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Southern  Branch    ;, 
of  the 

University  of  California 

Los  Angeles 

Form  L    I 

z 


This  book   is   DUE   on  the   last  date   stamped   below 


^  JAN  9    1358 


UAH  1 

jUN  9      ^^^>  i^  i 

!      DISCHARGE4JRI, 

I       AUG  16  1978 


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2  9  ^951 


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THE    WILEY    TECHNICAL   SERIES 

FOR 

VOCATIONAL  AND  INDUSTRIAL  SCHOOLS 


EDITED     BY 

JOSEPH   AI.  JAMESON 

GIRARD    COLLEGE 


PRINTING 

FOR  SCHOOL  AND  SHOP 

A  TEXTBOOK  FOR  PRINTERS'  APPRENTICES, 

CONTINUATION  CLASSES,  AND  FOR 

GENERAL  USE  IN  SCHOOLS 


BY 

FRANK   S.  HENRY 

Central   High   School,   Philadklphia,   Pa. 
FoRMERiv  Instructor  in  Printing,  Philadklphia  Trades  School 


FIRST  EDITION,  CORRECTED 

TOTAL  ISSUE,   TWK.NT V-TllRKK  TIlOfSAXD 


XEW  YORK 

JOHN   WILEY  &   SONS,   Inc. 
London:  CHAPMAN  &  HALL,  Limited 


Co[)\ri,t^lit,  lyiy 

BY 

rk.WK  S.  JIIAKY 


PREFACE 


According  to  the  Census  of  1910,  printing  ranked  sixth 
among  the  important  industries  of  the  United  States,  with  an 
invested  capital  of  $588,000,000,  and  offering  employment  to 
over  258,000  persons.  Since  that  time  it  has  been  steadily 
advancing.  The  ])rinting  business  today  is  replete  with  labor- 
and  time-saving  dexices,  and  is  l.)eing  conducted  on  the  basis 
of  both  expediency  and  efficiency.  All  well-equip}~)ed  and 
properly  conducted  printing  establishments  have  installed 
cost  systems,  and,  by  the  use  of  time-stamping  devices,  are 
keeping  accurate  account  of  the  time  that  employees  spend 
on  their  jobs. 

While,  in  many  respects,  these  changes  have  been  of  advan- 
tage to  the  emi)lover,  they  have  been  to  the  detriment  of  the 
apprentice.  Formerly  it  was  the  custom  to  put  an  a})prentice 
in  the  care  of  some  competent  workman.  In  the  course  of 
four  years  the  journeynian  was  sup])oscd  to  imjxirt  to  the 
ap})rcn1ice  a  full,  working  knowledge  of  the  trade.  Today 
the  journeyman  is  ])racti:ally  working  against  time;  he  cannot 
train  an  apprentice  and  still  make  a  creditable  showing,  con- 
sequently the  a\-erage  ap])rentice  is  sim])ly  drifting  along, 
picking  up  what  knowledge  he  can.  If  he  is  a])t,  he  may  learn 
to  perform  certain  operations  of  the  trade  by  imitation,  usually 
without  knowing  why.  This  lamentable  condition  does  not 
exist  in  every  office,  it  is  true,  l)ut  it  is  ] prevalent  enough  to 
demand  attention.  Employers  arc  l)cginning  to  realize  that 
in  stri\-ing  for  efficiency  in  ]>roducti(')n  thcv  have  been  neg- 
lecting a  still  more  vital  factor — that  of  training  efficien': 
help. 


iv  PREFACE 

With  the  idea  of  formulating  some  definite  plan  for  the 
training  of  ap])renticcs,  the  United  T^pothetie  of  America  in 
1911  a])])()inted  an  a])prenticeship  conimittee  to  investigate  the 
matter.  This  resulted  in  the  establishment  of  a  permanent 
committee.  It  was  realized  that  if  apprentices  were  to  be  uni- 
formly trained  a  series  of  textbooks  was  necessary.  The  com- 
mittee has  in  preparation  sixty-four  books,  fully  covering  every 
phase  of  printing.  This  will  undoubtedly  be  a  valuable  library 
of  technology.  The  price  of  the  complete  series,  however, 
will  debar  it  from  everyday  use  in  the  schoolroom. 

When  the  author  first  undertook  the  teaching  of  printing 
at  the  Philadelphia  Trades  School,  he  was  handicapped  by  the 
lack  of  a  textbook.  There  were  many  excellent  books  on  the 
subject  of  printing,  but  none,  so  far  as  he  knew,  compiled 
especially  for  school  use.  At  the  juesent  time  the  local  unions 
throughout  the  jurisdiction  of  the  International  Typographical 
Union  are  collaborating  with  the  various  local  t\-pothetae, 
and  endeavoring  to  establish  continuation  schools  for  printers' 
apprentices  in  all  the  large  centers  throughout  the  United 
States.  This  means,  naturally,  an  increasing  demand  for  a 
practicable  medium  of  instruction  in  the  trade,  and  relying 
u])on  an  experience  of  twcnty-fi\"e  years  of  actual  practice 
in  the  shop,  in  every  position  from,  apprentice  to  superin- 
tendent, cou])Ied  with  hvQ  years  of  teaching,  the  author  has 
attempted  to  supply  this  need. 

In  the  preparation  of  the  manuscri])t,  the  author  has  kept 
in  mind  the  fact  that  he  is  addressing  the  l)oy  who  knows  noth- 
ing of  the  subject.  The  aim  has  been  to  explain  fully,  yet 
succinctly,  the  fundamental  principles  underlying  the  various 
processes.  To  the  initiated  the  attention  given  to  details  at 
times  may  seem  unnecessary.  In  the  more  advanced  processes, 
howe\'er,  it  is  hoped  that  even  the  practical  man  may  find 
helpful  suggestions. 

It  is  manifestly  im])0ssible  in  a  book  of  this  size  to  co\-er 
exerv  ])oint  and  ])hase  of  ])riiiting.  An  attempt  has  been  made, 
therefore,  to  present  clearly  and  simj)ly  only  those    essentials 


PREFACE  V 

of  the  subject  on  which  both  teacher  and  student  may  build, 
and  in  this  way  to  keep  the  book  brief  enough  to  meet  the 
requirements  of  a  practicable  text  and  of  a  size  conveniently 
to  be  carried  in  the  pocket. 

It  has  been  an  inspiration  to  the  author  in  his  work  as  a 
teacher  to  look  back  to  his  apprenticeship  days,  when  he  was 
singularly  fortunate  in  being  trained  by  a  skilled  workman, 
and  he  takes  this  opportunity  of  expressing  his  gratitude  to 
Mr.  James  H.  Sterrett  for  guidance  during  that  formative  period. 
Acknowledgment  is  also  due  to  Mr.  T.  Grow  Taylor  for  kind 
advice  and  helpful  suggestion  when  the  author  took  up  the 
study  of  proofreading,  and  also  for  his  kindness  in  critically 
reading  the  manuscript  of  the  chapter  on  Proofreading. 

The  author  acknowledges  his  indebtedness  to  Mr.  Frederic 
\V.  Goudy  and  Mr.  Frank  J.  Milon  for  revision  of  some  of  the 
text  and  to  the  following  firms  for  the  loan  of  cuts  and  other 
material  used  in  illustrating  the  book:  American  Type  Founders 
Co.,  Bullock  Manufacturing  Assoc,  Challenge  Machinery  Co., 
Chandler  &  Price  Co.,  Golding  Manufacturing  Co.,  Hamilton 
Manufacturing  Co.,  Horace  Hacker  &  Co.,  H.  A.  Hempel, 
Keystone  Type  Foundry,  Lanston  Monotype  Machine  Co., 
Mergenthaler  Linotype  Co.,  Miller  Saw-Trimmer  Co.,  Morgan 
&  Wilcox  Mfg.  Co.,  H.  B.  Rouse  &  Co.,  Star  Tool  Manufac- 
turing Co.,  Wm.  H.  Sylvester  &  Son,  John  Thomson  Press 
Co.,  \'andercook  Press,  and  Wickersham  Quoin  Co. 

Frank  S.  Henry. 

Philadelphia, 
April,  1917. 


CONTENTS 

PAGE 


rKKFACK 

iXTRODrCTIOX 


CIIAPTKR   1 

Composition — Tvi'i:,  Si'ai'ks,  and  Lkads i 

Lay  of  till'  case—  riu'  b,  d,  ([,  ami  p. —  Keriicd  letters. — The  point 
SNStem.-  i'hc  lu-w  and  tlu'  oKl  system. — Tabic  I. — The  em  of  tlic 
bod\-. — Tlie  i)i(a  em. — Sizt's  of  spaces. — Thickness  of  sf)aces. — 
Table  H.  -The  three-point  space  of  eij,dit-point. — Point-thick 
spaces.-  I'oinl  line.—  Point -set. —  bet:;il)ilit\'. — Leading. — Linotype 
slugs  as  spacing  material. 

CHAJ'TKR    II 

("oMPosrrrox — Skttixc,  Plain   M  \tti;r 13 

.Making  up  a  stick. — The  composing-rule. — Setting  type. — 
Justifying  a  line.—  Lniform  sjiacing. —  Rules  for  sjxicing. — Empty- 
ing the  stiik. — How  to  use  the  galley. — Tying  up  a  job. 

CIL\PriT-l    ill 

T.\KiX(;  .\  Proof.  Cokrkctixo  rm;  Job.  axd  Rkturxixg  Typk  to  Case     23 

I'lacing  a  job  on  the  stone. —  Pulling  a  ])roof. —  Proofs  in  colors. — 
( ialle\  -press.  l'ress-j)roofs. —  Tln'  A\'ashington  1  land-press.--  The 
Poio  Proof-press. —  Ihe  Potter  Proof-press. —  The  X'andercook  Proof- 
press. — Correcting  the  job. — Pullinii;  a  re\ise. —  Saxing  cord  for 
future  use.  Making  up  pages. ---Cleaning  l\'lic.-  Cleaning  rules. 
—  Distributing  type. — Pilling  a\va_\-  leads  and  furniture. 

CIL\PTi:R    IV 

Type  CAi.cn. .\rioxs 36 

How  much  will  it  make  ?-— What  .-i/.e  type  shall  I  use  ?"— Deter- 
niininir  the  number  of  cms  in  composed  matter.-  -  I  )eterminin,<j;  the 
^■alue  of  composed  type.-  Table  III.  Determining  weight  of  t_\-pe 
by  measurement. — Determining  the  amount  of  leads  to  a  page. 


CONTENTS 


CHAPTER   V 

PAGE 

Proofreading 44 

Requirements  for  proofreudinK- — Proofreuders'  marks. — Tal)le 
IV. — Order  of  ])roee(lure  in  proofreading,'.—  PuncUialion. —  Marks 
of  inmctuatioii.-  Use  of  the  eonima. — Tlie  dash. — Tlie  semicolon. 
— The  colon. --'I'he  jieriod. — The  h\i)hen. — The  apostrophe. — 
Quotation  murks. --'J'he  interrogation  mark. — The  exclamation 
mark. — Parentheses. — Brackets. —  l.)i\'ision  of  words. — Compound 
words. — Capitalization. — Printing-office  stj-le. 


ch.\]'tj:r  \t 

Type  E.\ci:s 73 

General  classification.  —  Text.  —  (jothic.  —  Roman.  —  Italic. — 
Scri[)t. — Old-style. — Modern. — 'Phe  serif. — Old-style  and  modern 
serifs. — Other  ji;roups. — Cheltenham  Oldstyle. — Clearface. —  Tx'pe 
families. — "  Pi  "  as  an  aid  to  t_\pe  study. — Comparison  of  serifs. — 
Swash  letters. 

cPL\prj:R  \ir 

Job  Composition 84 

General  sur\-e\-  of  the  field. — The  layout  man. — Fundamental 
princif)les. — 0{)tical  center. —  Palance. — IIarmon\-. — Tone. --Con- 
trast.—  .\j>propriateness. —  (Jroujjin^.  —  Mass  grouping'. —  Panel 
^'roui)in^'.--  Pro{)ortion. — Table  of  ])roi)orlions. — Table  V.— Stand- 
ardizing' j)roportioiis.—  Borders  and  ornaments.  —  Initials. — Shajx- 
harmonw—  Selecting  the  salient  features  of  a  job. — Impro\in^  a 
job. — Spacing  job  tyjie. — Letter-spacing'. — The  sc|uare  effect. — 
Selection  of  rule  for  a  job. — .MiKninp  rule  with  t_\-pe.-  -Side-face  or 
chamfered  rule.— .Miiered  corners. — To  obtain  perfect  joints  in 
tables. —  Skeletonizing'.—  Setting  a  register  job. — .Mlowing  for 
squeeze. — Concluding  hints. 

ciiAPri;K  \ii[ 

SirTi.xc,  A  Jon 116 

'Ihc  order-blank.  \nal_\-i-  of  <  opy.  Size  l\pe  to  be  u^ed.- - 
position  on  tlie  hlieet.-    Lavout.'-.  -  .^pei  im(;ns. 


CONTENTS  ix 


CHAPTER   IX 

PAGE 

Setting  Tables  and  Otiikr  Intricate  ^Matter 141 

Ability  required. — Jobs  containing  rules. — The  Typof-nbular 
System. — Iland-set  ruled  blanks. — Wa.x-engraving. — Monot3-{)c 
method  of  setting  rule  work. — Casting  off  a  table. — Three-point 
spaces  of  eight-point. — Point-thick  spaces. — Line-up  of  figures. — 
Setting  more  than  one  column  in  a  single  measure. — Plank-book 
headings. — Setting  and  registering  type  to  horizontal  lines. — ■ 
Running  type  around  cuts. — Setting  t^'pe  in  circles. — Algebra, 
genealogies,  and  pedigrees. 

CHAPTER  X 
Locking  Cp  Forms 163 

General  princij)les. — Quoins. — Locking  up  a  form. — Bearers. — 
Gudgeons. — Locking  up  register  jobs. — Locking-quoins. — Jobs 
with  rules. — Allowance  for  squeeze. — Troublesome  corners. — 
Squaring  the  form. — Wooden  furniture. — Riding  of  forms. 

CHAPTER   XI 

Imposition 176 

Placing  pages  on  the  imposing-stone. — Hand-  and  machine- 
folding. — Margins. — Determining  margins. — Determining  the  lay 
of  a  form. — Various  parts  of  a  form. — Imposing  the  form. — I'ages 
out  of  center. — Making  u}.)  to  the  paper. — La\'  of  forms:  the  four; 
the  eight;  the  twelve;  the  si.xteen;  the  twentj-;  the  twenty-four. — 
Folders. — Machine-fold. — Signatures. — Insetting. — Press-points. — 
Other  forms. — Proper  lay  of  lengthwise  forms. — Folding  heavy 
paper. — Chases. 

CHAPTER   XII 

Cutting-tools  for  Printers 197 

Miller  Saw-Trimmer. — The  lead-cutter. — Alitering-machines. — 
The  upright  machine. — Trimming  material. — The  burr  on  rule. — 
Trimming  to  gauge. — Cutting  to  multiples  of  a  point. — Cutting 
very  small  pieces  of  rule. — Type  "  htting  "  on  a  mitering-ma- 
chine. — Type-high  machines. — Care  of  machines, 


COXTi:XTS 


ciiAri'i;k  XIII 

i'A(.i; 

CoMPOSIN(;-M  \(1IIN"L> JC() 

Iu;or.oni\'  nf  niacliiiK-  i  iinii)(i.-ili(ir.."-'riK-  Linotype. --Tlu'  .Moni)- 
typc, —  MountinL'  illu>tration>  fh  machiiir-M-l  cnrnjxtr-iiion, — Xon^ 
distribution. — TIk-  Intcrtypr.-  '!">  pr-i  a.-iinL'  machines. 

ellAPTilR    XIV 

]'ki;s.-^\\'  irk :;o 

riatiTi  pi\-M-.- Tlu-  bill.- -Till.-  iiiaiLii. —  Tlie  clraw-slu-et.— Tin- 
,i:ri[>pi-'i-s.--  i\(ilk'r-lK-ariT>.--l\i)lk-i>.-  -Oi'.inu'  t!;L-  pr^■^^.-  Shrinl^ini,' 
nf  furnitui-c-  InipiT.-r-iun.-  Tlu'  ixaiipan.-  -InscrtiuL:  tlic  furm.— 
.Makf-rc-acw-  ( )\\rla_\"iiiL'.--  (aii(lt>. —  In-rdinu  a  pr\~>.— 1  irxinir 
tlu'  slu-ft.-;.  -."^Hp.-lK't-tin'j. —  r'.:i\  fliijx.'-, —  OpL-niiiLr  and  ilDsine  i-n- 
^^•ll)fK■.-.-  I-'ri-kct. —  'icL'isU-rinL:.—  Slurrinu'  nf  ruk-  job:;. —  I'.niljo--;- 
itiu.-— IV-rfiiratinu'. — Scoring'. — C'ultinL'  and  slittin'_'. — I'.i-intint:, 
cuttini:.  .-coring',  and  fierforatin^'  r.u  one  (i[>(.Tati()n. —  I'riritinL'  a 
two-color  rcLristcT  job  by  tlu-  aid  of  a  friskct. — \\  asliin;:;  u{). — 
Kemo\-in2  hard  ink  from  roller?  and  [)re5s. — Safety  devices. 

cii.\rTi:R  x\' 

PkIXTIXC-IXK 2^2 

('ompo^iti()n. — Piemen t~. — The  whicle. — The  drier. —  Prt.T->room 
tt'mperature  anrl  himiiditw — .Xilaptini:  ink  lo  -took. —  How  to 
rmiedx'  ink  trouble-.- - 1  )upr-.—  Mixim:  i:ik.— .Mixiivj  tini^  an.d 
r-liade~.--l  )uutone  ink.-. —  Halfloncr-.— 'i'hree-color  jirociss  work. — 
Proce->  inks. 

CH.M'ri.K    X\T 

P.\Pi:R 2<'2 

Oriudn. — The  liber.- -Pulp. --Tr.e  lieati-r.—  Tlie  riilninL'-enudnt.-. 
--  Tlu;  {lajier-makir.LT  mach.ine.—  Ilar.d-niade  paper.—  Hook  jiapers. 
--Ida'  paper-.-  ^i/.r-  <,i  p'apir.  d'i:r  nam.-  W'liLdits  of  paper.-  - 
kclali'.a-  ■.veiL'iit.-.  -  ri:r  Laki-i-io  .'^y-tom.  I  )e-iL:naLin'j;  paper 
a.<.'rdin-  lo  a  -ub-tam  e  ivamlnr.- -d'.ablr  \d  .— Idr.'elMiH-  -i/e.-. — 
d'aldr  \-II.— Id-urimr  and  ,^:-\\n-  -:n,  k. 


INTRODUCTION 


A  PRIZE  was  recently  offered  by  "The  Inland  Printer" 
for  the  best  answer  to  the  question,  "What  is  a  Printer?" 
Anyone  who  has  made  a  study  of  printing  will  realize  how  diffi- 
cult it  is  to  define  the  term.  Printing,  as  a  process  of  making 
impressions  in  or  leaving  marks  upon  a  surface,  is  of  great 
anticjuity.  There  are  still  extant  many  clay  tablets,  waxed 
surfaces,  scratched  leaves,  engraved  wood-blocks,  and  other 
devices  that  serve  as  guideposts  to  mark  the  advance  of  print- 
ing from  hum]:)le  beginnings  to  the  numerous  and  complex 
methods  of  today. 

The  average  la\'man  has  but  little  idea  of  the  immensity  of 
the  field  of  i)rinting  and  of  its  importance  to  modern  civilization, 
including,  as  it  properly  does,  not  only  the  printed  word,  and 
the  illustrations  that  are  the  necessary  adjuncts,  but  also  the 
textile  field — the  printing  of  cloth  for  garments,  of  floor  cover- 
ings, wall-paper,  tapestries,  etc.  The  average  typographic 
printer  also  has  but  a  faint  concej)tion  of  the  numerous  ways  in 
which  his  texts  are  illustrated. 

In  general,  there  are  three  fundamental  j^rinciples  involved 
in  printing:  from  raised  surfaces  (letter})ress),  from  plane 
surfaces  (lithographic),  and  from  sunken  or  engraved  surfaces 
(intaglio).  Taking  them  in  the  inverse  order,  intaglio  printing 
emijraces  steelplate,  copperplate,  and  ])hotogravure;  litho- 
graphic printing  covers  all  those  processes  based  on  the  selective 
properties  of  a  prei)ared  surface  for  greasy  ink  and  water,  and 
includes  lith()gra])hy,  zincography,  and  coUotyp-y;  letter])res3 
is  the  f)rinting  done  from  raised  surfaces,  such  as  L}'pe,  halftone 
plates,  zinc-etchings,  woodcuts,  etc. 

xi 


xii  INTRODUCTION 

Ivich  of  these  methods  has  its  own  special  sphere,  but  there 
are  numerous  points  of  contact.  Letterpress  is  l)y  far  the  most 
important;  and  the  most  important  Ijranch  of  letterpress  is 
t\i)o<^raphy.  This  treatise  is  de\-oted  to  t\-|)ographic  printing, 
but,  as  stated  in  the  i)reface,  it  makes  no  pretense  of  fully 
covering  the  subject.  The  student  of  typography  is  urged 
to  acquire  at  least  a  smattering  of  the  \-arious  other  ways  in 
which  things  are  printed.  He  will  certainly  ha^'e  a  broader 
and  better  conception  of  his  own  branch  of  the  work.  He 
should  also  ha\-e  a  general  knowledge  of  all  the  trades  allied  to 
his  own,  such  as  typefounding,  electrot^ping,  paper-making,  etc. 
Teachers  of  |)rinting  should  take  their  students  on  shop  visits, 
and  see  that  they  get  first-hand  information  on  these  topics. 

To  the  uninitiated,  the  setting  of  type  seems  the  simplest 
of  mechanical  operations.  Apparently,  all  that  is  necessary  is 
for  one  to  know  the  lay  of  the  case;  the  operation  of  ])lacing 
the  t\'])e  in  the  stick  is  assumed  to  be  so  simple  that  e\-en  a 
child  should  do  it.  If  this  were  all  there  is  to  t\'])esetting, 
there  would  be  no  need  for  schools  of  printing.  The  student 
soon  learns,  however,  that  he  must  possess  considerable  special 
knowledge  and  skill  before  he  can  be  considered  a  good  com- 
[)ositor. 

The  boy  who  makes  the  greatest  strides  in  printing  is  he 
who  has  attained  at  least  the  eighth  grade  in  public  school, 
and  has  a  fair  knowledge  of  punctuation,  capitalization,  spelling, 
and  the  division  of  words.  If  he  is  to  be  a  job  compositor  he 
should  ha\e  a  j)redilecti()n  toward  art.  He  should  possess 
mechanical  ability.  Abcnx'  all,  he  should  l)e  studious,  for  he 
\\\\\  fmd  that  if  he  is  to  adx'ance  in  his  chosen  field  he  must  be 
continually  studying  to  keep  ])ace  with  ]>rogress. 

A  bo\'  who  does  not  ])ossess  these  recjuisites  had  better 
not  undertake  the  \v()rk.  'fhere  are  entirely  too  many  n:en  of 
inedioc  re  altility  in  the  busine.-s  now.  much  to  the  annoyance  of 
tni])loyer<.  It  is  to  be  regretted  that  such  men  do  not  strive 
to  impro\e  their  earning  ca])acity  by  judicious  study.  There 
i>  constant  demanrl  for  men  of  abilitv. 


INTRODUCTION  XUI 

The  student  who  takes  up  printing  as  his  life's  work  is 
strongly  urged  to  make  a  study  of  every  branch  of  the  craft. 
He  will  find  much  valuable  material  in  the  various  books  on 
printing  to  be  found  in  the  public  libraries.  He  is  especially 
urged  to  consult  the  current  numbers  of  the  various  magazines 
devoted  to  printing  and  make  a  special  study  of  the  reset  speci- 
mens, and  also  follow  the  department  in  "The  Inland  Printer" 
devoted  to  apprentices.  He  should  also  gather  together  those 
pieces  of  printed  matter  that  impress  him  as  being  either  very 
good  or  very  bad,  and  take  up  with  his  instructor  the  question 
why  they  appear  good  or  bad.  Much  useful  information  may 
be  acquired  in  this  way. 

The  instructor  should  show  samples  of  good  and  bad  print- 
ing and  tell  why  they  are  good  or  bad. 

Layout  work  should  be  a  strong  feature  of  the  course  of 
instruction,  as  it  oft'ers  the  instructor  endless  opportunity  to 
criticise,  and  point  the  right  road.  It  also  aft'ords  the  student 
excellent  ])ractice. 

As  an  aid  to  the  study  of  t\pe  faces,  the  student  should 
carefully  read  the  specimen-books  issued  by  the  various  type- 
founders. He  should  also  take  up  hand-lettering,  and  make  a 
studv  of  historic  ornament. 


PRINTING 


CHAPTER  I 

COMPOSITION— TYPE,  SPACES,  AND  LEADS 

1.  Lay  of  the  Case.— Owing  to  the  general  use  of  type- 
setting machines,  very  little  plain  or  straight  matter  is  now  set 
by  hand.  For  this  reason  the  pair  of  cases,  formerly  very  much 
in  vogue,  is  now  seldom  used.  Nearly  all  job  t\pe  is  kept  in 
dust-proof  cabinets  (Fig.  i),  and  the  California  job  case  is 
nipidly  supplanting  other  forms.  In  Fig.  2  is  shown  the  lay 
of  the  two  styles  of  cases.  The  arrangement  of  the  capitals 
and  of  the  lower-case  letters  is  the  same  for  all  styles  of  cases. 
A  study  of  the  figure  shows  that  the  lower-case  letters  most 
frequently  used  are  grouped  about  the  center  of  the  case.  The 
capitals  run  alphabetically,  with  the  exception  of  the  J  and 
the  U. 

The  quickest  way  for  a  student  to  familiarize  himself  with 
the  lay  of  the  case  is  to  draw  a  diagram  of  it  and  locate  on  the 
diagram  all  letters  in  their  proper  places.  A  printed  diagram 
carried  in  the  pocket  and  studied  at  odd  moments,  is  also  a 
splendid  aid.  Setting  the  following  sentence,  which  contains 
every  one  of  the  letters  of  the  alphabet,  will  give  practice  in 
locating  the  boxes: 

"The  quick  brown  fox  jumps  over  the  lazy  dog." 

2.  The  b,  d,  q,  and  p. — Inasmuch  as  type  is  cast  in  reverse, 
students  have   trouble  at  first   in  readini^;  tvi)c   and  in  distin- 


PRTXriXG 


("ornposiiig-fra:i 


TYT^F.,    SPACES,   AXI)    LEADS 


Upper 


Lov,er  (\.~l. 
A    Pa  Hi  oi'   (\\si-. 


Fk;..   2. — Slio\vin,L(  Lav  of  Cases. 


4  PRlXriXG 

guishing  certain  K)V,-cr-case  letters.  In  reading  type,  the  stick 
should  not  be  turned  upside  cIdwh,  l)Ut  stiould  l^e  held  just  as  in 
setting  t\-j)e.  To  distinguisli  Ijetwcen  the  b  and  d,  and  the  j) 
and  (j,  oljserve  tliat  the  rt)und  parts  of  the  I)  and  d  face  each  other 
when  held  o\-er  their  respective  bo.xes,  and  that  the  round  parts 
of  the  (|  and  p  face  the  opposite  wa\-,  or  toward  their  respective 
boxes. 

3.  Kerned  Letters. — When  a  letter  is  cast  in  such  position 
that  the  face  projects  o\'er  the  side  of  the  body,  it  is  said  to  be 
kerned.  The  lower-case  f  and  j  are  Ijoth  kerned.  With  some 
faces  of  t\'pe,  if  we  \\'ere  to  ])lace  an  i,  1,  or  f  beside  the  f,  the 
projecting  jiart  of  tlie  letter  would  \-ery  likely  be  broken  off. 
To  prevent  this,  such  conildnations  of  letters  are  cast  on  one 
bod\-,  and  these  are  known  to  ])rinters  as  lo-^otypcs.  The  correct 
name  for  them,  liowex'er,  is  li'^dtiires.  We  have  the  following 
combinations:  fi,  fl,  ff,  fli,  and  hi.  Some  roman  letters  are 
cast  without  kerns.  Nearly  all  italic  fonts  have  some  kerned 
letters.  The  characters  (5t  and  it,  found  in  some  fonts,  are 
ligatures. 

4.  The  Point  System. — Some  time  prior  to  the  year  1450 
Gutenberg  inx'cnted  the  casting  of  metal  t\'pe  in  molds.  As 
the  art  of  printing  adwmced.  r.iany  new  sizes  were  cast,  but  no 
attempt  was  made  tt*  cast  them  with  a  uniform  gradation  in 
size,  and  it  v/as  di:Vu;ult  to  build  up  one  size  of  Ijody  to  ecpial 
another;   that  i^.jasliiy  tricni. 

To  obviate  tliis,  Tournicr,  in  17,57,  advocated  a  method  of 
casting  tvpe  according  to  soiue  unit,  'bhe  si/e  l.;nown  as  pica 
was  in  use  in  wiriotis  roimtrits  in  luu'o])e,  and  A\'a-  con>idere(l  a 
standard  size.  Tahin;:  the  ])ica  as  a  base  he  diNided  it  into 
twcl\-e  erjual  pvirts,  eacli  oi  vdiich  he  ca.lled  a  point.  He  chose 
one-tux'lfth  of  a.  pit  a  a-  the  v.nit  brc;iu-e  tliere  existed  hx'c  sizes 
of  t\],ie  between  j'iea  ,ind  UMnjiareil.  A-  luvipiircil  was  just 
half  tiie  .-ize  of  ])!;■:!,  tlii-,  :iiad.e  the  sueees-ion  of  sizes  sewn, 
e'glit,  nint",  ten,  :\\\i\  ele^"en  pnint,  an\'  one  of  whicli  couhl  be 
ji!-tiiied  with  another  I-y  th.e  u.-e  of  material  made  to  tlie  same 
unit. 


TYi'i;,  SPACES,  Axij  lj:aijs  5 

This  plan  of  Fournier's  was  an  excellent  one,  but  it  involved 
so  much  exj-jcnse  in  the  chan.i^nn:,^  of  t}-pe  molds  that  iy])c- 
founders  hesitated  to  ado})t  it.  In  the  }'ear  1878  the  foundry 
of  Marder,  Luse  &  Co.,  of  Chicago,  was  destroyed  l,i\-  fire. 
When  it  was  rebuilt  the  firm  chan,L!:ed  o\xt  to  the  point  s}'stem. 
This  was  the  beginning  of  the  point  s}'steni  in  America.  The 
L'nited  States  Typefounders'  Association  Imally  adopted  it  in 
1887.     It  is  the  only  system  in  use  in  llrst-class  offices  today. 

While  pica  has  alwa}"s  been  considered  a  standard  size,  it 
has  never  been  of  a  uniform  size.  It  has  varied  in  different 
countries,  and  even  among  typefounders  in  the  same  country. 
Tests  of  pica  sizes  haive  demonstrated  that  they  varied  from 
702  to  75  picas  to  the  English  foot  of  tweh'e  inches.  The 
American  pica  runs  about  three  ]:>oints  over  72  lines  to  the  foot. 
Its  actual  measurenKmt  is  0.16608  of  an  inch.  One-twelfth  of 
this,  or  one  point,  is,  therefore,  0.01384  of  an  inch. 

It  is  popularly  su])posed  that  six  ])icas  equal  one  inch.  This 
is  approximately  so,  but  not  aljsolutely,  for  six  ipicas  measure 
but  .99648  of  an  inch. 

Fig.  3  shows  the  increase  in  thickness,  by  points,  from  one  to 
twelve. 


I  point  =  o.oi,';S4  inch. 


I  pica  =  0.1660S  incli. 


Fig.  3. — Showing  Increase  in  Tiiickne.~s,  by  Points,  from  One  to  Twelve. 


5.  The  New  and  the  Old  System. — In  Tal.ne  I  is  given 
the  name  of  each  ty{)e  size  tmder  tlie  old  s_\-steni  of  nomenclature 
and  the  size  nearest  to  it  under  the  PoliU  Sx'stem.  Xonpareil, 
brevier,  and  pica,  and  their  multiples,  are  tlie  only  ones  that 
remained  the  same  size  under  the  nev;  svstem. 


PRTXTIXG 


TABLE  I.— TYPE  SYSTE^MS 


Size. 

New  System 


Name,  Old  System. 

3  -point — Excelsior 

3  2-point — Brilliant" 

4  -point — Semi- Hrc\ier 
42-point — Diamond 

5  -point — Pearl 
Sj-{ioint — A.^att' 

6  -point — Xonpareil 

7  -point—  .Minion 

8  -point —  Hre\icr 

9  -point  —  Honr^eois 

10  -point — i>on^  Primer 

11  -jjoint — Small  Pica 

12  -point — Pica 

14  -point — 2-line  ^linion,  or  Eng- 
lish 

16  -point — 2-linc  Brc\icr,  or  Co- 
lumbian 


Sizp. 
New  System. 

iS-jJoint—  3" 


20-point — 2 

22-point — 2 
24-{)oint — 2- 
28  point — 2 
3o-i)()int— 5 
36-point— 3 

4  2-point — 7 
48-point — 4 
54-point— 9 
60-point — 5 
7  2-point — 6 


Name,  Old  System. 

line      X'onpareil,      or 

(jrcat  Primer 

line  Long  I'rimer,  or 

Paragon 

line  Small  Pica 

line  Pica 

line  I'^nglish 

line  Nonpareil 

line   Pica,   or  Double 

Great  Primer 

line  Nonpareil 

line  Pica,  or  Canon 

•line  Nonpareil 

line  Pica 

■line  Pica 


6.  The  Em  of  the  Body. — When  calculating  the  amount  of 
type  contained  in  any  ])iece  of  com])osc(l  matter,  it  is  measured 
up  in  ems,  and  this  cm,  or  tmit,  is  the  cm  of  the  body.  The 
sciuare  of  each  size  of  type  is  called  the  em  of  that  l)ody. 
Thus,  the  cm  of  six-i)oint  is  six  ])oints  square;  the  em  of  eight- 
])oint  is  eight  ])oints  scjuare;  and  so  on.  In  Fig.  4  is  shown 
the  actual  size  of  the  em  in  the  various  points. 


Six-Pt.        Scvcn-Pt.      Kight-Pt.     Nine-Pt.  Ten-Pt.  Eleven-Pt.      Twelve-Pt, 

Fig.  4. — Actual   Sizes  of  the  Em. 


7.  The  Pica  Em.^  'hhe  size  known  ;;s  ])ica  had  been  in  usu 
in  \-arii)us  I-^uropean  countries  for  man\'  }-ears  prior  to  the  inven- 

'' 'I'luTc  seems  to  be  a  (li\ci'sily  of  ()|)inion  regarding  the  i)()int  si/.e  of 
biilliant .  I  )e  X'iniu-  gi\(s  il  as  4  i>()inl.  liiilliant  a(tii:ill_\'  nu-asured 
ali'iiit  _•;.;  ])(>iiit<.  When  the  .MacKellai-,  Smiths  \-  Jordan  Company 
adnpted  the  i'oiiit  System  I  hey  east  JJrilliant  on  a  ,^J4)oint  body.  I'our- 
]joint  they  (ailed  Semi- l»i'e\ici'. 


TYPi:,   SPACES,   AXD   LEADS  7 

tion  of  the  point  system,  and  its  size  varieil  slii^htly  in  different 
countries.  It  has,  however,  always  been  considered  the  unit 
of  length. 

In  order  to  facilitate  the  work  in  a  composing-room,  leads, 
slugs,  ruk-s,  and  furniture  are  used  in  standard  lengths.  These 
lengths  are  designated  in  ems,  and  the  em  is  the  pica  em.  Thus, 
when  a  lead  twenty-four  ems  long  is  spoken  of,  twenty-four 
pica  ems  is  meant.  If  furniture  is  spoken  of  as  four  by 
twenty,  what  is  meant  is  that  its  width  is  equal  to  four  pica 
ems,  and  its  length  is  equal  to  twenty  pica  ems. 

If  a  pica-gauge  is  not  at  hand  when  measuring  material,  we 
may  approximate  its  size  by  measuring  it  in  inches,  and  assuming 
that  there  are  six  picas  to  an  inch. 

It  is  very  essential  for  the  apprentice  to  remember  that  all 
accessory  material  in  a  printing-office  is  graduated  in  pica  ems. 

When  material  is  either  cast  or  cut  to  even  multiples  of  pica 
it  is  called  labor-saving,  and  should  never  be  cut  or  altered  in  any 
manner. 

8.  Sizes  of  Spaces. — The  spacing  material  that  usually 
accompanies  a  font  of  ty[)c  consists  of  one-,  two-,  and  three-em 
quads,  an  en  quad,  three-,  four-,  and  five-em  spaces,  and  a  hair- 
space.  Tlie  em  quad  is  tlie  square  of  the  body  of  the  type: 
that  is,  it  is  just  as  wide  as  it  is  thick.  Tlie  tuo-  and  three-em 
quads  are  respccti\x'ly  two  and  three  times  as  wide  as  they  are 
thick.  An  en  quad  is  one-half  of  an  em,  a  thxee-em  space  (fre- 
quently called  a  thick-space)  is  one-third  of  an  em,  a  four-em 
space  is  one-fourth  of  an  em,  and  Vi  fivc-em  space  is  one-fifth  of 
an  em  in  tliickncss.  Tlie  hair-space  varies  in  the  number  to 
an  rm.  It  is  approximately  one  ])oint  thick  for  the  smaller 
sizes  of  ty])c  and  two  ])oints  tliick  for  the  larger  sizes.  In  ten- 
])oiut  it  is  one-ninth  of  an  em.  Fig.  5  shows  the  different  sizes 
of  (juads  and  spaces  of  ten-point  type. 

JHH     1^     ■    II     III     Mil     nil!    I!  Ill  I 

:;-riii  ^'-cin  i-ein  l',n  ;^-eiu  4-eiii  5-em  Hair- 

(juad  (Jiuid  ijiiad      Ouads.        Spacer        Spaces        Spaces  spaces 

Ero.  5. — Quads  and  Spaces  of  Ten-point  T^'pe. 


8  PRI.XTIXG 

9.  Thickness  of  Spaces. — Table  II  shows  the  actual  thick- 
ness of  all  the  \-arious  spaces  and  comlnnations  of  spaces,  ia 
sizes  from  tweh'e-point  to  si.x-point.  Be.irinnin'^r  with  a  h\-e-e:n 
space  and  runnin,Lr  down  a  column,  we  fmd  that  certain  coml)ina- 
tions  show  a  f,Tailual  increase  in  thickness.  It  is  hy  comliining 
spaces  of  different  thicknc.-ses  that  the  s])ace  between  words  is 
incre;ised  or  decreased.  It  is,  therefore,  important  that  the 
student  memorize  the  lirst  five  combinations,  as  they  are  con- 
tinually being  used  when  justifying  lines. 


T.lBLl-:  II.— TIUCKXESS  OF  SPACES 


Fraction. 
of  an  en-.. 

CV):n!.ina- 
Sixile;. 

I  2-pt. 

I  i-;jt. 

I.,-p-. 

</  -  p ". . 

8-pt, 

6-p:. 

Variation 

7.e--.veen 

Sizes. 

1 

6 

5 

2'r; 

^  1 

; 

I ;' 

I  :! 

i.^ 

I  *, 

i; 

1 

* 

4 

3 

^'l 

2I 

-i 

2 

1  ■' 

I  i 

1 
* 

1 
3 

3 

4 

3' 

,  I 

I 

2' 

:.'; 

2 

1 
■s 

2 
5 

5)  5 

4^ 

4  ■"' 

4 

3:. 

.,  1 

^■i 

27 

5 

5.  4 

;  ? 

4M-: 

4- 

,    1 

3^ 

3J-. 

2:3 

_&. 

1 

en    4,4 

6 

.  1 

5 

4 1 

4 

,  1 

3 

_i 

1     1     1 
ft-Ta 

5-  3 

('^ 

5  ^  • 

;;. 

-t  -'"' 

4;'-, 

3-?: 

37 

*i 

•4   1   a 

4.  3 

7 

('  .■"■_ 

5^ 

5  i 

4.; 

4.b 

,  1 

,5- 

;V 

3 

5 

5,  5.  5 

_  1 

1^:! 

6 

,--;^ 

T  .*' 

.  1 
■+.. 

3  •". 

_3 

2   •    1 

i.-r4 

5-  5.  4 

7-. 

7i/' 

( .  \ 

'i' 

5-. 

4^.^ 

3;''' 

1   n 

i 

3.  3 

.S 

_  1 

( ^  '^ 

'J 

.  1 

4/ 

4 

"5 

i-fi 

en,  5 

Sr 

7;".. 

7 

':;'■, 

5;! 

*f  ;  " 

,  1 

1  '  2 

3 '  "  •  3 

>.' 

s  '■- 

_  1 

^:: 

5:  :- 

5  7-. 

t  ■'> 

1   1 

l  +  i 

C".  4 

') 

S : 

7: 

f ,  .' 

f'~ 

5: 

4: 

4 

l-ri-ri 

3 '  4  ■  5 

itl 

S !'  /, 

7:: 

_  1 

(.  -*-_ 

5  '■  ' 

47 

4 

5,  ;.  5,  5 

(/l 

,S,-' 

S 

7 1 

C  r 

5:: 

4^ 

* 

1  _^  1 

en.  ,s 

10 

'->  •'■ 

S: 

_  1 

fr. 

5.: 

5 

;,  T  i 

,^  ■  5  •  5  ■   4 

I  c  -■ 

f;_,',, 

S: 

7::: 

t  * 

5^- 

5 . '  ■ 

y'j 

i^l 

3.  3-  ' 

I  : ." 

'k':. 

s  ■■' 

7-' 

'■: :' 

''.'■:. 

57 

'.  0 

i-rl 

en,  5.  5 

1':' 

w  ■ 

g 

>  ■ 

7', 

(>  '7 

5' 

.■', 

3  ^  ■ 

,^■  3-  4 

I  I 

t-.'. 

'j,- 

> ; 

_  1 

'■'  .^ 

5^ 

;  1 

?^' 

-■   -.   -.  ,^ 

I  1  ', 

i;   * 

',■ 

X  - 

7 ;, 

t,  '. 

5:i 

■  * 

i  -r  ■  —  i 

i-n.  ",  .i 

I  I  i 

[  Z  3 

>i  ■ 

7.: 

f ,  .•  7 

5:' 

::    *-  ;  -  - 

{■m 

I  I  ' 

I  I 

I  z 

--- 

.s 

' '  7  " 

,^ 

cm 

'• 

I 

TVl'K,   STACKS,   AND    l.I.ADS  g 

10,  The  Three-point  Space  of  Eight-point.  By  reference 
to  Table  II  it  will  be  seen  that  the  en  cjuad  of  eic;hl-point  is 
four  points  thick  and  the  four-em  space  two  points  thick. 
Typefounders  are  now  casting  an  eight-point  space  that  is 
three  points  thick.  This  size  is  midway  between  the  en  quad 
and  the  four-em  space.  It  is  extremely  useful  in  tabular  mat- 
ter, as  all  columns  can  be  made  up  to  multiples  of  })oints.  In 
columns  of  ])ica  widths  the  lines  become  self-justifying;  i.e., 
always  take  a  certain  number  of  figures  and  certain  even  si)aces 
to  till  the  line.  For  example,  suppose  a  table  with  columns 
two  picas  wide,  four  tigures  in  each  column.  An  en  cjuad 
each  side  of  the  figures  will  just  till  the  measure.  If  there  are 
six  figures  in  a  column  and  the  column  is  three  picas  wide, 
twelve  points  will  be  required  to  liU  tlie  measure.  Four  three- 
point  spaces,  two  on  each  side  of  the  figures,  will  make  up  the 
recjuired  tweh'e  ])oints.  If  the  measure  is  two  and  one-half 
picas  wide,  one  three-point  space  on  each  side  of  the  six  figures 
will  justify  the  line. 

11.  Point-thick  Spaces. — A  sur\ey  of  Talkie  II  also  reveals 
the  fact  that  certain  spaces  are  exact  multiples  of  points  in 
thickness.  That  is,  some  are  one  jioint  thick,  some  two  ])oints, 
some  three  ])oints,  etc.  These  spaces  can  frequently  be  used 
when  justifying  one  size  of  t}'pe  with  another.  Fig.  6  illus- 
trates the  method. 

yCi-.-.r  .i-em  space  of  twelve-jjoint. 

DlT  WILLIAM  J.  SMITH 

N  !  -A-'j  .5-e;ri  S]):ices  ot  s:x-p'j;:il. 

Fig.  6. — Showing  Method  of  Justifying  T3-i)e  by  the  Use  of  Point-thick 

Spaces. 

12.  Point-line. — Tk-fore  the  ad\-ent  of  the  point  system, 
tvpe  sizes  were  not  e\-en  multiples  of  eacli  other.  If  it  v.as 
desired  to  justilA'  one  size  of  l\'pe  willi  another  it  ^vas  some- 
times nect'>sar\'  to  use  cardboard  or  thick  paper  as  well  as  leads. 


lo  ]'Ri\ri.\(; 

Nowadays,  all  sizes  are  multiples  of  each  other,  and  can  readily 
he  justified  hy  the  u>e  of  materials  based  on  points.  Moreover, 
the  face  of  type  is  cast  in  such  position  on  the  hody  that  it  can 
l)e  lined  up  by  tlie  use  of  maierial  Inised  on  points.  This  is 
known  as  poiiil-liiic. 

