well arranged.]
Plate III shows three covers having the Unity, Principality, Order
and Balance which characterize pleasing appearance.
The first, unusually free in its handling, is a cover by Mr. James
Hall. The second, a little more formal, is by Mr. F. W. Goudy, of
New York, one of the best of typographic designers. The third, most
formal of all, was composed from type and “stock ornaments” under the
direction of Mr. A. A. Stewart, principal of the North End School of
Printing, Boston.
[Illustration: (Demonstration of Greek ratio)]
But the arrangement of pages shown in Plate III, practically the same
in all, is not the only possible arrangement. Plate IV gives nine
others. All these illustrate, in one way or another, the application
of the most important single law we have for the determining of
proportions, namely, the law of the Greek ratio. Briefly stated, it
is this: A line or measure is pleasingly subdivided when one part
is more than a half and less than two-thirds the length of the
other. It is illustrated herewith. In Plate IV this ratio controls
the measures of all the principal subdivisions, comparable lines and
margins.
[Illustration: PLATE IV.
Nine examples of a lay-out for a cover, from the simplest to the most
elaborate children should be allowed to attempt.]
When the type mass is small, as in 1, the outer rectangle needs to
be reinforced, if only by a line parallel to the edge. The same is
true when the type masses are freely balanced, as in 6. When a single
area is broken up into two or more parts, the parts should be bound
together by a circumscribing line, as in 2, 5, 7, 8 and 9. With two
evidently independent areas such a line is not required. In 5 the
attraction of the large undivided blank area at the lower right is
sufficient to balance the small, cut-up area at the upper left.
In subdividing areas regular sequence in position of the various
measures should be avoided, for it initiates a movement of the eye in
one direction, following the sequence, and disturbs the balance of
the whole.
In designing the cover, the scheme finally determined upon should
be such as seems best, considering the number of elements to be
incorporated. For the Longfellow booklet I decided to use a rather
broad Celtic border, therefore none of the nine plans given in Plate
IV will do. I must revert to the plan which underlies the covers in
Plate III.
_Lettering_--The selection of an appropriate style of letter is
but a preliminary. The drawing of the individual letters in proper
relation to each other and to the whole is the chief task, and not
an easy one. It is well first to draw on a slip of paper the exact
area to be filled with the lettering, and to subdivide it by means of
light horizontal lines to indicate the number of lines of lettering
required, the spaces between the lines, and the approximate height
of each line of letters. Upon this slip trial sketches should be
made, in pencil, first roughly sketched, then brought into shape
and refined. In good lettering the whole makes its appeal as a mass
first. This breaks up into lines, the lines into words, and last of
all the words into individual letters. The letters should not attract
attention to themselves first, either by their erratic character or
by their spacing. Plate V shows the evolution of a line of lettering.
Sketched roughly with a single pencil line the first time it fell
short. The second time it overran. “The third time never fails.” (It
does, sometimes, in lettering!) When the spacing seems about right
in single strokes, try it again in pencil, with the double strokes
to indicate the thickness of the different parts of the letters, and
to perfect the spacing. The letters should _look_ equably spaced.
There is no mechanical rule for such spacing. Only intelligent
practice makes perfect. When the line is satisfactorily drawn in
pencil on the slip of paper the line is ready to be transferred, by
tracing or by copying, to the cover of the booklet, and drawn in ink
or water color.
[Illustration: PLATE V.
The evolution of a line of lettering.]
Having arrived at a clear perception of just how my Idea is to be
embodied, and having completed the design for my booklet, I am ready
to lead the children to do the same thing for themselves, and then to
take the next step.
=Ninth, Make the Booklet=
With the dummy as guide, the making of the booklet is now an open
road.
1. _Get out the stock._ This means the selection of the paper and
the cutting of it to the proper size. A smooth, unruled paper of
good weight, but not too thick, is best if the booklet is to be done
in pen-and-ink, as it should be. The color should be white. In this
particular case, my own booklet, I would secure if possible a _cream_
white, to harmonize more closely with my orange scheme of color. Cut
the folio sheets to exactly the right size. Cut one or two extra for
use in case of need.
