How to paste up artwork: 1980s style

Pic: Hackney Radical History

A year or two ago I decided to donate a number of files relating to Hackney People’s Press to the London Borough of Hackney’s archives. These had been sitting in my attic for a long time. I’m now helping the good people who work for the archives go through the files, particularly the photographs, identifying subjects and providing key words. This is a precursor to annotating all the copies of the paper which are held in the archives, and making them available to the general public.

I’ve also recorded an interview for the oral history section, which will be published in due course. While doing this, I was asked about the production process and specifically about pasting up artwork. I gave a brief explanation, which will probably sound very confusing when it is replayed. Later, I went looking online for information about how this was done and couldn’t find anything very useful. However, I knew that I had written something about the subject in my book, Editing, Design and Book Production, which was published by Journeyman in 1993. I had written the first draft of this part of the text some five or six years before this date so, as it turned out, pasting up artwork had become almost an anachronism by the time the book was published.

I pulled a copy of the book down from the shelf, and read through the text. I thought about scanning the relevant pages and posting it as a PDF. But I recalled that Journeyman had once sent me the finished QuarkXPress files, and that I had them in an old archive on one of my back up external hard drives. They weren’t too hard to locate, but my InDesign CS4 software wouldn’t open them. So, no expense spared, I sent the files over to Markzware in Holland. A small sum of money changed hands and the very helpful David Dilling sent back an InDesign file an hour later.

You can see a converted spread from the book above. And I was able to import the text on paste up into a new post for the blog. It’s unchanged from the published text, so please follow all current health’n’safety guidelines.

Doing your own artwork: a 1980s guide

Equipment
If you decide to paste up your own artwork you will find it a lot easier with a small amount of specialist equipment, which you can find in any graphic or artist’s supplies shops. What people find most useful varies from person to person, but what I use is the following:

• Scalpel blades and blade holder. Swann-Morton 10a blades are the most useful shape. They fit into a No. 3 holder.
• Steel straightedge or ruler. It is worth buying a metal typescale which you can then use both for cutting against and for measuring type.
• Clear plastic ruler embossed with a parallel line grid. An 18 inch or 24 inch ruler is useful, since you may need to draw accurate lines longer than 12 inch.
• Suitable adhesive. The aerosol Spraymount is often used, but can be rather messy and is dangerous to health if your workplace is not well ventilated. Professional studios use hot wax, but the cheapest hand-held dispensers cost over £50. Cow Gum (a rubber solution, not made from cows!) is often regarded as old fashioned, but I find it the simplest substance to use, especially if it is applied from a tin, not a tube, with a thin metal artist’s palette knife rather than the plastic tool made by the manufacturer.
• Metal palette knife.
• Large set square. Either 45 or 60 degrees will do.
• Light-blue pencil. For drawing lines on artwork which will not show up when it is photographed by the printer. Do not go to the expense of buying special ‘non-reproducing’ pencils – any light-blue crayon will suffice.
• Very fine steel-tipped black pen, with a 0.1 or 0.2 mm point. There are plenty of inexpensive pens on the market which are just as good for occasional work as specialist refillable drawing pens. These are expensive, usually messy to fill and tiresome to keep‭ clean.‬
• White-out fluid. Preferably a new bottle with a nice fine brush!

With these tools, a decent flat table, some plain white heavy card and scrap paper, you should be able to manage any paste-up. A specialist self-healing cutting mat is not essential but is quite useful, since it can be used as a base on which to work on your table.

Designers usually use a drawing board with a parallel motion in order to produce accurate squared-up artwork. You do not need to obtain such an expensive piece of equipment if you are only going to do small amounts of work, but you might want to consider it.

How to Paste Up
The most important thing about paste-up is to get everything straight and squared up. In order to ensure accuracy, professional designers will often get accurate grids preprinted in pale blue for them to paste onto. You might like to consider this if you have a large book to do. Alternatively you can purchase preprinted grids in standard formats such as A4 and A5 from some designers and printers. If you are going to use a standard grid, plan your design around it.