13.  Point-set.  -  One  ty])efoundr}-  made  the  e.\])erimenl  of 
caslin,!^  tvpe  so  that  eacli  letter  or  cliaratler  was  some  nuillii)le 
of  a  point,  the  idea  bein<j;  that  after  the  line  was  compo>ed  a 
certain  number  of  ])(MiU:-  in  thiclxiiess  would  be  necessar\-  to  fill 
the  line.  The  s])aces  ^\■ere  cast  in  multiples  of  [)oints  so  as 
to  readily  till  tlie  line.  This  plan  was  an  excellent  one  so  lon,!^  as 
the  type  was  new,  but  just  as  soon  as  the  t\pe  .t^ot  dirty  the  lines 
were  no  longer  self-just ifyini/;.  Tlie  i\lon()ty])e  S\'stem  is  based 
on  a  unit  system,  but.  it  is  a  ])erfect  success  because  the  com- 
posed t}-})e  is  always  new. 

14.  Legibility.  One  of  the  essential  thin,y;s  in  ])rinted 
matter  is  that  it  be  lei^ib'le.  This  re(|uires  that  the  space 
between  words  l)e  moditie(l  to  suit  certain  conditions.  Widelv 
leaded  matter  re(|uii"es  more  s])ace  between  \\'ords  than  solid 
matter.  When  matter  is  opened  uj)  between  lines  by  the  inser- 
tion of  stri])S  of  metal,  Cidlinl  leads,  il  is  said  to  be  leaded.  When 
the  leads  are  omillcvl  tlie  matter  is  said,  to  l)e  solid. 

If  strai,L!;lit  matter,  either  solid  or  >in.ii;le-leaded,  is  beiitii;  >et , 
three-em  S])aces  should  be  ])ut  l)etween  words:  if  tlie  matter 
is  double-h'aded,  en  (|uads  should  be  used  belwet'n  ^\•or(h. 
To  ha\-e  much  s])ac(.'  bi'tween  liiU'S  and  \-er\'  little  1)etwei'n 
words  makes  the  line'  look  like  a  >ti-eak  across  the  paLje.  When 
setlin,L!;  (lis])la\'  lines,  or  lino  that  stanri  alone,  the  space  be- 
tween words  sh(/uld  be  i;;o\'eriie(l  b\-  the  width  of  1  lu'  t\-i)e  face. 
Ikxtended  l\'pe  reijuire-  wider  .-paciu'j;  ikian  condt'nsed  t  \-pe. 
Lines  in  ca]>ilah  re(|uire  widei-  >pa(  iiiu  than  th()>e  in  lower- 
case. In  f;iel,  e\  i'|-y  line  >hould  be  si)aced  with  the  idea  of 
rendering!,-  it   le'_;-ible. 

15.  Leading.  When  .-etliiiL;:  leaded  mat  1  er  alwaxs  put  the 
lead-  ill  while  -etkniL:.  If  tin-  mailer  i-  beim:;  set  in  ;i  wide 
measure  and  there  are  no  lead>  wick'  enough  for  the  ]>urpo>e,  it 


TYPE,   SPACES,    AND   EIvVDS  II 

becomes  necessary  to  double-up  leads — that  is,  to  use  two  pieces 
that  will  just  fill  the  measure.  In  doing  this  do  not  use  pieces 
of  equal  length;  if  this  is  done,  the  halves  of  the  jol)  may  slide 
on  one  another.  The  })roper  way  is  to  use  a  long  and  a  short 
piece,  alternating  them  in  the  stick  as  in  Fig.  7. 


EiG.  7. — The  Proper  A\'ay  to  Double-up  Leads. 

If  compelled  to  double-up  leads,  do  not  take  from  the  lead- 
rack  all  the  leads  there  are  of  any  one  size.  Remember  that 
various  combinations  of  sizes  will  equal  the  length  that  you  need. 
Do  not  rob  the  lead-rack;  you  may  need  the  material  on  your 
next  job. 

16.  Linotype  Slugs  as  Spacing  Material. — If  linotype  slugs 
are  used  as  spacing  material,  be  careful  not  to  place  the  side 
with  the  ribs  on  against  the  type,  or  the  type  will  be  loose  and 
drop  out. 

QUESTIONS  ON  CHAPTER  I 

1.  Why  are  lower-case  letters  scallered  about  the  case  instead  of  being 
placed  in  alphabetical  order  ? 

2.  Name  a  sentence  containinjj;  e\-cry  letter  in  the  English  alphabet. 

3.  How  can  you  differentiate  between  /;  and  d,  and  between  p  and  q  ? 

4.  What  is  a  ligature  ?     Why  is  it  necessary  to  have  them  ? 

5.  What  is  a  kerned  letter  ? 

6.  What  is  the  Point  System  ? 

7.  Who  invented  the  Point  System  ? 

8.  Hx)w  many  years  elapsed  before  the  Point  System  was  tmally 
adopted  ? 

9.  ^\'hat  decimal  jKirt  of  an  inch  is  one  point  ? 

10.  How  many  [)icas  to  one  inch  (approximately)? 

11.  How  many  picas  to  one  foot  fapproximatel_\')? 

12.  Name  the  type  sizes  under  the  old  system  that  correspond  with 
the  point  sizes  of  the  new  system,  beginning  with  5-point  and  ending  with 
i2-point. 

13.  What  is  an  em  quad  ? 


12  PRIXTIXG 

I ;.  TIow  do  \vc  measure  composed  tyj^e  -' 

15.  What  size  em  is  used  as  a  unil  for  measurement  of  lent^th  ? 
lO.   What  is  labor-sa\inf  material  'i 

\.~.  Name  the  different  sizes  of  spaces  that  accompany  the  average 
font  of  type. 

18.   What  is  a  thick-s[)ace  ? 

i;;.   How  many  sizes  of  (juads  accompany  a  font  of  12-point  type  ? 

20.  I-'igure  out  the  actual  thickness,  in  points,  of  the  following  spaces: 
a  three-em  space  of  ij-;)oint;  two  l"i\-e-em  spaces  of  lo-point;  an  en  rjuad 
(if  S-point;    two  three-em  spaces  of  ()-point. 

21.  Which  is  the  thicker,  an  en  rjuad  and  a  three-em  space  of  12-point 
or  an  en  ((uad  and  two  li\-e-em  spaces  of  10-point  ? 

22.  If  \-ou  needed  an  en  (juad  of  tlie  size  of  t_\'pe  \"0U  were  setting,  and 
tlu're  was  none  in  the  case,  \\'hat  combination  of  spaces  would  you  sub- 
stitute ? 

23.  I'lxplain  the  ach'antages  of  ha\dng  an  S-point  three-point  space 
instead  of  the  ordinary  thick-space. 

24.  What  do  you  imderstand  b_\-  "  point-line  ''  ? 

25.  I'.xplain  '■  point-set." 

26.  I'".xplain  '■  legibility  "  as  applied  to  composed  type,  and  tell  what 
we  should  do  to  conser\'e  it. 

27.  l'',xplain  '■  leaded  matter  '"  and    "  solid  matter." 
I'iy.  How  should  leads  be  placed  when  doubling-up  ? 


CHAPTER  II 

COMPOSITIOX— SKTTIXG  PLAIN  MATTER 

17.  Making  up  a  Stick.— Having   learned   the   lay   of   the 

case  and  the  fundamental  principles  of  spacing  and  leading,  the 
student  is  now  prepared  to  take  up  the  actual  setting  of  type. 
The  first  step  is  to  set  the  stick  to  a  measure.  This  is  technically 
known  as  7naking  up  a  stick. 

Several  different  kinds  of   composing-sticks  are  illustrated 
in  Fig.  8.     If  one  of  the  graduated  kinds  is  used,  it  is  simply 


The  first  composing-sticks  were  one-measure,  and  made  of  wood.  The  illustra- 
tirjH  shows  a  stick  about  four  hundreii  years  old,  now  in  the  Typographic  Library 
and  -Museum  in  Jersey  City. 


Yankee. 


I 


Standard. 


Fig.  S. — Compu.~ing-sticks. 
13 


14 


T'RIMIXO 


necessary  to  set  the  measure  desired  to  the  size  indicated  on  the 
stick  and  clamp  the  knee  in  position.  If  the  stick  Ije  one  of 
the  older  forms,  and  not  j.'-raduated,  it  is  necessary  to  make  it 
up  to  some  ahsolute  unit.  Students  are  i)rone  to  ])ick  u])  leads, 
rules,  furniture,  or  whalewr  may  be  at  hand,  and  use  them  as 
units  of  lenfi;th  for  makin<r  up  the  slick.     This  is  a  \-ery  un- 


thin  paper 
Vie.  Q. — Proper  Method  (jf  Makinir  Up  a  Xon-^^raduated  Composinj^-stick. 


certain  method,  anrl  should  not  be  allowed.  The  iK'st  method 
is  to  use  capital  letters  of  some  twenty-four-point  or  thirty-six- 
point  t}7)e,  ])lacin,L{  then~i  bodywise  in  the  stick  (see  Fi(£.  oi,  and 
insertin,<i;  a  ])iece  of  ////;?  paper  at  the  end  of  the  line  so  that  if 
leads  are  used  thev  will  not  bind. 


I''i(,.   [o. — A  Set  (if  ('oiiipii^inL,'  rules. 

i8.  The  Composing-rule.     .\<it  i<alnio<t  im])o^sible  to  set 
one  line  ol   t\pe  (in   In])  ol   anollicr  in  a  C()m])(i>iii^-st  ic  k,  ((nn- 


SETTINC.   PLATN   MATTER  1 5 

])ositors  provide  themselves  with  composiiii^-rules,  shown  in 
Fig.  lo.  These  may  be  purchased  in  sets,  varyini^  in  len<^th 
from  four  to  fort}'-live  j^icas.  'Hicy  are  ])rovided  with  Uttle 
ears  at  each  end  so  as  to  ])e  readily  lifted  out  of  the  stick  after 
each  line  is  set. 

lujually  efficient  ones  ntay  be  made  from  odds  and  ends  of 
discarded  brass  rule  by  cutting  and  tiling  to  the  forms  shown  in 
Fig.  ir. 


Fk;.  II. — Coniposing-rulcs  Made  from  Brass  Rule. 

Tire  form  shown  at  (/;)  is  more  easih'  removed  from  the  stick, 
but  cannot  be  used  in  sizes  much  below  nine  ems  of  pica. 

19.  Setting  Type. — With  the  copy  on  the  stand  before  him, 
and  with  his  slick  and  rule  in  hand,  the  student  should  read  his 
copy  carefully,  noting  jiarticularly  the  capitalization,  spelling, 
and  i)unctuation.  Read  a  few  words  at  a  time,  and  set  up  the 
letters  in  proper  order,  beginning  at  the  left-hand  side  of  the 
stick.  Ty])e  is  to  be  set  nick  up  in  the  stick.  When  setting 
ty{)e  look  at  the  lelttM"  as  it  lies  in  the  case,  noting  the  ])Osition 
()f  the  nick,  and  in  j)icking  it  u])  turn  it  so  that  it  comes  nick  up 
in  the  stick.  Do  not  look  at  the  Idler  after  you  have  pieked  it  up, 
but  look  for  the  nick  of  the  next  letter  while  }'()u  are  placing 
the  iirst  one  in  llie  stick.  (''ulli\'aLe  this  habit  from  the  start, 
for  on  it  dei)ends  \-our  future  si)eed  as  a  typesetter.  No  atten- 
tion need  be  ])aid  to  ])lacing  spaces  and  quads  nick  up.  Some 
spaces  are  cast  without  nicks. 

In  order  to  keep  the  iiiu  under  ])erfect  control  while  being 
com]-)Osed,  the  thumb  of  the;  left  hand  is  always  held  against 
the  last  letter  of  the  nne  (Fig,  a?.),  the  end  of  tlie  tluimb  being 
slightly  raised  as  eacli  letter  is  put  into  the  stick.      If  the  ty|3e 


]') 


I'ki.X]  i.\(i 


i?  lic'iii.e:  >et  solid  (^r  sin.crlc-lcaded.  u<c  a  3-em  space  between  the 
v."(ir(!-.  Continue  setliii.L^  uiilil  \'ou  ha\-e  jijaced  in  ilu-  line  all 
the  words  po-.-ilde.  If  the  final  word  on  the  line  camiot  he 
gotten  in,  and  it  i>  a  word  of  niorc  than  one  .-x'llalik'.  it  ma\'  he 
di\-ided.  If  the  lino  doe.-  not  e.xat  tl\-  fill  the  mea-ure,  it  i<  nec- 
essary to  increa-e  tlie  .-iKicin.ii;  hetweeii  \\-orfl--  until  the  line  is 
ti,L:ht  enou,L!:h  to  >tand  alor.e  wlien  i)U>hed  ujj  from  the  bottom  of 
the  stick.  Tin-  is  called /».v//'"v/;/;'  the  line.  Pjofore  doin'_r  thi-. 
liowex'er.  tlu-  line  ^h(luld  lie  read  for  error-,  aiu!  ;;ny  found  cor- 
rected.    At  tlu-  .-anu'  time  the  thumb  shouh!  be  ])assed  a  few 


\\<..   I.:.— c;,,rrr^i    Wky  .,1    Il./dii.-  ( ^,nv.M-inl:-^til■k    in  the    H;ai'l    W  !iil 


time-  a(  ro--  the  bod}'  of  the  I\"jie  to  a.-terl;dn  if  tx'jie  of  a  laru'er 
or  -nadler  -i/e  !ia-  heen  Jiiaced  ill  the  iiue. 

20.  Justifying  a  Line.  .\i:vv  .,11  ourrection-  are  made  the 
line  >houid  i)e  -j);aed  to  nil  llu;  n:ea-ure.  Ivn  ery  Hne  mu-t  he 
accurately  -pciced.  If  oiu-  line  i-  lom^'er  than  the  riz-l.  il  will 
1  'ar  off  ;h.'  furiulure  u-ed  in  io-bxinLi  uy  the  form,  ciiid  l!ie  t\"i)e 
will  lie  liio-f.  in  '.',hi(  !i  ewni  il  -.'.iii  droy  out.  or.  wor-e  >till.  \'.ill 
jiuil  out  on  the  Jire--  and  e,;U-e  -nme  damaye.  .Ice/^;-,;//  ,/;;,./ 
i!}::\o->;:  /'..v/;:;'  ;'-  .;'''  e/;//./'.'  i  <i:l!'i!.  Wlieii  ju-tifyiny.  the 
e.\;  -ert   (  1  ani  ^  i-it  or  iioi  i  -  h.  iv. 


]{■.    .:  no.    1  ri  '111    e\i  lerieia  e 


(  n    -i  >aee   i-   reyuirei  I    to   hii    I  lie 
",  -   liow   nnuh   to   out    hetweeii 


sirnixc  I'LAix  M.vrriiR  17 

words.  The  sludenl  can  ai.(|iiiri'  the  same  skill  by  measurin<^ 
liow  niurh  ihe  line  is  short,  then  count  iii,<i;  the  number  of  places 
re(|uirinL;'  s])aces,  and  putting  in  cnou.idi  to  till  the  line.  For 
example,  suppose  thai  a  line  is  short  ■'a])parently  two  cms. 
W'l'  iiiea.sure  the  space  A\ith  a  two- em  (piad  and  hnd  that  it 
iu>t  fills  the  line.  We  then  count  the  number  of  })laces  between 
words  and  tind  that  we  ha\(.'  ten  ])laces.  The  ten  spaces  must 
I)e  increased  ])V  a.  total  amount  cfjual  to  a  two-em  quad.  A 
t'i\e-em  s])ace  is  one-lifth  of  an  em.  Ten  hve-enr  spaces  equal 
two  ems.  Therefore.'  one  ti\-e-em  si)ace  added  to  each  space  in 
tlu'  line  will  just  till  the  measure.  A,<2;ain,  suppose  that  the  line 
onl}"  lacks  one-half  or  one-third  of  an  em  of  being  full.  In  this 
e\-ent,  we  must  tind  some  (.ombination  of  thin  spaces  that  we 
ma}'  substitute  for  tlie  tlu"ee-em  spaces  ordinarily  used  between 
words.  We  look  along  the  line  and  note  where  the  combination 
of  two  tall,  straight  letters  come  together  in  the  line.  This  is 
where  we  should  always  begin  to  increase  the  spacing  in  the 
line. 

21.  Uniform  Spacing.-df  a  line  has  spaces  of  uniform  thick- 
ness between  word^.  it  will  not  api)ear  to  be  unih)rmly  spaced. 
If  it  contains  words  i)eginni!ig  or  ending  in  tall,  straight  letters, 
there  will  ap[)e:;r  to  be  les>  space  Isetween  them  than  between 
rounded  letters  like  o,  c,  and  e,  or  after  slo])ing  letters  like  v, 
y.  w.  or  a  comina.  it  -^houkl  aluiixs  be  our  ol>ject  to  make  the 
line  iippfiir  uiiiformK  s])aced.  To  ;iccomph.~h  this  we  should, 
if  possil)le,  ha\e  a.  little  more  -pace  between  the  high  letters 
lh;in  at  other  ]>l:Kes.  Tlie  ru.le,  thereh)re,  is:  '"//  necessary  to 
inerrdse  spiid/!'^  lo  ',■'//  (/  lim'.  do  so  l>v  incrrasiiii^  tlie  space  along- 
>idr  of  slraiiih!  hitirs-  n  lu'crw^uirv  to  decrease  the  space  to  get  a 
irord  i)i  a  Ii}ic.  decretive  the  ■<pace  alter  sloping  letters  or  betiveoi 
rounded  letters."  Of  coui'se,  if  nec'essar}-  to  increase  or  decrease 
at  e\-er\-  place  througiKuit  t!ie  line,  we  must  do  so,  but  in  doing 
so  we  must  endea\-or  to  iia\-(   the  spacing  appear  uniform. 

22.  Rules  for  Spacing.  We  siiould  endeavor  at  all  times 
to  h.ive  t'nougli  wdrd-  in  t  lie  i;>t  iiiie  of  a  paragraph  to  more  than 
coxir  the  iiuleiition  of  liie  n.e\i  i)aragra])li.      If  tlu>  last  line  of  a 


iS  i'ki.\'i"i\(; 

]);irau;r;i])]i  lacks  one  cm  of  l)einij;  full,  sjkicc  the  Im  ■  to  full  Icn^t^lh 
Xcx'cr  ha\c  less  than  one  cm  as  a  Mauk  or  ([uad  Hue  at  the  eiul 
ol  a  |)ara,Li;ra|)h.  if  llu-  la-t  line  of  a  i)ara,L!;ra])h  is  short  one  en.i 
or  more,  do  nol  s])acc  il  out  lo  full  Icn^lh;  l\v.'  ])ar;'.,^ra])h  will 
he  juore  disliiict  if  the  line  i^  >hort.  IIo\vc\er,  do  not  sacrilice 
the  appearance  of  the  >pacinL:;  in  order  to  make  a  line  shorter 
If  pos>il)le,  ha\e  the  >pace  I'clwi'en  words  in  the  last  line  of  a 
l)ara,L,M"a])h  the  .-:jrie  as  in  the  line  ])recedin,Li;  it. 

When  >pacin,ij;  a  line  eudeax'or  to  hax'i'  e(iual  sjjace  each  side 
of  small  words. 

I'ut  a  thin  space  (usually  a  ti\e-em  space)  before  a  colon, 
a  semit'olon.  an  interrogation  mark,  and  an  exclamation  mark. 
riacc  an  en  (piad  alter  these  marks  if  they  occur  in  a  sentence. 
If  the  interrogation  mark  or  the  exclamation  mark  ends  a 
sentence,  ])hu'e  an  em  (|uad  after  it. 

In  all  line>  of  ty])e  that  contain  fjuads  and  spaces,  ])lace 
the  spaces  alonii;>i(K'  of  the  ty])e,  where  the\'  mav  readik-  he 
found.  St'att  I'rinij;  s])aces  amonu  the  (|uads  in  a  line  is  a  fruitful 
soiu'ce  of  dirl\'  (piaddjoxes. 

While  >pacinLi:  i>  :ni  t'xlremel}-  important  matter,  and  ma\" 
make  or  mar  the  printed  ]yd'j:c,  it  is  in;i(l\isal)!e  to  !i'a\t'  out 
marks  of  punctuation  oi  to  make  imjiroper  di\  isions  of  words 
to  obtain  uniform  -paeiuL;'. 

23.  Emptying  the  Stick.  Continut'  >ettin,u  until  the  -tick 
i-  neai'ly  tilled  with  t\'])e  Place  the  coniposin^^-rule  between 
the  bottom  of  the  niattei"  and  the  <tick,  and  ha\"e  a  lead  or  two 
at  the  top.  -o  a-  lo  obtain  a  tiriii  ^rip  on  the  matter  I'lace  tlu' 
<tiek  on  the  ca-e  i'V  on  a  u'adlex'  and  remoNi'  the  t\'pe  with  a 
rolliuLi;  motion.  1"\<j:.  i  :;  il!u>trate<  thi-  better  than  words  can 
de-criiie  it .  ( 'a!\-  mu<1  1k'  taken  I  o  place  t  he  ball-  -f  1  he  thumbs, 
and  not  t  he  1  ip-.  at  t  he  1  op  of  t  he  1  \-pe  or  t  he  mat  t  er  wilU'rumple 
up  and  LHi  to  '  |)i.'"  .\<  the  matter  i-  wilhdi'awn  Irom  the  bot- 
tom of  the  -1  ii  k.  ;:raduall\'  -lide  the  balb  of  the  t  hunibs  down  on 
the  t\pe,  thu-  oblaiiiiiiL;-  a  In-nier  hold,  ;.t  th  ■  -ame  time  phuini^ 
the  MiidiJIe  liUL^'er  1  ea.  h  hand  lirmU'  a^'aiu-t  the  end-  of  the 
mat!t-r.      P.    .  "l    I'liii^hii  'hi-  :':■  I.:  lo  rfiuaif  llu  liiu^. 


SK'rrixo  I'l.Aix  mattiir 


19 


24,  How  to  Use  the  Galley. -  Ha\in,fr   removed   the   [\pe 
from  the  stick,  ])hu-e  it  on  the  galley  as  sliown  in  Vh:.  14.    Xexcr 


Fig.  13. — Emptying  a  Stickful  of  Type. 

place  it  on  a  galle\-  in  an}-  other  way.     Always  stand  as  shown 
in  Fig.  15  when  correcting  or  making  up  a  job. 


Fig.  14. — Prui)cr  W;  y  to  rhice  a  Job  on  a  Galley, 

25.  Tying  up  a  Job. — When  ilie  t}-pe  is  set  anci  placed 
on  the  galley,  the  next  step  is  to  tie  u])  the  jol).  The  \ery  best 
cord  for  this  purpose  is  that  known  to  the  twine  trade  as  Seine 
No.  12  When  t\ing  u])  a  job,  begin  at  the  upper  left-hand 
corner,  and,  holding  about  one-half  inch  of  the  cord  between 
the  thumb  and  index-tinL'er  of  the  left  hand,  pass  the  cord  once 


PRlMlXc; 


ardund  the  jol)  and  ( 
10  ((/J.     This  will  Ik 


>!>.-  llu-  cord  (ALT  ihi'  fir^t  lax't-r  as  in  Fiiz. 
d  it   la-l   to  till-  ronirr.      W'inil  on  two  or 


1    -''X 


-^- 


>  -       "^^^^0^:'::  /'Y 


Fig.  15. — Currd  W":;}-  to  Work  at  thu  C()ir,{)o>ini:-.-tand. 


Li"  p  t-ii  !;■■■!  '  ■ 


M/(.'d 


Fi 


Il^..v  ::    r 


lie  Tu-.i  Up. 


tlircr  i;iyrr-.   then   iiiov-c  tlu- 
cr.ilk-y  and.  ;  i';-!;   iln-  ~;  ririL^  di 
liillx"       Cnn;  uvw  windinL:  nnl : 


[1  a\\";!\-  from  the  corntT  of  the 
.'M  I  in  tin-  t  \-iic.  1  >i  I  1  hi-  r.irr- 
i;\"f  or  -i\  la\\-r-  haw  hern  ]iut 


SKTTIXC;    PLAIN"    .MATIER 


21 


on.  If  the  coni  is  of  sullRicnl  Ifiii^^lh,  finish  the  windinij;  at  che 
u])])er  ri,^ht-hcin(l  corner,  and  luck  it  in.  as  ^hown  in  ¥\<^.  i()  (/;). 
keep  a  lirni  hold  on  tlie  joh  wliile  lyinL(  it  u]),  and  be  sure  tliat 
tiie  cord  is  taut  a1   all  times.     ])o  not  cro-s  one  kiver  of  cord 


Fig.  17.— .Su-.w-i'ii-  IIuw  a  Bulky  Job  Shi  uld  He  Plamlled. 

over  the  other,  as  it   will  catch   under  the  other  lawyers  when 
kein'j;  remo\'ed  and  \-ery  likei\-  put  the  job  ''off  its  feet."' 

li  the  job  is  too  k.ulk\-  to  be  ])U>hed  away  from  the  corner  of 
the  .L^alley  while  bein.LT  tied,  it  should  t)e  arranu^d  as  shown  in 
Fig.  17,  using  two-em  furniture  turned  sidewise. 


QUI•.'^^TI()X.S  OX  CIIAPTi: t<  II 

1.  What  is  a  composing-tick  :•'     How  siioukl  it  l.c-  lick]  in  the  hand? 

2.  How  siioulii  a  com[)(wiivz--tick  \>v  set  to  measure? 

3.  What  is  a  eomposin.ir-rule  ?      \\h_\-  i.-.  it  neeessar\-  to  use  one  ? 

4.  W  liat  is  the  ])urpo.-e  of  liaxiiiL:  a  '■  nick  "  on  one  side  of  a  t\-pe  ? 

5.  How  siloulij  tx-pe  he  plared  in  the  stick  ? 

(>.  ^\"hat  r-peeial  hakit  should  you  cultivate  as  an  aid  to  rapid   lv[)e- 

settin     ':' 

7.   What  name  is  Ld\x'n  to  tlie  act  of  spaeini:  a  line  to  full  len-ah  '^ 

S.   Wliat   metliod  Ivdvc  \du    foi-  d(;ter;iiiiii:i;  w  luu    a   line  is  aeeuratvh. 

set    '-0  I  he  measui'e  ■' 


i'KL\  ri.xc; 


().  \\'hat  trouljlc  is  apt  to  he  causcc'  if  one  line  is  lonf^cr  tjian  its  neif^h- 
hors? 

t:„  W'lial  nictiiod  lia\c  _\ou  for  tletcrniinini,'  how  much  additional  space 
to  put  hetwi'cn  words  when  you  arc  justif_\i'i,L;  a  line  '•' 

I  [.  If  you  were  settiiii;  douhle  lea(k:d  oi"  triple  leaded  matter  would  >()U 
use  a  siuLjle  thick  space  hi'twecn  words?     (ii\'e  ri-asous  for  \'our  answer. 

[2.  Should  woids  that  stand  alone  on  a  paire  ha\'e  more  or  less  space 
lutwecn  them  than  when  run  in  with  other  matter? 

1,^.   Why  is  accurate  spacinii  more  desirable  than  uniform  spacinfi;  ? 

14.   \\'h\-  is  accurate  justification  so  essential  ? 

15     How   should  a  stick  he  emi)tied  ? 

iti.  i)escril)e  how  you  would  proceed  to  tie  up  a  medium-si/e  T)a^'e. 
If  the  pa<i;e  \wre  a  lar^'e  imv  how  would  you  [)rocee(i  ? 


CIIAPTKR  ITT 

TAKING  A  PROOF,  CORRKCriNG    THE  JOB,  AND  RETURNING 
'I  \PI':  TO  CASE 

26.  Placing  a  Job  on  the  Stone.  It  is  ()l)vious  tluit  if  any 
grit  should  get  beneath  the  iy\^v  it  will  cause  it  to  punch  through 
the  paper  when  pulling  a  proof.  l%\'ery  effort  should  be  made 
to  ])revent  such  an  occurrence.  Before  sliding  the  type  from 
the  gallev  to  the  stone,  be  sure  that  the  stone  is  clean. 

27.  Pulling  a  Proof.  -  Ik'fore  pulling  a  proof,  the  job  should 
be  made  level  by  tlie  use  of  the  for))i-plaiier  (I'^ig.  18),  which  is 
])laced  on  the  job  and  gi\-en  a  few  light  ta})s  with  a  mallet. 
Ink  the  job  with  a  hand-roller  or  brayer,  being  careful  not  to 
have  too  much  ink  on  the  roller.  Then  take  a  sheet  of  ])roof- 
pai)er,*  hold  it  at  diametrically  opposite  corners,  allowing 
it  to  sag  slightly  in  the  middle,  and  place  it  carefull}-  on  the  job. 
Do  this  bv  allowing  the  middle  to  touch  the  form  hrst,  gradualh' 
lowering  the  corners.  Do  not  let  the  paper  sli])  or  drag  o\er 
the  form,  or  the  sheet  will  be  smeared.  Now  take  the  proof- 
planer  (whicii  IS  the  same  as  i  i"orm-])laner,  but  with  the  face 
co\-ered  with  1  \Q  v.\  the  left  hand,  ])lace  it  s/iadily  and  _//;;;//y, 
face  down^  y,n  ih '  ]);iper,  and  strike  it  a  fairK"  shar])  ta^)  with  the 
mallet.  Raist  liie  proof-planer  slow  ly  and  with  a  tilting  motit)n. 
and  mo\'e  it  t  a  new  position,  (io  ox'er  the  job  in  this  way  until 
e\-er_\'  ])art  has  been  imiiressed  on  the  pa])er.  \\"hether  or  not 
the  ])ro()f  is  likely  to  be  a  good  one  can  be  judged  from  the  im- 
])ression  in  the  ])aper.  If  it  ai)pears  weak  at  any  ])oint,  go  o\'er 
that  part  again.  Remove  the  sheet  by  raising  it  at  opjxjsite 
corners. 

*  A  paper  known  as  Errnck  Eolio  is  froqnonlly  used,  tliouc;]i  tlie  author 
prefers  "  Dry  Proof  l'a[K'r."  Tlu'  laller  lias  a  ,ij;loss\-  side  that  is  espceiall) 
adaj)te(-l  for  llie  work. 

23 


-H 


I'lMX!  i\(; 


The  sccrcl  of  (il)(,i!!un;i  :i  ,ir<)<)i!  Iic:i1ct!  iiroof  i-  in  tin-  manner 
of  ;)i;uinL'  ilu-  nroof-plancr  on  iIm-  form,  anil  in  !"cn!o\inL:;  ii 
If  llie  phuK-r  -lii!(_>,  -iij)-.  or  juinj).-  wiun  it  i~  -tiaicis.  ii  i-  a])t 
to  mo\X'  tlic  ])aii(;r  and  -Doii  th-  jironi.  Iloiil  it  dowai  iirinlw 
If  it  in  rai-rd  .-iidijrniy  lo  n;o\'c  i'  to  a  ni-\'.-  po-ilion.  it  will 
create  a  suctioai  and  rai-e  liie  oaon-  o-ora  the  t\'])e,  lim-  -poilinLr 
the  ])r()of.     Tilt  inL'  the  ]ilaner  \vh',-!i  rai-in.LT  it  helpn  to  a\-oid  t!u>. 


]■"](,.    !>.-    Ah 


ir;i.-])iari(T. 


28.  Proofs  in  Colors.  If  ;.  [iro'if  of  a  joh  h-  ref;i!irt<!  to 
be  ,-uliniitted  in  (  oiop--,  -la  h.  proof  w.wx  iie  -r(  i.red  with  (oir.- 
paratix'e  ec:>e  jir('\ided  tlieia-  i~  \a>  oxcriai :;  iha:  01  the  eoiiii--, 
Su])po-ia  for  exaniple,  t  liat  ;.  i  ir-c  ,[  ;-  it,  he  ]  )i;iled  in  t  ■.'."o  eoio'v- 
the  main  ]iod\-  of  tr;e  oi,  in  hlai  a  wi'h  a  few  loiahe-  ol  red. 
Ink  the  \'dlolt  jo[)  -.'.nil  aiaei.;  ,ai,  \\\\\\  a  (lo,.n  I'a::  \'.ij'e  oi; 
the  hiaeh  irih  fioia  lli^i-e  pa!';-  !!a.'  [.xv  to  Im-  iii  red  and.  \'d!i! 
the  aid  of  a  -aa.dl  i  ■!>  >  >    <-!   I'l  ■lio!  (  o;  ■'„,■:'  i' ,r'.  re  ':d,  I  la-;"::   .>.  i'ii 


red  ink.      II   ; 
lira!    re  i'da-d 
.d-htlv  a!.-w 


\"   (  ,,  nia  it    1  ,e   ele,.!a 


a  !  ,■>■-      Pr', ■    . 


d(,dkin 


l'R()\  IN'C,    CORRI'CTlXd,    1  )TS'lk!  lU"  TlXd 


2C 


After  the  wliole  iol)  is  ])r()i)erly  inked,  tlie  i^roof  may  he  ])ulle(l 
as  ah"ea(l_\-  expiainech 

29.  Galley-press.  Straight  niatter  i^  usually  placed  on 
U)nf^  ,^alle\  s  and  |)i(H)fs  pulled  on  a  '^dUry-prrss.  This  is  a  frame- 
worh  siiiTiiounted  l)\'  a  tlal  hed,  on  the  sides  of  which  are  raised 
tracks  on  which  rolls  a  sohd  iron  roller  co\-;;red  witli  fell.  The 
frame  contains  a  hin  or  cuphoard  for  the  accomniodation  "f 
proof-papt'r.      I''i,u'.  M). 

To  obtain  a.  proof  on  a  t:;ailey-press  the  ,u;alle\'  containing  tlie 
t^-'])e  is  placed  on  tlie  !lat  ])vi.\.  the  type  is  inked  with  a  bra}'er. 


4: 


a  >h.eet  of  paper  is  ])laced  on  the  t>'[)e,  and  the  roller  is  run  o\'er 
the  face  (^\  the  t\-pe.  Owin^  to  the  fact  that  the  roller  fre- 
quentl}-  spui'c/es  the  t\-]>e  into  the  i)a])er,  the  ])a])er  is  apt.  to 
shp  o\er  the  face  of  the  t\'pe  and  sinear  the  ])roof.  This  can 
be  ax'oided  1)\'  holding  the  ]);i])er  tiLrlitly  a!j:ainst  the  roUer  and 
roUing  Uirr;-i  {(\La'tlier  ox'er  the  face  of  tlie  ty])e.  Care  shouhi  he 
taken  to  see  tliat  the  galle\'  lias  i^ot  toc^  tlu'ck  a  l)ottom,  for  if 
tlie  impre->!on  is  loo  kea\-\'  there  is  no  wax'  of  altering  it. 
Il  tlu'  !ir,])i-es-jon  is  loo  ligfit^  a  thin  ciirdhoardi  or  a  s.ieet  or  two 
of  ni;;niia  jiajxT  ur,;La-  tfie  galle_\-  will  correct  ihe  fault.  The 
'■ri_-:-  !-  inleiTcu-'d  ...iil\'  for    ':;!Lys  of  tx'jte.  not  for  small  jobs, 


;6 


PRIXTIXG 


30.  Press-proofs. — In  Idvjc  offices  proofs  of  jobs  are  usuallv 
pulled  0,1  prooj-pns^t  s  'J'h^re  ai\,  mail}'  (le\'ice-'  lor  this  pur- 
])ose.  Soire  are  \v(a-kL-<t  on  the  j)lan  ;>!  a  cylinder  ])ress.  inkinsj; 
the  form  and  i-arr\in,iz  the  sh.et  tlirou^^li  aLUonnaicalha  In 
others,  the  funn  1.-  r;r>i    inked  and  then  the  mechaniam  set  in 


111..  JO. —  \\'a.-i!in'jaMi  II. mi^.  ,irr-~. 


iniitii.n  tn  ()hi:;in  the  inipres-ion.  \\'p.en  joii.~  are  too  lanre  to  ,'j:>. 
on  a  ],rooi'-;  ire-~,  iIha'  .,re  jika  ed  on  tlie  .-lone  and  ]a-o<)f-  healen 
off  with  a  proof-])!..  I. el".  \\  lien  jiroxiiiL:;  i.oi,k  forir,-.  where  llie 
p;  I'e-  ;.re  i:.id  ill  ]i:.;'V-,  ll;e  t 'a  o  p>-.,L:e.-  wiiich  are  h.iek  to  havk 
.-lioiild  he  iiro\a-d  oil  olie  .-heel,  and  the  >heets  illen  folded  into 
l'(.ok  form. 


rRCVlXG.    CORRKCTIXC,    DISTRI  P.UJ1X(;  ' 


-/ 


31.  The  Washington  Hand-press. — Tliis  is  u  familiar  type 
of  ])roof-pre.ss,  wherein  tlie  form  is  inked,  c  vererl  with  a  sheet 
of  pr()of-])a{)er,  the  t}'m[)an  lowered,  and  the  bed  mo\-ed  under 
the  impression-plaLe.  A  hand-le\er  exerts  a  downward  motion 
and  ,^i\'es  the  im])res:'ion.  The  hefl  is  tlien  wiilidrawn,  the 
tym})an  lifted,  and  the  sheet  remox'ed.     (Fi.t^'.  20.) 

32.  The  Poco  Proof-press. — This  press  consists  of  a  bed 
and  a  cx'linder  racked  to  mo\-e  in  unison.  Tlie  form  is  placed 
on  the  bed,  inked  with  a  braxxT,  a  sheet  of  proof-])a])er  placed 
on  the  form,  and  the  c\"linder  and  form  rolled  into  contact  by 


Fig.  21. — The  Poco  Proof-press. 


tln'  ai'l  of  a  cra.nk.  'I'lie  bed  need  not  Ije  returned  for  the  ne.\t 
proof,  as  it  can  be  worked  from  botli  ends.  (Fi<^.  21.)  It  desired, 
tlie  slieet  may  i)e  slipped  under  a  rod  that  acts  as  a  gripper,  and 
the  sheet  run  around  the  cx-linder. 

33.  The  Potter  Proof-press. — There  are  several  types  of 
this  press  on  tlie  market,  some  of  tliem  ha\'in'i  automatic  inking 
de\ices.  Tn  this  ])ress  th.e  cylinder  rotates  in  stationar}-  liear- 
ings,  tlie  befl  nio\ing  forward  and  backwarcb  ;is  in  an  ordinar\' 
c\"linder  ])ress.  (bippers  hold  the  slieet  to  tlK  c\"lin(ler  \\liile 
the  impres>ion  is  being  taken.  An  impression-trip  is  ])ro\-ided 
so  that  the  c\-linder  mav  lie  raised  and  the  bed  returned  to  ii.- 
original  i)o,-itii)n  without  touching  the  cx'Iinder.      (Fig.  22.) 


2S 


I'RJX'JIXG 


34.  The  Vandercook  Proof-press. — Tliis  is  an  automatic, 

self-inking,  cx-lindcr  proof-] )ress   (I'ig.  23).     The  slieet  may  be 


Fk;.  22. — The  Poller  I^-oof  press. 

laid  on  the  tyi)e  and  the  cylinder  run  oxer  it,  or  the  sheet  niay  l)e 
fed  to  the  i/rinnt'rs  on  tlie  c\'linder.     In  this  make  of  ))resslhe 


fK 


■I'he   \ 


I'liii.i  glo- 


bed 1-  ,-lHt  i()iiar\'  and  the  c\linder  roils  o\  cr  the  form  At  the 
end  of  the  >iioke  ihe  cviiiHU'i-  i>  ;iulomat  ically  raised  so  that  it 
ma\-  be  rt'luriu'd  wilhoul   Miiliim  ihv'  txanpan. 


PROVING,    CORRKCTIXC;,    DISTRIHUTIXG  29 

35.  Correcting  the  Job. — Wlicn  ;i  ,l,^oo(1  ])rool  is  secured,  it 
is  sent  to  tlie  proofreader  to  he  read,  after  whicli  it  is  returned 
to  the  compositor  for  correction.  If  tliere  are  but  few  errors, 
and  i]ie  letters  to  l)e  substituted  for  those  in  the  job  are  of  the 
same  tiiickness,  tlie  job  may  ])e  corrected  on  the  stone.  If 
they  are  not  of  the  same  thickness — and  this  is  usuaUy  the  case — 
the  job  must  l)e  p'l^iced  on  a  .^ahey,  the  string  removed,  each 
line  taken  up  again  in  the  stick,  the  error  corrected,  and  the  line 
accurately  respaced. 

If  it  is  necessar\'  to  o\-crrun  a  few  lines  in  making  corrections, 
turn  the:u  around  on  the  galley,  so  that  the  l)eginnings  of  the 


I-'k;.  J4.— -Oxirrunniim  T\-[)c. 

lines  are  away  from  tlie  edge  oi  the  galley.  It  is  then  possible 
to  take  otT  a  few  words  at  a  tin^e  from  the  beginning  of  a  line 
and  reassemble  the  matter  m  the  stick.  See  Fig.  24.  It  is 
verv  much  easier  and  quicker  to  o\'errun  maitter  in  this  way  than 
to  put  down  the  stick  and  take  up  each  line  individually. 

Another,  and  perhaps  eciually  good  way,  is  to  spread  the 
lines  out  on  a  long  g;ii!e\',  so  that  the  t}'pe  matter  reads  con- 
secuti\'elv,  being  sure  to  place  a  space  at  the  end  of  each  line 
unless  the  ki^l  woi-(l  ]i;;s  been  di\'ided,  in  which  case  the 
h\-phrn  should  be  rciiiowd.  The  matter  niay  now  be  meas- 
urcMJ  otT  wuh  the  comi'-osip.g-rule  into  line  lengths,  and  each  line 
taken  u[)  indi\-i(lualh'  and  rejustilied. 


-;0  I'Rl.Ml.W; 

Always  hold  the  stu'k  In  th.e  hand  while  S])acin,<;;  lines. 
Ne\a'r  try  to  lorrect  one  line  in  a  stiek  after  }'()U  have  started 
to  set  another.  Uonol  place  the  stick  on  the  stand  an.d  attempt 
to  pull  out  the  spaces  with  tweezers.  Hold  the  stick  in  the  hand, 
remove  the  last  letter  in  the  line  so  as  to  loosen  it,  then  proceed 
with  the  correction. 

It  is  absolutely  ini'possible  to  accurately  space  a  line  imless 
it  is  placed  in  a  stick.  Attem])ts  to  correct  jobs  on  a  galley  or 
stone  ha\'e  entailed  a  <,n-cater  loss  of  time  in  lockin_i,f  u])  than  any 
other  one  thin<i;.  If  a  sint^le  line  l)e  lon^i^er  than  its  fellows,  it 
will  ])re\ent  them  from  bein,t(  locked  ti.ghth".  K\'ery  line  should 
be  of  uniform  length.  Time  will  be  sax'ed  Ijy  doing  the  work 
right  in  the  lirst  ])lace. 

36.  Pulling  a  Revise. — After  the  job  is  corrected,  another 
proof,  called  a  rei'isr,  is  pulled.  This  is  sent  to  the  ])roof- 
reader  along  with  the  first  proof.  If  the  corrections  ha^"e  not 
all  been  made,  it  is  again  returned  to  the  compositor.  If 
the\'  have  been  pro])erly  made,  the  last  proof  is  sent  to  the 
author. 

37.  Saving  Cord  for  Future  Use. — W'lien  a  job  is  untied, 
the  cord  should  be  carefully  folded  for  future  use.  This  should 
be  done  as  illu>trated  in  l''ig.  25. 

38.  Making  Up  Pages.-  Straight  matter,  whether  it  be 
hand-set ,  monoly]  )ed,  or  liiioty])ed,  is  assembled  on  long  galleys. 
After  proofs  are  ])ulled  and  the  ty])e  corrected,  the  matter  is 
read\-  to  le  ma(U'  U])  into  i)ages.  In  this  ])r()ceed  as  follows: 
make  a  gauge  of  a  pieci'  of  cardboaid,  lead,  or  reglet  b\'  niarking 
the  exact  length  the  tyi)e-faci,'  of  the  [)age  is  to  be.  With  this 
gauge  idsl  oil  the  matter  into  ])ages,  inserting  a  small  ])iece  ot 
cardboai'd  or  lead  to  show  the  siparation  of  the  ])ages.  \n 
\W\<  WAV  go  o\er  all  the  maltcT.  I1  will  \cry  likelx'  hai)pen  that 
the  matter  dm'S  not  sep;irate  nicely  into  l)ages,  and  it  may 
'nave  to  \>c  I'cca^l  into  bellei"  form. 

'i'luTc  .ire  man\'  things  to  be  kepi  in  mind  wlu'U  making  up 
page-.  Xe\'er  ha\i'  a  single  iireak  line  a1  the  top  of  a  ])age  01 
beneath  a  cut.      If  po>-^iljle,  ne\-er  ha\i-a  paragraph  with  a  side 


PROVING,    CORRIX  riMi,    hlSTRILLriXG 


31 


Last  \vru[)  nf  I  iinilinK-l;iyi'r  looiicd  nvcr  left  iniU'X-fii 


Lodp  in  struii'i  slifipi-d  !h'     1  'h  '  i-.    'ji     In  t,'-loop 


Loop  slipi'icil  :>,r.ju  ;h  '.a  1         r    m  '      ri      1  tifchtly. 

