Editing Pulp magazine (section)

==Illustrators==
Pulp covers were printed in color on higher-quality (slick) paper. They were famous for their half-dressed [[damsel in distress|damsels in distress]], usually awaiting a rescuing [[hero]]. Cover art played a major part in the marketing of pulp magazines. The early pulp magazines could boast covers by some distinguished American artists; ''The Popular Magazine'' had covers by [[N. C. Wyeth]], and [[Edgar Franklin Wittmack]] contributed cover art to ''Argosy''<ref>{{cite book|last=Hulse|first =Ed|title =The Blood 'n' Thunder Guide to Collecting Pulps |pages =26, 163|isbn = 978-0979595509|publisher = Muriana Press |date = 2009}}</ref> and ''Short Stories''.<ref>Robinson, Frank M., and Davidson, Lawrence. ''Pulp Culture – The Art of Fiction Magazines''. Collectors Press, 2007. {{ISBN|1-933112-30-1}} (p.42).</ref> Later, many artists specialized in creating covers mainly for the pulps; a number of the most successful cover artists became as popular as the authors featured on the interior pages. Among the most famous pulp artists were [[Walter M. Baumhofer]], [[Earle K. Bergey]], [[Margaret Brundage]], [[Edd Cartier]], [[Virgil Finlay]], [[Frank R. Paul]], [[Norman Saunders]], [[Emmett Watson (illustrator)|Emmett Watson]], [[Nick Eggenhofer]], (who specialized in [[Western (genre)|Western]] illustrations), [[H. J. Ward|Hugh J. Ward]], [[George Rozen]], and [[Rudolph Belarski]].<ref>''The Adventure House Guide to the Pulps'', edited by Doug Ellis, John Locke, and John Gunnison. Silver Spring, MD, Adventure House, 2000. (p. xi–xii).</ref> Covers were important enough to sales that sometimes they would be designed first; authors would then be shown the cover art and asked to write a story to match.

Later pulps began to feature interior illustrations, depicting elements of the stories. The drawings were printed in black ink on the same cream-colored paper used for the text, and had to use specific techniques to avoid blotting on the coarse texture of the cheap pulp. Thus, fine lines and heavy detail were usually not an option. Shading was by [[crosshatch]]ing or [[pointillism]], and even that had to be limited and coarse. Usually the art was black lines on the paper's background, but Finlay and a few others did some work that was primarily white lines against large dark areas.