For a short book or pamphlet it will probably be sufficient to draw up your own grids in light-blue pencil on plain white card. You can also paste up onto heavy tracing paper (available in art shops) so you can draw up grids more quickly by tracing them off a master copy. The edge of the page should be signified by corner marks drawn in fine black pen.

Your paste-up can be done as spreads to appear the way they will appear in the final book or pamphlet – in other words, with p.2 facing p.3, and so on. The printers will make them up to the correct ‘imposition’ to fit their printing and binding machinery.

The typematter which you are going to paste up will probably be in galley form. Before beginning the paste-up of each spread, cut out the typematter for each page from the galley with a scalpel and steel rule, leaving a small margin (about 3 to 5mm) around the edges. Any other elements for the spread which have been set or supplied separately, such as headlines, chapter headings, subheadings, illustrations or figurative matter, should also be cut out.

Place all the matter down ‘dry’ on the grid, to check everything fits and then begin the paste-up from the top of the page. Place each piece to be pasted in turn upside down onto scrap paper and ensure the adhesive is spread evenly in a thin film up to each edge. Pick up the pasted piece carefully with the spreader and place it onto the grid in the correct position. Adhesives such as Cow Gum, Spraymount or wax do not solidify immediately, so the piece can be moved around for about 30 seconds, which gives you time to check whether it is positioned and squared up correctly with a ruler with a parallel line grid or a set square. When the piece is accurately positioned, place a piece of plain white paper over it and gently press it down to the surface.

If you make a mistake, don’t worry. You can lift pieces off the surface for up to about 10 minutes by prising them gently away with a palette knife. After this time, you may need to soften the adhesive by flooding the area with some petrol lighter fuel, which is sold for this purpose in art supply shops. Don’t smoke while doing this!

When you have finished each grid, clean up any marks either with a little lighter fuel on a tissue or with a little ball of solidified Cow Gum, which pulls any surplus gum off the surface. Use white-out fluid to cover anything that won’t clean off in this way.

This description of paste-up is rather brief. Once you have tried it, you will find that it is largely a mixture of practice and confidence – plus the ability to see whether what you have done looks both straight and squared up.

_______________________________________
© Charles Foster, 1993 and 2021. May be copied under a Creative Commons licence but please acknowledge source. 

Hot news from Hackney

Hats off to John for the latest update to the Hackney Radical History blog – digitised versions of all the 1977 editions of Hackney People’s Press. As is pointed out in the post, this was a big year for the paper. We started 1977 as a bimonthly A4 newsletter – printed in single sheets, hand collated and folded by ourselves. We ended it as a 8pp A3 tabloid, printed on the Bethnal Green web press belonging to the SWP’s printers, Feb Edge.

I spent a happy hour or so browsing through the content, most of which I had forgotten. John has singled out the full page cartoon which made up the back cover of issue 23, seen above. I’m fairly sure that the artist was called Tony. I particularly like the representation of my old Austin A40, “rushing the sheets off to the printers”, complete with its actual number plate, 309 YPP. This had been manufactured in about 1960/61 and was reaching the end of its life by 1977. I sold it for scrap a year or so later, and bought a green 2CV instead.

 

A spell in the CaRSI

Century House, home of MI6 in the 1970s, photographed in 2006 after refurbishment. It is now a block of luxury flats. Photo: Peter Jordan/Wikimedia Commons

The late Crispin Aubrey’s research material has now been donated to the Statewatch archive, and is in the process of being digitised. It seems a good time, therefore, to provide a brief account about my own small effort to shine a light into the murkier corners of 1970s official secrecy. 

One Sunday lunchtime in the early summer of 1976 I went to a party in Hampstead, where I met a young Scottish woman called Aggie MacKenzie. We chatted for a while and then a few hours later I gave her and a friend a lift into town in my old Austin A40, dropping them off at a bus stop before heading home to my rented flat in not at all trendy Stoke Newington.

