The  window  on  the  inner  disk  displays  the “percentage  of  original  size.”  In  the  preceding  example, the  photograph  will  be  reduced  to  75  percent  of  the cropped   size.   Percentages   less   than   100   indicate   a reduced   size;   those   higher   than   100   mean   the photograph will be enlarged. If you work for a CE or funded newspaper, your printing contract may stipulate maximum  reduction  and  enlargement  percentages  and sizes. Marking Photographs Photographs   or   other   artwork   must   be   marked appropriately so the publisher will know exactly what you want. Instructions are usually printed on the reverse of a photograph with a china marker. For instance, you mark a photograph “1-A, reduce to 24 picas by 5 inches” (width is always given first in art sizes). The “1-A” is a way  of  letting  the  publisher  know  you  want  the photograph  to  appear  on  page  1,  fitted  into  a  space designated “A” on the layout. It also tells the publisher that   you   have   scaled   the   photograph,   and   when reproduced, it will occupy a space 24 picas wide and 5 inches deep; or you might simply use slugs to match a story with a related head, art and cutline. Usually, an editor devises the “key” system to be used. TYPOGRAPHY Typography  is  the  art  of  printing  with  type.  It involves the style, arrangement and appearance of the printed page. As editor of a ship or station newspaper, you should be familiar with a few important type-related terms. Printers’ Measurements Type  size  is  measured  in   points.  One  point  is approximately one seventy-second of an inch. Twelve points equal one pica (remember — six picas equal one inch). Points are used to measure the height of a letter of type. The width of a line of type is given in picas. Most newspaper columns are about 12 picas (2 inches) wide. Type ranges in size from 3 to 120 points. Your stories  will  usually  be  printed  in  8-  or  10-point  type. Most of your headlines will range from 12 to 36 points. The depth of a column of type or art (measured down the  page)  is  given  in  inches.  A  column  inch  is  one column   wide   and   1   inch   deep;   a   photograph   two columns wide and 3 inches deep occupies six column inches. Type  Classification Did you ever stop to think how many different kinds of handwriting you come across in a single day? Some are large and bold, some are weak, some small, some clear and some are almost illegible. Type styles, called typefaces, are much the same. The first concern of selecting a type is, of course, clarity. Type must be legible. However, there is more to it than that. Like handwriting, typefaces reflect certain characteristics, such as refinement, dignity, boldness or strength. Properly used, they can convey the feeling or mood of a message. They maybe warm, brisk, dignified, modern  or  old-fashioned  —  whatever  is  needed  to emphasize or suggest the thoughts expressed in copy. Type can be used to attract the reader’s attention. The use of large boldfaces is one of the most effective ways  of  stopping  the  eye.  Large,  boldface  type, however, is difficult to read. It should be limited to a few words and should be followed by smaller, more legible faces  that  invite  reading. Most  kinds  of  type  have  both  capitals  and  small letters. Publishers use the term  uppercase  for capitals and lowercase for small letters. These terms originated in  early  printshops  where  type  was  set  by  hand.  The less-used capital letters were stored in an upper storage. case and the frequently-used small letters in a lower one. As  early  as  the  seventeenth  century,  publishers knew they had to organize their typefaces efficiently. They  arranged  their  typefaces  into  main  type  classes. The six main classes of type (fig. 8-15) areas follows: .  Roman o  Gothic l  Text .  Italics l  script l   Contemporary Figure 8-15.—The six main classes of type. 8-16