Fic.  25.--  llhi>tratinL;  AK-iIkkI  of  'I'yiiiL;  Conl  for  I-'utun-  U.~l. 


3^  ]>RL\T1XG 

headin--  on  t!ic  i:.sl  liiic  ol  a  paL'r  -  carry  it  o\-(.'r  to  the  top  of 
1!k'  iu-\t  pai^aa  'J'ry  to  a'aoiil  b.axan'j;  hra(!in'j;<  near  the  Ixittom; 
]rc-(  jia-n;  ly  a  little  rc-arran'/ciiifiit  of  tiif  mailer  will  olniate  this. 
If  the  la-t  part  of  tlie  irailter  doe.-  not  fill  a  l)a.L'e.  1  lie  l.akmte  of 
the  |)agi'  shouhl  he  left  hlank.  If  jio-.-ihle.  haw  the  la>t  pa^e  at 
lea.-t  one-third  full  of  type.  If  tlie  cast-oij  lea\e-  hut  t\".-o  or 
three  line-  on  tiie  la.-L  ])aLre,  it  is  Ijetter  to  haxe  tlie  few  ])re\'ious 
])a^es  each  a  line  lon;^  than  to  ])Ut  the-e  few  lines  in  a  j)a,!ie  hy 
llieinsel\"e-.  If  there  is  a  runnin'^  heaal  v/ilh  a  folio,  the  folio 
should  he  placed  on  the  outsirle  of  tlie  \)V.'j.v\  i.r.,  to  tlie  left  of 
a  leftdiand  pa.^e,  to  the  ri,ii;ht  of  a  ri.iriudiand  pa'j;e.  If  the 
folio  lie  sini])l\'a  ti,ii;ure  or  numeral,  it  may  he  either  at  the  h.ead 
or  looi  of  tlie  paiie.  A  folio  at  tlie  foot,  howe\'er.  pre-ents 
the  helter  appearance. 

39.  Cleaning  Type.  -After  the  t\pe  lia..  Ijeei:  ]>rinted 
from,  and  hef.)re  it  is  di-lrihuted  it  .:lior  he  thorouL,^-lily 
cleaned,  li  this  i-  not  done  the  t\'jie  v.id.  in  time,  hecome  so 
dirt}'  that  it  is  cdmo.-t  im])0--ih;e  to  keep  a  h  e  on  it-  feet. 
This  condition  should  iioi  he  ]»ermitted.  to  ceiir.  If  a  form 
C(jme-  from  pre<^  in  a  djirlv  conditiiiii.  it  ^!^ollld  he  taken  aj>ari, 
eaLch  ]Ki,i:e  tiedi  up  lu-ly,  and  tlieii  tjie-  txpeput  to  -oak  o\rr- 
ni;i;ht  in  a  itan  of  lye-wader  of  medium  -t  reni:th.  Jn  ihe  nn  irniiiL: 
it  should  lie  remoxT  1  and  r-eruhhed  w'vh  a  hru-h,  thru  ti;orci( :J:Iy 
rinsril  under  a  tai).  d"o  accoini )ii-h  ihi-  il  n^ay  ]v  nece--ary 
to  ])ut  the  i)a'ies  on  a  niotai  not  A'.oodru  ,u..!h\-.  untie  tliem, 
and  let  the  water  'Jx\   in  hMdweeii  the  le'ler-. 

40.  Cleaning  Rules.  -Tht-  (dreciio';!-  i^-i\-en  aho\c  for  dean- 
\ws  t\'j)e  al-o  ap  )!\'  '  1  (h-aihn.i  iu'a--  ruh^-.  If  dirt\-  rule-  are 
-oaked  o\'jrni'i!il  in  -.'.eak  Uf-vaior.  in  tin-  morning  llieyiriay 
he  riii-ed  under  a  lap  [-W']  -.-d;  >■  0  (  iraim\  i'  1)  a  \\:'S.  ll  irepuoul  ly 
hijjptai-,  liowe\-er.  that  ruK  -  :-re  noi  projiorK'  carrO  tor.  and  it 
I'ccome-  neco--ar\'  for  llu:  v-ompo-Uor  to  eh-a  n  a  piecr  iiUoia- 
il  can  ijC  U-ed.  'hhe  U-ual  Iticl  h^'d  in  -uch  ca-r-  i-  lO  ik  ■■:  the 
rule  willi  kou/ine  or  I'lht-r  d,ol  i-rLim!  and  ruk  it  on  t'c  ^'oue. 
A  mu(di  koi  li-r  w.w  :-  lo  j  iro\i  dr  a  pieoi^  of  ^l  ra  ■.'.■!  'o:;rd  and  -al  u- 
ratc  it   wath  the  delerL'eiit    and    ru'o  the  ndo  on   il.      ]\ulikin,Lr 


PROVING,   CORRECTING,   DISTRIBUTING 


2,3 


the  rule  on  the  stone  is  very  apt  to  round  off  the  ends  or  face  o| 
the  rule;  with  the  stra\vl)oar(l  this  will  be  obviated.  Eordei- 
units  that  have  become  encrusted  with  ink  can  be  cleaned  in  th( 
same  wa}'. 

41.  Distributing  Type. — Returning  the  letters  to  their 
proper  places  is  called  distribution.  If  the  type  is  all  of  one  size 
and  kind,  place  it  on  a  metal  (not  wooden)  galley  and  wet  it 
with  clean  water,  using  a  sponge  for  the  ])ur]:)Ose.  Wetting 
type  accomplishes  two  a])j)arentlv  o])]iosite  things:  it  causes 
it  to  come  a]);irt  and  also  to  stick  together.  If  the  type  is 
gvnnmed  fast  from  an  aggregation  of  ink,  dirt,  etc.,  the  water 


Fig.  2().--  HowTypt-  Should  \W  llilil  In  tin-  II:in<l  wliile  Distributing 


will  loosen  it;  if  it  has  a  tendency  to  fall  apart  it  will  cause  it 
to  adhere. 

Fig.  2i)  showf,  how  tyjie  should  be  held  in  the  hand  while 
distributing  it.  The  novice  is  advised  to  begin  by  taking  a 
few  lines  at  a  time,  for  if  he  should  drop  any  t\'[)e,  as  frequently 
Iia])pens.  he  will  ha\-e  less  t\-pe  to  ])ick  out  of  the  case.  As  he 
incrcasv's  in  skill  lie  may  take  larger  amounts. 

Hold  llie  t}'i)e  nick  up,  and  Ijegin  at  the  right-hand  end  of 
the  line.  Ta.ke  off  a  whole  word,,  se])arate  the  letters,  one  by 
v)ne,  ;ind  pku:e  them  in  their  res]>ecti\e  boxes.  The  method  of 
separating  the  letters  is  shown  in  I'1g.  27.  The  t}-])C  is  held 
against  t!ie  thumb  by  the  index-finger,  and  the  middle  tuiger 
lihs  the  letter  from  beneath  tlu'  index-tlnger.  At  the  same  tinie, 
the  two  lingers  are  mo\ed  backward  and  forward  over  the  thumb, 


34 


rixi^siixG 


thus  constantly  advancinu;  the  first  letter  so  that  it  will  escape 
from  beneath  tlie  index-tinm'i-.  I'roceed  in  this  manner  until 
all  the  type  has  been  returned  lo  llie  case. 


Fig.  27.--St'paratin,i^  Individual  LrUcrs  Wliilc  Distributing^. 

If  the  matter  to  be  distributed  is  a  job  cont;iinin,t^  dis])lay 
lines,  all  the  Hnes  of  the  same  si/.c  and  kind  of  l\'pe  should  l)e 


iln 


UJi  liil 


llll 


L.-a.is  u:i  i  r.hn'".  as  ],larr.!   ,,i;   the  ralk'V. 


i'"i<;,  ..'S.    -Sorliim  l.rad-  and  SIul 


^roujK'd  toirether  mi  tht   ,i_:al!i'y  and  carried  to  the  cabinet  where 
they  l)elon<^^     d'lii^'  aNoids  use-less  uuIl^in,^  back  and  forth,     jcl 


PKOVIXC;,   CORRIX'TTXC;.    DIS'lRlIiUTlXG  35 

t\'])e  should  he  held  in  the    hand  and  distrihuted  as  described 
under  plain  matler. 

Do  )iot  drop  or  l/.roci'  type  inlo  llie  rase;    place  it  in  carcfiiU} 
(;v  //  /,v  casilx  hdiUycd. 

42.  Putting  Away  Leads  and  Furniture. — After  all  the 
t\-]>e  in  a  Jul)  has  l)een  distributed,  return  the  furniture  and 
leads  to  their  ])ro})er  places.  If  there  is  more  than  one  size  of 
leads  used  in  the  job,  or  if  it  is  }-our  duty  in  the  office  to  i)Ut 
a\va_\"  leads,  ])r()ceed  a-  in  V'v^.  2<S.  Stand  them  on  end,  as  shown, 
then  ,Li;o  through  the  lot.  ])ickin,<r  out  lirst  the  lar^^est  size,  and 
rearrange  thrm  as  <ho\\ii.  The}'  are  now  graduated  as  to  sizi. 
Take  u])  each  lot  of  like  size  and  measiu'e  It  with  a  ,<i;au<{e.  if 
it  is  of  a  lab()r-sa\-in,<i;  leniith  |)Ut  it  in  its  pro])er  box.  All  bas- 
tard len,L!;ths  should  be  kept  in  a  separate  ])lacc.  Consult  ihc 
ft)renian  and  ascertain  his  wishes  re.ua.rdini;  iliem. 

ni:i;sri()xs  (jx  cilm'tkr  hi 

1.  W'liat  special   tare  should   you   L-\(_-rcise  when  [)lacin<:!  a  job  on  the 

im[)osinLr  stone  ?     \\'liy  ? 

2.  l)eS(Til)e  the  pulliniz  of  a  lianfk{)roof. 

,5.  How  would  }-ou  avoid  the  tendency  of  the  proof-planer  to  lift  the 
sheet  \'.'hik'  piillini:  a  hand-jjroof  ? 

4.  Dest'ribe  the  method  of  inkiny  a  job  when  a  procjf  is  to  be  pulled  in 
two  colors. 

5.  Is  it  ad\'isabk'  to  make  corrections  in  lines  of  t\-pe  without  placing 
tliem  in  a  >tick  ? 

f'.   W  hat  ir-  a  rt\-ise  ? 

7,    Demonstrate  the  {)roj)er  methofl  of  t\dn,L;  up  striri:  for  future  u  e 

,s.   How  -hould   strai.Ldit   matter    he  ca>t   ot'f   p.rior    to    beiuL;   n:ade   up 
into  paLM>  ? 

().   Xame  some  thini:-;  that  art-  to  be  a\'oided  when  making'  up  i;a,L'(-s 
10.    How  should  i\pe  be  cleaned  ?     W'iiat  happens  when  l\'pe  bec(jmes 
\"ery  dirt}'  'f 

I  1.    Hiw;  >hould  brass  rule  l)e  ck-aned  ?      Wdiy  is  it  so  es^ential  ? 
I  J.    Ho',',-  r-iiould  t_\-pe  he  held  in  the  hand  wiiile  distril)ulinLr  ? 
IS-   W  ii>"  do  '.\e  -^N-t-t   t\-pe  before  (Hr-t ributiuL'  ? 

14.  Siiow  !iy  the  use  of  N'our  llnu'ers  Just  how  llie  types  ar.,  se[)arateci 
during:  tlie  act  of  dist rib'iilin,L:. 

15.  How  should  leads  and  slugs  be  sorted  ? 


CHAPTKR  IV 

TVPI';   C-Al.C'ULAriCJXS 

43.  How  Much  Will  It  Make?— Ti  is  frcfjuently  necessary 
to  (K-kTnimt;  how  much  iiialtiT  a  ciTlain  ])iece  of  cup\'  \viU 
make  when  it  i-  -el  in  txpe.  ■rhi>  ma\-  readil}'  he  calculated, 
i'lie  tir.-t  step  is  to  a[)|)ro\imate  the  n.uml)er  of  words  in  the 
cop}'.  Tliis  is  accom])li-hL-d  l)\-  mult ipl\'in^  the  number  of 
liiie>  in  tlie  copy  Ijy  tlie  ;i\-cra,u'e  numl)er  of  words  in  a  line. 
In  averau'inLT  the  number  of  word>  in  a  line  assume  that  a  word 
ot  sewn  letters  i-  a  normal  word;  call  two  sm.all  words  one  and 
a  \ery  larire  word  two.  If  it  he  manu>cript  copy  wc  may  ha\'e 
to  m)  o\-L-r  it  all.  unles>  it  runs  fairly  luiiform.  With  tyi)e- 
written  ('o]))-.  which  is  more  imiform,  and  easier  to  calculate, 
find  the  awra^e  mnnhrr  of  words  i)er  line.  multi])!\'  1)\-  the 
luimlu'r  of  lim-s  to  ux-t  the  number  of  words  ]>er  ])a,Lre,  then 
nuiltiply  this  by  tlu'  number  of  paL(e>  to  ,iret  the  tt)tal  number  of 
word-  in  cop\'. 

i-Ia\-inuf  determined  the  number  of  words  in  copy,  set  a  line 
of  tlu'  t\'pe  to  ln'  u-r(h  and  fmd  the  awraire  number  ot  words 
to  a  liiK-.  I  )i\idin,L'  tlie  number  of  word>  in  cop\'  by  the  number 
in  one  t\'pe  line  v/ill  '_ri\-e  the  number  of  lines  the  matter  will 
makt'  in  t\"i)e.  h'or  ■■xample.  if  the  co])\'  contains  io.05()  words 
and  the  t\'pe  run-  eiLdit  words  to  a  line,  then 

io.f):;()  ,  .... 

■-    "i-;-;.2,  the  number  ol  Ime-  oi  tvt)e. 
8  - 

If  we  \vi>h  to  determine  how  man\'  inche-  the  matter  will 
mais;e  lifter  it  i-  -el .  \'  e  i  an  do  -;,  1  b\'  chaULTin^  the  dimeri-ion<  from 
em-  to  lioini-,  .md  then  lo  ini'he-.  Count  72  ])oiin-  to  the 
iiah.      .Muhi])i\-  bue  -i/e  of  ih.e  bod\-  .if  the  type  b\-  the  number 


TYPE   CALCULATIOXS 


37 


of  lines  to  chan.s^c  the  dimensions  to  ])oinls,  then  di\'i(le  by  72 
to  chan<re  to  inches.  In  the  example  given  above,  if  the  type 
were  ten-point,  there  would  be 

—  =  i8^  niches. 


If  the  job  were  set  in  eight-point,  and  contamed  1200  lines, 
then  the  matter  would  be  1333  inches  long.     Thus, 


8X1200  ,  .     , 
=  13,^3  inches. 


If  the  matter  is  to  be  monoty])ed,  and  the  copy  is  type- 
written, it  ma\-  be  easily  calculated.  It  has  been  found  that 
hftv-three  typewriter  characters  always  equal  twent\'-li\e  set 
ems.  Therefore,  a])])r<)ximate  the  number  of  characters  in  the 
tvpewritten  copy,  counting  >])ace.>  between  words  as  characters, 
divide  by  lifty-three  and  multiph'  by  twenty-hve.  Thus,  if  the 
copy  contains  10,722  characters,  it  will  make  5058  set  ems. 

10,722X25 

—^ =505'^  set  ems. 


The  same  result  may  be  obtained  by  multiplying  the  number 
of  ty])ewriter  characters  by  the  constant  .4717.  This  constant 
is  obtained  by  dividing  2^  by  53. 

I- ==-47 1 7 

.4717X10,722  =  5058  set  ems. 

•4717 

10,722X^5 

'-'  =5058  set  ems. 

44.  What  Size  Type  Shall  I  Use?  -If  it  is  de.-ired  to  fill  a 
certain  s])ace  with  a  certain  ])iece  of  C(j])y,  the  si/e  t\'pe  to  be 


38  PRINTIXG 

used  ma\'  'he  detiTniincd  as  follows:  lirsl  calculate  the  number 
of  words  iu  the  co])_\'.  as  ex]ilaiiied  in  the  i)recedin<^  section. 
Next  t  r\-  a  line  of  th.e  -i/e  1}'i>e  estimated  to  he  of  the  i)r()])er 
size.  Then  I'ounl  the  nuniher  of  words  to  one  line  of  t\'|)e, 
determine  how  inan\-  line,-  may  he  .gotten  into  the  allotted  s])ace 
and  multi])l\'  lhe>e  two  factors  to,m-lher  to  ohtain  the  total 
numljer  of  word.-.  If  the  luimher  i<  sli,L'htl\'  .greater  than  the 
number  in  tlie  cop}',  the  ri^hl  size  of  type  ha.s  Ijcen  chosen. 
If  the  number  of  word-  in  the  co])y  is  irreater  than  the  t\"pe 
will  accommodate,  a  smaller  size  t\"i)e  nni.-t  be  used.  If  tlie 
number  of  words  in  the  copy  be  le>-,  use  a  larLrer  -ize  tv])e. 

If  the  calculation^  -how  that  one  size  of  type  is  too  small 
and  tlie  n.exl  .-ize  larger  i>  too  larLre.  the  matter  may  freC|uentl\' 
be  made  to  lit  the  space  l)\'  >ettinii:  it  in  lh_e  >maller  size  ly])C 
and  leadiuLT  with  either  one-])oint  or  Iwo-]M)im  leads. 

To  determini'  how  ma.n\'  line-  of  an\'  -ize  t\'])e  ma\'  be  uotten 
iiUo  a  ,ii'i\-en  spact',  determine  th.e  -ize  of  the  s])act"  in  inches, 
multiply  b\'  7.2  to  chauL^e  dimension.-  to  ])oint-,  and  dixide  by 
the  size  of  the  l)od\'  of  the  ty])e.  Ibir  example,  the  number  of 
lines  of  ten-])oint  t}^])e  that  can  be  ^u'otten  into  six  inches  is 
found  thus; 

6X72  ,. 

=  4^.2  imes. 
10 

Ignore  tlie  two-tenth-,  C;nd  count  iin  fort\--three  lines.  If  ten- 
])oint  run-  ten  words  to  a  line,  4;^  word-  ma\'  be  ])laced  in  the 
sixdiuii  -pate:  it  it  run-  -ix  word-  to  a  line.  onK"  J5S  words  will 
1:0  in  1  lie  >ix  in.clu-. 

45.  Determining  the  Number  of  Ems  in  Composed  Mat- 
ter.- ■  When  I>a  ie  i-  -et  w  it  boat  di-pla\'  line-,  a-  in  book-,  ma!_'a- 
zine-.  and  !iew-] taper-,  it  i-  f;nown  as  slrdi'^/.'l  })uittiy.  If  tiie 
coiirpo-itor  i-  worlsin^"  ]i\'  the  ])iece  he  i.-  paid  for  hi-  work 
aicordini:  to  ihe  number  of  cm-  that  it  coma:n>.  To  deter- 
mine the  (opirnt-  in  em-  it  i--  cH-toniar\'  to  mea.-uri-  the  n^.alter 
with  a,  l\-[>c-L!MU,L^r.  and  thu-  tind  it-  width  and  Kn^th  in  em> 
of  tlie  t\])f  ill  which  it   i-  -et .      .M  ult  ipKini;  tile  number  of  em- 


T^'Pi;  CALCi'LA'rroxs  39 

in  widtli  by  the  number  of  ems  in  length  \vill  show  the  total 
numl)er  of  ems. 

If  a  tNpe-giiuge  is  not  at  hand,  the  same  resuh.  may  be 
secured  by  using  a  rule  graduated  in  inches.  Count  se\-enty- 
two  ]H)ints  to  an  inch.  To  determine  the  numbc  of  ems  mul- 
ti[)l\-  the  number  of  inches  b\'  se\"enty-t\vo  and  divide  by  the 
em  of  the  body.  Do  this  both  for  the  width  and  the  length, 
and  then  inultii)ly  the  one  by  the  other. 

/u-(/;;//i/c.— '  Su])i)ose  a  piece  of  matter  set  in  eight-point  is 
four  inches  wide  b_\'  twent\-  inches  long.     Then, 

4X72      288 

— 7, —  =  — ^  -  =  ;6  ems  wide, 
8  S  ' 

20X72      1440 

— ~ =  --^— =  iSo  ems  long, 

,^6X180  =  6480  ems. 

Sometimes  the  length  of  a  line  of  type  will  exceerl  an  even 
number  of  cn:s  of  the  size  in  which  it  is  set.  If  this  excess  be 
less  than  half  an  em,  it  is  not  considered;  if  it  be  half  an  em  or 
more,  it  is  counted  as  a  full  em.  Xe\er  make  calculations  in 
fractions  of  an  em. 

When  lines  of  t}-])e  ha\e  leads  between  them  the  matter  is 
said  to  be  leaded,  when  leads  are  omitted  it  is  said  to  be  solid. 
I'icce-workers  prefer  to  >et  leaded  matter,  because  they  get 
paid  for  the  arcd  that  the  matter  co^■ers,  and  not  for  the  actual 
number  of  lines  set. 

46.  Determining  the  Value  of  Composed  Type. — To  de- 
termine the  \"alue  of  com]")0>ed  t\'pe,  point  otT  the  number  of 
ems  into  thousandths,  and  multiply  b\'  the  rate  per  thousand. 
For  exam])le,  to  lind  how  much  the  matter  of  the  jireced- 
ing  problem  would  be  worth  at  forty  cents  per  thousand, 
6.4S0X40  cenls  =  S3.5g. 

Some  ])rinter>  sell  composition  on  a  scjuare-inch  basis.  That 
is,  thev  measure  the  area  of  the  conipose(l  matter  and  charge 


40  PRIXTIXC; 

for  it  at  so  much  per  square  inch.  Table  III  shows  the  selhnc^ 
rate  per  square  inch  lor  various  sizes  of  type  at  \-ariou5  rates 
per  thousand. 


TABLE  III.— RATKS  I'KR  SOfARK  INCH  TOR  COMPUJ'IXG 

VARi't:  (ji-  coMi'osia)  tvpk 

Thff  value  of  (r,mi-n'itinyi  fer  ^qunrr  inch  in  all  sizes  oi  typi-.  from  4];  p^.in*.  *o 
i2-point,  at  C)Oc..  '15c.,  70c.,  7.tC.,  Soc,  R.sc.,  -oc.  0,5"..  Sr.oo.  Si. 05.  arri  Si. 10  per 
1000  ems.      .1  tyfe-^iiusf  is  not  al-xay.  at  h'lr.d,  hut  fo'J-rults  'ire  pienir'ul. 


Price  per 
1000  cms. 


65c.  .  70c.   75c.   Roc.   R.i''.  i  00  ■.   ';5c.  Si.ooSi, 


4i-poirit.  .  .  ,  I3,i'')  .1^^4.1702  .102  .204^  .2176  .  2,s'>.;  .2432  .256  ,26>;,-;'.2m6 

5  -point...  .1244  .134.-.  .i.;.52  .I5.S,5  .1^50  .I7''.i  .i^'^''  .107   -2074  .2177   22-r 
5 i -point. .  .  I  .  102--  .1114  .12    .  I2.S,T  .137  ,  I4=;6  .  I  ,S42  ,162^  -  i  7  l .;  .  I  700  :  .  I  S^5 

6  -point...  .o.^'■)4  .'i'iY>   .  lOoS  .  loS  .1152  ,122;  ,120'.  .13''.^  .'-w  .15:2  .i.tS4 

7  -point..,    ,0^.,^,=;  .o'.^.S   ,0741    .0704  .o>4'i  .o-./;  'i^.sj    ,lf>r),s    .10,5.'^  ,1111, ,1164 

8  -point.,,    ,04--',.  ,0527   ,0,567   ,o')0>  .064^  ,'i',-~s  0-2';  ,077     ,r.^(  .o'^^      .os'/i 
g   -point.,  ,',o,5.s.t  .i)\\fi   ,  044.S   .o,;,S  ,0,512  ,05,;,;  ,'57',    ,060^   .0'',',;  ,'"i072    ,0704 

10  -point..  ,    -  o.i  I  I  .0,537    .0363   .o,5So  .0415  .'•■..11  .o,;'.7   ,0402   ,051^  ,054;    ,057 

11  -point..   ,     .0257  .027^    ,0,5  ,0,521  .034,5  ,0,504  ,o,5.^0    ,0407    ,ri,;2S  .045       ,047^) 

12  -point...    ,o2io  .02.5.;  ,02,52  ,027  ,02.s.s  .o,5.jO  .0,524  ,0342  .030  .0,57^   .Ool,} 


Ex,-\MPi.E.  .\  patre  meas-jrin:r  4?  YJ)  would  contain  27  STuare  in-rhes.  if  set  in  S- 
point  type  and  figured  at  oo^-.  per  loO'i  ems.  ::iuiti;/.y  \,y  .0720,  as  per  table,  an'i  the 
correct  result  is  Sl.vV-      If  a.ny  otl;er  rate  is  re'iuired,  u;e  the  correspondin;;  fti;;ures. 

This  square-inch  methorl  is  based  on  the  rate  jier  thousanrl 
ems.  To  tniri  the  co-t  nf  one  square  inch  of  any  size  t\-i)e, 
divide  the  price  ])er  thou-and  by  looo  to  tind  the  co>t  of  one  em, 
then  multiply  b\'  the  number  of  em,-  in  one  -fjiiare  inch.  .\-- 
there  are  se\"ent\'-t\vo  jjoints  in  one  linear  inch  there  are  5 '.'^4 
square  points  (~2y.~2''  in  one  ^(juare  inch.  l)i\d(le  ihi-  factor 
by  the  number  of  square  points  "'n  the  >ize  of  the  bod\'  of  the 
t\i)e  bein,L(  mea>ured.. 

Example  I.  What  i-  the  ,-i-piarc-inch  late  for  eip;ht-i)oint 
type  at  si,\t\-  cenls  ])er  thou-and  ? 

.An  eiL:ht-])oint  em  i.>  sfjuare,  liierraiiT  i;  (onlain,-^  si.xtx'dour 
sfiuare  ])oint.-  \Sy.S'.  5iS4~f)4— Si  em-  to  the  sfjuare  inch. 
.At  ,-i,\ty  cent,-  ])er  thou>and  0oX8i-^  1 000  =  .'^0.048')  ])er  ■-ovKire 
inc  h. 


TM'l':   CALCUI>ATI()XS  41 

Example  2.  What  is  the  sciuarc-inch  rate  for  ten-point  type 
at  seventy-two  cents  per  tliousand? 

loX  10=^  100  square  points  in  one  em; 

5184-:-  100=  51.84  ems  ])er  square  inch. 

72X5r.84~  looo^- So.o_:;7,:;  per  sfjuare  inch. 

47.  Determining  Weight  of  Type   by  Measurement. — 

One  square  inch  of  type  wei.iijhs,  ai^proximatei}',  one-Cjuarter  of 
a  i^ound.  To  find  the  weii^ht  of  any  coniposcd  page  of  type 
either  muUip.ly  the  number  of  scjuare  inches  by  one-fourth  or 
di\ide  by  four. 

Type  matter  is  usually  set  to  some  measure  in  picas.  To 
avoid  calcuhiting  in  fractions  of  an  inch,  it  is  sometimes  easier 
to  determine  the  size  of  the  ]xige  in  ])icas.  There  are  thirty- 
six  ]iica  ems  in  one  scpaare  inch,  or  144  in  four  square  inches. 
Picas  may  therefore  be  changed  to  pounds  by  dividing  by 
144. 

lixaniplc.  How  many  i)ounds  of  type  in  one  page  of  this 
book?*  Size  of  i)age.  22X38  ])icas.  If  Vv'orked  on  the  square- 
inch  basis,  change  the  picas  to  inches,  thus:  22  picas  =  3|]  inches; 
38  picas- o^j  inches.     Then  i^Xt\^2T,l. 

23;-; -f  4=--  5.S  pounds. 

On  tlie  ])ica  basis,  22X38-.- 144=  5.8  pounds. 

48.  Determining  the  Amount  of  Leads  to  a  Page.  —Two- 

])oint  leads  run  about  144  inches  to  the  pound;  three-point 
leads,  ()6  inclu's  ,  aiid  one-point,  288  inches.  As  there  are  six 
i)icas  to  the  inch,  if  each,  of  these  factors  be  nuiltiplied  1)}'  six. 
new  divisors  arc  obtained  based  on  i)icas.  To  a\-oi(]  fractions 
it  is  easier  to  work  on  a  ])ica  basis.  I-'or  two-point  leads  divide 
by  864  ;  for  three-point,  570  ;  for  one-point,  172S, 


42  PRIXTIXG 

Example.  How  m;iny  jiounds  of  1\vo-])()int  leads  in  a  page  of 
this  hook?  Twenty-two  ])icas  wide,  thin \-se\-en  leads  to  the 
page;    22X37-;  ^<>4''  -04  pound,  or  about    15  ounces. 

II 

22X37  ^u  22X37X-x6  2 

54 
27 

pr()blf:ms  o\  ciiaptkr  iv 

1.  If  copy  contains  10,000  words,  and  we  can  <;ct  eijrht  words  in  a  line 
of  t\'f)c,  ho'.v  nian\'  lines  will  it  make  ? 

2.  ('o])_\-  consists  of  ten  [)a;;es  of  tnanuscript  avei'a.^ing  thirty  lines  to  a 
pa<j;e  and  ei.idit  words  to  a  line,  how  many  hnes  of  t\pe  will  it  make  if  we  can 
,_;et  ten  words  in  a  line  ? 

i,.  If  we  wish  to  prei)are  copy  so  that  it  will  fill  a  certain  space,  and  we 
determine  tliat  the  si/e  t_\'pe  we  wish  to  use  runs  nine  wcjrds  to  a  line,  how 
many  words  should   we  wriU'  lo  liU  ninety  lines  ? 

4.  How  !nan\-  lines  ol  each  of  the  foUowiiiL,'  sizes  of  tyj>e  can  he  ;,'0tten 
into  a  pa,L,'e  six  inches  loni;:  d-point,  r-point,  8-point,  g-poinl,  lo-poinl, 
I  i-poinl ,  I  2-point  .■' 

5.  IIo'.v  man_\'  ems  of  o-[;oint  in  a  i)ap:e  4X7  incdies  ? 

6.  How  man_\-  ems  of  lo-poiiU  in  a  line  25  picas  Ioul;  ? 

7.  A  paL^e  set  in  8  point,  solid,  contains  54  lines,  if  it  is  24  picas  wide 
liow  man_\-  ems  docs  if  contain  ? 

8.  What  decim.al  part  ot  an  inch  is  six  picas? 

(),    If  _\-ou  incasiu'ed  a  piece  <ii'  furniture  with  a  foot-ruk:  and  foumi  it  to 
he  0'  inclu-s  !onL,^  'Airat   ■,'.■), ild  \(>u  sa>-  its  K-n^tli  was  in  ])icas  ? 
I  o.    i  low  main'  [)icas  in    ;    ::u  h  .-^ 

11.  How  maii\"  ^■I^^  ul  (,-p(iin!   in    ,  incli  ? 

12.  !i  cop_\-  (onlains  '.",0  \'.iird<,  '.■.hat  >i/e  type  would  yon  use  to  hll  a 
.-pace  4X7  inches,  il  Nnn  lound  on  ti'ial  that  lo-point  a\era.L;eil  se\en  words 
to  a  Hue,  ()-[)oint  axrra'jid  nini'  words,  and  S-point  cKAen  words? 

i,v  If  the  cojiy  in  I'l-ohli-m  12  contains  hut  'lOo  words  what  size  type 
could  you  use,  and  how   ,\-onld  >'on  make  it   lit   the  ^j>ace  ? 

14,    How  rnan\'  jiounds  ot  type-  in  ;:  [)a'_:e  .I-X7  inclu-s? 

1;.  It  a  t>-pr  paLTc  i-  .'0  pica-  wide  and  ,^o  pica>  ion.ij;  how  nnich  does  it 
wiXrii  ? 

r'l.  It'  .a  [)a'-:e  of  -^  point  t\i)e  is  ,yO  j)icas  wide  and  d.;  line^  long,  how 
much  doe:i  it   ",'.  eiL,dl  ? 


TYPK   CVLCULA'lIOxVS  43 

17.  If  we  were  to  lead  the  page  in  Problem  16  with  2-point  leads  how 
much,  would  it  wci<i;li  ? 

iS.  I'wo-point  leads  are  put  up  at  the  typefoundry  in  packages  contain- 
ing ten  [)()unds.  If  the  stri[)s  are  twenty-four  inches  long,  how  many  are 
there  in  a  package  ? 

iq.  Determine  the  number  of  ems  per  square  inch  for  each  of  the  follow- 
ing sizes  of  type:  6-point,  7-[)oint,  S-point,  o-point,  lo-point,  ii-point, 
and    i2-pi)int. 

20.   ilow  many  strips  in  a  pound  of  3-point  leads  ? 

2r.  How  man>'  pounds  of  2-point  leads  will  be  required  to  lead  a  piece 
of  lo-point  matter,  if  the  latter  is  23  picas  wide  and  20  inches  long  ? 

22.  W'liat  is  the  selling  rate  per  square  inch  for  6-point  type,  if  it  is  based 
on  fort_\'  cents  ])er  thousand  ? 

23.  Some  monotyped  matter  was  found  to  contain  12,675  ems,  how  many 
ty[)ewritten  characters  were  tliere  in  the  cop_\'  .-' 

24.  If  the  carr_\'ing  caf)acit_\-  of  a  lloor  in  a  j)rinting  office  is  looS  pounds 
per  square  foot,  how  many  pages  3X6  inches  in  size  can  be  piled  on  a  space 
1 2  inches  sciuare  ? 

25.  T>-])e  is  frequently  stacked  in  layers  with  cardboard  between  each 
la_\-er.  If  we  ignore  the  weight  of  the  cardboard,  v/hat  will  be  the  weight  on 
a  square  foot  of  lloor  space  if  we  ha\-e  eighteen  layers  of  type  ? 


CHAPTER  V 
PROOlRilADlXG  * 

4Q.  Requirements  for  Proofreading.— It  has  been  sairl 
that  an\-()nt'  who  pM^-~^;<^e-  a  thorouLrh  knowledge  of  grammar, 
ctymoloLTv,  r-\-nta\.  and  orthographx'  i>  qualitied  to  read  ])r<)()f. 
Thi-  ma\'  co\x-r  .■~e\'enl\'-fi\'c  ])er  CL'iit  of  the  knou'ledge  reciuired 
of  a  ])ro()freader:  the  other  t\vent\'-f!\'e  jK-r  cent  con.-i.-ling  of  a 
knowledge  of  indention-,  make-np.  wrong  fonts,  and  numerous 
other  things  embraced  undi-r  the  trrm  "rt;cie  of  th.e  ofhcc." 
hmplo\-ers  much  |)rcfer  to  ha\-e  a>  ]iro<)freader<  men  Avho  ha\'e 

*  X')TF,. — 7\-arher>  are  ur,£:c']  to  iiKiki-  pniDfrciuiini:  a  stronL^  feature  of 
their  courses  in  iiriuliiii:.  The  author  lias  luen  liiiinu'  tliis  e\'er  since  lie 
took  charire  of  tlie  jirintinL:  course  at  the  IMhlaneiiih.ia  'I'ra'ies  Si  hool.  and 
he  hnds  tiiat  it  aiTords  abiunlant  opportun.il}-  to  -peal:  on  inan\'  topics 
connected  '.vith  the  trade.  All  of  liie  U.>^ons  iia\"e  soir.e  hearinu  on  printin'j; 
or  an  allied  suijject,  and  tiureh\-  ^er■.  e  a  t.'.oioid  purj-o.-e.  Jfrrors  are 
purpoicl)'  introduced  and  t;:en  i  otnmei;ted  i;j)on.  d'i;i>c  ir;i  lude  5iiel!in2r, 
punetuation.  syntax,  ^^ranonadeal  construction,  improprr  di\i-;on;.  trans- 
posed lines.  t\-po<:ra[)iiie;d  errors,  had  iruikc-up.  had  r-pa^  :!:j.  e'v. 

The  author's  plan  of  iiandhuL:  tid-  r-uhject  is  to  ui'.e  eai  i;  hoy  in  tlie  cla-s 
a  printed  cojw  of  the  IcSson  and  iia.w  him  marh  sui  h  error.-  ;c;  he  (  an  iletect. 
.\fter  cacli  bo}'  has  coniphUod  t:.r  readircj  of  ;d~  p'-oof.  th.e  boys  cxchanc:. 
papers  and  prepare  to  citei  l-:  upi  ra.  :;  odr.rr's  i  oia'o.. ;  ions.  Ifach  bo\'  then 
reads  a  paraL'ra[i!i  aloud.  \-  i  e  ]<■:•'<  v<.  •':-.  tiu-  err^c"-  a!-e  t.dr-.en  u[)  in  turn 
and  commented  on.  and  prop.-r  ti-.^ire  (i:—  -abr d.  Tiie  p;  by  ,  t  matter  of 
the  text  frerjue:itl\-  ionics  in  !■■-  ixp'atuit^c:  ar.ii  oi-'U—i  ;,.  In  this  v,:!}' 
mui  :i  \':iluable  information  is  iiuparted  th.at  '.vould  not  otlierwise  come  before 
the  c!a-s. 

l-'.rrors  of  (o;umd--ion  in  punctu.at'on  are  ]-cid  ay'a.i:i-t  tlu:  bo\-  just  tlie 
same  a~  e-ror-  oi  orr;!--ion,  for  ii  i;a-  1  i  <  :•  ;o;:nd  that  stucfiits  mark  in  and 
m.irk  o;t.  :■:  .;■■/■  ^;c,  in  the  h^iOr  '  ..  ■  roddn::  is  beiuL:  o\-(.-r!ooked.  A 
stud>a:;  dors  it^a  iiM-..  an;,  k  ic;  fr-':.  -d  ■•  an  indi-criminate  placing  of 
punciuaiiou  niaik-.     II.  skoid';  ije  t.iu^ut  to  u-e  tl.rui  i  orrcctly. 

44 


PROOFREADING  45 

had  considerable  experience  at  tlie  case.  These  men,  being 
familiar  with  the  methods  of  the  trade,  are  more  apt  to  detect 
errors  than  those  whose  training  has  been  in  language  con- 
struction alone. 

Proofreaders  should  keep  in  mind  that  each  author  has  his 
own  style  of  v/riting,  and  that,  if  the  author  has  made  his 
meaning  clear  without  violating  the  rules  of  grammar,  it  is  not 
their  province  to  alter  the  construction.  If,  h()we\-cr,  an  author 
lias  disarranged  his  words,  and  befogged,  rather  than  claritied, 
his  exposition,  it  is  clearly  the  proofreader's  duty  to  suggest 
change. 

50.  Proofreaders'  Marks. —  The  marks  commonly  used 
in  proofreading  are  shown  in  Table  I\'.  These  should  be 
"Studied  until  their  meaning  and  u>e  are  clearh'  understood. 
Page  48  shows  a  marked  })roof  and  page  49  the  same  cor- 
rected. 

The  llrst  few  marks  in  Table  I\',  showing  underlining  of 
words,  are  used  ])arlicularl\-  in  the  ])reparation  of  copy.  Three 
llne>  drawn  beneatlr  a  word  signif\"  that  it  is  to  be  set  in  cai)itals; 
two  lines,  tliat  it  i>  to  l)e  set  in  small  capitals;  one  straight  line, 
in  itrilic;  one  w;i\-\'  line,  in  boldface.  Useof  otlier  proofreaders' 
marks  will  usuall}-  l)e  clear  from  a  careful  examination  of  the 
table  and  of  the  acconi])an\'ing  samide  of  corrected  proof. 
Particular  attention  is  called,  lTowe\'er,  to  the  use  of  the  dele 
mark,  o^.  This  mark  is  encountered  in  \-arious  forms,  for  proof- 
readers do  not  all  make  it  alike.  All  forms,  however,  have 
the  same  meajiing;  that  is,  take  out,  or  remove,  whatever  has 
been  marked.  Its  use  should  be  restricted  to  the  marking  out 
of  words  or  characters  that  are  to  be  taken  out  entirely.  When 
one  character  is  to  be  substituterl  for  another  there  is  no  need 
to  use  the  dele  mark.  If  the  character  to  be  remo\-ed  is  a  hyj)hen 
in  a  eom])oiind  word,  and  the  two  }:'arts  are  to  be  iniited,  use  a 
ligature  ab()\-e  and  below  the  dele  to  show  that  the  words  are 
\o  be  brought  together.  If  the  hy])hen  is  to  be  taken  out  of  a 
coinpound  \\'ord  and  two  separate  words  used,  substitute  a 
space  mark  (,-^  )  for  tlie  hx'phen. 


4()  I'RI.MIXC 

r.viii.K  iv.-sv.Miu)Ls  l•:^^'L()^•l•:!)  ix  i'roofreadtng 

Put  infapitHlsJ 

Put  inCSMAl.L  C.M'1T.M,S.'^ 

Put  i»^ir«a>7)ty|x' 
Put  uiCitaliQivpe. 
Put  in(Tyil<r  fiti-^tvpr. 
Wrong  f(Qt:    character  of  wrong  size  or 
style. 
lA.        TransjQ'. 
^        Dele:  take(ij}out. 
0      Letter  ^■ersed— turn. 
[2     &^     ^iu-vls.         jjCarry  to  the  left. 
3     f>^      '}lM.tl^     rajry  to  the  rit^ht. 

X        l^xrfcct  letter— correct. 
vi,       Space  show^etween  words— shove  down 
G     ^     ^  ^ndent 

:^  Cut  iij^space. 

^'^  Cl^je  up— no  space. 

Sfftf  o'l^i^    "■■««■    *i*  '-•*-      Bad/spacing:  space  more/evenly. 
-;3:S=*'   <yi     stCa^      -^Wai^^t£n  crixjked  line. 
-  -   "     o^    st'e.-t  Restoro^or  rctninAvords  crossed  out. 

^[i.    -l^  ^  Ltt^.  Print  (ae,  fi,  etc.)  as  a  logotype. 

GJ       Periixl.    Always  make  a  circle  around  the 
dot,  so  that  the  period  will  not  be  mis- 
taken (or  a  comma  or  a  blemish  in  th' 
paper. 
fi^     Signifies  comma. 
v^      Signifies  apostrophe. 
H;y  vy        Quotation  marks.  , 

W       Signifies  hyphen. 
/n  Signifies  colon. 

j/     Signifies  semicolon. 
\-}^\  Signifies  one  em  dash. 

Uf^  Signifies  two  em  dash. 

?/      Signifies  intiTrogation  |K)int. 
1/     Signifies  exclamation  mark. 

\?V  Signifies  :.U|)erior  charactei. 

/^      Signifies  inferior  character. 
Inclose  in  bra(  kets. 
Ini  lose  in  parentheses 
I'se  character(ttT^ 
Make  a  new  paragrapli. 
Not  a  paragraph;   run  in. 
Words  are  oimtte<l  from,  or  in^opy 
Query  K.autlior.   Aild  e.\ plan ji ion 


^1' 


(Tok) 


I'Roci  Ri:.\i)i\(.;  47 

Another  particularly  important  mark  is  ".  .  .  ."  or  ''  stet." 
Stet  is  derived  from  the  Latin,  and  means  "let  it  stand";  that 
is,  do  not  remove  the  part  marked  out.  Authors  frequently 
mark  out  passages  from  their  manuscripts  by  drawing  lines 
through  them.  If  they  decide  later  to  retain  the  passages 
thus  marked  out,  they  do  not  attem})t  to  erase  the  marks,  but 
sim])ly  mark  the  passage  ''stet."  Proofreaders  also  use  this 
mark  when  they  have  inad\'erlenlly  marked  out  the  wrong 
word. 

The  comma  and  the  apostroT)he  should  be  ditTerently  desig- 
nated on  j)ro()f,  for,  if  no  distinction  is  made,  an  error  may 
result.  A  mark  over  a  comma  signifies  that  a  comma  is  in- 
tended;  if  the  mark  is  beneath,  it  signities  an  apostrophe. 

As  other  rules  of  good  })ractice,  attention  is  called  to  the 
following: 

Always  make  a  h}'])hen  with  a  double  stroke,  thus,  =,  so 
that  every  slip  of  ttic  pencil  will  not  be  mistaken  for  a 
h\-phen. 

Always  use  a  caret  (A)  when  anything  is  to  be  inserted  in  a 
line,  and  alwa^'s  make  the  mark  at  the  bottom  of  the  line. 

A  line  drawn  through  a  capital  letter  in  co[)\'  means  that  it 
is  to  l)e  set  in  lower-case. 

A  ring  drawn  around  a.  contraction,  an  abl)re\-iation,  or  an 
ampersand  (&)  means  "s])ell  it  out." 

When  marking  a  ])roof  ])ut  all  the  errors  that  are  to  the  left 
of  the  center  in  the  left-hand  margin  and  all  to  tl^e  right  of  the 
center  in  the  right-hand  margin.  F!;ice  them  directl_\-  op])Osite 
the  line  in  which  they  occur  ;ind  in  the  order  in  \\ldch  they 
occur.  To  be  sure  of  ha\ing  room  for  this  ])urp()se,  the  llrst 
error  on  the  left  oi  the  line  s!:oul(i  be  placed  some  littlc>  distance 
from  the  text,  the  tu'st  one  on  the  right  sliould  be  close  to  the 
text.  Do  not  Jraiv  lines  from  the  errors  to  the  eorreetioiis,  for 
that  would  entail  a  useless  \\aste  of  time  in  tracing  the  correc- 
tions, and  there  is  likelihood  of  error  if  the  lines  cross  or  touch 
each  other.  Moreover,  such  lines  mar  the  appearance  of  the 
proof. 