Somehow, I had acquired her phone number and a few days later I plucked up enough courage to ring her. We began our relationship shortly after that: she shared a house in Stockwell with several other young women who worked with her in, what she told me then, was the Foreign Office. I lived on my own, so we took to spending most nights together in my flat.

Her housemates were all the kind of well-bred Home Counties types that you would have expected to be secretaries in the Foreign Office, but Ag was different. The year 1976 is famously remembered now for its long hot summer, but it was also the year in which the ‘George Davis is Innocent OK’ protest came to a triumphant end. Davis was a Londoner with a criminal past but he had been arrested and convicted for a crime he did not commit, after the police concocted a case against him. He was finally released from prison that summer under the royal prerogative. Living in east London I knew about this, but Ag knew more. Not long after arriving in London the previous autumn, she had been to the play about him which was then running at the Half Moon theatre and had even been on a subsequent demonstration demanding his release. When her bosses found out about this, she was warned never to go on a demonstration again, she told me.

This was also the time when I was instrumental in getting the community newspaper Hackney People’s Press back into publication. I had become involved in HPP the previous year, when the main person in the publishing collective had been the Time Out journalist Crispin Aubrey. Crispin had dropped out of this in the autumn and it went into abeyance for a while. However, I got together with two or three other people and we had produced a modest eight page edition in April, with the aim of building up another group. A few more then came forward and Ag also began helping on the production weekends, her typing skills leading to an immediate improvement in the quality of the artwork.

At that point I still thought that her job was in the ‘Permanent Under Secretary’s Department’ of the Foreign Office. It was not based in Whitehall, she said, but in an anonymous looking building next to Lambeth North tube station. However, a few months later she told me that this was a fiction: she was in fact working for MI6, or ‘the Service’ as it was known, and the office block at Lambeth North was its head office, Century House. She said that she hadn’t known who her real employer was until the day she started, having been recruited straight from college in Aberdeen to work for the Foreign Office as a bilingual secretary. (She has written about this herself on a number of occasions over the last few years.) I should say at this point that I never asked her for any details of her work. There were a few times over the next couple of years when she mentioned things in passing, but we were both conscious of the fact that she had signed the Official Secrets Act, and all that entailed.

My natural caution was exacerbated in November 1976 when the news broke that two American journalists, Philip Agee and Mark Hosenball, had been told that they were to be deported from the UK on the grounds of being threats to national security. Agee was an ex-CIA employee who had written a book about his time in the agency. Hosenball was a Time Out reporter who had written extensively about security matters in the magazine. My interest in this story was given added spice by the knowledge that Crispin was a colleague of Hosenball’s in the Time Out newsroom.

Two months later, the lease on Ag’s Stockwell house ran out and we decided that she would move in with me. We had only been together in the flat for a few weeks when the news came that Crispin had himself been arrested, along with another journalist Duncan Campbell, after the pair had conducted an interview with a former soldier, John Berry, who had contacted the Agee/Hosenball Defence Campaign. The three were eventually charged with breaking the Official Secrets Act.

An ABC Defence Campaign was set up immediately and I started going to its meetings. The people attending were a mixture of family members, friends and colleagues, lawyers and the usual oddballs who turn up when events like these are advertised publicly. Although the charges the three men faced were serious, there was an element of farce both in the way in which they had been arrested and the subsequent course taken by the prosecuting authorities, and a lot of the campaign’s activities therefore concentrated on ridicule and fun. I tried to make myself useful by doing artwork for posters and badges as well as turning up for various leafletting and picketting events. It was at one of these, a lunchtime protest outside the MI5 head office at Curzon Street House, that I suddenly became aware that a small window had opened behind my head and a camera lens was poking out. As soon as I turned to look at it, the lens was hastily withdrawn and the window closed.