2. _Lay out the pages._ The folios would better be kept flat until
the booklet is ready for binding. The place of the fold should be
indicated by a pencil line, and the pages should be numbered, very
delicately (to be erased later) in pencil, to correspond to the
pages of the dummy. Indicate by carefully ruled light lines the
widths of all margins throughout the booklet, and the positions
of all illustrations. Be sure to allow for proper space between
illustrations “in the text” and the text itself. The lines of
writing should not bump into the pictures! Study good models--the
best school books the children have--to make clear the necessity
of proper spacing. Plates VI, VII and VIII give three typical
illustrated pages. Plate VI is a portrait of Longfellow, occupying
an entire page. The original print[L] was so large that no room was
left within the margin lines for even a name. Of course, I might have
omitted the margin lines and added the name beneath the portrait,
but I concluded to refer to the picture in the text. Everybody knows
Longfellow! Plate VII shows how to place two small prints on a page.
A page should look balanced and orderly in arrangement. This plate
shows also the thoughtful ruling of the page to receive the text.
This text is to be “run around” the illustrations, leaving proper
spaces between the pictures and the lines of writing. Notice that the
lines top and bottom are so placed that when written upon the text
will seem to fill the measure of the page. The “ascenders” of the
capitals and other tall letters will come to the top margin line; the
“descenders” of the small letters to the bottom margin line. Plate
VIII shows a picture clipped from an old _Harper’s Magazine_, with an
appropriate quotation below to properly fill the space.
If ornamental initials are to be used the proper spaces should be
left for them in the dummy.
[Illustration: PLATE VI.
A full-page plate. A half-tone picture mounted upon a page with a
margin line, all well spaced.]
[Illustration: PLATE VII.
A page with illustrations in the text. Every page should present a
well balanced appearance. Great care must be exercised in ruling,
especially in such a page as this, that the whole may present an even
distribution of written text.]
[Illustration: PLATE VIII.
A full page, exhibiting a mounted clipping and an appropriate
quotation, well spaced within the margin lines.]
3. _Copy the text._ This would better be done at this point, for
pupils are more likely to make mistakes in the text than in the
illustrations. It is always wise to do first that which offers the
largest opportunity for spoiling the page. The style of writing must
now be chosen. From an esthetic point of view a vertical hand is
best. The axes of the letters rhyme with the vertical edges of the
page and the vertical lines of margins and illustrations.
Obviously the easiest and least educational thing to do is to write
the text in one’s ordinary hand, without ornamental initials, or any
other sign of loving interest in the performance, except thoughtful
spacing, as shown in Plate IX. The utmost care should be exercised
in keeping the text within the margins. To start, the lines right
is comparatively easy; to stop them right is a test of the writer’s
foresight and skill. Any form of handwriting admits of expansion
and contraction; many words divide happily into syllables; thus the
lengths of the lines may be adjusted to the space. Occasionally, in
case of necessity, as a last resort, flourishes such as those shown
in Plate X may be used.
[Illustration: PLATE IX.
A full page exhibiting a mounted picture with a portion of text,
written in ordinary hand to properly fill the page.]
[Illustration: PLATE X.
A page from a well-written booklet by an eighth-grade pupil, with
a few slight changes, initial, ruled lines, and flourishes, by Mr.
James Hall.]
[Illustration: PLATE XI.
A page written in a somewhat formal hand, enriched slightly by the
addition of color. In the original the large initial “E,” the words
“from Lincoln’s first public speech,” and the border lines, were
printed in red. The rest of the lettering was in black. The paper
used was a deep cream color. By Mr. James Hall.]
A richer effect may be produced by the use of color, as suggested
in Plate XI, and by the adoption of a more formal hand. Ornamental
initials also enrich the page. If the pupils have had any practice in
pen lettering and can take the time to complete their booklets in the
spirit of the pen craftsmen, the results will be more satisfactory
in every way. The style of writing, whatever it may be, should be
uniform throughout, and the initials should be in harmony with it.