48  i'RlMl.NU  ^^ 

<egarain^;  <    - 
Apprentices 


Views  and  Practices  Regarding  ^>. 
Apprentices  -Z>Jt^' 

C\/Aj.      ff       /    Q,  No.  4— By  WILLIAM  H.  SEED  ' 

tf/V^/t-A-*^  •/  t/  Prom  /The  Inl.ind  Print orS  for  April,  1916 

y^.  C.  ' '  B^ y^  arc  a  nuisance,"  were  his  first  words,  and  it  was 

perfectly  clear  that  the  remarks  apply  here  which  I  have 
made  about  other  offices  where  no  aca/j/mic  training  is  re-^^UB' 
ceived  by  the  apprentices. 

"How  would  you  regard  a  proposal,"  I  said,  "to  send 
\\j  boys^io  school  half  a  day  in  order  to  have  them  instructed 

^  in  those  subjects  which  would  be  calculated  to  give  them        « 

V  more  interest  in  their  work/    I  mean  such  subjects  as  ^/     »^ 

grammar  and  composition,  arithmetic,  with  special  reference 
^         to  casting  up  and  sgpn,  designing  the  history  and  theory  of      '^ 
printing,  and  so  forth." 

"Would  the  courses  be  arranged  so  that  some  boys  could 
'— V         attend  in  themorning  and  some  in  the  afternoon,  so  as  not 
y^^'         to  leave  the*o^|^ce  without  boys?"  he  asked.     J.  have  al-       C 
ways  noticed  that  foremen  do  not  want  to  be  short  of  boys,         . 
much  as  they  proclaim  them  to  be  a  nuisance//  OJ 

A^j Q         "I  suposeso,"  I  replicd^^The  foreman  pondered  for  a  few  ^ 

/    /  moments  over  what  v/r,j '^evidently  a^new  idea  to  him,  and 

at  length  he'said,  "  I  think  it  v/ould  be  an  excellent  idea." 
O         >v^^^'  ^^y  to^his  sudden  con\ersion  to'an  idea  which  I  ex- 

^X'Cted  him  to  oppose  was  clearly  to  be  seen.     It  would  make  y 

the  boys  interested  in  their  work/   J'^hat  was  everything  to     \  J  \ 
him,  and  it  is  a  valuable  point  to  be  kept  in  mind  by  the       L 
yd\ocates  of  academic   irainiiig  for  apprentices.     Put  the     (!p Jk 
idea  forward  witliout  explanation  and  you  arouse  a  storm  of 
^/LA  .         oi:)I)osition,  or  at,^lTr>c'f^4ii^'^'*'>'>'th  indifference;  .but  make  it 
,  clear  that  you  are  really  siting  to  make  better  boys,  because 

1^  they  will^be  moi-e  iiUeresled   in   their  work,  and   thcy^bow-      ^ 

wows"  are  changed  !o  "hear-hcars."     One  might  tlnnk  it 
sufliciently  clear   that   tin's   is   ilie  object  of  all   sJiKjgested    A-Oyt 
acadenu"c  training  for  printers,  but  it  is  not  clear  t<;  those 
"t/^.    /Mnerely  to  make  the  trr.dc  more  exclusive;   to  "do  something      o    . 
^Qvho  have  not  thought  of  it.      V(ni  are  supposed  to  desire        q 
l)p>'s"  out  of  pure  nhiiantTO[n',  as  one  niight  clothe     xf-v 
tlmm  were  it  necessary,  or  as  one  might  gi\-e  them 


ftri  fpi*^  out  of  i)ure  good  nature. 


PROOlkKADlXG  49 

VIEWS  AND  PRACTICES  REGARDING 
APPRENTICES 

No.  4     By  WILLIAM  H.  SEED 

From  Tin:  Inland  I'nnlir  for  April,  itjiO 

'"  liOYS  are  a  nuisance,"  were  his  first  words,  and  it  was 
perfectly  clear  thai  the  remarks  apply  here  which  I  have 
made  about  other  offices  where  no  academic  training  is  re- 
cei\-ed  by  the  apprenlices. 

"How  would  you  regard  a  ])roposal,"  I  said,  "to  send 
'bo}'s  to  school  half  a  day  in  order  to  have  them  instructed 
in  those  subjects  which  would  be  calculated  to  give  them 
more  interest  in  their  work  ?  I  mean  such  subjects  as  gram- 
mar and  com])osition,  arithmetic,  with  special  reference  to 
casting  u\)  and  so  on,  designing,  the  history  and  theory  of 
printing,  and  so  forth." 

"Would  the  courses  l)e  arr;inged  so  that  some  boys  could 
attend  in  the  morning  and  some  in  the  afternoon,  so  as  not 
to  leaA'C  the  ofiice  without  bo\'s?"'  he  asked.  (I  have  al- 
\va_\-s  PiOtice;!  thut  foremen  do  not  want  to  be  short  of  boys, 
much  as  the_\-  proclaim  th.em  to  be  a  nuisance.) 

"1  suppose  so,"  I  replied. 

The  foreni'in  ipondered  for  a.  few  moments  over  what  was 
c\idenlly  a  new  idea  to  liim,  and  at  length  he  said,  'T  think 
it  would  be  an  excellent  ide;i." 

The  key  to  his  sudden  con\ersion  to  an  idea  which  I  ex- 
pected him  to  oppo.-e  was  clearl\-  to  be  seen.  It  would  make 
the  boys  interested  in  their  work  I  d'hat  was  everything  to 
him,  and  it  is  a  valuable  -point  to  be  ke])t  in  mind  by  the 
ad\()cates  of  aCiuiemic  tr;iining  I'or  a])prentices.  I'ut  the 
idea  forward  without  explaiiiition  and  you  arouse  a  storm  of 
oppo.-ition,  or  iit  Ica-t  meet  with  inditYerence;  Init  make  it 
clear  th;it  you  are  rial!}-  going  to  make  better  boys,  because 
lhe_\'  will  be  more  interested  in  their  work,  and  the  "Ijow- 
wows"  are  changed  to  'dieardiears."  One  might  think  it 
surticieiitl}-  clear  that  this  is  the  object  of  all  suggested  aca- 
diariic  training  for  printers,  l)i.ii  it  is  not  clear  to  those 
who  have  not  thought  of  it.  ^'ou  are  su])])ose(l  to  desire 
aierel}-  to  make  the  trade  more  exclusi\-e;  to  "do  something 
!or  tlie  hoys"  out  of  ])ure  ])hilanlhropy,  as  one  might  clothe 
and  teed  them  were  it  necessary,  or  as  one  might  gi\'e  ihem 
be.-in  teists  out  of  pure  good  nature. 


50  PRIMING 

51.  Order  of  Procedure  in  Proofreading.-  As  a  first  step 

in  reading  a  ])r()()f,  it  is  athisable  to  line  up  the  paraf^raphs.  To 
do  this  draw  a  faint  ])cncil-]inc  down  the  ])r()()f,  usin<i;  the  first 
lines  of  the  i)aragraj)hs  as  a  ,t,niide.  Any  inequalit}'  of  indention 
wili  be  detected  at  once.  Next  iso  down  the  ends  of  aU  llie  lines 
and  verify  the  (li\-isions  of  words;  that  is,  make  sure  that  thev 
have  Ijeen  j)roperly  di\ide(l  and  that  the  remainder  of  each 
word  is  at  the  be,;j:inninrr  of  tlie  next  line.  See  that  all  headinji^s 
and  suljheads  (aho  running  titles,  folios,  and  signatures  of 
})aged  proofs)  are  correct.  See  that  the  nuniherings  of  chapters, 
sections,  etc.,  are  consistent  and  consecutixx'.  Glance  o\er  the 
j)roof  to  see  if  any  glaring  errors  are  noticeal'le.  1'hcse  things 
ha\ing  been  di>])osed  of,  tlie  mind  is  free  for  (concentration  on 
the  text.  Read  and  anaKv.e  each  statement  made  by  the  author. 
Kndea\or  to  gras])  liis  full  nieaning.  If  he  or  the  com])ositor 
has  failed  to  put  in  the  necessar\-  n^arks  of  ])i;nctuation,  it  is 
the  proofreader's  dut}'  to  do  so.  I'liis  is  \\here  the  com])ositor 
has  a  chance  to  show  his  kno\\ledge  and  skill.  ]f  the  com- 
positor understanrls  ])unct nation  he  will  ha\-e  inserted  the  pro])er 
marks.  True,  the  ])roofrea(ler  may  not  agree  with  him,  and 
some  ma\'  be  altered  or  removed. 

Now  that  the  bulk  of  straight  matter  is  set  on  machines, 
em})loyers  hnd  it  to  tlii'ir  ad\antage  to  h;iAe  cojjy  re\  ised  ])y 
the  ])ro()freader  before  setting.  This  ob\iates  resetting  matter 
for  corrections. 

52.  Punctuation. — Tb.e  f|uestion  of  ])unctuati(~)n  is  one  on 
which  there  is  great  (!i\'er-ity  of  ()])inion.  Some  authors  ;ind 
proofreaders  cut  tlu-ir  >cnlcnces  up  into  short,  jerky  clauses: 
otluTS  omit  all  ])oints  so  long  as  the  words  are  logicalh"  (on- 
nected.  The  author  ])refers  llie  latter  jiractice,  and  would  here 
call  attention  to  the  iiicreasinLf  extent  to  \\hich  it  is  1  ecoiring 
esta!)li-hed.  Just  a>  a  clear,  llowinLi;  >treani  is  tl'e  iro>t  re- 
freshing from  which  to  (h'iiik.  sd  i-  clear,  llowing  language  the 
mo>t   refreshing  to  the  mind,  whether  it  be  written  or  spoken. 

I'root  readers  -hotild  ].v  vrrv  can-fi:!  not  to  alter  an  author'^ 
s/\7r  of  wriliuLr.      .\ii\'  sentence  that    u'i\es  t|;c  reader  a  correct 


i'k()()iki:.\i)i\(;  51 

concej)tion  of  the  author's  meaning  may  be  said  to  l)e  properly 
punctuated.  Words  which  do  not  give  the  correct  sense  when 
read  are  either  wrongly  used  or  im])ro[)crly  punctuated,  and 
some  change  should  be  made.  Usually,  it  is  not  the  proof- 
reader's j)rivilege  to  alter  copy;  it  is  his  duty,  however,  to  call 
attention  to  an^-thing  that  may  seeni  to  him  to  be  wrong. 
Such  a  notation  on  a  ])r()of  is  called  a  query. 

53.  Marks  of  Punctuation. — The  following  are  the  usual 
marks  of  ])unctuation:  the  comma  (,)  the  dash  ( — ),  the 
semicolon  (  ;  ).  the  colon  (  :  ),  the  period  or  full-})oinl  (  .  ),  the 
hy])hen  ( -  ),  the  apostrophe  (  '  ),  the  interrogation  mark  (  ?  ), 
the  exclamation  mark  (  !  ),  brackets  [  ],  and  parentheses  (  ). 

54.  Use  of  the  Comma  ( , ). — The  Century  Dictionary  states 
that  the  comma  is  "used  to  indicate  the  smallest  interruption 
in  continuity  of  thought  or  grammatical  construction,  the 
marking  of  which  contributes  to  clearness."  The  following 
examples  show  some  uses  of  the  comma: 

1.  Before  a  conjunction  introducing  an  antithetical  clause. 

Aiu'  man  can  Ijc  a  printer  mt-rcly  !>>•  callinu;  himsL-lf  one,  and  tliere  is  no 
one  who  would  dare  cliailenL^e  liis  assertion. 

2.  After  a  ])articipial  clause,  especially  if  it  explains  the  main 
clause. 

!!einu:  out  of  "  sorts."  we  were  unable  to  finish  tlic  job. 
i''i^urati\el>-   si)eakin,^,    tliis    man    combines   two   or   more   indi\'iduals 
workint;;  in  iiarmou}'. 

3.  Wheii  the  conjunction  is  omitted  between  words,  ])hrases, 
or  clauses. 

That  job  is  fearfully,  \von(k'rfull_\-  put  togetlier. 

4.  After  a  word  or  clause  inde})endently  beginning  a  sen- 
tence. 

I'ortunately,  some  Ijos's  who  start  out  to  become  j)rinters  soon  reaHze 
their  mistake. 

Shorn  of  all  its  Acrbia^e,  eriicit-nc\'  is  nothin,!:;  more  than  getting  a  tiling 
done  with  die  least  possible  fri<'tion  in  the  least  possible  limi". 


r,2  PRLXJl.XC; 

5.  Atlrr  each  of  a  scric'^  of  words  c^r  clauses,  and  when 
\\drd-  ;:iT  u-rd  ill  jiaii'-. 

Tiiin!.  ll'c  oi-iliii:i!-y  iM-.itinc  (>\  l)iisi;u-s  ;iiiil  siK-irty  has  (li'\-C'lope(!  a 
iii\ri:i'l  I)!'  form-.  m|:|i  a<  tin-  Ic!  U-riii'ad  and  wnldinLr  announrt'mfnt,  the 
.-']\\\  tar  trai!-!'i!- aiul  hniiiih->-  h-t.  ihi-  lihuik  form,  the  lime-tabk',  and  the 
trlrplaui!-  dire  U-v\  . 

'•.   'i  o  -r-pai-aic  proncT  nouns  i)i'lon,<j;ing  to  ditlerent  individ- 

i;a.i>  or  i;iat\s. 

To  f  ,i_:irjv'.  lli/ary  ^i-i-nu'd  a  in_\'sler_\". 

Til  A.Mi-'-iia.  iMiroMf  look-  for  pi-ace  projw^als. 

7.   .\\\rf  a  \o(ali\"c  cxjji'c'ssion. 
Mr.  l'ri-d>li-nt,  1  frrl  liiydily  lioiiorcd,  etc. 

y^.    i)cl\\(fn    two    independent    clauses   joined    with   a   con- 

"unct  ion. 

Man;.'  '<\  1:-  arr  {ironc  to  '/wv  ad\art-  as  to  what  not  to  do,  and  \"et  v,t 
f,()l  \:i  oiua-  a  oo:;-t  ruiii\  c  id. 'a  of  what  should  Ik-  done. 

').  .\il;'r  adjcc'i  i\  cs  w  liere  two  or  more  coniinc;  to'zether 
fjiialifx  llie  same  noun,  liul  not  hetween  the  last  ;idjecti\-e  and 
i  he  noun., 

d'hf  (j;'-.--tion  of  ton^  \-;uue?  is  entirely  in  the  hands  of  the  photocn,L:ravcr, 
v'.iio  caai  !d^\■  you  a     iioni:,  solid  impression,  or  a  L,"ra\-,  weak,  iminterestin},' 


!o.  \\'ia';i  a,ii  adiwii-.f  (juahrie-  llu'  succeedin,^,^  adjective  do 
iiol  li-r  I  he  w  muna. 

i  -ir  !)•  a   ;-.  -ah-  a-e  a   a  ron;.'  hri-ht  red. 
llr  i:-  ,1   v.ra!.  uld   liiaa, 

1  1 .  I'll-  i  r^i  live  (  !aiwe>  do  no(  l::ke  1  he  coTuma,  l)ecatisc  the 
-lalrJiaait  ir-  rr-irirird  to  ilia!  j  )a  rl  i'lila  1"  suhji'ct.  'i'here  is 
ifceat  iHfltawaie  ol  niranlia;  heiween  tlie  follow  iuLi;  statements: 

!  t..     eoior,    .'.iii-:!    !-   I  .■i:;p!i'i)i(  Warw    dio'iid   he   preferred. 
'!'!■,'■  eiiloi"  wki'  !i  I.-  I  oiiipK.'iiieatary  .-liould  he  preferred. 


rKC)()FRi;Ai)[.\(;  53 

12.  Ahva}-.s  use  a  comma  before  the  conjiinction  that  joins 
the  last  of  a  series  of  nouns,  a(ljecli\-es,  or  [>artieiples  to  the 
j)rece(Iin,^'  ones. 

Mi'anwliile,  in  addition  to  GutL-nI)er'^''.s  sin'j;lc  [)roce?3,  two  others  have 
dewloped.  L;i\'iiiL;  us  three  fundamental  pnx'es.seri:  l\-[)o,t:ra})h\-  irelitf,), 
intat;lio  i incised],  and  litlioLrra[)h}'  (plane],  besides  die-stami)in!j;  and  em- 
bossing'. 

Tom,  Dick,  and  Ilarry  have  ^one  to  scliool. 

If  we  omit  the  comma  after  Dielv,  the  sentence  reads  as  if 
\vc  are  telling  Tom  that  Dicl^  and  Harry  liave  gone  to  school. 

Here  is  a  sentence  that  recently  apj^eared  in  ])i'int; 

I  tliink  it  is  hi^h  time  we  realized  that  there  are  other  orcupations  for 
the  blind  besides  makinL;  l)r(M)nis,  eanim;  eliairs,  we;i\inL'  and  tiinini;  pianos. 

Of  course,  the  idea  of  \vea\-ing  a  piano  is  so  ridiculous  that 
the  meaning  cannot  be  misconstrued,  but  the  sentence  is  \-ery 
apt  to  be  misread. 

Here  is  another:  ''Seashore  ch:urs,  in\-a]id:>'  cliairs  and  go- 
carts."  Of  course,  it  does  not  mean  inx'alid--'  go-carts,  e\-en 
though  it  says  so.  A  comma  after  '"chairs""  v.'ould  ]ia\"e  a\-oided 
all  likelihood  of  mistalxc. 

Man\-  educators  ])ersist  in  teacliing  tlie  omis-ion  of  tlie 
comma  before  the  conjtmction,  contending  tliat  tlie  conjtmc- 
tion  take-  the  place  of  the  comma,  dlie  ftniclion  of  [<  cc>mnia. 
is  to  srparn!i'  words  or  ])hrases,  vhile  tliat  of  thi:  coi;itmction 
is  to  jo'ui  them  together.  It  i-  obxious  th;it  the-  coniimction 
cannot  fulfill  this  dual  role.  If  tliosf  wlio  ;'.d\-()cate  the  omission 
of  the  comma  were  to  spend  a  year  or  two  at  tlie  proof-desk 
and  had  occasion  to  tiote  how  freciuenth'  tlie  sense  of  an  article 
may  be  misconstrued  when  the  comma  is  omitted,  tlie  author 
is  confident  that  the\-  would  in.-ist  on  its  w,.,-.  When  it  is 
used  there  is  ne\'er  tin\-  doubt  cis  to  the  meanin.g  of  the  sen- 
tence:  if  omitted,  the  sentence  is  somenmes  aTiibiguous. 

A  (le])art  ment-store  ad\"erti-ing  n^anagir  win;  al^va\s  in-i-ied. 
on  the  omis-ion  of  the  comma  fre'|uenil\'  went   iiito  ])rini    wiih 


54  rRiN'nw} 

monstrosities  in  his  endcax'ors  to  makt'  hi-  i!K\.ninu:  (liar.  At 
onr  tinu'  h.t'  was  ^i\-in^  a  Hst  of  the  coh)r  eonihinations  thiat  were 
to  he  !:;;(!  in  h;in(H-:ei\;]hL  !<.  He  stated  thiat  they  were  in  "eon^- 
hination>  of  hlack-and-w  hite,  hlue-and-white  and  pink-and- 
whiie."  Owini'  to  the  faet  tliat  he  on  itted  the  comma  before 
tlie  hist  ^ronp  in.  tk.e  series,  hv  resorted  to  the  use  of  the  h\"])hens. 
Had  he  used  th.e  conuna,  the  hxphens  would  not  liax'e  Ijeen 
necessary. 

Of  cour.-e,  ihi-;  was  not  so  ])a(h  His  me;ininLj  was  cdear. 
Ikit  one  (hi_\"  h.i'  ran  into  a  new  coml)ination  of  ('(jjors.  and  this 
was  the  re-uh  :  "We  Iiaxe  th.em  in  hihi(k-and-\\liite,  hhie-anch 
white,  ])ink-and-wliile  and  naxy  Idue-and-nile  ^rt'en-and-wliite." 

Another  noteworthy  shortcoming  of  this  ])articular  man 
was  that  h.t'  usuaUy  knew  when  to  join  two  words  together  as  a 
compound  a.djecti\e,  hut  he  did  not  know  tliat  at  otlier  times 
the\"  could  he  used  as  sej>arate  words.  ("onse(|uentiy.  Ire  had 
gotten  into  the  hahit  of  usim:  certain  combinations  of  words 
ahvays  in  the  com])ound  form. 

55.  The  Dash  1.  -A  dasli  incHcates  a  ])ause  sH,<:ht'iy 
lonL:;er  than  that  called  for  b\'  a  comma.  Its  xairious  uses  are 
co\-ered  ii~i  t  he  followini:: 

1.  To  indicate  a  sudden  chan,ue  in  thou^L!;ht. 

Tf  ]uy  juiL'iiirnt  i-  111  error — well,  "  tlicrc's  no  nioiiL'v  in  llic  priiitiiiL^ 
l)l:^iIU>^,  ;iiiy\\a_\' ! 

2.  'I'o  denote  faherin',4  speech. 

I  --all   -wfll  -111);    I  don't  think  so. 

;;.   'I"o  point  ■~n'l  a  parep.t  liet  ical  clau:-e. 

'I'lir  \i\:\\v  i,-  [H'l'i-iialilr--  >rn~ili\  r  lo  at mo-^plKrir  idmiitioiis — but  the 
ro-;l  of  making;  il   i-  nol  ureal . 

4.  Til  -eparate  an  e\pl;inator\-  wiird  or  clause  from  the 
oriLrinai  -tateinenl . 

i'roni  liir  !i;;ir  ihal  M-iiiiiiii:  \'..i-  ':i\-enUil  lluro  l;a~  Incn  a  iK-iline  of 
lla-  |i;-inlci-'-  n-aril  ior  tliat   lor  wliirli  iiiaiil  i:i.:  v,'.,.-  ile-iuiiril—  lanL'u.i-:!'. 


PROOFRKADTXC,  55 

5.  Between   a    sideliead   and  the  text,   and  after  the  word 

"Note"  in  a  footnote. 

Sec  .ueneral  use  throu^t;liout  this  book.) 
XuTL.  —  U.SL-  a  (lash  aflcr  tlic  word  "'  Xotc.'' 

6.  Before  the  words  '■Contuiued"  and  '"Concluded." 

"  How  ^^'t■  (lot  Our  Alf)hal)et." — C'mtinued. 
"  Printing  as  a  I'ine  .\rt."' — Concluded. 

7.  To  rc]~)eat  by  way  of  emphasis. 

Your  catalogue  takes  the  [ilacc  of  \'our  salesman — \'our  catalogue  is 
3'Our  salesman. 

8.  Before  a  credit  at  the  end  of  a  quoted  article. 

'■  Here  we  are  face  to  face  with  a  new  and  dillicult  problem — -new  and 
difhcult,  that  i-.  in  the  sense  that  .  .  .  '" — M iniu<il  of  Style,  Unhcrsily  of 
Cliidr^^o  J'rcss. 

9.  Writer-  who  tire  not  confident  of  the  proper  marks  of 
punctuation  ir  ike  frequent  use  of  the  dash.  Advertisers  some- 
times use  tilt  d;isli  to  strint^  to,<i;ether  a  series  of  disjointed, 
forceful  phra;-js  that  are  logicall}-  but  not  s\'ntacticall\'  con- 
nected. 

10.  Do  not  use  a  dash  after  a  fornitil  tiddress  to  a  letter; 
a  colon  is  tlie  proper  mark.  (See  under  "Colon.'")  The  fre- 
quenc}'  with  \-,hich  steno,^ra])hers  use  both  the  colon  ;ind  the 
dash  leads  oin'  to  sui)pose  thtit  suclr  is  the  i)ractice  taught  in 
business  coUe',  js. 

11.  Be>i(le-  the  one-em  dtish,  whose  uses  hax'C  been  exem- 
plified, en  d'.s   e>  and  two-em  dtishes  are  al>()  used. 

Use  an  en    Ltsh  to  stand  for  "to"  in  words  or  numbers. 
January-  March,  1017.     Pages  ^o--i'^.     Winter  of  1915-16. 

A  com]iou  (1  word  set  in  ctipitals  shoukl  ha\-e  an  en  dash 
instetid  of  ti  li  .'pheii. 

'IdlF.  ADLKR-JOXE-S  COXTROVF.RSY. 
Use  a  two-  .-m  (kislt  to  shovi'  omission  of  part  of  a  name. 

^Irs.  Iv  -  v..''ll  soon  return. 


56  I'RIMINC 

56.  The  Semicolon  (  ;  !.  The  i);iii-^t'  iiuliratrd  1)}-  ;i  semi- 
colon is  sliulith'  loii^T  tlKiii  ihal  after  a  eomina  or  a  dash 
The  semicolon  finds  its  u<e  mo-tly  in  compk'x  >ciUences. 

1.  When  a  sentence  opens  with  an  introductory  clause,  the 
succeeclini^  clauses  sliould  be  si'i)arate(l  with  seiiiicolons,  espe- 
ciall\"  if  the  latter  contain  lommas. 

The  followinu:  arc  tlic  olVirrrs  foi-  thr  ciiiuinL';  war:  ^^'i]bur  Sniilli, 
I'rcsiili-nt,  of  I'liihuk  Ipliia.  I'a,;  '['lu'odorf  .Mal>ii,\  \"irrd'rc.~i(ltnl,  of  Newark, 
N.  J.;    Harold  I'ar>c\al.  SrcrctarN-Trca-urer,  uf  Hli.--\ill(.'.  X.  ^■. 

2.  When  successi\e  clauses  of  a  compound  sentence  are  not 
joined  by  conjunctions,  use  the  semicolon. 

Standinir  matter  is  Job  insurance;  it  is  tlu'  cure  for  that  ^^rcat  c\al,  the 
transient  customer;    it  is  tlie  ])rinter's  t)e-l  ai'.u'unienl  for  repeat  oi'ders. 

3.  In  Scripture  references,  to  separate  passages  containing 
chapters. 

Gen.  4:6-1^^.    15.    19;  5:18. 

4.  The  semicolon  should  be  j^laced  outside  of  tlie  C|Uotation 
marks,  uriless  a  part  of  the  (juotation. 

'■  If  ;i  task  is  once  bcLrun.  newr  ieax'c  il  lil!  ii's  done";  writes  riitelje 
Carey. 

57.  The  Colon  i  :  '.  -The  colon  denote-  a  lonL'"er  ])ause 
than  that  after  a  .-emicolon.      Its  u-e>  are  illu.-trated  below. 

1.  .\fter  the  .-alut;ition  of  ;i  letlca". 

\\'illiam    I-'.   Smith   cv   Co., 
(irxii.i  M!  \: 

W'c-  are  in  i-eceipt  of  youi-  lette'r  of  tjie  ei;rhlh  instant,  etc. 

Mv  JM  AK  Ml;.   W  il-mn: 

2.  On  t  it  le-])aLre:-.  where  the  location  ])i'ecedes  the  name  of 
the  publi.-^her  in  the  >ame  line. 

\cw  ^•,,rk:    lolm  \\ii.;.-  ,S-  Sn:,...  I;;,. 


i'K()(iiRi;.\i)rx(i  57 

3.  After  llie  introductory  clause  of  a  complex  sentence. 

Mdwanl  I.,  'riiorndikr,  01"  'I'racivv'rs  ('olu's^i.-.  Cnlunibia  l'ni\ crsit}-,  says. 
"To  llu'  fi\a--ycar-ul(l  a  pa,uc  of  jii'iiit  is  an  iiKlcliniU'  snirai'  of  black 
spixks  on  a  white  i^round;  to  liis  tcarluT  it  is  a  dclinilc  st-rics  of  letters  and 
words;    to  tlie  printer  it  is  not  onl\'  that,  hut  also  ten -point  type."' 

4.  He-tween  minutes  and  seconds  in  time  desiunations,  and 
between  cha])ter  and  xerse  in  .Scri])ture  i)assages. 

He  is  in  the  :  :  10  elass.      (See  "  Period  "  for  time-tables,  etc.) 
St.  Jolm  10:1,^-15;    ij :()-)<). 

If  a  colon  and  the  closing;  marks  of  a  (juotation  sliould  come 
to,<2;ether,  ])lace  the  colon  inside  oi  the  ({uolation  marks  if  it  is  a 
part  of  the  (juouition;  if  it  is  jjart  of  the  sentence  in  which  the 
quotation  occurs,  place  it  outside  of  the  (|Uotation  marks. 


58.  The  Period  (  .  \  --'.Fhe  |)eriod  denotes  a  full  pause,  and 
is  u>e(l  at  tlie  end  of  ex'ery  sentence  unless  the  sentence  be  in 
the  form  of  an  exclantation  or  an  interrogation.  Other  uses  of 
tlie  |)eriod  are; 

1.  'I'o  denote  tin  ad)bre\i;it!on  or  a  contraction.  A  contrac- 
tion is  sometimes  denoted  b\'  the  use  of  an  ti])Ostrophe.  (See 
Ajjo.-^trophe, )      Xe\'er  use  l)oth  niarks  at  the  stime  time. 

Dr.  (l)o;',or';  Wnt.  AViHiam);  Pa.  id'ennsyK^aniai;  Co.  (,Compan\-); 
Inc.  i  Incoi-porali'd  K 

2.  After  Roman  mnr'.ertds  ;ind  Arabic  ligtires  when  used  in 
indexes  or  in  the  ntunbering  t)f  ])ara,izra])lis  throughotit  the  text, 
but  not  if  st;iiidin_<:  tdone. 

See  Tuimhered,  [);;ragraplis  throiiu'hoiit  this  book. 

I.  Composition .      13 

T  [.   Pr!.■ss\v^)^k , .        40 

111.   Color  work .  .  ,  ,  , -    ...      ,  . .  ,  - 1 2,3 

LKSSO.X   XIV 


58  FRINTIXC 

3.  To  separate  dollars  frcMU  cents. 

Si-79  Si7-25  $y7S-6o 

4.  In  tinie-Lables  to  separate  hours  Ironi  minutes. 

9.12  A.M.  12.49  ''■  '*'• 

(Tn  time-tables  p.  m.  hours  are  usualK-  designated  in  hea\-ier 
type.) 

5.  To  indicate  that  wiiat  follows  the  ])oint  is  expressed  deci- 
mally. 

,^1416  .7S54  .s't, 

6.  Names  which  have  been  sliortened  and  which  are  used  as 
nicknames  do  not  take  the  period. 

Sam,  Ik-n,  Rob,  Will,  l-rcd,  Phil,  etc. 

7.  To  show  an  omission  of  words  in  an  extract,  use  three 
or  four  periods  with  en  (|uads  between  theni. 

Sonu'  one  lias  lu'id  that  " 'l'\p()m'a[)hy  ....  ou.^ht  to  he  like  a  slicet 
of  tlawk-ss  crystal,  so  clear  lliat  you  can  ^^azi'  ihrou.t^h  it  without  e\'er  being 
conscious  that  it   is  there;    ...       '' 

59.  The  Hyphen  (  -  ).  Tlie  use  of  the  hyphen  is  illus- 
trated below. 

I.   In  dictionaries,  to  separate  words  into  syllables. 

in  (oni  pat  i  hie  i'e\-o  iu  t  ion 

:.  To  show  thai  the  word  al  the  end  of  the  line  has  been 
di\ided. 

(See  the  \'arious  <li\isioiis  throu;j;hout   the  te\t.) 

i,.  To  show  thai  two  or  more  words  are  to  be  ioined  together 
and  used  as  a  single  term. 

Sii  calleij  printiT 
Tliree  yeai'-oid  cliild. 
Aliideni  ):riiil  iiiu  presses. 

(See  also  under  "Compound  Words."') 


TROOFRKADIXG  59 

60.  The  Apostrophe  (  '  ).  -The  ajiostrophe  wus  primarily 
used  to  indicate  the  omission  of  one  or  more  letters  from  a  word. 
It  is  no  lont^^er  restricted  to  such  use,  but  is  now  employed  for 
other  ])urposes. 

1.  To  denote  the  omission  of  letters. 

I'll,  for  I  will. 
Don't,  for  do  not 
It's,  for  it  is. 

2.  To  denote  possessixe  case. 

William's  hat. 
Adams's  bakery. 

3.  To  indicate  the  [)lural  of  ligures  or  letters. 

lie  had  ten  3's  and  tweh'c  A's. 

4.  To  dent)te  a  contraction. 

Dep't,  for  Jepiuimoil.     Sec'y,  for  secretary, 

61.  Quotation  Marks  (  "  "  ).  -The  usual  method  of 
cjuotint:  is  to  use  two  in\-erted  commas  at  the  beginnin,^  of  a 
citation  and  two  apostro])hcs  at  the  end.  Some  latter-day 
fonts,  of  which  Hodoni  is  a  type,  hax'C  a  character  si)ecially 
cast  for  the  opening  mark  of  c[Uotation.      (See  ])age  60.) 

When  one  quotation  includes  another,  the  second  one  should 
ha\-c  single  marks  instead  of  double.  If  still  a  third  occurs, 
this  should  be  double. 

When  a  copied  article  consists  of  more  than  one  paragraph, 
the  closing  quotation  mark  should  be  placed  at  the  end  of  the 
last  paragraj)h  only.  The  opening  c[uotation  mark,  however, 
should  be  used  at  the  beginning  of  each  Cjuoted  paragra])h  to 
show  that  it  is  a  continuation  of  the  citation.  Do  not  close  the 
quotation  at  the  end  of  each  paragraph. 

Periods  and  commas  alwa\'s  go  inside  of  the  quotation  marks; 
the  other  marks  of  punctuation  go  inside  if  the  marks  are  a 


6o  I'Rixrixi; 

l)arL  of  the  (|aolaUon,  outskle  if  they  are  used  as  puncLualion 
of  the  sentence. 

1.  To  show  the  exat't  words  used  iiv  ;;U  author. 

Il    i~    liiiili    time    thai    a    |iiintrr   ~li(iiiM    lie   alilc    to    mc    iiimi'   lliaii 
"a  (Irliiiilc  -eric--  ol   Iclhis  and   wiiiii-."" 

(Tlu's  ])ara,<j;rai)h  is  set  in  liodoni  to  show  the  special  quota- 
tion marks.) 

2.  Douhk'  and  single  quotations. 

F.xcrott  R.  CurriiT,  in  sprakini:  ol'  Will  Hra(]K->'  and  his  influence  on 
mciilern  t_\i)<>Ln-a[)h_\-,  lias  llii-^  In  say:  "  His  i-e\i\al  of  tin-  forgotten  practice 
of  Icttcr-spatinii;  has  proved  a  waslelul  and  pernicious  iiniovation—  wasteful 
on  account  (if  the  time  consumed  in  inscrlinu  spac^'  between  letters  'where 
it  is  not  needed),  pei'nicious  because  it  ,i,^a\e  'art  '  conijxisitors  a  new  play- 
thiiiLr.  and  only  ser\t'd  to  enlai'.ue  the  hole  throuLrh  which,  as  emploxdne, 
printers  unanimousl\-  agreed,  the  prollts  from  the  other  departments  leaked." 

3.  Names  of  hooks,  ma,u;azines,  i)()ems,  and  \\orks  of  art, 
also  the  titles  of  pa])ers,  articles,  etc. 

IIa\e  you  read  dress's  "Art  and  Practice  of  T_\'po'j:rap]iy  "  ? 

He  read  an  interesting^  j)aper  on  "  Present -da_\'  Tendencies  in  Typo.y- 
raphy." 

4.  To  flesi^nate  unti^tiiil,  ti'chnic;d,  or  ironical  words  or 
pli  rases. 

If  the  layout  of  the  job  doesn't   look  ■•  r\'j,\\\  "  -why  doesn't   it  :■' 

When.  j)rintini,'  one  ink  o\er  anotliei'  we  -onulinies  ha\"(  trouble  because 
the  si'cond  ink  rtduses  to  •■|at;e"  o\er  tlie  lu'-t. 

(hitenbiM':,'  would  ha\-e  been  mort'  tlia.n  iunnan  to  haw  foreseen  the 
e\-olution  of  his  little  "  cider -press  "  into  I  he  ,L,'i'j:ant  ic  rotary  of  the  twentieth 
eentury. 

62.  Interrogation  Mark  '  ?  '.  The  interroLratioii  mark  is 
said  to  i)(>  a  corruption  of  the  lir>l  and  la>t  Icllrrs  of  1  lie  Latin 
word  (ht(rstii>,  a  (lueslion,  i)hucd  (Uie  ahoxe  the  other; 
thu^,  'i 


pr(Xjiri;aij{X(,  6i 

1.  It  is  used  in  askini^  a  direct  question. 

lUit  why  is  this  a  pleusiii"^  division  ?  \\'hy  not  some  other  distribution 
of  space  ? 

How  much  of  this  wasted  time  do  you  think  is  cliarged  under  the  head 
of  "  distribution  "  ? 

2.  After  each  ciuestion  in  a  com]K)und  sentence. 

How  much  would   it   make  if  set  in  eiyht-point   type  'i    in  nine-point  ? 

in  t('n-[)oint  ? 

3.  As  a  cjuery,  exj^ressing  douljt. 

Gutenberg  invented  [)rinting  from  moN'able  tj-pes  at  Alentz  (?)  about 
1440. 

63.  Exclamation  Mark  (  ! ).  This  mark  probably  owes 
i:s  oriirin  to  the  Latin  word  h\  jo}'.  one  letter  being  written 
o\-er  tl:e  oIIkt;    as  ,,. 

1.  It  is  used  to  denote  surprise,  emotion,  or  an  outcry. 

()li!     Ho-,v  \-ou  startled  me! 

'■  Hel;)!  help!"  he  cried. 

All,  what  a  tangled  web  we  wea\"el 

()  that  I  had  the  wings  of  an  eagle! 

2.  After  inierjections,  used  independent!}'  or  in  sentences. 

Oh!     Ah!     Ouch.: 
Before  the  li\x'  and  the  strong  llies  an  angel,  crying,  "On!  On!" 

3.  After  an  in\-()cat ion  or  contniatuL 

Speed  C)ur  reputjlic.  O  ['at  her  on  high! 

Still,  ()  niy  ('(Hintr}-,  while  we  may,  look  back! 

Halt!     Who  goes  tliere  ? 

'"  forward,  th.e  I.iLrlit  Hriirade! 
CdiarL'e  for  llie  uauis!'   lie  s;dd:" 


62  PRIXTIXC; 

64.  Parentheses  ('  ). — When  an  author  wishes  to  offer  an 
explanation  of  somethin^i;  wliich  has  been  said  but  whieh  is  not 
an  essential  part  of  the  text,  the  words  are  enclosed  in  ])aren- 
theses. 

The  Romans  wrote  '.vith  an  iron  pen  or  stylus  (wlu-rxc  i,ur  w.r^l  st\"le) 
on  waxen  surface>  .-nioothcd  o\'er  ■.vo(j(l. 

The  lower-case  letter^,  or  minuscules  'this  word,  like  majuscules,  is 
accented  on  the  sec(jnd  s_\-ilahlei.  and  the  scri{)t  we  use  now  demand  atten- 
tion. 

65.  Brackets  [  ]. — When  one  parenthesis  occurs  in-ide  of 
another,  brackets  are  used  to  desi,ii;nate  the  inner  one.  This 
frerjuently  occurs  in  legal  citations,  but,  inasmuch  as  nearly 
ever\-  office  has  its  own  style,  no  exam])les  will  be  ,i:i\"en. 

1.  Matter  that  is  introduced  into  the  text  by  some  one  other 
than  the  writer  should  l)e  enclosed  with  Ijrackets. 

As  an  example  of  the  misuse  of  the  term  complementary.  I  cjuote  from 
an  otherwise  excellent  article  on  the  use  of  ccjlor  on  co\'er  stocKS  :  "As 
tiie  lowerin'i  of  all  colors  results  in  black,  and  the  liLrhteninu'  of  ail  colors 
results  in  wliite.  then  black  and  white  are  the  two  friendly  mediums  for 
purposes  of  separation  'so  far.  so  ^'oofl:  but  he  adds],  as  tr,L_\-  are  <  omple 
mentar\'  'sic;  to  all  cohjrs.'" 

It  will  he  observed  that  the  hyphen  'meaninir  the  hyphen  in  com{)ounds; 
is  less  frecjuend}'  used  than  in  former  editions. 

2.  In  reports  of  s])ceches,  to  enclose  words  ex])lanator\'  of 
the  emotions  of  the  audience. 

While  woman  ma>-  nex'er  he  elected  to  C'ontrrcss.  she  '.\dll  continue  to  l;e 
the  "speaker  of  the  house."      |b'i-^i-li^er.' 

V  I'or  folios  and  to  enclose  line.-  dcsi,irnatin,L:  where  articles 
:ire  continued  on  or  from. 

[32] 

[Continued  on  pafrc  132] 

[Continued  frcjm  [)a;.'e  76] 

iTii  he  ( nntinuedl 


l'R()()IRi:.\l)lXG  63 

66.  Division  of  Words. — There  is  j^rcat  diversity  of  opinion 
an"n)n^  authors  and  ])roofreaders  regardin.c;  the  di\'ision  of 
words.  Some  foUow  the  American  ])hin  of  di\-idin,if  according 
to  pronunciation,  some  the  Kn_!^Iish  plan  of  di\'idin<=j  according 
to  derivation.  It  is  a  matter  of  extreme  regret  that  gram- 
marians ha\'e  not  agreed  on  some  definite  pkm,  so  that  the 
ordinary  l:iyman  might  feel  assured  that  he  is  following  good 
usage. 

In  offering  the  following  rules  the  author  is  well  aware  that 
the  matter  is  but  briefly  covered.  When  in  doubt,  consult  a 
good  dictionar}'. 

1.  Words  should  be  (U\-ided  according  to  syllables;  a  sylla- 
ble being  a  succession  of  letters  to  re])resent  one  sound. 

con-ster-na-tion  s\'l-lal)-i-ca-tion 

2.  If  the  word  is  one  containing  a  single-\'Owel  syllable  pre- 
ceding the  last  s\-llable,  di\-ide  the  word  ])referably  on  the 
\-o\vel,  carrying  over  the  last  syllable.  If  it  has  two  \'Owels, 
retain  both. 

nierliani-ial.  no!  iiiechan-ical. 
aj)f)r()xi-matf,  >iot  approximate. 
clilTercntia-tioii,  >tot  dilTerfnti-ation. 

3.  If  the  last  syllable  of-  a  word  contains  but  two  letters, 
do  not  carry  it  to  the  next  line.  If  there  is  room  for  the  hyphen 
there  is  usually  room  for  the  last  two  letters. 

\'orifcr-()Lisly,  )wt  Nocifcroiis-ly. 

4.  In  di\-iding  present  ])artici])les  the  /;/_<,'  should  l)e  carried 
ov'er.  If  the  C()n>onanl  is  doubled  on  adding  the  sulTix,  carrv 
over  the  second  consonant. 

?mok  in,!,'                         din-ing  drum-niinu 

drink-in.L'                        sit-ting  swim-mint,' 

expiTss-iniz-  (iiere  the  consonant  has  not  \)vi-\\  doulilcd:    it  is  part 
of  th.c  oriudnai  word). 


64 


]'RI\T[\(, 


5.  Dix'idc  a  compound  word  into  its  elc-nicntal  words  ratlier 
than  on  s\llal)les.  inilL\->  -pacing!;  would  he  -acrilu'cd  to  accom- 
plish it. 

comiMisiri'i-rixiin.  iioi  v^)tri]>^,<'\n■s-y^u)n^. 

().  Word-  wliicli  ha\a-  hi-cn  compiiundrd  01"  twn  word-,  and 
which,  from  u-aL't'.  haxo  coalc-ccd  into  one.  >hould  j)rclcral)l\' 
be  di\ddcd  into  their  ori'iinal  element-. 

sclM(il-ni;t~U-r  /i  li<!t--r  t/i-ni  ->hi.Hilnia-  lur. 
Semi-annual  .'^  I"  ii' r  tlii)}  >ciiiian-nual. 
unik-r-L-jtimatc  .'n'  h.::.r  limi  umUix^-limale. 


7.  Able  and  ihle  are  always  to  lie  con-idered  as  the  final 
;\dlalde.  and  carried  o\"er. 


consiilcr-alik- 


mdcrt ria.  t-iblc 


8.  Words  of  one  -x'llalile  cannot  ])v  dixided.  nor  cari  the 
plurals  r)f  ^in,^u!ar  noun-  ex'en  thouifh  ]ironounced  as  if  the\' 
were  words  of  two  -\'llaide-. 


horif.  hor<es 


mi  a.  inen 


Q.   The  addition  of  the  jia-t   tense  1o  'cerh-  of  one  >\'ilal)le 
doe-  not  add  a  -xalahle.      Sut  h  word-  cann.ot  oe  di\udied. 


(.li'o'.vn,  di'o'.'.Tic 


lap 


'I  pU-ll.   JiU^iuM 


lo.  Xo  Ihiu'li-h  woi'd  r'cer  licrin-  with  an  x  oi'  end-  witli  a  j; 
therefore,  in  di\  idinu:  word-  eoiu.didni:  the-e  letti/r-  alway-  keep 
the  A  on  the  Upper  lini'  a.nd  i  o;:  \\\v  lower. 