A few months later, in May 1977, Ag was sent by the Service on a residential course. Apparently this was standard procedure for secretarial staff, to prepare them for possible postings abroad. She didn’t tell me exactly what it would entail but I had read enough John le Carré novels to guess that it involved tradecraft and the like. The venue was somewhere referred to only as ‘the Fort’, and it was somewhere near Portsmouth. (In a sign of how things have changed since then, I now know that the site is in Gosport and is called Fort Monckton. The centre is even mentioned on the Fort’s Wikipedia page.) In preparation for the course, she had been told that she had to give her current address and phone number, so she listed ours. At this point in our relationship she hadn’t yet told her parents that she was living with a boyfriend, knowing that they wouldn’t approve. They thought that she had moved in with a female work colleague who, conveniently for her, wasn’t on the phone. However her sister, who lived in London, did know the truth.

So I was surprised when, late one evening, the phone rang and a man with a middle class English accent asked to speak to ‘Aggie’. No, you can’t, I said, she’s away on a work course. I asked who was calling. He told me that he was a cousin, and that he was unexpectedly down in London and thought he would get in touch. I said that if he was a cousin, he presumably knew Ag’s sister’s number and that he should get in touch with her in the meantime. At this point, the man sounded confused and hung up. It then dawned on me that he was in fact some sort of spook checking up on the number, and seeing who answered. Also, I knew that no one in her family called her ‘Aggie’: to them she was always Agnes or Ag. When she came home at the end of the course, I told her and she immediately agreed that it must have been someone checking.

I decided then that I should be even more careful about Ag’s real employer and not do anything to draw attention to it. However, over the year or so we had now known each other I had gleaned various bits of low level information from her which I thought it would be useful to share with the wider world. It wasn’t difficult to work out, for instance, exactly which was the building in North Gower Street which housed the headquarters of the MI5/MI6 joint station. It had no signage outside, a bomb-proof protruding ledge over the entrance doors, discreet security men sitting behind the reception desk and floor to ceiling net curtains in all the windows. I learnt to recognise similar characteristics in London’s other ‘top secret’ buildings.

By coincidence, a building in Borough High Street housing the MI6 Training Department was almost next door to my own place of work, the Folio Society’s offices in Great Suffolk Street. I would stroll casually past in my lunch break, noting how various plain vans could occasionally be seen reversing into its loading bay.

I couldn’t just give this information directly to Crispin, or anyone else for that matter. If I did I would have to reveal Ag’s real employer and even though I could trust him not to pass on the information, it would probably leak out. So I decided that the best thing to do was send it out anonymously, although I would have to wait for an opportunity to do so.

Ag went back home to Rothiemurchus, near Aviemore, for the Christmas and New Year holidays leaving me in London, and I realised that I then had time to act. I decided to create a bulletin from a new organisation which I called CaRSI, the Campaign for the Revelation of Secret Information. Producing the bulletin involved me adapting some of the tradecraft I had gleaned from all those spy novels. I had plenty of Letraset at home which I could have used to create the CaRSI letterhead but I realised that this would be easily traceable so I stayed late at work one day and photocopied the Bodoni Bold page – a type sheet I had never owned – from the Letraset catalogue on the office copier. I remember being quite pleased with the logo I designed cutting up this photocopy, with its use of a lower case a in an otherwise all-cap setting, but I realised that I wouldn’t be able to claim ownership of it for a while. I pasted the logo up into a master page and then used the copier again to make some letterheads. The copier had a replaceable ‘blanket’ on which the original image was cast before transferring it to the copy, so I changed the blanket and threw the old one away after finishing the work. As I knew it would be some time before I posted out the letters, I reckoned the bin’s contents would be well on the way to landfill by then.

I had spotted an office equipment shop in the Strand which had a sign in the window saying typewriters for hire, so I called in there and rented a portable typewriter for a week, paying cash and leaving a deposit. To be on the safe side, I gave the shop a false name and an address in west London. Everyone was much more trusting in those days. I typed up my information onto a single page of my letterheads, rather grandiosely calling it Bulletin No.1, and put it into a plain envelope. There was a self-service photocopier at Baker Street Tube station so I went there to make copies, taking care to wear gloves when handling them.