Plate XII gives illustrations of this. In 1 the ornamental initial
is merely the script O (see “Olaf”) enlarged, with a somewhat
fanciful “f,” in harmony with it, as a substitute for the capital
letter which in print would complete the first word. In 2, where a
stub pen held at right angles to the reading line determined the
character of letter, the initial corresponds. Compare this initial
and text with 3, where the pen was held at an oblique angle with the
reading line. All the other initials in Plate XII are appropriate for
manuscript pages of different degrees of formality. The initial may
always lead the text in general character, be a little more formal, a
little more ornate, but it should not be so elaborate as to cheapen
the appearance of the text. Moreover, the initials should be of
uniform style throughout the booklet and in harmony with the other
ornamental details. In the case of the Longfellow Booklet an
initial like 12 would be used, because of its interlacing, in harmony
with the Celtic ornamentation of the cover. Plates XIII, XIV and XV
are reproduced from originals by skilful craftsmen who have acquired
a formal hand of marked character and beauty.
The style of writing, whatever it is, should represent the best of
which the pupil is capable, and should “hold up to sample” from first
to last.
[Illustration: PLATE XII.
Initials must be in harmony with the text. Fourteen approved styles
of pen drawn ornament, derived from manuscripts, VIIIth to XVIth
centuries]
[Illustration: PLATE XIII.
Example of a good italic hand.]
[Illustration: PLATE XIV.
Example of a good round hand.]
[Illustration: PLATE XV.
Example of a formal style of pen lettering, with built-up capitals.
The original was hand lettered by George H. Smith and was printed in
two colors. The title, “The Country Boy’s Creed,” and the initial “I”
were printed in red. The rest of the text was printed in green-black
ink. Deep cream paper was used.]
4. _Add the Illustrations._ The ideal booklet is “all of a
piece”--all done by hand. If the illustrations are such as can
be easily copied, or if they can be original, the whole will be
consistent throughout.
In copying pictures two devices are often of great assistance--the
diagonal and the net.
[Illustration: (Different size rectangles with the same diagonal)]
_The Diagonal_--Let the rectangle A-B-C-D in the diagram represent
the shape of picture to be copied. A diagonal drawn in this rectangle
will locate corners of similar rectangles. Suppose the size of the
picture is to be reduced, let us say, to 3 inches. Measure off the
3 inches on the line A-B, as indicated. Through E draw E-F parallel
to B-C and draw F-G parallel to C-D. A-E-F-G is the size and shape
of the reduction. Or, suppose the picture is to be enlarged, let
us say, to 4½ inches. Measure 4½ inches downward from A on
the extension of the line A-B, and find the point H. Proceeding
as before, A-H-I-K is the required rectangle. If the width is the
known dimension, 4 inches, let us say, to which the picture is to be
enlarged, begin with the width as indicated at the top, and proceed
as usual. A-N-M-L is the rectangle.
_The Net._ Divide the picture to be copied into a convenient number
of rectangles of equal size, after the manner shown in Plate XVI,
first into halves, then into quarters, and, if necessary, eighths,
each way. Number and letter the lines as indicated. Having found by
means of the diagonal the correct size and shape of the copy desired,
divide that rectangle to correspond, into halves, quarters, eighths,
each way, and mark the lines with corresponding figures and letters.
If the side of a window falls on line _b_ between 2 and 3 in the
original, it must be located there in the copy. If the outline of the
mountainside crosses line _b_ half way between the top and line 1 in
the original, it must cross the corresponding line in a corresponding
place in the copy. By this means every important feature of the
picture may be readily located in the copy.
[Illustration: PLATE XVI.
The net as a help in reducing or enlarging a picture.]
Frequently, copying is inadvisable, and then, as in the case of the
Longfellow booklet, some or all of the illustrations must be “tipped
in,” as the printers say, which means pasted in by their tips (a top
or side edge, or the corners). This should be done neatly, using the
least possible amount of the best paste. The sheets should be pasted
in such a way that they will not flap out of position and catch and
crease as the leaves are turned.
5. _Letter the Title-page._ In that admirable book on title-pages by
Mr. Theodore L. De Vinne, we are told that every title-page should
be planned. “If words are scant the page will be bleak; if it has
too many words the lines must be huddled.” A title-page has certain
regular divisions--name, author, imprint. It should adequately
introduce the reader to the book, the author and the publisher.
In the case of a school booklet author and publisher are one. The
title-page may then assume such a form as this:
[Illustration: (Example title page)]
The margins should be like those on other pages, the style of
lettering should harmonize with that of the text pages and initials,
and the whole effect should be dignified. As Mr. De Vinne says:
“Compared with the text that follows the title is a trifle, and yet
the impression made by it is not to be undervalued. It is the page
first inspected, and it attracts or repels at a glance.”