'I'he  Word  prtjU'Urr  i-  an  cxiiiifa.n  to  the  ruh;  of  d,i\-idi;iL.^ 
aoi  ordini'-  to  promineiat ion.  Tlie  aeeent  i-  on  the  prrj.  'I'he 
Word  i-  from  llie  Latin  '^n  jn-iy,.  lo  judij-o  in  ail\'aner.  ..nd 
i-  ii-rd  in  ihi-  foriii  ill  ai;  loLTal  docaimeut-. 


I'KOOFRKADLNG  65 

11.  If  the  first  syllable  of  a  word  conUiins  hut  one  letter, 
do  not  di\-ide  it  on  the  lirst  syllable;   carr\'  o\'er  the  letter. 

I!-L'>'pt  ;i-nion:^  ;i-lloat  a-shore 

12.  When  there  is  a  distinction  made  in  the  i)ronunciation 
of  a  word  to  den(.)te  its  part  of  s])cech,  the  word  should  be 
dix'ided  accordin,!,^  to  ])ronunciation. 

pro-,L;re3s  (\".)  pro,t,'-ress  (n.) 

pro-duce  Iv.)  prod-uce  (n.) 

13.  Xe\-er  ha\-e  more  than  two  divisions  of  words  at  the 
vn(l<  of  C()nti,L{U(.)U<  lines. 

67.   Compound  Words.  —A  com])ound  word  is  one  that  is 

Composed  of  two  or  more  words  joined  to,ii;etlier  to  express  a 
single  idea.  The  word  indicatinir  the  idea  may  be  a  noun,  as 
in  namin^ti;  a  thino'.  or  an  adjecli\-e,  (le<cribin,ir  the  thing  named. 
Sometimes  the  words  are  joined  together  as  one  word  with  a 
hy])hen,  sometimes  without.  Just  when  to  use  the  hyphen  and 
when  not  is  one  of  the  battling  Cjuestions  for  both  com})Ositor 
and  ])roofreader. 

Much  has  Ijeen  written  on  this  subject,  l)Ut  there  is  no 
unaninn't}-  of  o])inion,  e\"en  among  ex])erts.  The  mos^  com- 
prehensi\-e  article  that  the  author  has  read  is  embodied  in 
the  .Standard  Did  ionar\',  and  is  printed  on  pages  30  and  31 
(edition  of  rorv'.  It  is  from  the  pen  of  V.  Horace  Teall,  who 
has  also  written  a  book  entitled  ""The  Compounding  of  luiglish 
Words." 

While  rules  may  \-ary  slightl}-  in  i)rinting  offices,  the  follow- 
ing may  be  said  to  ])re\'ail. 

I.  When  joining  two  nouns  togc'ther  to  name  an  object, 
and  the  idea  expres-ed  by  the  object  is  in  the  nature  of  a  con- 
tainer, use  the  h\-phen. 

hat-I)ox  pat'er-l)ox  (a  box  to  IidI-I  jiapers) 

pill-l)i>x  (lil-can 


66 


I'kixiixc, 


2.  Wlien  two  words  are  arbitrarily  joiiH'd  together  to  name 
an  object,  tliey  no  I<)nLi;er  si  and  in  their  ori^Lrina!  relation.  Such 
nouns  do  not  take  the  liy])hen. 


bluel)ell 
blacktjird 
lighthouse 
bhickbLTr\- 


(irumi'i-li 
bcdronni 
lioiiilniaii 
headache 


turiike\- 
R-.lo.al 
railroad 
sailboat 


steamboat 
draltsiiian 
goldsmith 
bathtub 


3.  When  joininiz  a  |)artici])le  to  a  noun  to  make  a  new  noun, 
use  the  hx'phen. 

sitlinu-room  firinting-ijress 

smoking-room  sewimr-  machine 

gambling-h(juse  boiling-point 

4.  Wdien  two  words  are  joined  toizether  to  form  an  adjective 
precedin^L!;  a  notm.  tise  the  h\'])}-ien. 

still-life  studies  so-called  magician 

high-grade  go()(is  abo\'e-named  rules 

week-old  bal)y  much-used  jdirase 


5.  Ad\'erbs  that  qualif}'  adject i\'cs  ])recedinii;  nouns  do  not 
take  the  hyi)hen.  The}'  do  not  become  ]>art  of  tlie  adjective, 
but  retain  their  use  as  ad\"erbs. 


ri(dii\"  dre^sed  woman 
newly  marriol  coujile 


freshl\-  picked  bou(}uet 
highl>'  prized  b(jok 


6.  Usuall}'  (btit  not  in\-ariably '.  conrwumd  notms  are 
wrilti-n  without  th.r  ]i\-phen  if  either  of  ihe  word-  coiUaius  btit 
one-  -\dlable.  with  the  hyphen  if  it  e'onlain>  two.  a>  >ei)arate 
words  if  it  contain-  three  or  more. 


inkman 
sa'.'.tiiill 

notebM,,k 
ii  eliou-e 
Iire~-l'iinm 


mat.er 


-111 


p,,,l:et    bn,,k 
piiWrl'   l|nU^e 

(  omi"  i-iniz  room 


ink  manul'a<  luriT 
(h.iculale  tuill 

relrreli.e  book 
busilie-.-  i!(al^e 

ret  italion  rnom 


7.   Tlic    ])re-eiit-da\-    Uai(!ei!C\'    i<    to    oniit     the    hyjihen    in 

liida\'  lunicht  ti.nn.rrow 


PROOJ-RF.ADIXG  67 

8.  Vice,  ex,  elect,  and  general,  when  ])arl  of  a  title,  slioulcl 
l)e  joined  to  the  chief  noun  with  a  hyphen. 

\'ifc-Pr(.'si(li'nt  Marshall  the  IVcsidciit-elccl 

cx-Prcsident  Koosexclt  the  {xistmastt-r-^cneral 

9.  It  fre(|uently  ha])pens  that  after  words  lia\-e  been  in  use 
for  some  time,  and  we  ha\-e  l)ecome  fairly  familiar  with  their 
construction,  they  change  in  form,  the  hyi)hen  llnally  being 
dro])ped. 

bookkeeper  proofreader  earmark 

newspaper  bloodshed  nniskmelon 

keyboard  saleslady  shipmate 

typewriter  whalebone  yardstick 

10.  Latin  and  Greek  j^rcpositions  ])rehxed  to  a  word  do  not 
usually  take  the  hyphen. 

antedate  international  postscript 

antisei)tic  subcutaneous  superfine 

11.  When  two  or  more  compound  words  have  one  part  in 
common,  that  ])art  is  omitted  from  all  but  the  last  word,  the 
omission  in  each  case  being  designated  by  a  hy])hen. 

The  boxes  were  full  of  one-,  two-,  and  three-em  quads. 
Those  tools  are  used  by  j^old-  and  sihersmiths. 

68.  Capitalization.  -While  there  are  some  slight  differ- 
ences of  o])iiiion  among  [jroofreaders  regarding  ca|)italizati()n, 
the  following  rules  may  be  considered  as  meeting  the  re()uire- 
ments  of  the  axerage  office. 

1.  K\ery  sentence  should  begin  with  a  capital. 

(See  sentences  throughout  this  book.) 

2.  Every  line  of  ])oetr\-  should  begin  with  a  ca])ital. 

^\:s,  words  ma_\'  sound  alike,  yet  ha\e 

Dissimilar  nu'anin^s,  maybe: 
How  different  is  a  weak  old  miin 

l*"roui  just  a  \seek old  !)ab\-I 


68 


\1  i.\(, 


:;.  All  ])r()])LT  iioun^  and  most  adjcclix'es  derixx-d  from  ])ro])er 

noun<  >hould  licirin  with  a  cai)ital. 


Anii-rit  a 
Atnrrii  ail 


I'.iiL'land 
i:ii-li>h 


I'rancL' 
I-  rciu  h 


4.   Wt1)S  dcri\"rd   from   proper   nouns  should   hci^in   with   a 
lower-case  letter. 


aiiuriraiiizi'il 

llrtrilrri/A'il 


t)o_\-c()tt 
niaradaniizt.'d 


;.   Nouns  or  ])ronouns  that  designate  an\'  memher  of  the 
Chri.-tian  Trinit}'  -hould  he  capitalized. 


I'roxidiinr     llu-  I)Lit\-i 
Ifiiii    (xkI  or  Chri-t 


IL.ly  (ihost 

Sun  of  RiLrhtfnusiH'Ss 


').   Capitalize  the  names  of  >tate:i,  counties,  cities,   -.treel. 
and  park-. 

I'cnn-yhania  Si-cniid  Street  ZonlnLrical  Clanlcis 

.\e'.\'  \'nrk  I'airmouul   I'at'k  Cciitral  I'ar'k 

\\'ilkes-l5arrc  TniitDii  .Munroi-  ( 'ouiit  \' 


7.    Capitalize   the   names  of   churche-.   organization'-,    cluh- 
ociel  ie-.  and  luiiidinir-. 

ir-t   llapti-t  Chunii  T\-nii-yl\"ania  Railroad 

lairjiarr-  ,ii'  i!;c  K,>. .  ilut  i.  in  WM^l.'.Mrl  li   liiiildiivj; 

'i,i!>.i,ii,liMn  Chii,  IfMirl  M.-irnpolr 

',<  K!'-(  1  ( li    l':;l  jii>     I ',!  itic  alii  111  (  iii'ai'i  i  (  ''  mKltc 

"lii>.M   l.ra'jiK-  i'ldladc  l[ii!ia   Rapid    I'ran-it   ( 'n. 


iS.   (/apitalize  aU  u'ci  lUM'aj  )hical  name-  and  di\'i-ion- 


A;k 

!,-d.    (  1.  ra:i 

;;;. 

ll.a-a 

( .a; 

'  -;■  Mr-.l.., 

\\r-; 

K.> 

-^|[1^    -lat- 

( ), 

idi  la 

(  ^li 

r    M;,\ 

( )r 

I  III 

(  .ikr.dlar         X.aaa   \'.,\, 


R.M  k\-  M.iiMtaiii- 
Rio  (,iandr 
l)o]av.:na-  River 

llir  I'eiiin-uhi 

We-teril    lleliliM'lierc 


rKO()iki;Ai)i\(i  69 

g.  Capitalize  the  \  arious  epochs,  iniportaiU  events,  lioHdays, 
treaties,  acts,  and  bills. 

Middle  A,i;es  Declaration  of  Independence  Hay   tR'aty 

Ri'iiaissance  l''ifteenth  Amendment  Stamp  Act 

Re\-olution  the  C'ivil  War  Ma)j:na  Charta 

Memorial  Day  thanksgiving  Day  Fourth  of  July 

10.  Capitalize  titles  and  academic  degrees. 

I'residenl  Wilson  I'rincr  of  Wales 

tile  President  lof  the  U.  S.)  Joseph  Smilli,  \)A).,  l.L.D. 

Rear-Admiral  Dewey  ['hilij)  (iuernsew  M.l)..  Ph.D. 

11.  Capitalize  the  word  "cit_\'"  only  when  part  of  the  cor- 
porate title. 

'twin  C"it_\'  Jersi'\-  City 

I  shall  sue  the  Cit\-  of  Philadelpliia. 

The  city  of  i'hiladelphia  eo\'ers  an  are-a  of  1,^2. j  scjuare  miles. 

12.  Capitalize  the  titles  ot"  ]);)ok.>,  pajters,  niagazines, 
articles,  etc. 

The  Inland  Printer  Tlu'  American  Printer 

The  House  of  the  Seven  C.ahks. 

The  (iraphic  Arts  and  Crafts  \  ear-Hook. 

Pholograx'ures  and  Their  X'alue  to  the  ( 'onum-rcial  World. 

Printing  Instruction  in  the  Puhlic  Schools. 

13.  Capitalize  the  seasons  onlx'  when  tln'v  are  personified. 

the  poet  s|)rak>  of  Wintei',  wilh  hi>  ic_\"  blasts, 
'then  (.'omes  Summei-.  clad  in  her  garli  ol  green. 
We  ha\('  had  a  severe  winter. 
I  mi't  hiiu  last  summer. 

14.  .Mways  ca])italize  the  pronotui  "  I  '"  and  the  interjection 
-().■■ 

69.  Printing-office  Style. — 'Flu-  jonrneynian  ])rinter  who 
inigratfs  from  one  othce  to  another  soon  learns  that  there  is  no 
imiform  st\-le  existinii;  in  all  otTuH's.      In  olTerinir  the   folio\\in<_j 


KIXl  I\(, 


\\>l  tl'.i'  aullior  U'fl-  ihat  he  is  present iiiL;;  tlic  usa.iie  of  the 
he.-t    priiii  iiiu'  hou.-es. 

Omit  period-  from  heading---  aiul  at  the  ends  ot'  displa\'  line-. 
unle->  denoting:  an  alil)re\aation. 

l)o  not  u-e  period-  al'ter  Koman  numerals.  Thex'  are  not 
ahhreN'iation-. 

The  al)l(i'e\'iation  11).  for  pound-  eomes  from  the  Latin  lihra, 
the  ])lural  of  \vlii(  h  i-  li'nic.  'Idie-refore.  lb.  -hould  ,-land  as  the 
projjer  ahhreviation  for  hoth  -inii;ular  and  plural. 

Do  not  u-e  -jiaee^  between  inilicd.^  in  ahhrex'iated  tjtles. 
M.l).,  I'll. I).,  A.i;..  I.L.I). 

Xe\"er  u.-e  the  word  "ri\'(.r"  in  names  containing  the  \\dr<l 
Rio;    Rio  mean-  ii\er.      Rio  (irande.  not   Rio  (irande  Ri\er. 

Xe\x'r  u-e  the  word  '"mountains"  ir,  words  eontaip.inii;  the 
word  .^ierra;  Sierra  mean-  a  >awdike  rcin'.ie  of  mountains, 
."-^ierra  Xex'ada.  not  ."^ierra  Xewida  .Mountain.-. 

The  word  S.niimr.  meaning  je-u.-  (diri-t,  -hould  he  sjjelled 
with  a  "u":  if  it  ha.-  any  other  meaniuLr.  make  it  lower-ease 
and  do  not  u-e  the  ""  u." 

.\il  >in'j;ular  noun-  in  the  ])o--e.->i\-e  ca.-e  take  the  a.])o^tro])he 
and  .-:  Jone-'.-  wa^ron.  Smith's  store.  .\ll])lural  noun-  endin,!:  in 
s  take  the  aj)o-tro])he  after  the  -:  hoy.-'  elothinLT,  Lrirl-'  shoes. 
If  the  plural  i-  not  made  1)\-  addim:  <.  hut  1)\'  ihanizini:  tlie  form, 
tlien  add  the  a.po-trophe  and  .-:  men'-  hat-,  children'-  toy-.  If 
tlif  -in'iular  p!)--t'--i\-c  end-  in  -.  and  the  -ucci-edin^'  word 
hcLun-  with  -.  or  -.'.Tei'e  1  lie  re  i-  a  -ucrL---i(in  1  )f  -  -dund-,  t  hen  the 
])o--e--i\-e  (!oc-  Mot  take  the  -:  for  con-cience'  -ake.  for  je-u-' 
-ake.  fi  >r  'S^  'i  'due--'  -ake. 

Xe\rr  allow  a  -U(  ((•--ion  of  'lu'  >ame  word  at  the  end  of 
rr:i'i\-  ili,;n  two  line-.  If  a  .-erie-  m|  -m;dl  word-  occur-  at  tlie 
end-  of  -ucer,--i\a-  line-,  and  <ii\-e-  the  effect  of  the  word-  -tand- 
inu'  a]i;irt  from  the  text,  break  uj)  tlii-  -ucce--ion  by  di-i\-in'4  o\"er 
an  oi  ca-ional  \\-ord.  In  some  otVice-  t  he  rule  i-  to  [  ire\"ent  more 
tha.n  two  punclualiiin  mark-  of  an\-  f.ind  from  cominu  in  -uc- 
ce--i(.n.  If  iiiuch  1  in;e  and  Lib.  ir  \'.ould  br  entailed  in  ]  >re\ent  inu' 
thi.-.  it  i-  bc"e|-  '."  -:o/r  t!:e  time  and  i.a—  llie  mark-. 


PRooi  Ri:.\i)i.\(;  71 

A.M.  and  P.M.  look  l)csl  wlicn  set  in  small  capitals.  If 
tluTc  are  no  small  capitals  to  the  font,  put  them  in  capitals 
if  the  line  is  ca])italize(l,  in  lower-case  if  the  line  is  in  lower-case. 
If  the  abhrexiutions  are  in  capitals  do  not  use  a  space  between 
the  A.  and  the  AL,  but  use  a  thin  sjxice  between  the  P.  and  the 
M.  'I'his  latter  is  to  keej)  the  ])eri()d  closer  to  the  P  than  to  the 
M.     If  the  abbre\-iations  are  in  lower-case,  leave  out  the  space. 

Per  cent,  the  contraction  for  the  Latin  per  centum,  \?,  now 
a  full}'  anglicized  term.  The  modern  tendency  is  to  leave  off 
the  period,  .\notlicr  decade  may  witness  the  full  coalescence 
of  the  two  words,  for  the  be^inninu;  is  already  in  evidence. 
I'ercent  is  just  as  ,L,food  a  ^vord  as  percentajre,  and  is  frequently 
found  in  ])rint. 

The  short  "and,""  or  ampersand,  had  its  ori,L^in  in  the  old 
Latin  manustripts.  The  Latin  for  ''and'"  is  et,  an  early  form 
bein,Lj  written  £1.  Py  a  ])rocess  of  ex'olution,  the  early  scribes 
de\'ek)])ed  it  into  the  li,L,^iture  1S .  To-day  we  have  many 
beautiful  forms  of  this  character,  but  the}'  are  only  suited  to 
job. composition,  and  should  not  be  used  in  ordinary  book  work. 
The  ampersand  should  l)e  userl  only  in  lirm  names,  as  Straw- 
brid,m:  &  ('k)lhicr,  W'anamaker  &  Prown. 

U  is  the  rule  in  man}'  offices  to  sj)ell  out  all  numbers  under 
one  lumdred,  and  put  in  li,u;ures  all  oxer  one  hutidred.  If  the 
text  is  full  of  numbers  it  is  better  to  put  them  all  in  li,<fures. 

.\mount>  ot  li\e  or  more  h^ures  take  the  comma:  12,622, 
2-2.i)~().  Amounts  of  four  liiiiures  do  not  take  the  comma, 
unless  in  column  forniation,  when  the  comma  should  be  used 
to  keep  them  uniforni  with  amounts  of  li\"e  ligures. 

When  usin,L(  a,  <lollar  mark  at  the  head  of  a  column  of  amounts 
l)lacc  the  mark  aloii'-rside  of  the  fiuure  oil  the  first  line  in  the 
dollar  column.  If  there  is  no  li'j;ure  in  the  dollar  column,  use  a 
cipher.  When  the  column  lias  been  totaled,  add  the  dollar 
mark  lo  the  total  limounl.     Do  }iot  use  l/ir  mark  on  each  line. 

While  rules  for  indent  inLi:  i)araLrraphs  ma\'  differ  in  i)rinting 
ottfces,  it  is  conceded  that  indent  inij;  accordiuL'  to  the  following 
will  produce  a  i)leasing    a.i)])earatice:     for  measures    up  to  ancl 


72  PR  I  Nil. XC, 

incIuclin,L,f  ci.t^hteen  ems  of  i)ica,  indciil  one  cm  of  the  hod}-  in 
which  the  tN'pe  is  set;  for  nineteen  to  t\vent\'-lour  enis  j)ie;i,  one 
and  a  half  ems  of  the  body;  fiMm  twenty-live  to  tl'^irty  ems  pica, 
two  ems  of  the  hod}-.  This  ai>j)!ies  to  si/es  from  ei^lit-  to 
tweh'e-point.  Larger  sizes  talce  less  space,  smaller  sizes  take 
more. 

Indent  ])octry  aecorcUnc;  to  rhyme.     If  a  few  short  line? 
occur,  they  should  hang  in  a])out  three  ems. 

jM_\-  count  r_\!  "lis  of  tlicc, 
SwLX-l  land  of  lihiity, 

Of  tluT  I  sinol 
Land  where  my  fathei's  died! 
Land  of  I  he  pili^rinis'  pride! 
I'rom  c\'ery  mountain  side 

Let  freedom  ring! 

BlHLlOCiRAl'lIY 

Punclualion,  hy  F.  Horace  TealL 

The  Compound !>ii^  of  l-'.n^HsJ/  W'onls,  1)\-  I".  Horace  Teall. 
Correct  Composition.  1)_\-  Lheodore  L.  I  )e  Xiniie. 
Proofread in;^  and  Punclualion,  1)\'  A.  3,L  Smith. 
Manutd  of  Style,  The  l'niversit_\'  of  Cdiicai^o  I'ress. 

Article   on   compounding   of   words,    Slaudard   Dictionary    (igij    ed.i 
rin.  x.'vx.  xxxL 


CHAl'TKR  VI 
'I"S'PI-:    FACES 

70.  General  Classification. — Before  proceeding  to  a  study 
of  job  coniposiiion,  it  is  xery  essential  that  the  student  learn 
sonicthinii;  of  the  general  characteristics  of  job  faces.  The  lirst 
iin])ressit)n  that  one  recei\"es  when  set  adrift  in  a  large  ])rinting 
office  is  that  he  will  never  be  able  to  differentiate  the  various 
ty})e  faces.  The  task  is  really  not  such  a  difficult  one,  after  all. 
As  a  matter  of  fact,  e\'ery  type  face  comes  under  one  of  live 
general  headings — text,  gothic,  roman,  italic,  or  script. 

71.  Text. — At  the  time  of  the  in\-ention  of  printing  from 
movable  types,  the  tirst  letters  cast  were  imitations  of  the  hand- 
lettering  then  prevalent  in  the  monasteries.  This  style  of  type 
is  now  known  as  text  or  black-letter.  ]\Iost  authorities  agree 
that  it  really  should  be    called  i^othic,  doubtless  owing  to    its 

This  is 

24^^3otnt  Cloister  M>M\ 

p'.-issessinr  those  i)oiiUed  characteristics  so  pre\'alent  in  (lothic 
architecture.  Tiie  same  authorities  also  contend  that  the  t_\-|)e 
f  ici'  known  as  gothic  should  be  called  block  letter.  It  is  called 
''.ans-serif "  by  some  I'"nglish  founders. 

The  term  Idack-letter  is  derived  from  the  fact  that  when  the 
letter  is  printed  in  mass  formation,  the  whole  tone  is  black. 
The  early  manuscripts  were  not  set  olT  in  ])aragra]:)hs,  but  the 
break  in  tlmught  was  designated  bv  an  ornament.  There  were 
no  bre;ik-lines  throughout  the  text. 

As  the  text  letter  hiis  come  to  us  from  ecclesiastical  sources, 
it  seems  to  be  the  most  logical  letter  to  use  for  such  ])ur].)oses. 

73 


74  prix'IIXt; 

72.  Gothic. — Our  ])re.-LiU-fla\'  irDtliic  hears  a  wrv  >{rim<^ 
ru-enililaiu  L'  to  the  Icttrr  u-cd  li\"  the  ancient.  Konian.--  on  their 
stan-ij)S  and  coin-.      Such  letter-  are  (le\-oi(l  of  -erifs. 

This  i? 

12-PT.  LINING  GOTHIC   No.  45 

73.  Roman.  -The  Roman  al])ha])et  was  evolx-ed  froni  the 
I'hieniiiaii  and  (ireek  al]  )}ial)et -.  and  oriudnali}-  con-i-tecl  ot 
capital  letter-  onlw  The  -nia.ll  or  lowc'r-ca-e  letters  are  cor- 
ruption- ol"  the  capital-,  and  came  into  u-e  duriiiL;  the  ei<i;hth 
cent  ur\-. 

The  Roman  style  of  lelterin^L!;  was  u>ed  1)\-  th(.'  Latin  scrihes 
in  prepariiiL:  manu-crijit >.  and  by  the  >tone-cut ter>  for  inscrip- 
tions on  huildiiiL''-  and  taMet-.  It  i>  much  u>ed  in  pre>ent-da\' 
architecture,  and  the  \'.  the  old  form  of  the  capital  U,  is  still  in 
e\idencc. 

This  is 

2  2-Point  Old-Style 

lliis  if 

2  I -Pi.  Bodoni 

Tile  lir-t  -ucie--l';l  roman  tx'jte  face  wa-  (Ul  hy  Xicola- 
Jen-on,  at  \'eni(  e.  in  1471.  Thi-  ha-  -er\"e(l  a-  a  model  for  later 
produ<tion-.  iJoi.h-  prin'ed  ]>v  jt-!!-on  in  1470  do  not  contain 
till-  letter-  J,  r.  and  W.  ihe-i-  ('laracter-  hein.u  added  to  the 
aiphaliet  -e\  era]  \ea,r-  lal  cr.  Where  t  hr  lorce  of  w  wa-  reouiri-d. 
two  \'-  •.■.(■rr  -et  -ide  \)V  -ide.  Thi-  doe-  Hot  often  occur  in 
Latin.  Thr  '<\i\  forin  of  the  (  ap  L'  wa-  \'.  aiifi  from  thi-  wa- 
deri\ed   llir  d.aiJM,-   ['    ,  ,y  \\' . 


TVPIO    FACES  75 

The  fact  that  the  letters  J  and  U  are  not  alphabetically 
arranj^ed  in  our  cap  cases  would  seem  to  signify  that  the  cay) 
case  has  undergone  no  change  in  arrangement  since  the  days  of 
Jenson.     Also  that  the  W  was  added  l)efore  the  J  and  U. 

74.  Italic. — The  slanting  or  italic  letter  (so  named  in  honor 
of  Italy)  was  introduced  by  Aldus  Manutius.  It  was  patterned 
after  the  handwriting  of  Petrarch,  an  Italian  poet. 

When  italic  type  was  tirst  made  there  were  no  capitals  to 
the  fonts,  so  roman  capitals  were  used  with  italic  lower-case. 

This  is 

18-Poirit  Old-Style  Italic 

75.  Script.  -—Script  t}'pcs  also  owe  their  origin  to  imitations 
of  handwriting.  This  st}'le  of  letter  is  restricted  to  printing 
that  is  of  a  social  nature. 

This  is 

76.  Old-style. — Roman  ty])e  faces  are  subdix'ided  into 
olti'St\'lc  and  ))iodeni.  Old-style  faces  were  in  \-ogue  from  1469 
until  lyS^^,  their  strong,  bold,  rugged  characteristics  being 
especially  adapted  to  the  rough,  hand-made  ])apers  then  in  use. 
The\'  were  dis])laced  in  public  fa\-or  for  awhile,  but  have  grad- 
ualh'  come  l)ack.  At  the  ])resent  tune  they  are  again  in  de- 
mand, and  the  major  portion  of  our  most  artistic  ])roducti()ns 
are  in  this  face  of  ty])e. 

Not  only  are  old-style  faces  in  fa\-or  among  t^fiographers, 
but  a.rtists  in  hand-lettering  are  ])r()ducing  many  beautiful 
examples  to  grace  our  typographical  journals.  Frederic  W. 
(loud\',  of  New  \'ork,  has  designed  many  noteworthy  faces, 
and  (|uit(.'  a  few  of  them  ha\'e  been  cast  in  type.  Mr.  Goutly 
has  made  a  si)ecial  stutH'  of  the  old  masters. 


76  rivlMl\(, 

SENATUS '  POPULUSQUE' 
ROMANUS  '  DIVO  -  TITO- 
DIVI '  VESPASIANI  -  F-  VES- 

1 8  POINT  FORUM  TITLE  |^PATENTEd1 

WHEN  THE  DECLARATION 

of  Independence  was  under  consid- 
eration by  Congress,  there  were  two 

1 8  POINT  NO  2.  KENNERLEY 

FOURSCORE  &  SEVE?i  Years 
ago  our  fathers  brought  forth  on  this 
continent  a  new  nation,  conceived  in 

1 8  POINT  NO.  2  KENNERLEY  ITALIC 

'R-pc  J-a.  vr-  lA-i-iK.!  hy  Vtv^IltI   \V.  i.nvAy. 

Where  niaxinuim  of  k-LMlnlil}-  i~  re'iuired.  ()l('--l\-le  faces  \\-il! 
\ir  fniiiul  -uperior  In  iinu'erii.  'I'hi-  i-  d'.ie  In  ihe  fact  ihat  "the 
iiiinnr  elerneiil-  iiair-Miie-.  -' >  called  .  are  h''a\ier  in  tlie  old- 
-1  v\v  de-iizn. 

The  I  hief  (nrfereiier  in  rniidem  a!id  <iid->tyle  or  ■' (i|(  1-fa.ce." 
a>  il  i-  (linimonly  laiied  in  l-in'^htnd  lie-  in  the  matter  of  /vii- 
portiiDi.  doth  deini:  -ud-tant  iaIK'  ihe  -air.e  in  forn.i.  In  o|d- 
-tele  there  i-  unaater  \ariely  iri  tile  width-  of  iralixidual  letter-, 
the  thickeninL'  of  tin-  cur\a--  in  the  round  letter-  not  iieirai  in 
the  center  of  the  i  iirxe-  a-  in  the  rn.odern.  dul  adow  and  delow 
the  center  aiaoriniia^  a-  it  oiem'-  on  ihe  ri'j;lit  or  left.  Tlie-e 
(uree-  are  not  Lfeona-t  ri( -I.  jra.t  e-refulU'  con-idereil  (juantitie-. 
i:i\  inii  a  (haracter  to  liu-  letter-  \vhi(  h  no  mechanical  con.-truc- 
t  ion  can  ]  )0--idl\-  impart . 


TVI'K  I  A(,m;s 


77 


77.  Modern. — In  1783  Jkxloni  desi.^ned  the  modern  ronian. 
It  was  welcomed  by  i)n'nters  as  an  imiO\-ation,  and  it  marked 
the  end  of  three  centuries  of  old-stx'Ie  monotony.  While  old- 
style  has  re.^aiiied  fa\-or  for  dis])lay  work,  the  modern  roman 
is  still  used  for  newsi>apers,  dictionaries,  encyclopaedias,  and 
scientitic  books. 

This  line  is  set  in  Bodoni 
This  hue  is  set  in  Scc^tch-face  Roman 

Spi'cinicns  of  .Modmi    r>pi-'  Faces. 

78.  The  Serif.-  It  will  be  observed  that  the  letters  in  tliree 
of  the  ti\-e  groups  into  which  t}-i)e  faces  have  l)een  divided  have 
small  ])rojections  at  the  to])  iind  bottom  of  the  letters.  These 
projections  are  known  as  serifs.     See  Fig.  29,  which  also  shows 


X,.,.k,  ,.,•  fe.nl 


Piri-inaik 


Imc.  .'().      SlMiwiiii;  llir  N'arimi-  I'arls  of  a  'I'\'l)t', 


the  \-arious  parts  of  a  ty])e.  Authorities  claim  that  the  serif 
])rol)ablv  h.ad  its  origin  in  the  necessit  ies  of  the  old  stone-cutters, 
who  could  not  cut  a  \'-shaped  letti'r  in  stone  and  still  ha^■e  the 
ends  clearlv  delined.  To  admit  light  into  the  dark  recesses,  a 
slo])ing  cliisel-cut  was  made,  thus  adding  the  serif.     This  addi- 


78  PRIXTIXG 

cion  of  the  serif  not  only  made  the  letter  more  readable,  but 
ga\-e  a  distinct  characteristic  to  it.  A  stiuly  of  t\i)e  faces 
re\-eals  the  fact  that  the  serif  is  really  the  dominatin,^'  feature  of 
the  letter,  and  that  one  tyj)e  face  can  be  turned  into  another, 
simply  by  altering  the  >hape  of  the  serif. 

In  an  extreme!}'  ma.-terful  article,  ])rinted  in  "The  Graphic 
Arts'"  for  March,  igii.  Henry  Lewis  Jkillen  shcjwed  how  he  had 
set  a  line  of  nothic  ty])e  of  normal  wei,i,^ht  of  line  and  width  of 
bod\-  and  had  it  photographed.  He  had  ten  ])rints  made  froni 
this  model.  To  each  o{  these  models  a  dilTerent  serif  was  added, 
thereby  ])roducing  ten  entirely  different  faces  of  ty])e.  The 
student  is  urged  to  read  this  article,  for  the  auth(jr  beliex'es  it  to 
be  a  mo^t  xaluable  contributi(jn  toward  the  stud}'  of  ty})e  faces. 

79.  Old-style  and  Modern  Serifs. — That  the  student  ma}- 
readil}'  ])ercei\'e  the  difference  in  the  two  forms,  the  old-st}'lL 
and  modern  serifs  are  here  com])ared. 

ABCDEFGHIJK 

LMNOPQRST 

U     \^    W     X    Y     Z 

abcdefghijklm 

n     o     p     q     r     s     t     u     V 

vv     X     y     z 

A      ?»      r:      1)      K      F      C       H      T      J      K 
L      M      \      0     V      ()      K     S      T 

I     \     ^^     \     Y    / 

a      h      (•     (1      ♦'      1      g      li      i     j      k      1      m 

11      o     p      (f      r      >      t      u     V 

\\       \      \       z 


Vl>K   lACKS 


79 


app 


Bodoni  Modern, 
i8iS 


Caslon  Old-stylu 
J  7-7 

I''[('..  30. — Showiiiij-  DitTc-reiicfs  in 

Old-StvlL-  and  Modern  Serifs 


()l)ser\-(.'  that  in  ihc  old-style  the  serifs  are  all  ohliciue  or 
slopin<^,  whereas  in  tlie  modi'rn  lhe\-  are  all  straight  and  li,L!;hter 
in  \vei_Li;ht.  Note  that  all  terminations  are  o\al  in  the  old-style 
and  round  in  the  modern.  It  will  be  seen  that  the  llnials  of 
the  a"s  and  t's  of  the  old-style  turn  out,  while  the  modern  ones 
turn  up.  The  capita!  I^'s  and  T's  of  these  grouj)s  are  radically 
dilTerent.  These  are  but 
a  few  of  the  distinguishing 
features.  The  student  should 
critically  contrast  these  two 
faces  and  note  their  ditTer- 
ences.     See  also  I'djf.    :,o. 

OwiuL,'  to  the  fact  that 
these  two  roman  letters  ha\-e 
radically  different  character- 
istics, it  is  considered  Ijad 
t\-po,u:rai)]n-  to  u>e  them  both  in  one  t_\'])e  composition. 

Old-style  and  modern  letters  are  cut  in  both  roman  anrl  italic. 

80.  Other  Groups. — Mr.  Ikillen  further  subdi\ides  roman 
letters  into  two  ,uM-oups — Display  Types  and  wliat  he  calls  Pub- 
licitv  Tvpcs.  The  first  include-  all  so-called  fancy  or  ornamental 
letters  and  such  faces  as  anti(iues,  ionics,  latins,  job  faces,  etc., 
which  are  im-uited  for  settin.ir  in  pia.ire  form.  The  second  in- 
cludes Ch.eltenham,  Delia  Robbia,  l'al)st  Oldstyle*,  and  Bewick 
Roman,  and  are  those  letters  unsuited  l"or  book  work,  but  \ery 
appro])riate  for  books  of  luxury  and  for  commercial  publicity. 

81.  Cheltenham  Oldstyle. — .\t  this  writiuLr,  txpefounders 
seem  to  be  xwinii;  with  each  other  in  the  ])r(')(luction  of  letters 
of  till'  j)ublicil\-  L'roup.  Clieltenliam  ()l(bt\'le  was  one  of  the 
tirst  to  be  produced.  Ju>t  why  the  word  Oldstyle  was  added 
to  the  nanu'  i>  conjectural,  for  the  letti-r  i<  kickin;j;  in  the  stront^- 
(■>t   of  tlu'  old.->tyk'  characteristic-     it   has  >traiLi;ht   instead  of 

''  Tlu-  hriii  "  old-style  "  i-  ii-ed  in  three  dilTeren!  w;iy-  ])y  1>'I>e- 
fniinder<  Old  Style.  ()ld>t>le.  and  Old-lxle.  'i'iic  American  Tv'pe 
luunder-  C'liinpaiu  u-e-  ()l(bl\le  a-  one  word,  coii-ei  jn.eiit  l\-  in  nainiiv^ 
their  i)rudiicb    the  name  is  -o  u;i\-e-n.      The  author  jireiers  old  s:\le. 


8o  I'RIXJIXG 

sl()])inp;  serifs.  The  form  of  llic  serif  is  well  worthy  of  study. 
¥\ii.  ,^i  shows  ;i  c;q)ital  R.  Xolice  the  rounded  ends  and  also 
the  rounded  brackets  of  the  --erifs. 


R 


Fig.  31. — A   Capital   R  of    I'liirty-six-point   riiellenliam. 

This  paragraph  has  been  set  in  Cheltenham  to  show  the  long 
ascenders  so  characteristic  of  this  family  group. 

82.  Clearface.  From  time  to  time  experimer.ts  ha\-e  been 
made  to  ascertain  just  what  features  of  a  ty])e  face  were  stronu;U' 
conducix'e  to  legibility  the  object  of  these  experiments  beinii;  to 
incorporate  these  features  in  one  type  face  and  ])roduce  a  letter 
of  maximum  le,L,dbility. 

Such  an  attempt  on  the  i>arl  of  1..  B.  Henton  and  his  s(>n 
Morris  has  resulted  in  the  ])roduction  of  the  t_\"pe  face  known  as 
Clearl'ace.  A  conijiarison  of  this  letter,  which  is  an  old-st\-le, 
with  other  old-styk'  tx'pes  shows  man}'  ad\'anta,i!;es  in  its  fa\-o.". 
In  so  kir  as  possible,  each.  lo\\'er-case  letter  has  been  cast  so  as 
to  ])resent  an  e(|ual  amount  of  while  s])at'e  on  each  side,  and  the 
letters  a  and  s  ha\'e  bt'cn  opened  up  so  as  to  introdu.ce  \\iiite 
S])ace  and  make  them  more  leL^bk-.  The  Ljeneral  effect  of 
Clearku'c  is  that  it  prest-nls  a  uniform  amount  of  wliitt'  lhrou,u;li- 
out  tlu'  line.  The  rcsullaiU  le^ibilit  \'  is  pari  icularly  noll(t'ablo 
in  1  he  ^-malK-r  si/.(>s. 

This  line  ks  set  in  Tei   point  Cleat  face 

83.  Type  Families.  -It  h:;^  nol  been  man_\-  years  since  the 
a\craL!;e  \)\vrc  of  job  co!iipo>il  ion  cciilaineil  a  mulliludc  ol  in- 
harmonious l\pe  faces.  'Hiis  wa>  dut',  in  ])art,  to  i!ie  lact  lliat 
a  .i^iven  t\[)e  face  <lid  nol  run  the  whole  t^anuU  of  form  from  an 
extremeK'  condensed  IcIUt  up  to  an  cxlremeK'  extended  one. 
The  nece^-il\  for  1  \  [)o;rra[)hi(  al  ■'ha-li"  no  longer  exisl>,  fi)V 
{\\)c  faces  ai'e  now  ca^l   in  "lamilies."    Thai   i^.    ihe  fa(  iai  (liar- 


TYPE   FACES 


8i 


R     R     R    R      R 


De  Vinne  Lining  Entjravers 

Xo.  2         Ronaldson  No.  2  Bold 


Heavy  Strathmore 

Caslon  Oldstvle 


R    R      R  R  R 

Scotch  Century  Lininc;  Caslon  Clearface  Bodoni 

Roman  Expanded  Oldst  vie  Xo.  540 

R     R     R  R  R 


Bodoni  Clieltenham       Cheltenham 

Bold  Uldstyle  Bold 


Litho  Camelot 

Roman  Oldstyle 


R      R       R      R 

Clearface  Lining  OMst vie        LininKjenson     Lining  Antique 

Bold  Anliciue  Xo.  5')0      (Jldstyle  .Xo.  2  Xo.  525 


Specimens  of  type  faces  cast  by  American  Type  Founders  Company. 


R 

R 

R 

R 

R 

Harris 

Roman 

Lowell 

Cardinal 

Paul 
Revere 

Laureate 

R 

R 

R 

R 

R 

French 
Old  Style 

Latin 
Anti  iue 

Old  Style 
Title 

Salem 

John 
Hancock 

R 

R 

R 

R 

R 

John 
Hancock 

Poor 
Richard 

Ivanhoe 

Stuyvesant 

Vanden 
Houten 

Specimens  of  type  faces  cast  by  Keystone  Type  Foundry. 
I'lc.  32. — Conipurison  of  Tvpe  Peaces. 


82  l'RI\TIX(; 

acteristics  of  the  Icller  ]>i\'\;iil  lIirouL^houl  all  the  different 
sizes  and  forms.  Consuh  any  txpefounder's  spechnen-ljook 
and  exaniine  the  faniil}'  groups. 

84.  "  Pi  "  as  an  Aid  to  Type  Study.  The  averaire  com- 
positor is  rather  [)r()ne  lo  lo-s  inlo  the  (juad-hox  the  occasional 
ivroiig  font  that  he  ^1I](1^  mi-placed  in  a  case.  Not  only  does 
this  litter  the  case,  but  it  kee[)S  that  i)articular  sort  out  oi  its 
useful  and  ])r()])er  ])lace.  The  sortinjj;  of  pi  is  a  viduable  aid 
to  the  study  of  ty])e  faces,  for  in  the  process  of  locating  the 
letters  the  student  ma\-  ha\-e  lo  analyze  e\ery  ty])e  face  in  the 
ofhce.  Do  not  lea\-e  wrong  fonts  in  a  case;  put  them  where 
they  belong. 

85.  Comparison  of  Serifs. — On  page  Si,  Fig.  32,  will  be 
found  a  number  of  letters  showing  different  forms  of  serifs. 
Make  a  comparison  of  them,  and  endeavor  to  pick  out  those 
possessing  old-st}'le  features.  Note  that  it  is  the  formation  of 
the  serif,  the  sliape  and  inclination  of  the  hnal  stroke,  and 
the  relative  thickness  of  the  major  and  minor  elements  that 
give   eaclr   letter   its  distinct  i\e  characteristics. 

Pick  out   those  of  modern  form. 

86.  Swash  Letter.  Cjuitt'  a  n:iml)er  of  the  latter-day 
fonts  of  italic  t\pe  lia\'e  letter-  with  ornamental  projections. 
'J'hese  are  known  a<  s:ciis//  letters. 

(Hi:>Iin\-  ()\  (  il  \l'  ri.K   \  1 

1.  X;inu-  the  fi\c  iliiYrrmt  hciiliiiL' ■  uii'Icr  mir  u{  which  each  typeface 
must  l^'.n. 

2.  i)c-iril)c  the  main  i  hafai  I  eri-!  ii  r-  ni'  eat  ii  uf  the  ii\a'  ^i^Toups. 
,i.    ill)'.',-  can  yiiu  iji.-l  iii'-Tiii^ii  nhi  -i\le  I'l-oni  iiuKJern  ? 

4.    W  h_\-  was  ilaiii    1  \  pe  mi  i  alleii  .-' 
^.    1>  L'lit  iiii    I  \  III-  iiru!  iiii\-  iiaiiie^  I  ? 


TYPE   FACES  83 

6.  Why  was  script  type  so  called  ? 

7.  When  and  by  whom  was  modern  roman  first  cut  ? 

8.  What  noteworthy  features  can  you  point  out  in  the  specimens  of 
Bodoni  and  Scotch  Roman  shown  on  paj^c  77  ? 

Q.  Is  your  favorite  newspaper  printed  in  old-style  or  modern  ? 

10.  Is  the  text  of  this  book  printed  in  old-style  or  modern  ? 

11.  What  is  a  serif  ? 

12.  What  influence  has  a  serif  on  the  appearance  of  a  type  face  ? 

13.  What  is  the  supposed  ori^nn  of  the  serif  ? 

14.  What  are  the  predominating;;  features  of  Cheltenham  Oldstyle? 

15.  Why  is  Clearface  so  called,  and  what  object  did  its  inventors  hope  to 
attain  ? 

16.  What  do  you  understand  by  a  type  "  family"  ? 

17.  What  advantages  are  to  be  derived  from  sorting  ''  pi  "  ? 

18.  Set  up  a  line  of  cap  I^'s  of  24-point  light-face  gothic,  spacing  the 
letters  I  inch  apart.  Add  serifs  of  different  kinds  to  these  samples  and 
note  how  ditTerent  faces  are  produced. 


CIIAPri'R  VTI 

JUI!   COAII'OSirfON 

87.  General  Survey  of  the  Field. — J0I)  composition  is  that 
branch  of  lypc-ctting  wliicli  cn-il)raccs  tlie  ussenil)Hn,<j  and 
arran,!j;in,L!;  of  displav'  letters.  It  calls  for  C()nsi(lcral)Ie  knowledge 
and  skill  on  the  })art  of  t'ne  c()m])osit,or,  and  in  return  offers 
^I)leIldid  opporiunities  to  [)err.ons  of  artistic  temjierament .  I'here 
is  a  slron.Li:  fascination  about  tiie  work,  and  tlie  acconiphshment 
ui  a  ])erfect  ])iece  of  print iiii,^  affords  much  satisfaction. 

