This section is from the "Studio light a magazine of information for the profession 1923" book, by Sara F. T. Price. Also see Amazon: Studio light a magazine of information for the profession 1923.
The paper guide should be cut from thin cardboard just a trifle thicker than the paper that is to be used for printing. It need not be over 1/2 inch wide and should be shaped like this ┌. being cut very carefully with a metal square to insure a perfect right angle or made of two pieces butted together at the corner.
Make this guide five or six-inches long at the side and about one inch at the top. and attach it to the mask on the lines that have been drawn. Before the glue has set, measure again to see that the guide is exactly 1 5/8 inches from the edges of the opening.The reason for the long guide at the side is because it is natural to lay a piece of paper on a mask, move it over until it touches the side guide and then shove it up into the corner.
FROM A PORTRAIT FILM NEGATIVE
"Advertising Henderson Hats"
By Monte Luke
Sydney, New Smith Wales
Locate a second guide on the second mask in exactly the same manner as the first. To prove its accuracy, place a piece of proof paper on one mask, flash it and then locate it on the second mask to see that it registers exactly.
The second mask is now attached to a piece of clear glass. Take the piece of 7 x 9 paper that was cut from the center of your mask, fit it in the opening and attach it with glue.
As this is the mask that is to be used for printing the tinted line, the original opening must be enlarged 1/2 inch at sides and top and 3/4 of an inch at the bottom. It is a simple matter to measure and cut away this amount, leaving clear glass for the tint.
To be sure that the tint overlaps the print, many printers trim a hair line from all four edges of the center of mask No. 2. This usually overcomes the difficulty of white lines if the paper does not fit snug in the corner of the guide in either the first or second printing. The center of mask No. 2 is sometimes placed on the back of the glass so the inside edge of the tint will be slightly diffused. It will not look so, however, except on prints with very white backgrounds, as the No. 1 mask gives the print a sharp edge and you do not see the diffused edge of the tinted line.
The finished print made with these masks will have a 7 x 9 center, a 1/2 inch tinted line at sides and top, and 3/4 inch at bottom, and a white margin 1 1/4 inches at sides and top, and 2 1/2 inches at bottom. Allowing 1/8 inch for trim on all four sides, the print will have the pleasing proportions of 10 1/4 x 13 3/4 inches.
While we are on this subject of mask making it will be a very simple matter to also explain how the embossed line which gives the effect of a die sunk center may also be placed on the print.We will assume that the embossed line is to be used on the print instead of the gray tinted line, as it would be rather overdoing it to use both
A print should be made with the No. 2 mask, developed and finished in the usual way, assuming that double weight paper is used. This print will be merely a white piece of paper with a gray tint in exactly the position it would occupy if you had first made a print from a negative using the No. 1 and No. 2 masks. In fact, if you have an extra un-trimmed print with this gray line around the picture you can use it.
Cut out a guide exactly the same as you did in making your masks, fasten it to a piece of glass in the same position the other guides occupy. Now carefully cut out the center of the print, cutting along the outer edges of the tint. Place some glue on the piece you have cut out, register the print face down against the guide on the glass and then fit the piece in the opening where the glue will hold it to the glass. When it is stuck tight, remove the outer portion of the print and you have your masking form ready for embossing a line around the prints made with your No. 1 mask.
FROM A PORTRAIT FILM NEGATIVE
"Pop Jones" By Monte Luke Sydney, New South Wales
Before the prints are bone dry place them against the guide on this embossing mask, face down, and with the dull end of an orangewood stick, follow the edges of the paper form underneath, bearing down just hard enough on the back of the print to press it over the form without breaking the print. If paper is too dry go over back of print around form with a tuft of cotton slightly moistened with one-half alcohol and one-half water. This will dry quickly after embossing. A little practice will make you quite proficient and enable you to do this work quickly
It will readily be seen that once you have a print made with a plain No. 1 mask, you can measure any distance from the edge of the print, cut out the center and make an embossing form, as described above, that will enable you to emboss a line at any distance from the edge of the picture, having one of these forms for each size of picture you make.