6. _Make the Cover._ The cover may be of the same paper as the
book itself, it may be of the same paper used double, to give a
feeling that it serves as a protection to the other pages, but it
would better be of a thicker paper and of a different color from
the leaves. Of course, it may be of prepared cloth, or leather, or
the book may be “bound in boards,” as books “for the trade” usually
are. This Longfellow booklet has the form of a pamphlet, a thin book
bound in paper covers. This cover has already been designed. (See
page 21 and the following.) The cover paper should be cut to fit the
book. The front cover for the Longfellow booklet is shown in Plate
XVII. The border is an adaptation of a design given in Owen Jones’s
“Grammar of Ornament.” The rosette is from the old baptismal font in
Trondhjem, King Olaf’s capital. The lettering is a bit odd, partly
because the first word is so long, and partly to hint at interlacing,
that all the parts may have something, at least, in common, and thus
be harmonious. The back page of the cover affords an opportunity
for saying a graceful farewell to the reader, for having the last
word, repeating the thing to be remembered, or recalling author or
publisher. In the case of the Longfellow booklet I want it to be my
hero, King Olaf; therefore I have used (Plate XVIII) the head of an
old Norse king, let us call it Olaf, which I found on an advertising
pamphlet for “Danish Bond” paper.
[Illustration: PLATE XVII.
Front cover of a Longfellow Booklet, making use of Celtic motives as
appropriate for an essay emphasizing the poet’s Saga of King Olaf.]
[Illustration: PLATE XVIII.
Back cover of a Longfellow Booklet, with a decoration which serves as
a farewell token of one of the poet’s heroes, King Olaf.]
[Illustration: PLATE XIX.
Simple bindings of cardboard and paper or cloth.]
7. _Bind the Booklet._ The binding material should be unobtrusive.
That which is chiefly structural, a necessary but entirely
subordinate element, should not be allowed to usurp first place, as
it is sure to do if ribbon or a tasseled cord or brilliantly dyed
raffia is employed. A stout thread, as nearly as possible the
color of the cover, or at least in close harmony with it, is to be
recommended.
To bind the booklet, thread a needle with the binding cord; partly
open the booklet at the middle, and from the inside thrust the needle
through the center of the back; return the needle through the back
about half way to the top of the cover; pass it again through the
back, this time half way between the center and the foot of the
cover; return the needle through the central hole; tie the two ends
of the thread together, over that part which lies in the crease. Be
sure to tie a square knot, one that will not slip.
Should a more substantial binding be desired, proceed as follows:
Add extra fly leaves or end papers to the pamphlet.[M]
1. Cut two pieces of cardboard the size of the pamphlet pages, plus
an eighth inch at top, bottom and one side--A-B-C-D and E-F-G-H,
Plate XIX, Fig. 1. Place these side by side, as far apart (B-E and
C-H) as the thickness of the pamphlet. Cut a sheet of cover paper
three-quarters inch larger all around, as indicated by the dotted
line, A-F-G-D. Clip off the corners as shown in the diagram. Remove
the cardboards and paste the covering sheet all over. Replace the
cardboards, rub them down hard, fold over the edges, top and bottom
first, then the sides, and rub these down hard. The pamphlet may now
be fastened into the covers by sewing through the back and by pasting
down the end papers, C and D, Fig. 3, to the inside of the covers
front and back. In a small pamphlet the pasting of the end papers may
be sufficient to hold the book together.
2. To bind in cloth or leather and boards, having gotten out the two
pieces of cardboard as before, cut a strip of cloth or leather of the
desired width, A-B-C-D, Fig. 2 (it should lap on three-quarters inch
at least), and secure the boards to it by means of paste, folding
over the ends as indicated by the full and dotted lines at I and J.
Get out the cover papers. These are like the cover paper in 1, with a
strip cut out of the middle, as indicated in diagram 2 by the letters
E-F and G-H. The edges E-H and F-G should lap over the back strip an
eighth inch or more. Paste the cover papers and rub down the laps.
Insert the pamphlet and fasten it in as before.