Skill  of  no  mean  order  is  ri'quired  to  anadyze  a  piece  of  manu- 
scri])t  and  from  such  analysis  to  ])lan  and  work  u])  into  t\'pe  a 
l)iece  of  conijxjsit  ion  plea>in;;'  in  form,  niceh'  i^rou])cd,  properly 
s])aced,  and  witli  all  its  elements  in  jx-rfect  liarmony  as  re,y;ards 
t\-pe,  color,  mass,  and  ap])ro])riateness.  lliis  is  the  ability 
that  e\-ery  com])ositor  should  ])ossess.  Tliat  e\'ery  com})Ositor 
does  not  ])()ssess  it,  howe\er,  is  exidenced  1))'  the  fact  that  in 
many  lart^n'  i)riiuimi-  ollices  an  e\])ert  known  as  a  layout  Juan  is 
empl()_\-ed  to  do  all  t  he  ])la!miu,i^%  lea\in^  the  actual  settin,!i;  of  the 
type  to  tlie  ordinary  workman. 

88.  The  Layout  Man.— It  is  tlie  duty  of  the  layout  man^ 
or  "t}-potec1'"  ft\'po,:ria;)liical  architect),  to  prepare  a  plan  of 
the  job  (known  as  a  layout"),  and  show  tiiereon  just  what  ,ii:rou])- 
\\v^>  are  to  l)e  made,  and  what  kin;!  auvl  sizes  of  t\-])e  are  to  be 
u^ed.  The  Ixpotecl  is  usually  the  bi'st-])aid  man  in  the  office^ 
and  the  stualent  is  uri^a'd  to  try  to  measure  u])  to  the  re((uire- 
ments  of  tlu'  1\potect"s  job,  and  not  be  satisfied  with  beinu; 
siniplx'  a  woi'kman  of  mediocre  ability.  Of  course,  this  means 
co:i-lant  r^ludw  but  it  al;-.o  mean-  time  well  -^pent,  for  increased 
oj)portunil  \'  and  better  riaiumeral  ion  are  bound  to  toUow. 

S4 


JOB    COMPOSITION  85 

89.  Fundamental  Principles.-  Before  proceeding  with  the 
actual  setting  of  a  job,  it  is  essential  that  the  student  should 
have  some  knowledge  of  the  fundamental  |.)rinciples  under- 
lying correct  com])osition.  These  i)rinciples  are  discussed 
under  these  subject-headings:  Optical  Center,  Balance,  Har- 
mony, Tone,  Contrast,  Approi)riateness,  Grouping,  and  Pro- 
portion. 

90.  Optical  Center. — It  is  conceded  by  all  artists  that  the 
optical  center  of  a  com]X)sition  is  not  at  the  geometrical  center, 
but  is  slightly  a])o\x'  it.  Anytliing  placed  in  the  exact  center 
of  a  page  has  the  apj^earance  of  being  l^elow  the  center.  This  is 
an  optical  illusion.  A  familiar  example  of  optical  illusion  is 
seen  in  the  letter  s.  The  upper  ])owl  of  the  letter  is  smaller 
than  the  lower,  yet  they  a])])ear  to  be  the  same  size.  If  the  s  is 
inverted  so  that  the  larger  part  is  on  top,  the  discrepancy  is 
Cjuickly  noted. 

Two  eminent  typogra])hers  are  at  variance  regarding  the 
optical  center  of  a  page.  Cress  says  it  is  three-ninths  of  the  dis- 
tance from  the  top,  I'rezise  says  three-eighths.  The  author 
favors  three-eighths.     (See  Panel  Grouping.) 

91.  Balance.  -According  to  the  law  of  levers,  a  heavy 
weight  on  a  short  arm  can  be  balanced  by  a  light  weight  on  a 
long  arm.  The  balancing  of  t}i)e  groui)s  on  a  page  or  in  a  ])iece 
of  composition  follows  the  same  law.  If  the  groups  around  the 
optical  center  of  the  page  are  arranged  in  such  manner  that  the 
size  or  apparent  mass-weight  of  each  group  is  inverse!}-  propor- 
tional to  the  distance  from  the  optical  center,  the  com|)osition 
will  be  properly  balanced.  Figs.  :^  :^  and  34  show  two  pages, 
one  i)roperly  the  other  impro])erly  balanced. 

It  will  be  observed  that  the  u])])er  group  in  Fig.  33  is  appar- 
ently about  five  times  as  liea\-y  as  the  loAvcr  group,  there- 
fore the  lower  grouj)  is  i)laced  five  times  as  far  away  from  the 
optical  center.  This  same  ])rinciple  of  l)alance  pre\'ails  in 
every  piece  of  composition  reg;irdle>s  of  size  or  shape.  When 
a  mass  is  placed  out  of  the  center  it  recjuires  something  di;i- 
metricalK'  o]iposite  to  l)alanc(,'  it. 


86 


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J0I5    COMPOSITIOX  87 

92.  Harmony. — The  Century  Dictionary  defines  harmony 
as  ''any  arrangement  or  combination  of  related  parts  or  ele- 
ments that  is  consistent  or  is  esthetically  pleasing;  agreement  of 
particulars  according  to  some  standard  of  consistency  or  of  the 
esthetic  judgment;  an  accordant,  agreeable,  or  suitable  con- 
junction or  assemblage  of  details."  All  the  various  harmonies 
(shape,  tone,  color,  etc.)  spoken  of  in  printing  conform  to  these 
definitions.  When  there  are  no  discordant  elements  in  a  piece 
of  comi)osition  there  is  ])erfect  harmony.  Harmony  should  be 
uppermost  in  the  mind  when  planning  a  job. 

Owing  to  the  radical  difference  in  the  characteristics  of  old- 
style  and  modern  roman  ty])e  faces,  these  two  styles  should 
ne\'er  be  used  in  one  ])iece  of  ty})e  composition.  They  do  not 
harmonize.  If  a  compositor  adheres  to  one  type  family  in 
setting  a  job,  he  is  l)ound  to  have  i)erfect  harmony  in  type  faces. 

While  text  letters  and  gothics  are  of  radically  different  cut, 
they  may  frequently  be  used  together  in  a  pleasing  manner; 
especially  if  the  text  letter  l)e  used  as  the  main,  strong  line  of  the 
jol>,  and  the  gothic  be  sulxlued. 

93.  Tone. — All  ty])e,  rules,  border,  and  ornamentation  in  a 
job  should  be  uniform  in  tone.  That  is,  if  the  general  effect  of 
the  job  is  hea\y  in  ton.e,  then  the  rules,  border,  and  ornaments 
should  be  hea\'y ;  if  the  general  effect  is  gray,  then  the  rules,  etc., 
should  l)e  gray;  if  very  light  in  tone,  then  c\'ery thing  should 
be  light.  Figs.  35  and  36  illustrate  this  ])oint.  In  Figs.  37  and 
38  the  tyi)c  lines  ha\'e  been  trans])osed,  thus  showing  how  a 
job  may  be  spoiled  Ijy  a  lack  of  tone  harniony. 

94.  Contrast. — The  major  ])ortion  of  present-day  printing 
has  to  do  with  advertising.  In  all  advertising  the  object  is  to 
call  attention  to  certain  articles  which  are  for  sale.  Each 
advertiser  has  his  own  idea  as  to  how  the  subject  matter  should 
be  placed  before  the  reader  in  order  to  influence  the  sale.  Many 
advertising  camj^aigns  ha\-e  l)een  dismal  failures  because  the 
advertising  matter  has  not  been  pro]ierly  i^iresented.  All  large 
business  concerns  em])loy  ad\ertising  men  who  |)lan  and  pre- 
pare copy  for  the  printer.     In  numerous  cases,  howe\"er,  adver- 


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JOB    COMPOSITION 


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tisin<^  matter  reaches  the  printer  in  maniiscri])t  form,  and  he 
must  analyze  and  ])lan  his  own  jol). 

Tn  e\'ery  well-chsplayed  ])iece  of  ])rintinfT  there  is  one  item 
that  stands  out  a])ove  all  others.  This  is  the  main  dis]:)lay  line. 
It  stands  out  b}'  virtue  of  rontnist.  Tt  is  either  bi.t^ger  or  Ijolder 
than  the  rest  of  the  job;  sometimes  it  is  both.  Compositors 
frequently  make  the  mist>ike  of  hax'injj;  their  lines  too  nearly 
uniform  in  size  to  obtain  contrast.  A  sin,Lde  line  standing  alone 
in  a  lari^e,  while  s])ace  is  \'ery  obtrusive.  If  surrounded  with 
type  matter  of  its  own  size  it  becomes  lost.  Display  matter  is 
usually  at  ils  best  when  surrounded  by  white  space.  Do  not 
croicd  the  mutter. 

When  ])lannin,ti;  a  jo1),  the  com])ositor  should  endeavor  to 
display  it  in  ty])e  sizes  that,  bear  a  true  relation  to  the  im])()rtance 
of  the  matter.  In  Fij^.  33,  which  is  a  well-balanced  job,  it  will 
be  seen  that  the  relative  im])ortance  of  the  parts  of  the  subject 
matter  has  been  broui^ht  out  in  this  way. 

Black  ink  on  white  ])ai)cr  affords  the  strongest  possible  con- 
trast. If  contrast  is  desired  with  colored  ink  on  colored  paper, 
heavier  faced  tyi)e  must  fre(|uently  be  used  to  obtain  it.  The 
compositor  should  consider  stock  and  ink  when  planning  his  jol). 

95.  Appropriateness. — A])])ropriateness  is  the  sine  qua  nan 
of  correct  comi)Osition.  No  matter  how  well  grou])ed  or  well 
balanced  the  job,  no  matter  how  ])erfect  it  may  be  in  all  its 
other  elements,  if  it  is  not  ap])ro])riate  to  the  subject  it  is  a 
failure  for  the  ])urpose  intended.  Hiere  are  certain  things  in 
typography  that  ma\-  be  c;dled  unwritten  laws.  One  of  the 
most  important  of  these  is  that  the  t>'])e  used  in  a  job  should  be 
approi)riate  to  the  subject.  Heavy-faced  tyi)es  are  a])])ro])riate 
in  printed  matter  for  the  iron  and  steel  industry,  but  extremely 
out  of  place  in  miilinery  adx'crt ising.  The  latter  requires 
dainty,  light -faced  tyjjcs. 

There  is  a  series  of  display  hices,  called  by  Bullen  "I'ublicity 
T\-])es,"  that  are  exlrcniely  useful  for  advertising  ])urj)oses. 
There  is  also  iinother  groii]>  ada])ted  to  editions  de  luxe.  (Si'e 
Sec!  ion  ^o,  ])age  yg.) 


JOB    COMPOSITION  9 1 

Inasmuch  as  text  letters  are  of  ecclesiastical  origin,  they  are 
always  appropriate  in  printing  that  is  to  be  used  for  church 
purposes. 

96.  Grouping. — Many  compositors  make  the  mistake  of 
sj^rawling  their  jol)s  all  over  the  page,  the  subject  matter 
thereby  lacking  cohesion.  This  is  radically  wrong.  In  plan- 
ning a  piece  of  composition  the  copy  should  be  analyzed  and 
the  various  elements  separated  into  units  or  groups.  Figs.  39 
and  40  show  two  examples  of  grouping;  they  require  no  com- 
ment. 

97.  Panel  Grouping. — According  to  Trezise,  in  planning  a 
panel  grouping  consisting  of  two  parts  the  page  should  be 
divided  into  eighths,  ai)])ortioning  three-eighths  to  the  upper 
panel  and  five-eighths  to  the  lower  panel  (see  Fig.  41),  because, 
as  he  says,  "the  small  part  is  to  the  large  part  as  the  large  part 
is  to  the  whole;  thus  producing  an  exact  ratio."* 

The  ratio  three  to  five  does  not  fulfil  the  rule  given.  Three 
is  not  to  five  as  five  is  to  eight;  but 

3  :  5-5  :  83L 

In  fact,  the  factors  of  a  Inic  ])roportion  are  incommensurable. 
A  close  approximation,  howe\'er  may  })e  had  by  assuming  high 
factors  for  the  ratio. 

a  :  h  ::  h:  a  +  h         a+b=8 

assume,  89  :  144  ::  .v  :  8 

soh'ing,  '  =4^-%  'ds  x  =  h,  b  —  4Y^ 

144       ^'"  '^'^ 

therefore  3_'.,  :  4'i.';  ::  4*J^  :  8 

*  See  '■  The  Oraphic  Arts  ami  Crafts  \'car-Book.  for  1913-1914," 
T\])osraphy,  page  :!,■,. 


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JOB   COMPOSITION  93 


PRINTING  as  a 
Means  6>/Education 

Excerpts  from  a  copyrighted  article  by 
Miss  Katharine  IVI .  S  t  i  l  l  w  e  l  l  ,  in 
"The  Inland  Printer"  for  June,   1916. 


FOUR  and  a  half  years  ago  there  were  in 
use  only  fifty-seven  school  printing  out- 
fits in  the  United  States.  Today  over 
nine  hundred  teachers  are  teaching  printing  in 
as  many  schools  and  shops.  The  value  of  their 
equipment  runs  into  thousands  of  dollars,  and 
the  marvelous  response,  both  in  numbers  and 
in  enthusiasm,  which  greeted  the  call  for  this 
organization  testifies,  as  nothing  else  could,  to 
the  educational  interest  in  this  subject. 

It  is  well,  I  think,  that  we  should  pause  in  this 
point  in  our  progress,  for  this  occasion  marks  a 
stage  in  our  history,  and  consider  what  this 
phenomenal  growth  means.  How  much  of  it 
is  the  result  of  the  popular  cry  for  trade  schools, 
vocational  training,  and  industrial  education  ? 
What  part,  if  any,  is  due  to  the  inherent  educa- 
tional value  that  lies  in  the  subject  itself  ? 


l''ic,.   41. —  Panel   (iroupln^'. 

Showing  use  of  ,i-point  bevel-face  rule.  The  bevels  have  been  placed  toward  each 
other,  leaving  the  i-point  face  outward  in  each  case.  Inside  and  outside  miters  liave 
been  used  in  making  the  corners.  The  upper  panel  is  appro.xiniately  three-eigliths 
of  the  length  of  the  paye. 


94  PRIXTIXC 

This  ^'ive?  T,^\y  parts  to  the  u])1)ct  ])anel  and  4?^  to  the  lower. 
If  the  (Hniensions  were  in  inches  this  would  place  the  dividinff- 
line  four  })oints  lower  than  three  inches. 

Inasmuch  as  true  art  is  not  based  on  mathematical  accuracy, 
the  dimensions  gi\en  h\-  Trezise  are  suillciently  close,  Ijut  they 
are  not  in  cxacl  pro])ortion. 

This  ratio  is  the  so-called  '\ffolden  ratio"  of  Greek  art. 

98.  Mass  Grouping. — In  ])lannin,fr  ^roupinf^s  it  is  sometimes 
found  that  a  small,  dark  mass  must  be  balanced  aj:;;ainst  a  lar<j;e, 
gray  mass.  In  such  cases,  the  placing  of  these  masses  should 
follow  the  law  of  le\'ers,  each  grou])  being  considered  according 
to  its  apparent  mass-weight,  and  correspondingly  Ijalanced 
around  the  optical  center. 

99.  Proportion.  -There  is  a  \"ariance  of  ()])inion  among 
typographer-  a-  to  what  constitutes  a  true  })ro])orti()n  in  a  type 
])age;  that  i>,  what  relation  the  width  of  the  ty])e  -hould  bear  to 
the  length.  .Some  say  that  the  width  should  be  to  the  length  as 
eight  is  to  tweh'e.  Others  say  that  the  diag(jnal  should  be 
twice  the  width.  The  ])ages  of  this  book  follow  the  last  named. 
They  are  twenty-two  ])icas  wide  and  forty-four  picas  diagonally 
from  the  folio  to  the  other  corner.  If  it  is  desired  to  determine 
how  long  any  ])age  should  be  to  conform  to  the  diagonal  method, 
the  length  may  be  found  by  multi])l\'ing  the  width  in  picas  by 
1.7^21.      22X  1.7,^-M  =.yS.i  ])ic;i-,  the  length  of  this  })age. 

A  di<])lay  of  high-clas.--  ])rinted  matter  was  made  in  Phila- 
delphia recently  at  which  the  sam])les  were  all  chosen  as  models 
of  their  kind.  The  author  made  fjuite  an  extended  -earch  to 
tlnd  whether  any  uniformity  of  relation  Ijetwcen  width  and 
length  of  the  ])rinted  area  was  -liown.  l)Ul  could  find  none.  A 
Search  tlirough  the  I'hiladelphia  Public  Lil)rar\'  re\"ealefl  the 
same  lack  of  uniformitv.  It  i-  undoubtedlv  true  that  art  can 
ne\"er  be  reduced  to  mathematical  ] )r()port ion-.  There  are 
some  -hape-  and  form-.  howe\-er.  that  alwa\-s  afford  plea.-ing 
pro;)i)rtion-.  and  tlie  more  ne,irl\-  we  conform  to  tho>e  >hai)es 
tlie  more  certain  we  are  of  -uct  e->.  Occa.-ionall}'  .-ome  expert 
typographer    will    ap])arenlly    \'iolate   all    the   rules   of   art   and 


JOB    COAIPOSriTON' 


95 


produce  a  pleasinf^  result.  No  one  l)ul  a  true  artist  can  do  it, 
and  the  avera.^e  man  is  advised  not  to  attemj)t  it. 

100.  Table  of  Proportions. — It  is  e\ident  from  a  study  of 
the  su])ject  of  ty])e  proportions  just  i^i\en  that  t\'])o<i;raphers 
have  not  ;!,<j;reed  on  any  standard.  I'his  l)rin^s  up  the  ciuestion, 
Is  it  possible  io  fonuulate  a  table  of  ,^ood  pr()])ortions  ? 

It  is  conceded  that  when  a  page  is  narrow  its  length  can  bear 
a  greater  ratio  to  its  width  than  when  the  page  is  broad.  This 
being  the  case,  why  not  arrange  proportion's  according  to  a 
gradualh'  varying  ratio — say  in  multiples  of  five  ?  Taking  this 
as  a  basis,  and  using  mukiplying  factors  that  decrease  for  each 
hve  picas  increase  in  width,  and  arranging  them  in  quarter  ems 
of  ])ica,  Table  \'  is  obtained. 


'i\H\A-.  \ 


;i..\ri()X  Of  WIDTHS  and  i;kx(;tiis 


Mulli- 

M 

ulti- 

Mu'iti- 

Multi- 

Multi- 

Midti- 

Multi- 

Multi- 

plyiiiK 

pl 

•iiiK 

I)lyin(.; 

pb'inK 

plying 

plyin^; 

plying 

plying,' 

Fautur 

Fuolor 

Far  I  or 

Factor 

Factor 

Factor 

Factor 

Factor 

1.8 

I 

75 

I  .  7 

i       ^ 

I  .6 

I  .  5 

1  .4 

I  .3 

1 .  2 

. 

jj 

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1  5 

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40 

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45 

54.00 

I  1 

10.75 

If', 

-'75" 

J  I 

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jO 

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,;  1 

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,iO  40.75 

41 

52.50 

40 

SA-i-, 

12 

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17 

-<).i»> 

22   \,\h  .  Ol, 

27 

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,J7 

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47 

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JO.  5') 

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43 

53.50 

48 

54  .''5 

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34    -l^i.oo 

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51  .  50 

44 

40 

54- «5 

In  the  ])re])arati()n  of  tliis  tiibie  the  length  at  the  head  of  each 
column  \vas  determined  by  multi])l_\-ing  its  width  by  the  mul- 
tipl}ing  factor,  then  the  intermediate  length  ])etween  that  and 
the  .succeeding  coluiun  was  di\ided  into  !i\e  parts,  in  the  nearest 
measure  to  quarter  ems.  This  was  done  for  all  coknuns  e.\cei)t 
I  he  last,  where  a  slight  x-ariation  was  made  in  order  that  a 
'.ifty-j)ica  width  would  come  out  fifty-fixe  ])icas  long.  'J'his 
should  ])ro\'e  close  enough,  for  all  jjractical  })uri)oses. 


06 


PRIXTI.NG 


Fi,f^.  42  is  a  graphic  representation  of  the  resultant  propor- 
tions. The  dimensions  are  in  picas,  but  the  dia<,rram  is  slightly 
less  than  half  size.  The  figures  down  the  left-hand  side  show  the 
differences  in  j)icas  between  the  different  lengths. 


Fir,. 


-(iraphir  I\('prr.~i'nl;Uii)ii  of  I'rMjx irt ions. 


loi.  Standardizing  Proportions.  .Mr.  W,  R.  ("olton,  in 
t!;e  Jamuiry  jo,  k^iO,  is-ue  of  "Tlie  .\n)(Tic:iii  I'rinUT."  has  an 
inlcre>ting  article  on  slaiidardi/ing  pr()])()rl  ion-  for  the  >i/,e  of 
the  paptr  (not  t\'pei   u>e(l   in    itooks  and  o'duT  i>rin.tcd  matter. 


JOB    COMPOSITION  97 

He  points  out  the  fact  that  four  different  oblongs  have,  from 
time  to  time,  been  in  use  by  printers.  He  ])resents  them  mathe- 
matically and  algebraically  as  follows: 

Printers'  Oblong,  57.73%,  or  T,a^  —  b'^; 
Regular  Oblong,  663%,  or  i\a=b\ 
Golden  Oblong,  61.8%,  or  a  :  h  ::  b  :  a-\-b; 
Hypotenuse  Oblong,  70.71%,  or  2a^  =  b^. 

The  percentage  given  with  each  means  that  the  width  is  to 
the  length  as  the  percentage  given  is  to  100. 

He  calls  attention  to  the  fact  that  with  the  Hypotenuse 
Oblong  the  ratio  is  not  changed  by  folding.  That  is,  if  we  take 
a  sheet  of  paper  of  any  size  whatever  and  have  its  width  70.71 
per  cent  of  its  length,  and  fold  the  sheet  in  half,  its  dimensions 
still  bear  the  same  ratio — 70.71  to  100.  No  matter  how  many 
times  the  sheet  is  folded,  the  same  ratio  of  width  to  length 
remains. 

While  the  folding  of  the  sheet  does  not  affect  the  proportion, 
just  as  soon  as  the  i)age  is  uniformly  trimmed  (say  :}  or  |  inch  all 
around),  it  no  longer  possesses  the  same  proportion.  If  it  is 
desired  to  retain  the  proportion  70.71  to  100,  the  page  must  be 
specially  trimmed  to  ])roperly  computed  amounts  for  the  width 
and  length  res]>ectively. 

The  process  of  determining  the  percentages  given  above  or  of 
determining  actual  diniensions  when  percentages  are  not  known, 
all  involve  extraction  of  square  root.  This  process  frequently 
consumes  consideral)le  time,  and  is  not  to  be  recommended  for 
shop  ])ractice.  The  giving  of  the  iiro|)ortions  on  a  percentage 
l)asis  is  a  step  in  advance,  but  even  percentage  is  confusing  to 
some  people. 

In  the  teacliing  of  mathematics  to  printers'  apprentices,  the 
author  has  worked  out  many  problems  involving  well-])ropor- 
tioncd  pages,  and  has  evolved  a  simple  method  of  determining 


g8  i'Ri.\r]\(; 

them.  Tf  it  is  once  (letcrminccl  wluii  Icn,(fth  any  ol)lon,£;  should 
ha\'e  in  relation  to  its  width,  the  len.i;;th  divided  by  tlie  width 
gi\"es  a  nii{ltiplyi>i{i  factor,  or  constant,  from  which  the  correct 
length  for  any  .gi\en  width  is  quickly  found  l)y  simply  multi- 
plyinLT  the  width  hy  the  multipl_\-in,L,r  factor  to  obtain  the  length. 
The  following  are  the  muki])l\-ing  factors  for  the  different 
oblongs: 

Printer.-^'  Oldong,  1.7^21: 

Regular  Oblong,  r.5; 

Golden  Oblong.  1.61S1; 

IT\'[)otenu-e  Oblong.   1.4142. 
With  a  width  of  >ix  inches  the  length-  are  therefore: 
Printers"  Oblong,  6"X  1.7,^^1  =  ic.,^(j20"  long; 
Regular  Oblong.  6" X  1.5  =  9"  lo'l-'- 
Golden  Oldong.  ()"X  1.6181  =  o-7oS^)"  long; 
H\'potenu-e  Oblon'j.  ^''X  r.4142  =  S.4S52"  long. 
See  also  Section  251.  page  277. 

102.  Borders  and  Ornaments. — There  ir,  di\ersity  of 
o])inion  regarding  the  use  of  a  border  on  a  page.  Sonic  contend 
that  printed  niatter  requires  no  embellishment;  th.at  the  text. 
be  it  body  t\'])e  ov  display,  >er\-es  its  purpose  better  if  unor- 
namented.  The  extreme  simplicit}'  of  some  jobs  gi\-es  lliem  a 
dignity  that  would  be  marred  1)\'  embelli>hment .  .Again,  there 
are  others  that,  have  been  made  beautiful.  a])])ealing,  and  force- 
ful \>y  judicious  ornamentation.  lUit,  beware  of  o\"er-elabora- 
tion.  .A  title-])age  or  booldut  co\a-r  containing  but  ivw  lines 
u>uall\'  look<  better  if  jjlacrd  within  a  border,  which  >er\"es,  in  a 
sen^e,  to  hold  the  jo'h  together. 

Our  ideas  of  orn:im('iU:it ion  are  e\'identl\'  a  heritage,  for  the 
hand-writ  ten  books  of  the  carh'  scrilics  were  ])rofust'lv  orna- 
mented.     The  tcaidcncx-  towarii  ornamrntat ion  seems  to  l)ccome 


JOH    COMI'OSITION  99 

marked  at  recurring  periods  of  varying  lenglh,  each  of  which 
reaches  a  ])erio(l  of  delirium,  only  to  be  followed  by  a  decadence 
until  a  point  of  extreme  simplicity  is  reached.  The  keynote  of 
modern  conT])osition  is  sim])licily;  the  day  of  over-elaborate 
ornanientation  has  undoubtedly  passed. 

Ornamentation  to  be  eilective  niust  be  in  perfect  harmony 
with  the  rest  of  the  jol).  It  must  match  the  job  in  tone  and 
shape,  and  be  aj'ipropriate  to  the  subject.  If  the  general  con- 
tiguration  (tyi)e,  spacing,  grouping)  of  the  job  is  square,  a 
scjuare  ornament  offers  the  best  shape  harmony;  if  it  be  irregu- 
lar in  outline,  a  rounded  or  pyramid  form  is  better.  Pyramid 
ornaments  usually  look  better  if  inverted. 

103.  Initials. — An  initial  may  be  considered  as  part  of  tlie 
ornamentation  of  a  job,  and  should  conform  to  all  the  rules 
given  under  that  subject.  If  the  text  and  initial  are  in  one  color, 
they  should  harmonize  in  tone  and  general  conformation.  If 
the  initial  is  to  be  printed  in  a  dilYerent  color,  it  may  advan- 
tageously be  a  little  heavier;  the  tone,  however,  being  con- 
served by  a  judicious  use  of  color. 

The  word  of  which  the  initial  is  a  part  should  be  set  in  capi- 
tals. If  it  is  a  word  of  less  than  three  letters,  the  next  word 
should  also  be  in  caps.  If  the  lirst  word  is  })art  of  a  name  or 
title,  the  wliole  name  or  title  should  ])e  in.  caps. 

If  the  initial  is  the  article  A  or  the  interjection  O,  the  second 
word  should  be  in  caps,  and  there  should  be  a  space  between 
the  words. 

It  is  customary  to  have  the  same  amount  of  white  space 
along  the  side  of  an  initial  as  at  the  bottom.  In  order  to  accom- 
plish this  the  text  must  be  set  to  conform  to  the  shape  or  outline 
of  the  letter.  The  sut)joined  examples  and  exi)lanations  co\-er 
the  matter  in  detail. 

ETTERS  like  the  capital  A  and  the  cai^ital   E  should  be 
mortised    to    accommodate    the    balance    of   the   word 
so  that  there  will  not  be  an  unsigl^t ly  ga])  between  the 
initial  letter  and  the  balance  of  the  wt)rd. 


lOO 


PRINTING 


Although    the    capital    a    is    mortised    when    It    is   a 
yr~%     ])art   of   the   first    word   of   the  ])ara,<,n-a])h,    iIutc    Is   nu 
occasion    for   doiiij^   so    if    the   [jaragraph    begins   with 
the  article  A. 

ATARAGRAPH   that    ])egins   with   the   single   letter   A 
re(|ulres  s])ace  between   the  initial   and  the  siu'cccding 
word;     moreoxer,    the    second    \\c)rd    should    be    all    in 
capitals.     This  i)aragra])h  shows  how  the  matter  shoidd  l)e  set. 

WUI'^N  the  letter  W  is  used  as  an  initial  there  is  no  need 
to   indent    the   lines    that    run    beside  it,   because    the 
slope  of  the   letter   affords   sufficient    white    space    to 
present  a  ])leasing  appearance. 

IF  THE  paragraph  begins  with  a  two-letter  word,  it  is  cus- 
tomary   in    most    ofhces    to   capitalize    the    second   word. 
If  the  first  word  is  a   [)roper   noun,  cai)itali7.e    the  whole 
name. 

FOR  initial  letters  that  contain  enough  white  space  on  tlie 
IkxIv   of   the   type    there    is    no    need    to   allot   an\'  extra 
space    when    running    lines   around    them.     There    should 
always  be  enough  matter  to  surroimd  the  initial. 

NDJ^A\'OR  at  all  times  to  ha\-e  an  e(|ual  amount  of  white 
space  around  an  initial.  Ju>t  how  nuich  will  (kpend  on 
the  amount  of  spa'C  U>fl  beneath  thi'  initial.  The  letter 
T  contains  enough  white  ^pace  on  the  body  to  a\x)id  an\'  neces- 
sity for  additional  space  in  the  line. 


TI  i  M  initial  >hou Id  line  up  wit  h  the  to])  of  the  balance  of  the 
■\\(ird.      If    possible,   u-e    an    initial    that    is  a    nuiltiple    of 
tlu'    body   size,   so    as    to    a\"oid    too  great    an  amount   of 
white  >pace  beneath  tlu'  letter. 


JOB    COMPOSITION 


loi 


^^iHIS  initial  occupies  the  full  body  of  the  letter. 
/MF|  It  i^^  therefore,  necessary  to  indent  the  lines  that 
^^f      run  around  it  so  as  to  i)resent  a  uniform  amount 

Pj^^liy^l  of  white  space.  When  the  initialis  an  even  mul- 
tiple of  the  body  size,  the  right  amount  of  space 

is  easily  determined. 


'IIO.SE  initials  that  are  surrounded  with  filigree 
work  sliould  be  so  placed  that  the  balance  of  the 
word  lines  up  with  the  top  of  the  initial.  Just 
how  much  indention  should  be  given  to  the  type 
lines  will  de])en(l  entireh'  on  the  ap])earance  of  the  back- 
ground. In  general,  dark  backgrounds  reciuire  more  space 
than  liLdit  ones. 


104.  Shape  Harmony. — The  exigencies  of  the  work  and 

the  office  eciui[)ment  sometimes  compel  a  compositor  to  use  type 
that  is  luisuitable.  When  he  is  unrestricted,  however,  he 
should  cndea\"or  to  ha\'e  the  shape  of  his  t\'])e  harmonize  with 
the  shape  of  his  jo]).  A  long,  narrow  job  looks  well  if  set  in 
condensed  t\-{)e;  a  broad  job  can  stand  an  extended  letter. 
Xe\-er  use  extended  t\'})e  in  narrow  measures,  or  condensed 
t\-})e  in.  ANide  measures,  unless  compelled  to  do  so  to  make  the 
matter  fit  the  sj)ace. 

105.  Selecting  the  Salient  Features  of  a  Job.  If  the  copy 
comes  in  the  form  of  manuscri])t,  and  no  la}'out  is  gi\'en,  the 
compositor  should  go  o\-er  it  and  })ick  out  those  features  admit- 
ting of  best  displa}'.  In  i)]annimr  the  work  he  should  have  in 
mind  the  fa.ct  that  the  job  must  i)o<sess  all  the  recjuisites  of  bal- 
ance, harmon\'.  a.nd  appr()])riatenc>s.  It  should  be  pleasing  in 
all  its  groups,  and  each,  item  sh(.>uld  be  gi\'en  the  prominence  due 
its  im])ortance. 

For  office  stationer}',  the  usual  order  of  importance  is  first 
the  name,  then  the  bu>iness.  then  tlie  addre.-^s.  This  order  does 
not  alwa\'s  ])re\-ail,  howe\er;  some  cu>toniers  ])referring  to  ha\"e 
otlier  item-  of  imi^ortance  giwu  more  i)rominent  display. 


I02  PRi\ri\(; 

If  the  jol)  he  adx'crli-iii'j;  iiiattiT.  the  main  features  for  dis- 
|)la_\'  are  u>ually  (le>i,miate<l  hy  the  customer,  the  ^f'upinLjs  and 
the  >eleetion  of  l_\'l>e  l.ieiim  left  to  the  compositor.  Successful 
treatment  oi  >ucli  a  j oh  i<  the  crucial  test  of  his  skill.  There 
may  he  a  do/en  different  \va_\"S  in  \\hich  the  joh  could  he  set. 
nearl\-  all  ui  tlu'm  Naeldin.Li;  plea.-in.sj;  re.-ults.  If  the  joh  is  to  he  a 
complete  success,  howewr,  its  \"arious  elements  must  harmonize 
in  tone,  he  well  halanced,  nicel}'  ^rou|)ed,  and  the  displa\'  must 
ha\-e  enou.Lrh  white  space  around  it  to  cau^e  it  to  stand  out  dis- 
tinctly. 

io6.  Improving  a  Job.  It  fre(|uently  Irappens  that,  after  a 
con\i)o>itor  has  pulled  the  proof  of  a  joh,  the  result  fall>  sliort  of 
his  expectations.  In  such  case  he  ma\'  lind  on  careful  study  of 
the  proof  that  a  chanL,^'  (sometimes  a  \ery  slii;tit  one'  in  the 
spacin.u:  will  .irreatly  imiprox-e  its  apptearance.  The  insertion 
or  remo\-al  of  e\'en  one  ])oint  het\\'een  lines  will  sometimes 
imp)ro\-e  the  work.  Cultix'ate  the  liahit  of  anal}'zing  }"our 
work  with  a  \'iew  to  impro\ing  it. 

Occasionally  a  joh  that  is  extremely  ordmary  looking  in 
black  ink  on  white  })ai)er  can  he  impro\"ed  h}'  printing  it  on 
colored  paper  with  sonie  harmonizing  ink. 

107.  Spacing  Job  Type.  -The  -pacing  of  lines  in  solid 
matter  ha-  heen  pre!t\'  thoroughl}'  treated  under  Si)acing, 
[)age  17.  In  S[)acing  joh  type  each  line  is  a  [)rol)lem  hy  it>eh. 
Lines  standing  alone,  with  ])lenty  of  while  space  ai'ound  them, 
need  more  space  helween  word-  tlum  when  ,-ui-roundedi  h\'  other 
matter.  I:^\tended  letters  require  more  space  than  normal  or 
condensed  ones.  Lines  in  ca])ital>  I'eCjuire  more  space  hetween 
word-  tlian  do  line.-  -et  in  lower-ca-e. 

When  ^paciuL:  lines  in  capitals,  where  the  letters  are  strcUghl, 
like  M  and  X.  more  -pai'c  -hould  he  u-ed  than  when  the  letters 
aiT  -liijiinir  nr  o])en.  like  A.  L.  W,  and  \'.  Such  letters  -how 
sonii.'  white  -i)ace.  and  tlii-  -Imuld  he  con-idered  when  s})acinLi 
the  line. 

108.  Letter-spacing.  -It  frc(|uenll_\-  hai)i)en<  in  -ettiuLr 
line-  in  ca;iital.^  that  certain  ctMnhination-  of  letters,  like  A  and 


JOIJ    CO.MI'tJSITIOX  103 

l\  A  and  V,  etc.,  occur,  and  the  space  between  the  letters  lacks 
unilOrn.iit}'.     To  ohxiate  this,  letter-spacin.t^  may  he  employed 
to  improxe  the  ai)pearance,  or  the  letters  may  be  sha\'ed  and 
'"htted"  t(),i;ether.     'I'lie  I'ollowin,!^^  examples  will  illustrate: 
This  line  shows  the  tx'pe  just  as  set  from  the  case. 

HIGHLAND  AVALON 

Here  is  shown  the  same  line  letter-spaced  to  make  the  space 
between  the  letters  uniform  with  the  si)ace  between  the  \'  and 
A  in  '■  Axalon."" 

HIGHLAND  AVALON 

In  the  following:  line  the  \'  and  the  A"s  in  "  A\-alon"'  have  been 
sha\-ed  off  and  closed  u})  and  the  balance  of  the  line  letter-spaced 
to  sliow  uniformity  in  '"fit."" 

HIGHLAND  AVALON 

At  different  times  t}'pefoun(lers  ha\-e  cast  type  with  mortices 
so  that  when  certain  letters  come  to,^;ether  they  will  dovetail. 
The  line  below  shows  how  this  is  done. 


Unmortised 

AVAAn^:JiLFA^  TALES 


109.  The  Square  Effect.  Sometimes  in  settin,2;  a  job  the 
line-  are  >o  nccirl}'  of  imiform  lenunh  that  there  is  not  enough 
wirialion  to  L,d\'e  a  pleasini;  groui)in<;.     In  this  e\'ent  it  is  ad\'is- 


I04  PKIMIXG 

al)le  to  letter-space  the  lines  and  niake  them  all  of  the  same 
len^4h,  thus  producing  a  sciuare  elTi'Ct.  Some  con"ii)ositors, 
actuated  solely  by  artistic  motix'es,  leave  off  all  marks  of 
[HUictuation  and  make  im])r()i)er  divisions  of  words  to  accom- 
plish this  purpose,  but  such  ])ractice  is  not  to  l)e  commended. 

1 10.  Selection  of  Rule  for  a  Job. — Inasmuch  as  rule  may 
be  considered  as  part  of  the  ornamentation  of  a  job,  all  that  has 
been  said  about  harmony,  tone,  ap})roi)riateness,  etc.,  ])revails 
in  the  selection  of  rule  for  a  job. 

Rule  is  the  name  <i;iven  to  the  material  used  for  printing 
lines  of  various  lengths  and  widths.  It  is  ty])e-higli,  and  comes 
in  a  variety  of  faces.  It  \'aries  in  width  of  face  from  a.  hair-line 
to  upward  of  a  pica.  For  man}'  years  it  was  obtainable  only 
in  brass,  but  of  late  both  the  Linotv'pe  and  Monotype  compa- 
nies have  added  to  their  machines  attachments  for  producing 
leads  and  slugs  and  also  rules  of  \-arious  kinds.  The  i)roduct  of 
the  linotype  machine  is  restricted  to  six-inch  lengths.  If  longer 
lengths  are  needed,  two  or  more  ])ieces  must  ])e  [)laced  end  to 
end.  The  monoty])e  machine  can  produce  leads,  slugs,  and 
rule  of  any  length.  .\  tw()-i)oint  rule  six  hundred  feet  long 
has  been  cast.  The  latest  de\-ice  on  the  machine  will  cut 
the  material  to  any  length  from  one  inch  to  twenty-live 
inches. 

As  may  be  inferred  from,  a  consideration  of  the  alloy  of 
which  it  is  comi)osed,  lead  rule  is  not  as  serxiceable  as  brass. 
If  rule  is  to  be  in  constant  use,  it  should  be  of  brass.  If  it  is 
to  be  thrown  invdy,  and  new  and  perfect  material  used  on  e\ery 
job,  lead  rule  answers  the  pur])()se. 

Brass  rule  is  made  from  slri])s  of  metal  rolled  to  absolute 
thickness  between  agate  rolliTs.  These  strips  come  to  the  tyi^e- 
founder  a  little  ox'cr  txpe-high.  To  ])ri'pare  tliem  for  use  the 
bottom  of  the  stri])  is  first  dressed  off  with  a  ])laiu'  and  made 
smooth  and  le\el.  Before  tlie  face  is  ])ut  on  the  rule  a  line  is 
scratched  along  its  side  near  oiu'  edgi'  m  order  to  designate 
which  (-■(Ige  is  to  l)e  tlic  io]).  W'lu'U  using  face-rule  (the  same 
on  both  edges),  always  kee])  it   face  side  up.      I'sing  it    indis- 


JOB    COMPOSITION 


105 


criniiiKitely  will  finally  result  in  the  rule  l)cin,<:;  battered  on  both 
sides. 

By  far  the  .greater  [)art  of  the  rule  in  use  today  is  of  brass. 
A  study  of  a  t}'])efounder"s  spe'cinien-book  will  re\-eal  an  infinite 
variet}-  of  sizes  and  kinds.     A  few  faces  are  shown  in  Fig.  43. 


Ik;.  43. — Specimens  of   Brass  Rule. 

III.  Aligning  Rules  with  Type. — When  using  rule  and 
t^'pe  in  couTbination,  it  is  important  to  have  the  rule  in  perfect 
alignment  with  the  bottom  of  the  type  face.  The  face  of  the 
rule  should  also  harmonize;  that  is,  a  light-face  rule  should  be 
used  with  light-face  t}'pe,  and  a  heavier  rule  with  heavy-face 
type. 

Section . 


f  Proper   way) 


Section^ 
Section. 


IniI)ropcr   way) 


Section. 


Fic.  44. — Showin.tj   Proper  and  lm[)r(jpL'r  Way  of  L'sing  Rule  with  Type 


When  rules  are  run  the  full  wichh  of  the  job  the  type  lines 
are  freciuently  ])rinted  aljove  them  instead  of  Ijeing  justitied 
with  them.  This  results  in  a  great  sa\'ing  of  time,  and  a\-oids 
the  frecjuent  necessity  of  cutting  rules  to  fit  the  S})ace. 


Io6  TRIMIXG 


Xair.r 
A(l(lr(-. 

l-'ic.   45. ---A.-Ml'iLT  Mrllioil   (if    I'siim    kulr-   v:\\\-\    I'ypv. 

Wlu-n  u-inL!;  two  nr  niorc  jiicci'-  of  riiK'  -iilc  by  -idc,  and  the 
k'nL[th<  arc  made  u])  of  more  than  one  ])iece.  ne\"er  ha\-e  lire 
ioint  <  all  in  line.      See  below. 


I'k;.   4''  — Pm;KT  mi.l    InipmiMT   \\:!\-   (M    I  Jouhliiu:  la.    Rule. 

112.  Side-face  or  Chamfered  Rule.  An  extremely  useful 
rulr.  but  iiiie  lli;;l  -vtiv-  to  jia/./'r  -onu'  enni]  K.-ii(»r~,  i-  ihe 
tlua-e-]  loia.t  -idr-faiT  riiir  -laiwn  in  I-'ia.  47.  Ilu-  faer  n\  b-u- 
rule  i-  nut  i:i  tin-  tv'i.trr  bm  alnn^  one  -ide  of  ilu-  rnir.  Wlnu- 
ifi-ide  and  nul-idr  miier-  uaiie  \\  H  ii  a  lull  IniH  di  i  lie  rule,  tia-\ 
are  rmt  nerdnl  to  m;ii-;r  a  ])(4-fte!  eMrU'/r.  Tlie  ruh-  i-  r-jirei.Jiy 
a(l:ii)U'di  lo  pauri  v.au'k.  r!i  hrr  .-ui-ali.-  t  ir  d'  lublc.  In-ine:  '  "1  1  Mri/c- 
Ijuint  luid,e.  it  makr-  u]*  to  rxrn  ina,il  a  ilr-  of  piea.  !f.  for  ,ai\ 
re'a-on,    it    i-    dt-iraiile    to    lia\a-   a    pieir    thm.'    point-    Ui'  rr   or 


JOH  compositkjx 


lox 


less  than  an  even  eni,  ])uttinf;j  an  inside  and  an  oulside  miLel 
to,i;ether  will  produce  it.     (Fig.  48.) 


Fic.    47. — Showing    Il<r,v   Three-point    Side-face    Rule    Should   be    Butted 
to  Make  a  Perfect  Joint. 

Placing  one  end  of  a  piece  of  rule  against  the  side  of  another 
piece  produces  a   perfect   joint.      The  face  shown   is  adapted 


I-'k;.  4S. — Method  of  J(jining  an  Inside  and  (Xitside  Miter. 


to  many  uses  in  job  work.  An  example  of  its  use  is  shown  in 
Fig.  41. 

113.  Mitered  Corners. — When  using  ])arallel  rule  or  a  center- 
face  rule,  it  is  necessary  to  miter  it  to  i)roduce  a  perfect  joint  at  a 
corner.  If  the  rule  be  a  full-face  rule,  it  is  not  necessary  to 
miter  it,  for  the  C(^rner  can  l)e  "butted." 

()cca>ionally  a  job  comes  into  the  office  and  the  >ize  specified 
for  the  rule  is  not  a  regular  mutti[)le  of  picas.  If  the  job  is  to 
be  printed  from  ty})e,  it  is  necessary  to  cut  the  rule  to  tlie  size 
designated.  Xe\-er  cut  labor-saving  rule  for  thi-  ])tirpose.  If 
the  jijb  is  to  be  electroty])ed,  labor-saving  rules  may  be  used 
with  the  corner-  lapped  as  shown  in  Fig.  4(),  and  the  electrotx'per 
can   cut  off  the  projections  after  the  plate  is  made.     I'hther 


io8 


i'RL\'jj.\(; 


side-face  or  fuU-face  rule  can  be  used  for  this  ]nir])ose,  hut  not 
cenler-face,  for  tlie  face  of  tlie  latter  cannot  he  hrout^dit  ajrainst 
the  end  of  the  rule. 