I bought a sealed packet of envelopes and some stamps, and again wearing gloves while handling them, typed the names and addresses of various newsrooms onto a number of envelopes. I forget how many media outlets were on my list but it was probably about a dozen in all. These included Time Out, Peace News, The Leveller and various left papers. Then I put the bulletins into the envelopes, sealing them and sticking on first class stamps with a damp spongecloth, so not to leave saliva traces. I placed all the envelopes into another larger one before removing my gloves. Then I burnt all the leftover bulletins and the original master copy in the kitchen sink and flushed the ashes away. I put the typewriter away in its case, having first given it a thorough wipedown to remove any fingerprints from the keys and the carriage. I wiped down the outside of the typewriter case, took it back to the hire company and then dumped the rest of the envelopes in a public litter bin.

I decided not to post the envelopes out while Ag was away: someone might spot this, I thought, and decide that this wasn’t a coincidence. So I sealed the larger envelope up and put it at the back of a desk drawer, reckoning that she wouldn’t find it there. One day, a few weeks later I decided that the time was right to post the bulletins off, and took the envelope with me to work. I went up to the West End on my way home and posted the individual envelopes, if my memory serves me correct, in a busy letterbox in Tottenham Court Road. Again, I wore gloves and dumped the outer envelope in a public bin.

Nothing happened for a while. I think Crispin might suspected something because he made a cryptic remark to me about getting some anonymous information, but I feigned surprise. A good summary of the bulletin appeared in Peace News, and some other publications referred to it but, for obvious reasons, I didn’t want to go out of my way to save the press clippings. Crispin also referred to the bulletin in his 1981 book, Who’s Watching You, describing it as being ‘clearly based on the inside knowledge of a “whistleblower”.’

It’s now 42 years since my foray into the espionage world. Ag left her ‘Foreign Office’ job in 1978 and went to work in the press office of the National Union of Students. Shortly afterwards, I also started a new job, as the publications officer for what was then called the National Council for Civil Liberties (now just Liberty). Its dingy office in King’s Cross Road had also served as the headquarters of the Agee-Hosenball Defence Committee, and a tap on its phone had probably led to the arrest of the ABC defendants. The ABC case itself finished in November 1978 in pretty farcical circumstances with the three defendants being found guilty on three Official Secrets Act Section 2 charges, which was almost a technicality. Crispin and Duncan got conditional discharges, and John Berry a suspended sentence.

Crispin Aubrey left a voluminous archive at the time of his sudden death in 2012. As his wife Sue said ‘Crispin never threw anything away.’ It has now been handed over to the Statewatch collection and is in the process of being catalogued. Somewhere in the two and half filing cabinets there may well be a copy of CaRSI’s one and only bulletin. I’m looking forward to seeing it again.

The issue of Peace News which reported the CaRSI bulletin. (No 2064, 24 February 1978).

Happy Christmas, 41 years ago

Old guys and nostalgia freaks like me love blogs like The Radical History of Hackney. A year or two ago, I donated an almost complete run of issues of Hackney People’s Press to John, the blog’s compiler, in the sure knowledge that he would give them a good home and find them useful for reference.
John has obviously been working through them, and has just posted a summary of the issues we produced in 1976. The first issue of HPP for the year didn’t get published until May, when I got together with one or two people in a hopeful attempt to get it back and running again after an absence of several months. I’m glad to say that a few people came forward, and throughout that long hot summer we managed a few more editions, culminating in a November/December Christmas special. One of the new people involved was called Tony, and it is him that is posing in the Father Christmas outfit on the cover shown here.
One page in the Christmas issue was a spoof Hackney Gazette, which we subjected to biting satire based on its normal diet of gruesome court cases.

At the bottom of this page is a happy picture of HPP workers sitting on the ground at that summer’s Hackney Marsh Fun Festival folding copies ready for sale. Tony is the guy at the front, holding up a copy for the camera. Behind him facing right is a considerably thinner and hairier figure: me at the age of 26.
Forty-one years ago, eh? A lot has changed since then, but I’m still here, and at this festive season I wish you a very happy Christmas.