3. The blind sewing-in of the pamphlet is effected by adding to its
back outside the end papers C and D, Fig. 3, a strip of stout linen
or other tough material, A-B. This should not be longer than the
distance from the lap I to the lap J, in Fig. 2, and should be added,
of course, when the body of the book is sewed. Secure the body of the
book within the covers by pasting this back strip A-B to the front
and back covers. When this is done, paste down the end papers.
=Tenth, Give It Away=
From the first the children should be taught that service is the end
of life. They should serve each other, help the teacher, coöperate in
school tasks, and actively participate in developing a fine school
spirit. The booklet should be made for somebody at home, some friend,
or for exchange with some pupil in a distant part of the country.
It should never be retained by the pupil who made it (there may be
exceptions to this), because as soon as it is done its value to the
maker ceases. He ought for his own good to forget the things that are
behind, and press forward to better things. He should not be allowed
to hoard and gloat over his small triumphs.
When the booklets are completed hold a “private exhibition” of them,
discuss them freely, note the defects, the chances for improvement
next time, and also the successes, and then, having squeezed out
of them all the educative value, all the delight of doing, all the
pleasure of seeing one’s own good work, send them, with a gracious
little note, to those for whom they were made, and thus extort from
them their last and best gift, the blessedness of giving.
FOOTNOTES:
[A] The issue for November, 1906, for example, contains a good
primary booklet and a good grammar booklet. Subject, Thanksgiving.
[B] That is teaching.... The class is free to suggest, free to
choose, but is led skilfully to see for itself the wisdom of choosing
a certain line of action. That line of action was _foreseen_ as
best by the teacher, and, therefore, was _foreordained_ (excuse the
theological terms). Of course, the class was not aware of that. How
can children discover what is best for themselves without a good
teacher?
[C] Go to some well-to-do citizen of your acquaintance, tell him just
what you want _for the children_, and ask him to give you the money
to buy it. The amount will be small, but the satisfaction to the
children and to himself will be great. The children will make him a
special booklet, dedicated to him as their helper. It shall be made
by the best workers in the school. In twenty-five years I have never
been refused when I have asked anything _for the children_.
[D] In place of copyright notice or printer’s imprint, a brief
statement of where and when the booklet was made may be inserted
here, or the monogram or totem of the maker, or a line of dedication.
[E] A folio is simply a sheet of paper folded to make two leaves,
four pages.
[F] The problem of margins is treated at length in “Writing and
Illuminating and Lettering,” by Edward Johnston.
[G] A “vertical” page has its long edges upright and is bound on a
long edge. A “horizontal” page has its long edges horizontal and is
bound on a short edge. The vertical page is the common form, and
should be adopted except in rare cases where the horizontal seems
unavoidable.
[H] Recto is the term used by book makers to indicate the right-hand
page of an open book; verso the left-hand page--the reverse side of a
recto.
[I] From “The Features of a Printed Book,” published by the School of
Printing, North End Union, Parmenter Street, Boston.
[J] “Self-Cultivation in English,” by George Herbert Palmer, is a
brief and illuminating essay bearing upon this topic.
[K] “Familiar Quotations,” Bartlett; “Book of Quotations,” Benham,
and works of similar character will aid in determining popular poems.
[L] A “Perry Picture.” I am indebted to Mr. Eugene A. Perry, of
Malden, Mass., for permission to use this portrait, the print of the
Longfellow Monument, of the Wayside Inn, and of the two Longfellow
Houses (all copyrighted by the Perry Pictures Company).
[M] End papers are ornamented fly leaves. In commercial books each is
a folio, one leaf of which is pasted to the cover, and the other, by
a narrow strip of paste along the back, to the adjacent fly leaf. End
papers, if decorated, have the design on one side only, the side not
pasted. The decoration should be in harmony with the subject matter
and make-up of the volume.
Transcriber’s Notes
Obvious typographical errors and punctuation errors have been
silently corrected after careful comparison with other occurrences
within the text and consultation of external sources. Except for
those changes noted below, original spelling in the text has been
retained.
Page 42: “Theodore L. DeVinne” replaced by “Theodore L. De Vinne”.
Page 43: “Mr.DeVinne” replaced by “Mr. De Vinne”.
Leading braces in the 3rd column of the table on page 8 were
omitted to improve readability.
Italicized text is surrounded by underscores: _italics_. Bold text is
surrounded by equal signs: =bold=.
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