Mitered    Corner.  Butted    f'orner.  Lajiped    Corner. 

Corners  liavo  been  lefl  open  a  litUe  to  sliow  how  they  are  joined. 

Imc.  4g. — Showin,!^  Three;  .Methods  of  Joining  Rule. 

Instructions  for  miterin,<,f  rule  are  f^iven  under  "How  to 
Use  the  Miterin,u;-niachine,"  pa.ge  2o_^. 

114.  To  Obtain  Perfect  Joints  in  Tables. — Fi^s.  50  and  51 
show  two  tables,  the  fn-st  with  imperfect  joints  the  other  with 
perfect  joints.  '.Fhe  hrst  one  was  set  in  columns  and  the  rules 
inserted  while  settin,L,^  Owin^i.,'  to  the  fact  that  tlie  column  rules 
have  shoulders  on  each  side,  the  cross-rules  cannot  (it  up  aj.^ainst 
them.     The  second  was  made  up  into  two  sections  and  both 


Fk 


No. 

1     i     2 

A 

4          ,S 

(. 

7 

s    1    0 

10 

I  I 

1  2 





^ 









- 

"'~ 

-       -- 

- 

l'.-iii:il    I'orin  ol    Hand  set     I'ahle,  showini;   Imperleet  JuiuUon  of 
Rules. 


JOB   COIMPOSTTION 


109 


No. 

^     \    -    \    3 

4         5 

6 

7     1     >S     1     9 

10       II 

12 

Fig.  51.— Showint,'  Same  Job  as  Fig.  50,  but  as  it  Appears  when  Printed 
in  Two  Impressions.     See  Fig.  98. 

printed  at  the  same  time.  The  sheet  was  turned  end  for  end 
and  printed  a  second  time.  This  printed  one  section  over  the 
other,  thus  producin^i;  perfect  joints.  Inasmuch  as  both  sections 
are  printed  at  the-  same  time  the  procedure  does  not  entail  any 
extra  time  in  running  the  job,  but  it  does  produce  perfect  joints. 
Moreover,  there  is  a  great  saving  in  time  when  setting  the 
job,  for  the  lines  are  all  set  full  width  instead  of  in  narrow 
columns. 

If  the  job  is  so  large  that  both  sections  cannot  be  worked 
in  the  same  form,  it  is  still  advisable  to  set  the  job  in  this  way 
and  make  two  forms  of  it,  esi)ecially  if  there  are  but  few  im- 
pressions needed,  for  the  saving  in  composition  will  usually 
offset  the  cost  of  the  extra  presswork.  This  is  sometimes  called 
the  wax-engraving  effect. 

115.  Skeletonizing. — When  a  job  is  to  be  printed  in  more 
than  one  color,  and  there  is  no  overlapping  of  the  colors,  it 
should  first  be  set  uj)  complete,  and  then  taken  apart  and  made 
up  into  separate  forms.  If  any  of  the  colors  overlap,  it  is 
physically  imijossible  to  put  both  colors  in  one  form,  so  the 
overlap})ing  color  is  made  u[)  into  another  form.  The  taking 
a|)art  and  making  up  into  separate  forms  for  colors  is  known  as 


eio  prixtint; 

The  customary  way  of  lumdlinL!:  a  two-color  forni  i>  to  set 
tlic  job  as  if  it  were  tr)  Ijc  all  in  one  color  and  ha\X'  the  proof 
a|)i)ro\-L-(i.  When  ready  to  >keleloni/.e,  ])ull  a  ])roof  on  dry 
pa])er  to  be  u-ed  as  a  craucre  for  deterniininiz  the  correct  po>iti()n 
of  the  lines,  then  ])Ut  the  jol)  on  a  Lralley  and  proceed  to  make  it 
into  two  parts  of  enual  -i/.e.  How  thi<  is  to  he  done  will  dei)end 
entireh"  on  hnw  the  -econd  color  was  ori,Ldnallv  ])laced.  If  a 
few  line<  are  to  be  in  a  separate  color,  take  out  the  line-,  one  at  a 
time,  beudnnin.LT  with  the  one  neare>t  thj  top,  and  put  in  its 
l)lace  material  of  the  >ame  body  >ize.  Put  the  line  on  a  .^alley, 
and  [)lace  eiinuirh  material  abu)\-e  it  to  make  it  come  in  exactly 
the  <ame  po-ition  that  it  occupied  in  the  ori,i:inal  i)a2'e.  Go  down 
the  paL,^-  to  the  next  line,  doinL''  the  same  as  before.  In  thir^ 
way  take  out  all  the  lines  sub-titutin,^  material  of  the  ])ro])er 
:^ize.  If  this  has  been.  ])roperl\'  do;;  j,  the  >izj  of  the  oriudnal  f)a^e 
will  nol  have  Ijeen  altered.  The  )ther  paire  should  now  be 
s])acedi  so  that  the  lines  come  in  the  same  position  as  in  the  orig- 
inal job.      Use  the  dry  ])ro()f  as  a  guide  for  determining  this. 

If  the  job  is  a  com])licated  one,  and  has  words  scattered 
throughout  the  text,  it  will  be  necessar\"  to  proceed  in  a  ditTer- 
ent  manner.  For  exaniple,  suippose  the  jol)  is  to  be  ])rinted 
in  red  and  black,  and  that  the  words  in  red  are  -cattered  amon-i 
the  lines  of  t\'])e.  It  doe-  not  make  any  difference  how  many 
separate  word-  or  items  are  to  be  remo\"ed  from  an\'  one  line, 
the  method  i-  ulwa\'-  the  same.  Place  the  line  in  a  composing- 
stick,  remo\-e  the  tir-t  word  in  red  and  -ub-titute  r|uads  and 
space-  for  the  word.  thu>  ju-tif\'ing  the  line.  Then  take  out 
the  next  word  in  red,  and  reju-tify  the  line,  continuing  in  this 
wa\-  to  the  end. 

The  fmal  re-ult  will  be  a  line  with  material  substituted  for 
tlie  \'."ord..-^  that  are  to  go  in  red,.  It  is  now  necessary  to  get 
the-e  \'.ord-  in  a  >e])arate  line  by  them-eh'es  and  in  the  same 
jio-ition  tiiat  the\"  occu])ied  in  the  oriirinal  line.  To  accoir.pli-h 
tin-  ':ai-e  the  naiterkd  that  ha-  been  -ub-tituted  for  the  lu'-t 
word  -o  that  '|U,;d-  max'  be  ])laced  between  tile  left-lialid  >id;e 
of  the  -tie'.v  and  thi'  -p>ai  ing  m.^terial.      l'i;t  in  (juad.-  .cad  .-jtace.s, 


(OK    CO.Ml'OSI  riON  III 

and  justify  tlicm  ;iccura1el}-.  Now  put  in  tlic  word.  Next 
raise  the  material  substituted  for  tlie  second  word,  and  fill 
in  the  S})ace  between  tlie  fn-st  word  and  the  second  s])acinff 
material.  Ju.^lify  this.  Now  put  in  the  second  word,  and  fill 
U]i  tlie  badance  of  tlic  line  with  cju.'ujs  and  si)accs,  and  justify 
accurately.  If  this  has  been  i:»roperly  done,  the  result  is  a  line 
contamin,<2;  the  wortls  in  red,  each  of  which  will  be  in  the  same 
position  that  it  occu])ied  in  the  ori.^inal  line.     Fig.  52  illustrates 


?..  '^  ^  iXtQi":!;^'i^sU.wl--'---^^  |9;uq|i;Brri  ViCjK 


(Juacls.  justilifd  to  take 
l!iL'  place  ot  the  word  Red. 

I'lC:  S-- — Sliowinu  Aiclhod  of  .SkL'let(>ni/,iii<r  a  T.itic  for  Two  Colors. 


the  method  e\'en  better  than  words  can  describe  it.  If  desired^ 
the  tirst  word  could  be  justified  in  position  before  the  second  is 
remoxx'd. 

Ilaxint:  skeletonized  the  line,  rej^hice  tlie  original  line,  and 
place  the  other  one  on  another  galie}'.  .After  all  the  indi\i(lual 
lines  ha\-e  been  -keletoni/cd.  ;issembie  them  in  ])ropcr  order  and 
sp;ice  out  the  job  as  in  the  original  page,  using  the  dr}'  ])roof  as 
a  gauge. 

if  the  iol)  is  to  l)e  eiect rot}-])ed,  there  is  no  need  to  skeletonize 
i:,  if  tlie  colors  do  not  o\crlai>.  When  sending  the  form  to  the 
ckn'trot \'per,  mark  on  the  ])roof  what  ])arts  are  to  he  in  each 
color.  Tkic  elect  roly])cr  will  take  two  ca>ts  from  the  form,  and 
eitlier  ])lock  out  in  the  wax  or  rout  awa\'  the  ])arts  not  net'ded  in 
each  form,  if  an  eJeclrotx'ped  job  is  to  lie  j)rinted  in  red,  the 
elect  rot  \'|>e  -hould  be  nickel-plate!!,  as  coppei"  usualK'  has  a 
dek-leriou-  elTt;ct  on  red  ink<.  ile.~tro\-in'''  the  color  and  lu.-ter. 


ri2  PRIXTIXO 

ii6.  Setting  a  Register  Job.  Tt  is  ex  irlent  from  the 
description  i,M\cn  in  Scclioti  115,  that  some  of  tlic  lines  in  the 
job  nia_\'  ha\e  to  \n:  ninxcd  to  pul  them  imo  reui-tt-r,  more 
especially  if  the_\'  ai'e  widcl}-  -caltered.  W'lien  puttiriL:  to.irellier 
a  form  that  may  ha\e  to  \>v  mo\"e(h  do  not  in-ert  .-olid  hhx'ks  of 
furniture,  but  be  -ure  to  haw  >omc  lead<  an*!  >1u.l;s  between 
each  group  so  tliat  the  line-  ma\'  be  readily  mox'cd  without 
seeking  new  material. 

117.  Allowing  for  Squeeze. — Xearl}-  e\er_\-  ])ieee  of  ty])e 
composition  is  made  u])  of  a  great  numbe*  of  indi\-i(lual  unit-. 
Such  a  combination  is  almo-t  certain  to  be  >])ring\-,  and  each. 
jol)  possesses  a  certain  amount  (A  "gi\'e.""  Wdien  making  u{)  a 
job,  es})eciall\'  if  enclosed  with  a  border,  prcr-.-  it  together  1a' 
hand,  using  considerable  force,  aiid  when  it  >eem.-  to  meet  jier- 
fectly  at  the  corners,  add  a  two-point  lead  "for  scjueeze." 
When,  the  job  is  locked  u\).  the.-e  two  ]ioint- will  t)e  ju.-t  about 
right  for  a  perfect  locku]).  If  the  jol)  i.-  \-er\'  long  or  very 
si)ringy.  additional  "xiueeze"  >!iould  l>e  allowed  for. 

118.  Concluding  Hints. — All  t}pe  is  (or  ^hould  be>  cast 
on  the  [K)int  >\'-teni.  con.-e(iuentl\'  each  >ize  of  t\'pe  is  a  mul- 
tiple of  another,  and  can  be  justified  with  it  b\'  the  u^e  of  [xjint 
material.  Before  ])Utting  tlie  material  together  be  a-.-ured 
that  it  is  of  the  riglit  thickne.-s  and  of  the  jjroper  lengih.  that 
it  is  not  Ixittered.  bent.  twi>ted.  dii.-hed.  nicked,  liurred.  or  in 
any  wi-e  mutilated.  .Make  ^ure  that  the  matericd  i-  perfect 
in  e\-ery  re-j)ect.  If  it  i-  not,  di>card  it.  The  trouble  tliat  it 
may  cau-e  would  douljtle-^  be  more  exi)en-i\'e  than  the  eo.-t  of 
tlie  material.      If  the  defect  can  be  ea-ii\'  reniediedi.  do  -o. 

!)(>  not  u-e  lead-  lliat  are  too  -liort  for  the  incisure:  tlie\- 
are  alwa\>  trouiile-ome. 

Wdien  doublim:-u];  lead-  'jikuanii  theiii  c-nd  to  end  .  b'e  care- 
ful  not   to  u-e  lead-  ol   ililferei;!    lllickhe--. 

I'lurred  (juad-  are  ,1  fre(|Uerit  lau-e  of  trouble,  and  are  liard 
to  detect  when  in  ,i  lorm.  e.-peei:iil\-  if  ilic  biwr  i-  near  the  bot- 
tom. Hurr^  oni  lyi)e  or  rule  in.iy  ea.-ily  be  reirio\-ed  with  a  llat 
hie. 


JOI!    CO.MI'OSI'I'IOX 


When  usin.ij;  a  border  made  u])  of  small  units  ha\"e  a  six-  or 
iwehe-point  sIul?  alontisidc  of  the  border,  ll  ])()>-;il)le,  do  not 
allow  an\'  hreak  in  the  line  of  units  to  come  direetlx'  in  line  with 
a  break  in  tlie  material  >urroundin,L,f  it.  If  x'ou  do,  the  material 
will  \ery  likel\  slip  or  hind.     (,!' i;^-  5,3-J 


I'lr,.   ^^--  I'riip(t-  aiv!   Improper  Mctliod  of  I'hu  in'_^  Slu,Lr^  in,-i<k-  of   HorrkT 

I' nil-. 


Owin,^  to  tlie  fact  that  letters  u>C(l  a>  initials  are  not  always 
an  e\en  number  of  picas  wide,  the  lines  alonjj;sidc  of  the  initials 
are  not  always  an  e\en  number  of  ])icas  lonu;.  If  the  matter  is 
leaded  it  is  not  alway--  necessary  to  cut  leads  to  lit  the  resultant 
s])ace.  Unless  comjjelled  to  nm  the  t}-pe  ri,a;ht  u])  a.^ainst  the 
initial,  place  enoutrh  material  alongside  of  the  initial  to  brini^^ 
the  remainin,^;  sjjace  to  e\en  picas.  Do  this  for  all  the  lines 
exce])!  the  tu'st.  which  :^hould  be  close  to  the  initial.  Occasion- 
alK',  if  the  space  i:<  a  multiple  of  jjoints.  the  u-e  of  poin.t-thick 
si)aces  alon_u-ide  ol  a  p)icaden^th  lead  will  just  be  the  ri^ht  lenirth. 

The  foUowiuL''  sjjaces  are  eacli  two  points  thick  and  may  be 
used  with  t^vo-jioint  lead-:  li\-e-em  space  of  ten-])oint,  four- 
em  space  of  ei,ii:ht-i)oiiit.  and  tlu"ee-em  >pace  of  six-])oint.  Wx 
u-ine  a  lead  and  some  combination  of  the-e  three  sjjacc'-  we  can 
izenerall}'  find  a  multii)Ie  to  lit  the  -pact'.  With  these,  len.trth- 
mav  be  built  up  in  multiple-  (A  two  point-,  k'or  e\am])le: 
sui)p()sc  that  the  resultant  sj)ace  beside  an  in.itiiil  <hou!d  prox'C 
to  be  twent\'-orie  esns  and   th-ve  jxiint-.      I'lace  a   ihree-yoint 


114  PRIXTIXG 

lead  alongside  of  the  initial  and  leave  twenty-one  ems  as  the 
measure  for  settinj^  the  t\-pe.  If  it  is  absolutely  necessary  to 
set  the  type  right  against  the  initial,  and  the  leads  must  be 
absolutely  full  length,  then  cut  leads  to  fit.  If  the  leads  may 
be  one  point  short  of  full  length,  make  u])  a  combination  to 
equal  twenty-one  picas  and  two  points.  A  twenty-em  lead, 
one  four-em  space  of  eight-point,  and  one  three-em  space  of 
si.x-point  will  suffice.  Twenty  ems  plus  fourteen  points  equal 
twenty-one  ems  and  two  points. 

QUKSTIOXS  OX  CHAPTER  VII 

1.  What  are  the  duties  of  a  typotect  ? 

2.  Where  is  the  optical  center  of  a  page  ? 

3.  What  do  \'ou  understand  by  "  harmony  "  in  a  piece  of  t\-pe  compo- 
sition ? 

4.  Why  should  a  mixture  of  old-style  and  modern  roman  type  faces  b(» 
avoided  ? 

5.  Explain  "  tone  "  as  apfdied  to  a  page  of  t\"pe. 

6.  Explain  "  contrast,"  and  tell  ho'.v  it  is  obtained  in  a  piece  of  composi- 
tion. 

7.  What  do  you  understand  b\-  ■'appropriateness"  ? 

8.  Explain  the  fundamental  principles  of  type  grouping. 
Q.  What  do  you  understand  by  "proportion"  ? 

10.  X'ame  the  four  oblongs  in  use  by  printers  at  different  time?. 

11.  IIow  is  the  multiplying  factor,  or  constant.  f(jr  the  different  oblongs 
obtained  ? 

12.  What  rules  go\'ern  the  use  of  borders  and  ornaments  ? 

13.  Explain  how  t_\'pe  matter  shfnild  \)C  run  around  initial  letters. 

14.  Wh\'  is  it  inad\'isable  to  use  condensed  t}'pe  in  wide  measures  anrl 
extended  t\'pe  in  narrow  measures  ? 

15.  What  special  thinu'-  should  be  kejit  in   mind  \".'hcn  analyzing  cop\- 
preparatory  to  settiiiLT  a  Job  !■' 

16.  If  after  setting:  a  job  it  did  not  meet  your  ex{)ectations,  how  would 
\'ou  proceed  to  aki-r  or  imi)ro\-e  it  ? 

17.  Should  a  uniform  amount  of  space  alwa_\-s  be  j)hu'ed  between  words 
in  a  line  ?      If  not,  why  not  '•' 

iS.  What  i^  "  let'er-^p,lcinL^"  and  wh_\-  i~  it  u-ed  ? 

19,  When  the  line>  in  a  job  are  nearly  all  of  the  same  length,  wh\-  is  it 
desirable  to  make  them  all  of  e'|ual  length  ? 

20.  Xame  tile  different  materials  of  which  rule  is  composed. 


JOB   COAIPOSTTTON  1 15 

21.  Explain  the  rclatl\'e  merits  of  lead  rule  and  brass  rule. 

22.  What  is  face-rule  ? 

23.  Xame  the  kinds  of  rule  with  which  you  are  familiar. 

24.  How  should  rule  be  ali<;ned  with  t\-pe  ? 

25.  \\'hen  lengths  of  rule  are  made  up  of  two  or  more  i)ieces,  how  should 
the  joints  be  arrani,a>d  ? 

26.  What  is  a  mitered  corner  ? 

27.  What  is  a  lapped  corner  ? 

28.  Explain  how  perfect  joints  may  be  obtained  in  a  table  consisting 
of  horizontal  and  \'ertical  lines. 

29.  What  do  you  understand  by  skeletonizing  a  form  ? 

30.  Describe  how  you  would  skeletonize  a  form  for  two  colors  if  the 
second  color  consisted  of  full  lines  only.  How  would  you  proceed  if  the 
second  color  consisted  of  words  scattered  throughout  the  job  ? 

31.  What  special  pro\'isions  are  to  be  made  when  setting  a  register  job? 

32.  Why  is  it  necessary  to  allow  for  squeeze  ? 

33.  Why  is  it  inadvisable  to  use  leads  that  are  too  short  for  the  measure? 

34.  When  doubling-up  leads,  how  should  they  be  placed  together  ? 
Tell  why. 

35.  When  making  up  a  border  consisting  of  twelve-point  units,  why 
should  we  use  a  six-point  slug  instead  of  a  twelve-point  slug  alongside  of 
the  border  units  ? 

36.  Explain  how  type  set  to  a  bastard  measure  may  be  leaded  by  using 
labor-saving  leads  and  point-thick  spaces. 


>i;j'r!\(.  A  joi; 

iiQ.  The  Order-blank. — Xearl_\-  e\x'r\-  ])rintin!:r  office  has  a 
cliffercnl  >tylr  ol'  orck-r-lilank.  Im'l£.  54  show^  oik-  that  has  been 
in  svu:(;c--l"iil  ojH-ration.  All  the  data  re,Li:a inline  comjxjsition, 
prc-swork,  Itindini^.  and  dclix-ery  is  written  out  in  full,  so  tliat 
there  can  he  no  doubt  about  any  part  of  the  work.  'I"he  eom- 
po>itor  is  ehiel1\'  Kineerned  abinit  the  si/e  of  the  Job.  the  ])ur- 
po>e  for  wliieh  it  i-  intended,  the  color  and  nature  of  the  stock, 
and  the  color  of  the  ink. 

Referring  to  ihe  (jrderd/hmk.  we  lind  that  it  calh  for  a  letter- 
head, (Six  II  inc}ie>.  So  tliat  thcj'e  ma}'  ne\"er  be  any  doubt 
as  to  which  wa\'  tlie  t  \'pe  i-  to  lie  -et.  tlie  widtli  i>  alwa\-s  ^i\-en 
first.     The  ty])e  i<.  tlierefore,  to  be  -et  the  cSldncli  wav. 

The  letterJK-ad  i<  to  be  ])rinted  in  bronze  blue  ink  on  liuht 
blue  paper.  It  i>  bu-ines<  stationer\'  for  a  book  liouse.  \\'ork 
of  thi-  nature  and  with  this  combination  of  colors  alwa\>  looks 
\\(-ll  when  set  in  sohk;  old--t\'Ie  tx'oe  face  of  medium  weiirht. 
(doi<ter.  (dic'ltenham.  Kennerlex'.  or  -ome  letter  of  aliout  eciual 
weiizht.  would  look  well.  C'loi-ler  i-  cho-en  for  illu.-traticjn, 
mai!il\'  becau-e  il  i-  a  new  letter,  and  (jiule  the  \"o,Lrue. 

The  copy  is  manu-eript .  an.  1  rea<h  a-  follows:  ]•'.  A.  \\"illiam<. 
i'riwiilenl:  (".  W.  ll!'o\".  n.  \'ice- I're-id.eni  ;  jolm  .\dams.  Sec- 
ret a  r\--'l'rea- u  re  r.  I'.  \.  WTiliam-  \:  Co..  f  I i -tori cab  h<lucational, 
ScientirK.  .\rt,  and  L;iw  bo^k-.  121;  I'rintinu'  Iloii-e  Sr|u;;re, 
hliiladelphia.   I'a. 

120.  Analysis  of  the  Copy.-  A  brief  anal}.-i-  of  thi-  copy 
rt-\eab  the  l.itl  ik.;;!  ii  e;;n  be  LTorqx'd  >al  i-fa<'l  orib.'  in  -ew-ral 
dilYerent   way-.       lA  obtain  ,:  jiroper  conception  nf  the  iini-hed 


■f2d-r 


SETTING   A   JOB 

READ  CAREFULLY 


117 


NO  JOB  to  be  SET  or  SENT  to 
PRESS  WITHOUT  an  ORDER 


Date 


/9^  /J/G 


For 

Address 

Quantity     /^  O  O      Title  of  Job 

Description 


<ZKlaJ^^^tl^iyAu.^i'^ 


Cy yi-y'^^'-^-^-yCj-d^  ^<tXr   /^^^ 


CUSTOMER'S  ORDER  NO 


COMPOSITION 

STYLE     — -^  -C-O-t-^^'Cfc^V' 

SIZE       S^ yj-  X  //  -^^-vx^c^ue^ 

ELECTROS 

PRESSWORK 

COLOR  INK    C<£'t-'«->»_-a^     -f^OCot 

COVER 

NO,  OF  FORMS 

PROOF  WANTED          '/ '^/ /  /  C 
PROOF  SENT  OUT 
REVISE  SENT  OUT 

IMPRESSIONS              ff~>rJL 
REMARKS : 

PROOF  RETURNED 

SENT  TO  PRESS 

.                       --      

Stock  Cu-zr't^apn^o-iLjo    C/u^ay^aL^    v/<^T-«^t^ 
Cover  /7  X  ^^  -iO 


ORDERED  FROM 


ORDERED  FROM 


Cut  Stock  Size  Cut  Cover  Size 

^/^  X  // 


Ruling 


Tablets 


Shipping  Directions 


Date  of  Delivery 


Order  Received  By 


Cd.  ^. 


Fig.  54. — A  Typira!  ( )nliT-l)!ank. 


Ii8  PRINTING 


iiiiiir 
t  ,,,,,,, ,     I ,„ 

iiiiiiiMiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiimiiiiiiiiiiiiiiiiiiiiiiiiiiiiii 


tlllllllllllllllllllllll 


::;:iiiiiiiiiiiiiitiiiiiiiii!iiii  z:::;:;:; 

iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii 


iiiiiiiiiiiiiiiiiiMiMiiiiiiiiiiniiiiiiiiiiiiiiiiMiniiiiiMiiiitiiiiiir 


Fk;.  55. — Suf^'j^'i'Stcd  Cirou{:iinKS  for  Letterhead, 


SETTING  A  JOB  iig 


III 
iiiiiiiiiiiiiiiiiiiiiiiiiiiiniiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii 

JIIIIIIIIIIIIIIIIIIIIIIIIIIIIIU 


llllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllilllllllllllllllllllllllllllll 


uiiiiiiiiiiiiiiiiiiiiiiiiiiiiiriiiiiiiiiiiiiiiiiiiiiiiiiiiiiiniiiiiiii 


Fig.  56. — Suggested  Groupings  for  Letterhead, 


I20  pRix'j'ixc; 

a])])earance  of  the  job  a  layout  is  first  made  in  the  form  of  a 
few  routrh  ])encil  sketches  on  ])a])er  Si  inches  wide.  See  Fi,s^s. 
55  and  50.  When  malxinu;  pencil  sketches  ;d\\a\-s  usi-  paper  of 
the  exact  size  of  the  joh.  for  }-ou  uill  thereby  yxl  a  better  idea 
of  its  ai)])earance  when  ]uit  into  t\'i)e.  When  \-ou  sketch  a  hne, 
;!ppro\imate  botli  its  ty])e  <i/.e  and  its  len'_rth.  Do  not  sketch 
lonL;  lines  to  iill  ii])  a  space  when  \"ou  know  that  the  tx^pe  selected 
will  not   ruti    thait    lonij.      \'ou  uvax  in  this  wa\-  sketch  a  well- 


FlG.  57. — Other  (iroupinixs  for  the  Word  "'  Hooks"  ami  it,-  I  hialif>'iiiu 
AdjectixT-. 


balanced  la\-out,  but  \o\\  ()t)tain  no  idea  of  the  ap])earancc  of 
the  fmi-hed  job. 

l''rom  \'our  roii.udi  -kelclie-  -elecl  th.e  inie  that  to  \-ou  seenis 
the  ino>t  plea>int:.  ."^uppo-e  thi-  to  be  the  one  that  teatures 
ihe  wiii'd  "Hook-,"  on  the  left-hand  -ide.  There  are  at  lea-t  a 
half-(i{»/:en  dilferi'nt  uroiipinu-  tn  be  inadt'  ol  the-e  word^.  see 
Y'vj,  --J.  A-.-i;nie  for  l!ie  iun"j u)-;es  of  the  ])resent  discussion  that 
Number  2  i>  tinally  selected;    the  compositor  is  now  ready  to 

put   tlie  job  into  \\])V. 


SETTI\(;    A   JOB  121 

There  is  ample  space  on  the  letterhead,  so  there  is  no  need  to 
crowd  the  matter.  The  main  line  should  fall  about  seven- 
eighths  of  an  inch  from  the  top,  and  the  list  of  officers  from  one- 
fourth  to  three-ci,!^hths  oi  an  inch.  The  side  margins  should 
be  about  one-half  inch  on  each  side.  This  will  leave  the  measure 
fort\--ln'e  picas. 

Set  the  bod}'  of  the  heading  to  fort}'-tive  ])icas.  The 
word  "Books''  and  its  qualifying  adjecti\-es  should  be  set  in 
a  smaller  measure,  so  that  it  may  be  leaded  out  or  placed 
in  any  p(jsition  without  interfering  with  the  date  line.  Even 
if  there  Mere  no  date  line  it  would  be  ad\'isable  to  set  this 
in  a  narrow  measure  to  avoid  using  up  a  quantity  of  small 
material. 

The  featuring  of  the  word  "Books"  also  gi\-es  opportunity 
to  put  this  word  in  some  contrasting  color,  if  the  customer  is 
willing  to  pa\-  the  j)rice  of  a  two-color  job. 

121.  Size  Type  to  be  Used.-- Unless  advised  to  the  con- 
trary, it  is  safe  to  assume  that  the  following  is  the  order  of 
imj^ortance  for  dis})la}-  lines — name,  business,  and  address. 
Following  this  schedule  for  the  letterhead,  twenty-four  point 
type  may  be  selected  for  the  name,  fourteen-])()int  for  the 
word  '"Books,"  and  tweh'e-point  for  the  address.  Six-j)oint  is 
large  enough  for  the  officers'  names,  and  also  for  the  adjecti\'es 
around  the  v/ord  "  Books."  There  is  sufficient  contrast  in  size 
in  such  a  selection  to  secure  the  proper  relati\-e  importance. 
Moreo\"er.  the  fact  that  the  lines  are  not  crowded  tends  to 
set  them  off  to  ad\"antage. 

122.  Position  on  the  Sheet.  -  When  planning  for  the  posi- 
tion of  {]\c  main  line  on  a  letterhead  the  com])ositor  should  be 
go\-erned  entire!}'  by  the  groui)ing  and  the  amount  of  material 
on  the  heading.  A  headim:  that  cont;iins  but  a  few  lines,  and 
those  short  on(>,  can  usual!}'  stand  more  space  titan  can  one 
that  contains  much  matter  and  whose  lines  are  long.  If  tlicre 
is  a  line  acro-s  the  extreme  top,  tlirce-eighths  of  an  inch  from 
tlie  edge  is  a!)0ut  the  ri,Ldit  distance,  and  se\  en-eigliths  of  an 
inch  is  about   right  for  the  m;un  line,     Thert?  is  no  absolute 


PRIXTTXG 


1 

Fig.  5S. — Layout  for  a  Statement  on  Ruled 
Stock. 

1 

( 

N 

y 

Fir,.  :;r). — T.ayont  for  Statement  for  Outlook  F,n\Tlopc  on 

T'lirulcd  Stock. 

SETTIXG  A  JOB 


12- 


F.  A.  Williams,  Pres.         C.  W.  Hkown,  Vice-Pres.       Joii.n  Adams,  Sec-Treas. 
STATEMENT 


-igi  — 


M. 


IN    ACCOINT    WITH 


BOOKS 


F.    A.  WILLIAMS    &   CO. 

1 21  7  Printing  House  Sq.,  Philadelphia,  Pa. 


Fig.   6o. — Statement  set  According   to 
Lavout   in    Fig.    ;8. 


F.  A.  Williams,  Pres.        C.  W.  1!ko\vn-,  \'ice-Pres.        John  Adams,  Sec-Treas. 

F.  A.  WILLIAMS  &  CO. 

1 21 7  Printing  House  Square 

BOOKS  ■  Philadelphia,  Pennsylvania. 

STATEMENT   OF    ACCOUNT   OF 


Fir,.  6i, — Statement  Set  .\ccording  to  Layout  in  Fig.   59. 


124  PRLXTIXG 

rule  for  this,  but  a  stu(l\"  of  well-halanced  letterheads  shows 
this  to  he  good  practice. 

123.  Layouts,  l-'igs.  58  and  ^(j  .-how  two  layouts  for  a 
statement  heading,  one  f(jr  a  ruled  >heet  the  other  for  an  out- 
look envehjpe.  I'ig>.  Oo  and  (ji  >how  them  in  t}'i)e.  When 
planning  a  jol)  for  an  outlook  en\-el()})e,  rememljer  that  the  line 
separating  the  heading  from  the  hod\'  of  the  joh  ser\-es  as  a 
guide  for  folding  the  sheet  so  that  it  will  ht  the  en\-elope.  lie 
sure  to  ])Iace  it  in  the  ])ro])er  po>ition.  As  nearl}'  all  office 
stationer}'  is  now  written  on  a  t\i)ewriter,  if  guide-line-  are 
used  for  the  adilress  they  -hould  be  the  distance  a])art  of  two 
typewriter  lines.  It  is  much  better,  howe\"er,  to  omit  them. 
When  setting  billheads,  if  there  are  ])rinted  lines  alongside  of 
the  outlook,  the\'  .should  be  so  positicjned  that  the}'  may  be 
t}'pewritten  at  the  same  time  that  the  addre.->  is  written. 
See  Fig,  O2, 


F.  A.Williams  &  Co. 

Books  0/ All  Kinds 

1217   PRINTING    HOUSK   SQUARE 

FHIL.ADKI.PHIA 


Fig,  0,^.— All   i-jr/ddj^c  Curner. 

rig>.  6:;,  (14,  arid  oq  >hov.-  -etlings  of  an  en\-elope  corner, 
a  bu>ine.--  card,  aufj  a  JabcL  It  i-  frcrjuently  adxi^able  to 
keep  all  the  othce  stationer}'  of  a  firm  in  harmon}',  and  for  that 
rea.-on  one  st}-lc  of  i}-])c  has  been  u-ed  throughout.  I-'re- 
quently  the  label  will  appear  to  better  advantage  if  set  in  bolder 
t}'i)e. 

I-ieforc  uriderlaking  the  netting  of  an}'  job  the  co])}'  -hould 
be  anal}-/ed.  and  a  l.i}'iait  roughl}' .sketched  r-o  a-  to  get  -ome 
idea  of  tiic  fuuihed  [product, 


SKTTIXC;    A   J()|} 


125 


126  PRINTING 


F.  A.  WILLIAMS  &  CO. 


1217  PKINTING  HOUSE  SQUARE 

h-HILADELFHIA 


RKPRESKNTED    BY  T>    /^   f~\    "17"    O 

JAMES  B.  SMEDLEY  D  W  ^  iV  O 


Fig.  64. — A  Business  Card. 


ff.3  j;-3 

^■3  /»  ^-3 


/or 


S'S  jBti 

gg  .    gg 

ff.j}        K /a . .      M 

gg g-2 

S-2  r                                                    §-2 

5;-3  rrom                                         g?. 


F.  A.  WILLIAMS  &  CO. 


tH  1217  PRINTING  HOUSE  SQUARE  ^3 

I      BOOKS  PHILADELPHIA      i 

Fig.  65. — A  Label. 

124.  Specimens.- -The  syiiTimens  on  the  following;  pap;es 
liuvG  been  chosen  for  criticism,  and  their  merits  or  demerits 
l)ointe(l  out.  The  student  sliould  follow  closely  the  criticisms 
and  the  reset  si)ecimens  ,u;i\en  in  the  current  numbers  of  the 
various  t\'i)o,L;rai)hical  magazines,  and  especially  the  depart- 
ment devoted  to  api)renlices  in  ''The  Inland  IVinter."  lie 
will  lind  therein  much  helpful  suggestion. 


SETTING  A  JOB 


127 


Cturcf)  (glagS  'h 


JDomcsitic  (^lasis 


iHemorial£{  ^  4- 


JDecoratibe^Kaorfe 
in  Jfabricsi  ►l*  ►!- 


iHofiaicsi^  ^  -^ 


iHural  ^aintingfiJ 


tablets;  ►!-  4-  4- 


Fig.  06. — Co\'er  for  a  Book  of  Testimonials.     Xeat,  dainty,  approp^-iate 


I2S 


IN  rixc 


WILLIAM    H.   ZIEGLER,   M.D. 

3028   Frankford  Avenue 
Philadelphia 


SHINGLE    POULTRY    YARDS 

IS  LAN  D     HEIGHTS 


OCEAN     CO. 

N.    J 


IF     NOT     DELIVER  EC 


DAYS     KETLJRN     TO 


EDWARD  G.  MURRAY  &  CO. 


No.   9   Bank   Street 

PHILADELPHIA 


IF     NOT     riELIVEI. 


EDWARD  G,  MURRAY  &  CO. 

No.   9   Bank  Street 

I  ■  H  1  L  A  D  F  L  P  H  I  A 


\...     I.         \     I-!._.l' 


si'/n'ixc;  A  foi 


129 


CHAS.  H.   FULMER 

INSURANCE 

400    WALNUT    STREET 
PHILADELPHIA 

CHAS.  H.  FULMER 

ALL     KINDS     OF 

INSURANCE 

408    WALNUT    STREET,    PHILADELPHIA 

CHAS.  H. 

INSURANCE     0 

408     WALNL 
PHILAD 

FULMER 

F     ALL     KINDS 

JT    STREET 
ilLPHlA 

CHAS.  H.  FULMER 

ALL    KINDS    OF 

INSURANCE 

408    WALNUT    ST.,     PHILA. 

I'-n 


r!-rc   C"..r!HTs. 


i^,o 


PKIX'I'IXC] 


M   O   N  ■]    J)    ].  V 


•J  ()  1    S       C    11  r.  -   T  \  L     1        "■    I    I!  I.  1     I' 

I"  II  I  I.  \  i>  I.  r.  1'  II  1  .\. I  '■>  I 

M - 

SAMUi:i.    I).    ]'.  isLi:^,    M.D. 

F  O  1!      P  H  < )  I'  i;  <  S  I  r  >  X  A  I.      S  i;  li  V  I  C  K  S 


H  i:  c  I-  I  N   i;  1)     1'  \  V  M  i:  \   I 


c  ( )  N  >  L'  i.'i'  I  N  I.    1 1  I  >  r  i; 

;i   \.M       1    I'M. 


<,y,         A     I' 


si'/rriXG  y\  JOB  131 


DR.    BEN     CLARK     GILE 

HAS     REMOVED    FROM    1728    CHESTNUT    STREET    TO 

2018    CHESTNUT    STREET 


OFFICE     HOURS   :     9     TO     12     A.    M. 
OTHERS      BY      APPOINTMENT 


WILLIAM    A.   GRAY 
THOMAS    E.  COGAN 

ANNOUNCE    THE    REMOVAL    OF    THEIR    LAW    OFFICES 
FROM     ion     CHESTNUT    STREET    TO 

WEST     END    TRUST     BUILDING 

BROAD    ABOVE    CHESTNUT    STREET.    WEST    SIDE 
ROOMS    809.    810.    811 


BOTH    TELEPHONES  AUGUST   1.  1917 


iMi'r.    70  -     l*r<>!'^'->iiinal   Rniiinal    N. 


'3^ 


Pkixiixd 


■-l£>P 


THE  PHILADELPHIA 
CLUB  OF  PRINTING 


Mf)at  toe  eat 

X 

PUREE  MONGOL  SOUP 

Olives 
Radishes 

K 

PLANKE2)  SHAD 

Pansicnne  Potatoes 
X 

FILET  Ol-  BEEF 

Muthrooins 
Potatoes 
String  fjeans 

X 

Neapolitan  Ice  Creara 

Cakes 

Coffee 


V'...:.\ 


CLUFi  TOAST 

Tune:     '',-\u!'l  I.an;^'  Sync' 

Nov.-  Kcre's  a  toast  to  our  new  band 
'^  e  1  ypos  tru  d  a:i;l  true  ; 


HOUSE  CRAFTSMEN 

.-\nd  111  re's  fucc'-sr  to  niea  who  plan  I 
By  each  \\liate'er  \ve  dc. 

1  f)gether  Lam  ii  whul  is  old 

KUGLLirS 

1  I'.en  l;iiii_'  ii[)  what  is  new  ; 

May  Twelflli,  Niiiet'vn^-tpn 

If  eacf.  will  fii.d  he's  of  c^e  r.ind 
.•\nd  liie  whole  not  im-tl  !jv  few. 

i  :,,.    ,  ..-I  .  :,  .'      i  ■ 

-.,::.e.LT,:   :i  M.  :    ;. 

c-   ^.■.        r.     .   .           _-..-,           .^       -      ,- 

....      T'.-    :        ■•■■•   e:-    ::...    ..;    -.1    e:.e:- 

in  I.!.,  !;  -i:iJ  red  on  ^■. ':" "  ;.:i^i:':e  ;i:.;jC1 

SKTIIXC;    A   JOIi 


133 


'T J  IS  lamp  am  I 


To  shine  where  He  shall  say: 
And  lamps  are  not  for  sunny  rooms, 

Nor  for  the  light  of  clay: 
But  for  dark  places  of  the  earth, 
Where  shame  and  wrong  and  crime  have  birth; 
Or  for  the  murky  twilight  gray, 
Where  wandering  sheep  have  gone  a^ray; 
Or  where  the  light  of  faith  grows  dim 
And  souls  are  groping  alter  Him; 
And  sometimes,  a  flame, 

Clear  shining  through  the  night. 
So  bright  we  do  not  see  the  lamp, 

But  only  see  the  light, 
So  may  I  shine  -  His  light  the  flame — 
That  men  may  glorify  His  name." 


A    Mnilw  Canl 


134 


I'KTXTIXG 


'n  -D  -  .□^_Q    :n-n 

n 

u 

"ranklm's 

--- 

lJ 

Birthday 

^:                    i 

□;           1915   ■        :□ 

D 

- 

i 

n 


n 


706 


1915      — 


»,L-'    :■..  ■'.     (    rr.L- 


si'/rriXG  A  jc)i5 


135 


Recital 

by  the  Pupils  of 
Louise  De  Ginther,  at 
her  studio,  Monday 
Evening,  April  J 0th 


m 


^ 


m' 


,>- 


^m;^ 


#^ 


Type   an:! 
ivi'.h  the  sh'U) 


^-A    \Vi-l!-!):iiaiuc(l    I'a-^ 

llv    apprupria-r 
lit  rust  this  witl 


a[ie   '>f   lh.c   jo' I   is  i:'.   harmony 
job  on,  page  I,;'', 


1^6 


I'RiN  ri\"(i 


Hiawatha  Academy 

55  .MINNEHAHA  STRELT.  HIAW  ATHA.  KANSAS 


SKTTIXC    A    J()I5 


137 


H 

A 

• 

1 
c 

a  w  a 
a  d  e 

th 
m 

a 

y 

55    MINNHHAHA    STREET 
HIAWATHA,    KANSAS 

7'.  '1  hi.  ^'niil,.r-ri;lr  liMr'lrr  hrrc  ,l'1\  i-.-  tin-  p.iu'e  a  iini-!.(_-'l  ai)i>r;!r- 
ain  r.  'I'r.c  -hajn-  n;'  ilir  julj  (onl'drnii  1<.)  thr  shape  of  ihf  {Kiuc,  ihercb}- 
pr.-xiucini;  shape  harmony. 


i:S  PRIMING 


OF  THE  SEVENTEENTH  ANNUAL 
MEETLNG  OF  THE  MLNNESOTA 
TRADE  ASSOCL\TIOxN,  HELD  LN 
MLNNRVPOLIS,  JUNE  r7-18-19,  1909 


V<-'Z:'^ 


\:i  r 


SETTING   A   JOB 


139 


PROCEEDINGS 

OF  THE  SEVENTEENTH  ANNUAL 
MEETING  OF  THE  MINNESOTA 
TRADE  ASSOCIATION,  HELD  IN 
xMINNEAPOLIS,  JUNE   17-18-19,  1909 


Fig.   78.— a  \Vcll-balance(l   Pai^'C. 
Type  matter  with  plenty  of  '.v'liif  space  arourvl  it  is  always  much  easier  to  read 
lan  when  jam.r.eJ  against  a  border.      Contrast  this  with  job  on  opposite  page, 


140  PRIX'JIXG 

QUESTIONS  OX  CHAPTER  VIII 

1.  IIow  do   \vi-  (Iclurmiiic    from   :iii  order-blank  which  way  the   type 
matter  is  to  be  set  ? 

2.  W'liat    is  tlie  usual    order  of    ini[)ortance    in    a    piece   of   ofiice   sta- 
tionery- ? 

3.  What  is  a  laxout  ? 

4.  Why  should  la\  outs  always  be  drawn  full  size  ? 

5.  What  is  an  outlook  en\elo[)e? 

C).   What  ad\anta,i,'es  are  there  in  usinj,'  an  outlook  en\'elope  ? 

7.   \\  hat  special  care  is  necessar}'  in  setting  a  job  to  be  enclosed  in  an 
outlook    einclope  ? 

S.   If  the  top  line  of  a  letterhead  is  a  subordinate  one,  at  what  distance 
from  the  tof)  of  the  sheet  is  it  usually  placed  ? 

o.  At    what  distance  from  the  top  of  a  letter  sheet  is  the  main  line 
usually  placed  ? 

10.  if  a  letterhead  is  made  uj)  of  short  lines  f^rouped  around  a  center, 
should  it  ha\e  more  or  less  toj)  margin  than  one  consisting  of  long  lines 
similarly  grouped  ? 


CHAPTER  IX 

SETTING  TABLES  AND  OTHER  INTRICATE  MATTER 

125.  Ability  Required. — It  has  already  been  stated  that 
one  who  as])ires  lo  be  a  really  jjood  job  compositor  should  ])0s- 
sess  both  mechanical  ability  and  iurtislic  taste.  Unfortunately, 
many  engaged  in  the  printing  business  do  not  possess  these 
requirements.  Some  arc  artists,  but  can  not  put  a  job  together 
so  that  it  will  "lift"';  others  are  capable  of  work  that  is  perfect 
mechanically  but  lack  the  artistic  touch.  In  setting  tabular 
matter  there  is  greater  need  for  mechanical  skill  than  for  art 
training.  Here,  if  anywhere,  the  work  must  be  mechanically 
perfect.  The  artisan  must  be  thorough  in  his  work,  must  pos- 
sess ingenuity,  and  must  be  able  to  determine  at  a  glance  the 
best  way  to  set  a  })articular  job,  for  hardly  any  two  are  exactly 
alike. 