Power to the People’s Press

HPP87 loresFrom 1974 to 1985 I was involved in a collective of people who produced a monthly community newspaper in Hackney, the Hackney People’s Press. At the time, it was the most important thing in my life, and I devoted an inordinate amount of time to it. One whole weekend every month was devoted to its layout – typing the text on an IBM golfball typewriter, rubbing down headlines in Letraset, pasting the whole thing up on large sheets of white card. These were delivered to the printers on a Tuesday, and we would then collect finished papers from them on the Friday. The following Saturday would involve driving round various Hackney newsagents, leaving a few copies on sale or return, and collecting the meagre income from the previous month. The next morning, Sunday, a group of three or four of us would meet up on either the De Beauvoir or Holly Street estates, and sell some more copies door to door.

The Centerprise bookshop was far and away the best outlet – some months we would sell 150 or so copies there. Altogether, we might sell a few hundred of each print run, so the paper never broke even. We were just about kept alive by a few ads, the occasional donation and the unpaid toil of a small but dedicated group of people.

Although we were nominally a collective, rotating duties every month, I had the most print production expertise, and so I took on for myself a lot of the design and production decisions. When I first got involved, Crispin Aubrey was the mainstay of the group and he did all the business of liaising with printers and paying the bills. In those days, the paper consisted of a series of backed up A3 sheets, held together with three staples on the left hand edge. The sheets had to be collated and stitched by the collective, which meant another production session after the printing had happened and before we even got onto the streets.

Crispin stood down sometime in the summer of 1975. After a few months, I got together with two or three other people (Hi Andy and Marilyn, wherever you are these days!) and we decided to make an attempt to bring the paper out on our own, using it to look for more people to join us. We decided to give up on the A3 size and produce the paper in A4 format. Although we still had to collate and fold the sheets this was easier than the stapling method. I designed a masthead and made the other design decisions such as what Letraset typefaces to buy.

We continued in this way for a couple of years, and then I found out about a new firm of printers in Morning Lane. It was Turkish-owned and had some sort of tie to a Turkish left group – exactly who, I never found out. But for much the same price as we were producing a 16ppA4 publication, which we had to fold ourselves, we could get an 8pp A3 newspaper, all folded and finished. It was, as people say nowadays, a no-brainer. I designed another masthead, and invested in sheets of Letraset Futura Extra Bold Condensed, which I reckoned was a more authentic font for the headlines of a tabloid size newspaper.

The final change to our production methods came when we moved over to cold-set web press production, and were able to use a red spot colour on the front and back pages. We first went to the SWP’s printer, Feb Edge, just off Hackney Road. A year or two later, the Militant’s printer nearby in Cambridge Heath Road approached us and offered us an even cheaper price, which we were happy to accept. (No room for comradely inhibitions about poaching clients between these two species of Trots.)  Both outfits were pretty paranoid about their security. Their presses had impressive grilles on their windows and you never got closer than a locked front office when delivering artwork or picking up the printed copies.

Quite why the paper stopped in 1985, I’m not sure. We produced an issue in June of that year, but then nothing afterwards. Normally I would have phoned the key members to arrange a meeting to plan the next issue, but for some reason I didn’t. And… no one seemed to notice.

A year or two after this, I broke up with the girlfriend I had been living with through all this period. I took a big pile of back copies when I moved out of our house to the other side of Stoke Newington. Ten years later, married and with two small children, I dumped many of the duplicates into the recycling bin just before we moved to Ireland. And tidying up again, over the years since, I have now pruned my collection down to just one copy of each issue. Back in 2013, I was able to donate an almost complete set of papers to John from the excellent Radical History of Hackney website, and I did an email interview with him, which you can see here. People occasionally still get in touch with me to ask the odd question about the paper, and I am happy to help.

Crispin Aubrey, mentioned above, died suddenly in 2012 at the age of 66. I hadn’t seen him for years, but even then it was a terrible shock. He had been a real mentor to me in my early HPP days, and I used to look up to him with real admiration. His family have set up a fund in his name which helps journalism students at the University of the West of England. Further details here.