126.  Jobs  Containing  Rules. — Fig.  79  illustrates  a  job  made 
up  of  rules  with  a  heading  to  each  column.  If  there  are  but  a 
few  sheets  to  be  printed,  it  is  sometinies  cheaper  to  have  them 
ruled  by  a  paper-ruler,  and  then  j^rint  in  the  headings.  If  a 
great  number  are  required,  the  job  should  l)e  electrotyped  and 
more  than  one  sheet  printed  at  a  time.  Electrotypes  may  be 
obtained  from  a  type  form  or  from  a  wax-engraving.  There 
are  three  methods  of  getting  the  form  into  tyiie — by  the  Typo- 
tabular  System,  by  monoty])ing,  and  by  the  regular  method  of 
liand  setting. 

127.  The  Typotabular  System. — The  American  Type 
Founders  Company  has  devised  a  ])lan  for  composing  tabular 
or  l)lank  work  which  is  called  tlie  Typotabular  System.  This 
system  consists  essentially  of  special  t_\'i)e,  rules,  and  a  mass  of 
units  called  typotabular  squares,  cast  on  six-i)oint  body,  the  top 

141 


142 


PRIXTIXG 


NAME 

RATE 

DATE 

BY  WHOM   SENT 





NAME 

1 
RATE 

1 ^ 

DATE 

BY  WHOM  SETJT 

{'•)    Monotype. 


NAME 

RATE 

DATE 

BY  WHOM  SENT 







'i'y'r 


NAME 

RATE                 GATE 

CY  WHOM   SENT 

I-I. 


.in-  a  Rule   ]>'h  liv  DiiiLTiiit  ^I^■!h(lli^  (,f  Scttini 


TAHI.MS   AND   0T1I]:R    IXTRTCATK   ^lATTER 


143 


of  each  sciuarc  l)einji;  in  the  form  of  a  four-sided  ])yramid.  When 
these  units  are  asseml^led,  V-sha])ed  channels  are  formed  into 
which  rules  can  easily  be  slipped.  The  lengths  of  the  hori- 
zontal rules  are  all  multiples  of  six  ])oinls.  Any  distance 
desired  between  the  lines  can  readily  be  obtained  by  coml)ina- 
tions  of  rules  of  different  tiiickness,  one-,  two-,  three-,  and  four- 
point  sided )evel  rule  being  used.  IW  using  two-point  parallel 
rule  or  one-point  center-face  rule  between  the  columns,  the  hori- 
zontal rules  coiue  so  close  to  the  \-ertical  rules  that  the  slight 
gap  is  scarcely  i)ercei)tible.  The  type  used  in  this  system  is 
cast  to  unit  width  so  as  to  be  self-si)acing. 


Points        10  Points  12  Poirits  14  Points 


A, 


16  Points  18  Points 

J    !    . 

c       h 

V 

\\ 
II 


ri    n 


S'.iowiui;  use  of  rules  of  ililTereiU  lluckness  with  'i  ypotabular  units. 
The  (!ia:.;ram.  iu'Kinnini; '■villi  S  ]),  lint  s.  siiows  (ira'lna:  inn  Ijy   2  points,  viz.:    S.  in, 
J  J,   \  \.  10,  anil  iS  points,  by  tr.euse  of  2- anil  4-point  siile-face  rules.     If  interineili;il  e 
rulint;  is  necessary,   7.    1,5,    i<).  25,  31   points,  etc.,  can   be  maiie  with    i-point   rule, 
and  Q,  12.  15.  IS,  21,  21,   27,  30,  is.  etc.,  can  be  n;a'le  with  3-point  si.ie-face  ruie. 

Fig.   80. — Typotabuiar   Method   of   Securing'    Definite   Number  of   Points 
lietween   l>ines. 


When  two-point  center-face  rule  is  used  l^etween  cohmms  in 
tables,  the  ga])  is  distinctly  n(niceable.  When  head  rules 
alnit  column  rules,  side-bevel  rules  sliould  be  used,  so  that  the 
face  of  the  iiead  rule  will  join  tlie  viul  o\  tie  column  rule. 

128.  Hand-set  Ruled  Blanks. — 'ii.j  l.v-i  step  in  setting  a 
ruled  blank  is  to  exandiie  tlte  co])}-  ;;ik!  cisl  it  off  in  column  form, 
allotting  a  size  nearest  to  that  shown  In  copy,  but  making  its 
width  a  multiple  of  six  ])oints.  Abirk  t\ich  column  width  on  the 
copy.     Total  the  widths  of  tlte  cohnnns  and  the  rules  between 


144 


I'kl.X'l  IXC 


to  determine  the  full  widlli  of  the  table.  Tf  too  much  has  been 
allotted,  reduce  the  widtli  of  a  colunu-i,  choosm.i^  the  one  for 
reduction  whose  heading  would  seem  to  indicate  that  but  little 
sj)ace  is  required.  If  a  cohniin  must  be  enlarged,  ])lace  the 
extra  S])ace  where  it  'an  be  used  to  ad\-anta<;e.  After  the 
width  is  determined,  count  the  number  (jf  lines  desired,  and 
note  the  len^dh  that  the  table  is  to  be.  Allot  a  certain  de])Ui 
for  the  headin.ij;,  and  divide  the  balance  o:  the  len.i^th  of  the  tab;C 
by  the  number  of  lines  required.  This  will  give  the  desired 
s])ace  between  lines. 

If  the  ofhce  is  ef|uip])ed  with  the  different  thicknesses  ol 
side-be\'cl  rule  mentioned  under  the  Typotabular  S\-stem,  the 
job  can  be  put  tot^^ether  by  usinj^'  these  rules  and  regular  six- 


Fig.  Si. — .\  'typotabukir  Job  Rc.;i(l>    to  Slide  onto  the  Stor.c. 


point  or  twelve-point  cjuads,  as  ref|uire(i.  In  fact,  llie  method 
is  practically  the  same  as  The  Typotabular  Sx'stem,  the  only 
a.d vantage  ])ossessed  b\'  the  latter  being  that  the  iinit^  are  always 
in  mass  formation  and  tliat  the  \'~shape(l  channels  aid  in  the 
insertion  of  rules.  I'Ik;  table  can,  tiierefore,  be  put  together  in 
much  less  time.  If  the  ofi"ne  i>^  not  so  equipped  (and  this  is 
ustialK'  the  ca~e).  t'le  space  n.(|Mired  nuist  be  made  tip  by  util- 
izing such  material  as  is  at  IkukL  This  is  u>uall\-  two-{)oint 
rule  and  the  a\'erage  run  of  qtiads. 

]i  \-er_\-  much  oi  tliis  niud  work  i>  doiif  tlu'  ofVac  should  be 
efpiipped  with  Slcp!u''i>\  M  iih  io  l[f\>(t  (,)tia(h-ats.  A  full 
outfit  of  the>r  con^ml^  ot  liiigi!!-  Irc.Mi  -i\  point  to  >e\-cnt  \'--t  wo- 
point    (\arying   by    si.\   jioint-',    in    lhieknr>s   Irom   si,\q)oint    to 


TABLES   AND   OTIIIIR    JXTRFCATE   MATTER  145 

thirty-six-point  (varyino;  by  six  points).  They  may  be  obtained 
with  either  square  or  ehamfered  edf2;es.  The  chamfered  edges 
facihtate  the  insertion  of  rules.  These  quads  are  kej)t  in  a 
special  case,  with  each  size  and  kind  in  a  row.  When  com- 
posing a  table,  a  full-length  row  of  the  right  size  and  thickness 
may  be  taken  from  the  case  and  placed  on  the  galley.  This 
saves  all  of  the  time  usually  spent  in  assembling  an  infinite 
number  of  individual  quads  and  spaces.  After  the  job  is  com- 
[)leted  the  rules  are  removed  and  the  rows  of  quads  replaced 
in  the  case.  There  is  thus  a  saving  of  time  both  in  composition 
and  distribution. 

In  setting  the  job  shown  in  P^ig.  79  the  first  operation  was 
to  approximate  the  s})ace  on  the  copy,  and  then  cast  off  the  job 
by  allowing  eight  picas  for  the  first  column,  three  and  one-half 
])icas  for  the  second  column,  four  [)icas  for  the  third  column,  and 
six  picas  for  the  fourth  column.  This  confijination,  with  the 
three  tw(vpoiiit  vertical  rules,  makes  up  to  twenty-two  picas, 
the  width  of  the  jxige.  Allow  one-quarter  inch  spaces  between 
lines;  eighteen  points  are  ap])roximately  one-quarter  of  an 
inch.  If  the  space  could  be  sHghtly  greater  than  one-quarter 
of  an  inch,  the  setting  could  be  simplified  bv  using  eighteen- 
point  quads  and  one-]x:iint  rules.  If  the  space  cannot  be  any 
greater,  sixteen  points  must  be  put  between  two-point  rules. 

When  planning  a  job,  the  compositor  should  always  endeavor 
to  put  it  together  with  the  smallest  number  of  units,  and  to 
use  material  that  is  sclf-s])acing  to  the  measure.  Do  not  use 
material  that  nuist  be  justified  to  some  pica  length  if  some  other 
material  v,"ill  fill  the  space  without  justifying.  For  example,  in 
the  first  column  material  is  deshed  that  is  sixteen  points  thick 
and  eight  picds  long,  l)ut  a  com])ination  of  eleven-point  and 
fi\-e-point  to  make  xy[)  sixteen  should  not  be  used  as  each  line 
would  have  to  be  justified  with  s])aces.  Nor  would  nine-point 
and  seven-])oint  be  used,  for  tlie  same  reason.  Two  lines  of 
eight-point  would  fill  the  space  without  justifying.  If  this 
material  is  scarce,  ten-])oint  and  six-])oint  quads  will  fill  the 
space  propcrh',   ])ut   the   ten-point   lines  wil'   need  justifying. 


146  PRixrixd 

Twelve-j)oint  quads  and  two  two-point  leads  will  also  suffice. 
If  notliin^  but  ciuads  are  used  in  one  column,  and  a  combination 
of  C[uads  and  leads  in  anotlur,  it  fin-riuent  ly  happens  that  the 
column  containing  leiid-  i-  longer  ihan  tlie  other.  This  is 
evidently  due  to  the  \:ic{  tiiat  leads  are  not  as  accurately  made 
as  quads,  and  consequeni  1\-  run  a  little  tliicker  than  they  should. 

The  job  shown  in  Id'i.  7t)  nia\'  b'C  set  by  making  u])  a  stick 
to  twenty-one  and  a  lialf  ems  and  settin,ir  the  job  strai^Ldit  cross. 
Use  ei,i:ht-])()int  (juiids  ihrou^irhout.  I'u.Ldit  ])icas  (96  ])oints) 
equal  twelve  ei'-rlit-point  ems;  three  and  one-half  picas  (42 
points)  equal  Uvc  ems  and  a  four-em  s])ace;  four  picas  (48 
points)  cf|ual  six  ems,  and  six  f)ica-  (72  ])oints;  ecjual  nine  ems. 
Set  the  Tirst  line  b\"  ])utting  in  tweh'e  ems  of  eiL!:ht-j)oint,  then 
five  ems  and  a  four-em  space,  then  six  en"is,  then  nine  ems. 
This  will  just  fill  the  line.  Set  as  man\-  lines  as  ma}'  Ije  required 
for  the  whole  job.  Tlace  tliem  on  a  L'^.-'Iey.  Xow  set  the  head- 
in,ii;s,  but  make  up  the  slick  to  the  different  measures  recjuired. 
Place  the  headiuL^s  in  position  at  the  top  of  the  columns,  -lip 
in  the  column  rules  of  ])roper  len^rth,  and  proceed  to  in-ert  the 
horizontal  rules.  Ik\<,dn  at  the  bottom  of  the  first  column. 
Put  a  rule  at  the  bottom  to  support  the  quads.  Place  the  llrst 
rule  between  the  second  and  third  rows  of  ciuads,  the  second 
rule  between  the  fourth  and  tiflh  rows,  and  so  on  up  the  column. 
This  will  _L,d\-e  sixteen  points  between  each  two-])oint  rule.  After 
the  I'lrst  column  is  completed,  proceed  witli  the  second  in  the 
same  manner;  then  fmish  the  tliird  and  fourth  columns.  Place 
a  be\'el-face  rule  at  ihe  head  and  foot  of  llie  j(;b,  with  the 
bevel  turned  outward  in  botli  c:i>cs.  U  the  cwlumn,-;  are  sliirhtlx- 
too  Ioul:  or  too  sliort,  the  di^crepanc)- can  be  adju.-ted  b\"ah(.T- 
in,<^'  tlie  space  in  the  headin;_r.  Allow  at  le;:>l  two  points  for 
"sc|uee/.e.'" 

129.  Wax-engraving.  An  extcllmt  imit.i'tion  of  rule  work, 
and  one  whit  h  jjruducc-  piTlccl  j(iiMl>,  :.<  i  !'i:!iiu-di  b\'  a  procc.-> 
known  as  ::MX  iimi'ii:  iu'.  A  mc1,il  plate  i-  lir-a  coated  with  a 
tin'n  l:i\'er  of  -.v.ix.  'i'hi-  plate  i-  tknu  |ilacrd  i:i  :i  ruHrar-nKichine 
and   line-  of   the   proper   vidlh   of   f.ice   are    ruled    in    the   wax. 


TABLES   AND   O'lHIOR   TNTUrCATE  MATIM'-R  147 

cutting  through  to  the  metah  If  any  lettering  is  required,  the 
ty])e  is  set  u])  and  ])ressed  into  the  wax,  down  to  the  metal. 
After  the  work  is  a])proved,  the  wax  part  of  the  plate  is  l)uilt 
up,  then  dusted  with  plumbago,  and  an  electrotyi)e  made  and 
mounted. 

Most  of  the  diagrams  and  outline  illustrations  in  this  volume 
were  made  by  this  method.  A  rough  sketch  is  furnished  the 
artist,  and  the  size  is  designated.  He  then  sketches  the  design 
in  the  wax  and  submits  it  for  approval.  After  it  is  api)roved 
the  plate  is  tlnished  and  mounted,  as  described  above. 

130.  Monotype  Method  of  Setting  Rule  Work. — Fig.  79  (b) 
shows  a  rule  job  set  complete  by  the  i\Ionotyi)e  system.  The 
job  was  keyboarded  exactly  as  shown,  and  the  specimen  com- 
posed on  the  caster.  This  is  just  as  it  came  from  the  machine, 
without  any  attem[)t  being  made  to  fix  the  joints.  Close  in- 
S})ection  reveals  the  fact  that  it  is  built  up  of  individual  char- 
acters. 

\h   ^J    ^1-   TT     r-    ^     ^     !-    i    =.   ~   ^   ^     Jl     L    T     Jl     r?   ^l    _    =   =j 

\=   '-'A-    -   7?   -"-   H     ^     H   -^^   ^    +    II    'fr     I     -    IF   =   =   =   -   ~   - 

I     i    H     _     h    ^!      "^    +    -     r    ^     h    ^    -^    -■      ■-     r     1      h    n     -     I 

t     +     h    H     T-    ^    T    -^     I      I      }     -^    -    -    _    -^     h    -r 

FlG.  82. — Characters  uscti  in  Composing  JoIjs  by  llie  A!onol.}-pe  Aletiiod. 

Every  character  is  on  a  six-point  unit,  there  being  no  long 
j)ieces  of  rule  in  the  jol).  The  l)lank  spaces  are  made  uj)  of  six- 
j)oint  em  (|uads. 

131.  Casting  Off  a  Table. — Fig.  83  shows  a  table  set  in 
cight-])oint,  solid.  The  manuscript  reached  the  ])rinter  without 
any  designation  for  colunm  size.  The  width  of  the  whole  table 
was  gi\-en.  I^xaniination  of  the  coi)y  showed  that  the  greatest 
number  of  ligures  was  five,  therefore  there  was  am[)le  room  to 
make  each  cohunn  three  ])icas  wide.  This  a.cconnnodated  a  one- 
em  cjuad  on  eacli  side  of  th.e  cokmm  of  figures,  a.nd  made  the 
cokimns  selt-sp;i(ing.  There  are  fi\e  colunms  three  i)icas  wide, 
whicli  necessitated  fi\e  two-poijil  rules.     This  left  six  picas  I'or 


I4S 


PRixrFxc; 


the  first  column,  [)lus  two  ]K)ints.  The  matter  in  the  first 
cohmin  was  .-et  six  ems  wide.  After  this  cohimn  was  in 
t}-pe,  a  two-])oint  rule  wa-  put  alonirside  it  and  the  other  live 
columns  proceeded   with.      Ir.a>mue]-L  as  there  were   no   words 


TAHLi:  CWISC  STOCK  Xr.MRF.R.S  FOR  DrFFKRF.XT  STYLFS  OF 
RFIRIGFRAlORs 

\:i:-i-.  s:y:r  1.       Style/;,       >::.;<•  r,       s:y\- //.       St;.-;,- /■:. 

Ari't'k- IOJ2I 

i'ri^i'l 4,S-^ 

K-e-<a\  rr i  72J 

KiiiL' 1 4 -"'7 

Sturlinir ;"-i 


I  I,vi- 

I  -'44S 

Fvv>4 

i4''"5 

44 -'J 

4xS0 

4"40 

4  7.V3 

i  ."^ :  .' 

111:2 

20;  :• 

:  I  y : 

I4J','S 

14-^'") 

M-70 

14-71 

37-'i 

.v^^i 

,]^)2  1 

4021 

V'lC,.  S3. —  Sl;o-.vinL'  hov,-  :i  Tahlc  may  be   .\Fi(k'  Sylf-.-pariiiL'  and   Si-t   in  a 
W'iilc  .Mc•a^urc  in-tead  oi  in  Single.  Xarrow  Columns. 

amon.i:  the  figures,  and  it  was  sim])ly  a  line-up  of  li.irures.  tht 
li\-e  columns  tliree  ])icas  wide  were  set  all  at  one  time  in  a  liftecn- 
em  measure.  First  an  em  cpiad  was  ])ut  in.  then  the  li\-e  li,<j:ure-. 
then  two  one-em  quads  (not  one  two-em  ciuad,  for  a  rule  was 
linalK"  to  jio  between  the  two  one-em  rjuads*.  tlien  li\'e  more 


^- 


r'n..  S4.      ia-s!  Wa\-  to  Make  up  a  Stiyk  D  a  Xarnr.v  Myasure. 


tiL'ure-,  then  two  mere  one-em  (luad-.  and  so  on  across  the 
measure.  All  the  lines  were  -el  in  lhi<  way.  until  the  talile  was 
couijiicled.  Th:-  left  a  di\id/nL:-!iiie  between  tlie  row,-  of  one- 
em  '|uad<.  rile  h(yidii:Lr,-  for  llie  columns  were  set  in  a  three- 
em  me, .-r.ro.     A-   i*    w,:-   impo~-ilile   to  ,L:et    the   tliumh)   in   the 


TABLES   AND   OTHER   EXTRICATE   AE\TTi:R  14Q 

bottom  of  a  stick  made  u])  to  three  i)icas,  it  was  found  advisable 
to  make  u])  the  stick  as  shown  in  Fit^.  84,  by  using  a  two-em 
piece  of  metal  furniture,  leaving  a  space  three  ems  wicie  between 
it  and  the  end  of  the  stick.  Always  follow  this  [)lan  when  setting 
type  in  narrow  measures. 

After  the  headings  were  all  set  and  i)roperly  placed  and 
spaced,  a  two-j)oint  rule  of  proper  length  was  sli]-)])ed  between 
each  row  of  one-em  ciuads.  This  separated  the  t}'{)e  into 
columns.  It  was  now  found  th.it  the  table  was  two  points 
short  of  full  width.  I'his  amount  was  added  to  the  first  column. 
The  rule  under  the  heading  was  made  eight\'-six  j)oints  wide 
(seven  picas  and  two  points).  A  two-point  lead  was  ])laced 
beside  the  heading  and  one  between  the  t}']je  and  rule  below  the 
heading.  The  top  and  bottom  rules  were  added  and  the  table 
conipleted. 

When  type  is  new  llie  composed  matter  usually  comes  out 
riccording  to  calculation.  ]f  the  type  in  the  table  shown  had 
been  old  and  (lirt\-,  there  is  a  s.rong  })ossibilit\-  that  the  two 
l)oints  additional  would  not  ha /e  been  required  in  the  tlrst 
column.  One  point  might  havj  ];een  sufficient.  When  the 
additional  s])ace  to  be  added  to  a  table  is  ver\-  slight,  or  there 
is  a  great  number  of  columns,  compositors  sometimes  place 
thin  pieces  of  paper  each  side  of  the  column  rules. 

Table  III,  page  40.  shows  another  tyj)e  of  work.  Here  the 
columns  are  narrow  and  there  is  so  much  to  be  gotten  into  the 
table  that  the  columns  cannot  be  made  to  multiples  of  {)ica. 
In  this  event  make  u])  to  the  llgures.  The  llgures  are  on  en 
body,  therefore  make  tJK'  width  some  multiple  of  the  en.  and 
use  the  en  leader  as  a  decimal  ])oiiit  (one  period  on  an  en  bodyj. 
Tills  makes  the  whole  job  self-spacing.  Each  line  can  be  set 
straight  across  in  a  wide  measure,  and  the  \ertical  rules  slipped 
into  place  after  the  table  is  set.  Of  course,  when  columns  are 
not  set  to  pica  widths.  labor-sa\-ing  rules  cannot  be  used  under 
the  headings,  and  rule-  of  prcjper  width  must  lie  cut  to  tit. 

Whene\'er  it  is  ])o<sibIe  to  do  so.  al\va\-s  set  tables  with  narrow 
columns  in  ihis  manner.     Thev  can  be  set  in  hall  the  time  that 


I50  PR1NII\(; 

it  takes  10  comiiose  them  in  narrow  measures  anrl  then  put  them 

together. 

W'lien  liadcrs  are  used  tlie\'  -houltl  run  the  full  width  of  the 
eolumn.      ;  Sre  "(ili)S-arv"  for  e\])lanati()n  of  leader.) 

132.  Three-point  Spaces  of  Eight-point.-  I-Aery  font  of 
ei,L^dit-])()int  tx-pe  tli:.l  i-  i:.-rd  for  -ettin.L'  tal)le>  <hould  be  er|uii)i)cd 
witli  spaces  thrre  poinl>  tliiek  in^te.id  of  tlie  orfiinary  tliiek- 
>l)aces.  This  ,ei\'L>  a  ran^e  of  s])aces  \ar\'in,t:  li\'  one  point. 
The  f(jur-em  s]>ace  i-  two  ])oints  thick,  the  thick-=pace  will  be 
three  ])oints  thick,  and  tlie  en  ciuad  is  four  points  thick.  By 
comlMniniz;  a  thick  .-]);;ce  and  a  four-em  fi\'e  points  arc  obtained, 
two  thick  -])ace-  e(|Ual  six  points,  and  en  Cjuad  and  a  th'ck-sj)ace 
equal  sewn  jioint.-.  ;;nd  t'^'."o  en  riuads  efjual  eidit  points.  If  the 
matter  is  beini:  >et  in  a  measure  made  up  to  picas,  and  the  type 
tills  all  but  six  ])oints  of  the  measure,  a  three-poim  space  each 
side  will  just  1:11  it.  In  fact,  tlie  use  of  the  three-i)oint  sjkicc 
practicall}-  makc<  ciLrht-point  t\"pe  -clf-sjiacini:  to  ])ica  measures. 

133.  Point-thick  Spaces. — It  is  sometimes  necessarv  to  set 
a  table  leaded  in>tead  of  solid.  If  the  columns  are  ^^•ide  and 
an  even  numlicr  of  ])!cas.  ordinar}'  lal)or-sa\-inL:  leads  sliould  be 
usc'L  If  tlie  columns  are  A-er\-  narrow  and.  it  would  be  neces- 
sary to  cut  a  ,i:reat  number  of  >horl  lea.d-.  it  is  ]>etler  to  double-up 
spaces  of  tlie  pro])er  size  and  tliickne>-.  Tlie  ll\-e-cm  space  of 
ten-])oint  i-  two  ])oints  thick,  the  four-cm  space  of  eiizht-iioint  is 
two  ])oint-  thick,  and  tlie  tliree-em  >iiace  of  six-point  is  two 
])oints  tliick.  Wy  u>iiiLr  tke-e  in  combination,  a  spa.ce  ol  the 
projier  widith  can  u.-ually  be  ma.de  uj).  In  faict,  if  the  jot)  i^i  to 
\)v  le.uled.  this  mu-t  be  taken  into  con--id,eralion  in  ca-tini:  oil 
tlie  job  and,  if  jio.-.-iiile,  a  mea-ui'e  c^io-en  tliat  will  be  some  mul- 
tiple of  tlie,-e  sjiace-.  I-'rom  tlu-e  three  sp-aces,  b\"  wAws,  tliem 
.-inudv  or  in  combination,  the  folk  )\'.  htj:  widths  in  ])oints  c;in  be 
obtained:  >i\.  eiiiht.  ten.,  iweixe,  fourleeP..  >!Xteen.  eiiihteen, 
twent\'.  tweiit\"-two,  1  weiity-foiar,  1  \'.-enl  \"--i\,  t  went  x'-ei'i'it , 
tliirtw  thirt\---i\,  etc.  If  tlie  -jiaie  reouired  lietweell  line-  is 
tliree  inan',-,  ,:  i:reat  number  of  combinaiion>  may  be  iniilt  \\\) 
\>y  wAw'j.  the  four-eiu  ^pace  oi  t  w  eh'c-point ,  the  tliree-em  ^pace 


TAI5Li;S   AXIJ    OTIIKR    IXTKrCATE   MATTER  151 

of  nine-point,  the  tliree-])()int  space  of  ei.i^^ht -point,  and  the  en 
quad  of  six-point.  If  four  points  l)et\veen  Hues  is  required,  the 
thick-space  of  t\vel\-e-])()int ,  the  en  fiuad  of  eii^ht-point,  and  the 
tliree-eni  space  of  six-point  may  be  used;  two  of  the  last- 
named,  of  course,  heiiiij;  refiuired. 

'J'he  stuflent  sliould  make  a  study  of  the  inter-rekition  of 
sjiaces.  Quads  and  sj)aces  of  one  size  of  t\pe  can  frequently 
be  u.-ed  vitli  another  size  when  there  is  a  scarcity  of  material. 
A  two-em  quad  of  })ica  is  the  same  size  as  an  en  quad  of  twenty- 
four  point.  A  three-em  quad  of  ei.t^ht-point  is  the  same  size  as 
a  three-em  spvcQ  of  twenty-four  point.  A  three-em  quad  of 
pica  is  the  same  as  a  three-em  si)ace  of  thirty-six  point.  A  two- 
em  quad  of  ei.triiteen-point  is  the  same  as  an  en  quad  of  thirty- 
six  ])oint.  A  tlir'X'-em  quad  of  six-})oint  equals  a  three-em 
space  of  ei,i^hteen-j)oint.  A  tv,'0-em  quad  of  nine-point  equals 
an  en  quad  of  eighteen-point. 

The  list  gi\-en  lias  not  exhausted  the  numl)er  by  any  means, 
it  is  merel}-  suggestive.  It  ser\'es,  however,  to  illustrate  the 
advantages  of  tiie  j)oint  system. 

134.  Line-up  of  Figures. — The  printer  is  occasionally  fur- 
nished cop}'  in  which  the  matter  seems  to  ])C  in  tabular  form, 
Init  with  the  rules  omitted.  In  other  words,  the  copy  is  simply 
a  line-u])  (jf  figures.  In  cases  of  this  kind  there  is  no  need  to 
cast  off  the  jol.i  into  columns  of  any  s])ecilied  size.  Set  one  full 
line  of  the  ty])e  with  the  ligurcs  in  apijroximately  uniform  posi- 
tion. If  possilde,  have  an  e\'en  numljcr  of  ems  ])etween  each 
column,  using  quads  for  this  puri)ose.  Set  all  the  lines  straight 
across,  making  the  figures  line  U])  in  column  form. 

,.        ,  „  Rate  per  Square 

„  ,,.  Ao.  of  Eir.s  per  .      , 

Type  Size.  _  .  ir.cn  at  40  (  ents  per 

"' Thousand  Ems. 

6-poinl  144  .0576 

8-point  Si  ,0324 

10  ;/oint  51  .  S4  .0207 

I2-i)iillit  3')  -0144 

I'lG.  -"^5. — Sliov.in^  a  T-lnc-up  of   Fiiriirc:^. 


1^2 


PRIXTIXG 


135.  Setting  More  Than  One  Column  in  a  Single  Measure. 

— ]\Iattcr  that  contains  iwu  or  three  col'anin>.  eonsistin^u'  simj)ly 
of  a  line-up  of  material,  can  fr(_'C|uently  be  set  more  expedi- 
tiously and  accurately  in  one  measure  than  in  narrow  measures 
and  then  assemliled  :  e^peciall}-  is  thi^  the  case  if  the  matter  be 
leaded.     The  matter  below  is  a  sample  of  such  composition. 

BRIEF  LIST  OF  ARTICJ.KS  ICJUXD  IX  Till;  C  O.MI'OSIXG-ROO.M 


Ikxlkin 

Composiii^-^tick 

I'urnilurt: 

(iallex'-rack 

Compo<ing-stone 

Mallet 


Proof-press 

Quoins 

Quoin-kc}- 

Ke-Ift 

'r\"[)e-L'au.^e 

Tweezers 


Fig.  86. — Showing  a  Line-up  in  Two  Columns  Set  in  One  Measure. 

Of  course,  if  tlicre  is  a  |")ossibilit\-  of  alteration,  and  con>e- 
(juent  o\-errunnin,!j;  after  the  jol)  is  set,  it  is  better  to  set  leaded 
n"iatter  in  separate  columns,  ikit  if  there  is  no  likelihofKl  of 
chan,<ze,  it  is  ad\-isable  to  ^et  it  as  shown. 


Fig.  S7. — Settinu  T\T)e  in  Tv.o  Colunins  in  One  Measure  b\'  tl^e  Use  of  a 

Twe!\'c-lJ(.ii;t    >\n-j:. 


Fi,L'.  'S;  illu-trate-  how  ilii-  wa-  done.  The  full  measure  is 
tweni\'-two  cm.-.  J\ach  to!'.ur;n  i-  to  br  eie\rii  en--  wide. 
Obtain  a  shii:  or  a  ])i(He-  of  .-i.x-poinl  or  t  v.  elxe-jiciru  rule  clexen 
eir.-  lon'j.  ."^e-t  the  t\-])e  and  put  in  a.  few  fuiad-  until  th.e  line 
is  about  half  nlled.      I'ul  in  1  lie -Iult  and  iu-tif\- tlie  line.    Remo\'e 


TAHLKS   AM)    OTIU'R    IXJRICA  TJ';   MAiri'.R 


153 


the  skip;,  set  tlie  balance  of  tlie  line,  and  justify  it.     Proceed  in 
the  same  manner  for  all  the  lines. 

Any  number  of  cobmins  can  be  set  in  this  manner,  by  using 
~,\uis,s  of  a  lengtli  that  will  lea\"e  each  colunin  of  proi)er  width. 


i 

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i. 

1 

> 

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, 

'*- 

> 

1- 

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'■- 

.- 

< 

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5 

i 

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en 

en 

UJ 

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1 

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i 

ui 

5 

< 

Z 

i 

ijoAipt!  y^  n^-a 

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1 

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j.^pjo  J"  Jt^-'a 

■ 

K  Jip'O  i"-i"i--i; 

1 

1 

'•■'.V'A 

1 

.M:;p.>-1 

H     Y- 


c    O 


SCDid  9- 


136.  Blank-book  Headings. — Fig.  88  illustrates  a  rather 
intricate  form  of  blank-book  headin,i.,^  and  shows  how  it  has 
been  put  together.  If  i)ossible,  alwa^'s  obtain  a  ruled  sheet  of  a 
job  before  setting  it.     The  secret  of  success  in  setting  blank- 


154  I'RIXTIXC; 

hook  lieadin.L^s  i.-  in  allowiiiLT  amjilc  space  for  mo^•ing  the  type 
to  lit  the  rl;iiIlL^  1  .\  er\-  jo!)  sh.ould  he  ])i:t  to.L^ether  in  such  a 
way  that  it  c;.n  readi!}'  IjC  ir:o\''a(l  /;/  eiiry  direction.  Many 
a  C()n".])o-itor  ha.-  con'.e  to  ,L^rici'  I'euai.-e  he  dir!  not  allow  for 
m()\in'i  the  t\pe  when  the  joh  is  on  pire.--.  If  [)Os-ili!e.  cast 
off  the  Cohan, n-  to  jiio:.-.  >(>  as  to  use  lahor-sa\-ine  material; 
hut  do  not  do  .-o  if  ii  hrin;j:s  the  cohnr.ns  too  close  to,L'ether. 
Better  cut  a  fc\\-  ha-tard  lead>  while  settin,L^  a  joh  than  run  the 
risk  of  wastin.ir  x'uvx  \\\'nv^  it  on  pre.-<.  If  tlie  columns  are  so 
close  th.at  tliere  i-  a  -])a.ce  of  Imt  six  or  eiLrlit  ])oints  helween  tliem, 
it  is  hetter  to  maki-  up  tlie  rerjuired  amount  with  th=ree  or  four 
leads  tlian  to  ha\-e  a  sin^jle  jaece  of  nuileriid,  f('r  if  the  colunin 
nced;>  mo\inL;-  th.e  r-i'ii:lc  ])iece  will  ra,\'e  to  he  ren'o'/ed  and  its 
erjuixaient  m.aie  u])  of  ^e\'(.r:d  piL-ce>  and  ii^scr^ed  in  its  stead. 
It  is  hetter  to  jiu.t  in  that  n^aiierial  when  settin^e  the  joh  and 
a\'()id  the  nece.-^ity  for  chancre  whale  on  jire.-s. 

The  1>'pe  in  narrow  cohimns  should  read  up  tlie  slicet. 
Wdiere  a  headim:  cr.')--es  two  columns,  the  rule  hencath  it  is 
sometimes  ])rinted  in.  a.s  it  is  e.\])ensi\-e  and  rather  difficult  to 
strike  it  in  on  a  rulin'^-nKicldnc. 

The  hest  wa.y  to  lunvlle  hiankdjook  hea.din,crs  i-  to  cut  a 
section  of  the  ruled  -heot  .:n(l  ]>hice  it  in  tlie  con:p:o;in,2-stick  a.nd 
set  tlie  t\'])e  to  lit  \\v::  rulinir,  hearip.;^  iti  mind  tliat  am.]/Ie  allow- 
ance must  he  made  for  mo\-ini^.  If  a  s]:eet  of  the  jol)  i-  not 
a\adlahle,  mark  oif  iho  cohuun-  on  a  narrow  strip  of  pajier, 
u-iiiL'  the  pattern  .~'utI  a-  a  a^iide.  The  jol)  na;\'  1:C-  set  in  sec- 
tiotis.  atul  than  as-cmhird.  on  a.  c;-:dh-\a  If  a  jo],  onh'  coxxts  lialf 
a  sh.eet,  thoro  is  tio  nc-ed  to  set  it  full  v.-idth  of  tlie  .-heet.  It  is 
ad\isahle,  hiOwe\'(,-r.  to  -et  it  to  a  niea-ure  of  which  \"ou  ha\'C 
plenty  of  material;  sa\-  fort\".  i';ft\a  or  >i.\tv  i)icas.  This  wall 
sa\-e  time  aial  trouhlc  wha-r,  lockinL!'  up  tlie  joh  for  [iress. 

137.  Setting  and  Registering  Type  to  Horizontal  Lines. — 
When  setlina'  a  column  of  t\'pe  nuittcr  to  he  rcj-i-tered  on  hori- 
zontal Tu'ef!  line-,  nail.e  \\\>  your  me:!.-Mr('  to  t  ha/  neare-t  pira 
size.  See  that  \aai  lai\e  ]>ltai;\-  of  h-id-  h(.a'ore  heainihm:  the 
work.      If  Ic.ah  of  il;c  -i/r  (  hosen  are  -(arce.  u,-e  a  -ize  tliat  is 


TABLES   AND   OTHER   INTRICATI-:   AEVITER  155 

plentiful.  Better  to  set  it  slif^htly  wider  than  to  cut  material. 
If  the  column  be  a  narrow  one  with  nothing  but  figures  in  it, 
and  you  have  plenty  of  room  on  the  sheet,  there  is  no  need  to 
set  it  in  a  narrow  measure.  It  is  unhandy  to  set  type  in  a 
narrow  nieasurc  and  time  can  be  saved  by  making  the  measure 
to  a  con\-enient  width.  ^Moreover,  there  is  greater  likelihood 
of  having  leads  of  the  wider  measure.  If  the  job  is  in  eight- 
point,  or  in  some  otl;er  size  that  is  a  multiple  of  pica,  set  the 
measure  to  eight,  ten,  twelve,  or  some  other  even  number  of 
picas.  The  ligures  will  then  be  self-spacing.  Make  an  approxi- 
mation of  the  amount  of  space  required  between  the  lines  and 
put  in  the  leads  while  setting. 

After  the  column  is  complete,  use  a  sheet  of  the  ruled  stock 
for  registering.  This  can  be  tacked  to  the  side  of  a  brass-lined 
wooden-rim  galley,  or  it  may  be  held  in  the  hands.  It  is  m.ore 
convenient  to  tack  it  to  the  galley,  as  both  hands  are  then  left 
free.  Get  the  hrst  line  of  the  type  in  register  with  the  first 
ruled  line  on  the  sheet.  Insert  the  required  amount  of  space 
between  the  lines  to  make  them  all  strike  on  the  ruled  lines.  If 
the  sheet  is  not  ruled  on  the  point  system,  it  may  be  necessary 
to  use  cardboard  between  the  lines  to  make  them  register. 
Usually,  one-point  leads  will  bring  the  lines  sufliciently  close  for 
the  puri)Ose.  After  the  horizontal  lines  are  in  register,  if  there 
is  a  heading,  it  should  be  put  into  register,  and  the  column 
material  moved  so  that  the  type  lines  will  fall  three  or  four 
points  above  the  ruled  lines.  If  there  is  an  abundance  of  room 
between  lines,  it  might  even  go  more;  but  it  should  never  be 
less  than  two  points. 

138.  Running  Type  around  Cuts. — The  Monotype  and 
Linotype  methods  of  running  type  around  cuts  are  described 
in  Section  188.  The  method  by  which  it  is  done  by  hand  is  here 
given. 

When  the  cut  is  a  perfect  rectangle  the  job  is  comparatively 
simple.  If  the  matter  is  leaded,  arrange  to  have  the  type  of 
some  pica  width,  so  as  to  use  labor-sa\-ing  leads.  Just  how  much 
material  is  to  be  placed  between  the  type  and  the  cut  will 


156  PRJX'ilXG 

depend  on  the  aniount  oi  white  s])ace  on  the  cut.  There 
should  be  at  least  one  ])ica  of  while  space  around  the  cut.  If 
there  is  no  \vhite  niarLun.  all  the  -pace  nui>t  be  ])laced  between 
the  cut  and  t!ie  ty])e  If  there  i>  an  abunrlance  of  white  space 
on  the  cut.  the  t\'pe  nia\-  frcpuenlly  be  run  almost  u])  to  it. 
Ne\'er  ])lace  the  t>'pe  nuitter  airain-t  th.e  cut.  but  ha\-e  at  least 
a  two-point  lead  bet\'.a-fn  -o  that  ihe  t-nds  of  thic  lines  of  t\-])e 
will  not  pre>^  into  the  w^ood  and  ])rc\-fnt  the  job  from  lockin,^ 
U})  properl)'. 

If.  in  arranudn,!:  to  ]ia\'e  the  t\'])e  matter  set  to  a  ])ica  width. 
it  is  found  that  one  ])ica  >ize  allow-  loo  much.,  ihe  difficult\- 
can  be  o\-ercome  b}'  .-citing  the  t\'j)e  to  the  larirer  size  and 
indentin.LT  each  line  sulTicienth'  to  make  the  mar<^dn  of  the  [)roper 
size. 

If  ihe  cut  is  irregular  in  sha])e.  and  the  t\"i)e  must  conform  to 
the  outline  of  the  cut.  the  job  become-  a  coi"])licated  one.  luich 
job  is  a  ])roblem  in  itself,  and  the  method  of  ^L•ttin,L:  calls  for  an 
exerci>e  of  in'j:enuit\'  on  the  ])art  of  the  compo.-itc.r.  FiL^  Sq 
.-now-  a  jol)  irre.LUilar  in  outline,  nm]  the  followin^i:  description 
tell>  h(jw  it  i-  to  be  put  to.crether. 

I'ull  a  jjroof  of  th.e  cut,  and  draw  a  line  around  it,  aliout  one 
jaca  awa\"  frtjin  the  ed,L:e.  followiuL^  the  irreLTuIarit y  of  its  outline, 
to  sliow  where  the  i>'pe  matter  i-  to  bcLiin.  Cut  the  ])a])er  to 
the  width  of  the  t\"])e  paire.  Hold  th.e  ])roof  to  the  liL'ht  and 
mark  the  outline  of  both  the  cut  and  tb.e  t>"jie  on  tlie  back. 
Cut  the  proof  into  jiiece-  that  v.iil  ju-t  lit  th.e  -tiek.  Put  the 
marked  -heet  in  the  bottom  of  tl;e  -tick  diid  ^et  the  t>'pe  on  lo]) 
of  it,  iisiuL^  the  markdl  ii;;tiinea-  a  Lruide.  Set  the  full  line> 
-trai,trht  acro->.  in-ertip.ir  lead-  if  th.e  matter  i-  leaded.  W'liere 
the  matter  bt-Lun-  to  run  do-.'.m  the  .-ide  of  the  cut.  i)lace  enoueh 
quafl-  and  >pace-  in  llie  -tiek  tei  make  uj)  a  bkink  -])ace  where 
the  cut  i- to  ;:o  and  beirin  th.e  t\-])e  at  the  ])eneikline.  Where 
the  nairirin  ei.me-  bet  ween  t  he  cut  a.nd  the  1>"jh'  ])Ul  a  one-em 
fjuaii  i -e-iiie  t  he  I  \pe.  'I'hi- \'/i!l  be  r;eeded  w  hen  t  he  cut  i-  ])Ut 
in  ])o-ii:iii).  ^et  a-  much  a>  can  be  gotten  in  tlie  line,  and 
ii;-tif\-   it    b\-    ,'/;t/r:;,-''    iitti.i'f)!    /In    T^ruv/.-a     .<et    the  -tickful    in 


TAHLKS   AND   OTIIIIR    [.VrRFCATi:    AIATIKR 


157 


this  manner,  niakinu;  tlie  ty])C  matter  fit  the  penciled  outline. 
lunpt)-  (he  stickful  on  thi-  galley,  put  in  the  second  half  of  the 
])roof,  and  ])roceed  with  the  hahmce.  W'lien  the  matter  is  as- 
sembled on  the  .galley,  there  will  be  a  blank  space  in  the  type 
matter  n^ade  uj)  of  (^uads  and  conformin^i;  to  the  outline  of 
the  cut. 

If  the  matter  is  to  be  electrot}-|)ed,  and  the  ori.t^inal  cut  is 
to  be  inserted  in  the  electr()t\'])e  plate,  there  is  no  need  to  place 
it  in  the  pa.^^e  with  the  type.  If  the  job  is  to  Ije  ])rinte(l  from 
ty[)e  or  the  cut  nuist  be  placed  beside  the  type,  continue  as 


i^: Cut  i.apL'r  to  Mz.'  of  type  matter 

^ 

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--'l  "   i.     "*/'■         «•         ''  \               V  \ 

,'  '•  A    %  '  ^\      ;: .        \\ 

I     \    '^^     U'  .     '^r    .     y     <K          \   \ 

'^^c..  <V    .^'f,''  <     \T-— 

==:; 

-Blank  >piu-e 

-.        •^^^-                      ^^        -    '^-                       '«\        \    I 

followin-  out 

~^-                              ^-     ^^,            !     _.    _ 

Ihlr  of  cut. 

M    ■ 

Put  a  on, -en 

c|uaa  in  l.eix- 

y 

aloni^MJe  of 

' 

the  type. 

t'li;.  S().  —  ifow  'I"\i)(;  S!iou!(l  l)c  Ivun  Around  ;i   Cut    Irn-.^ukir  in   Cutliiu'. 
[['h\<  .sliow's  tlu;  Jol)  as  printed. ) 

follows:  place  the  type  on  a  <:^alley  as  shown  in  Fi^^.  90,  with  'he 
head  of  the  job  toward  the  left-hand  side.  I'ut  furniture 
around  it  ami  lock  it  up.  Cut  oul  the  ])roof  of  the  cut  close  to 
its  edm'.  JMace  this  u])>ide  down  on  the  t\-pe  matter  and  mark 
the  outline  of  the  cut  on  the  (|uad>  with  a  lead-pencil.  As  it  is 
physically  iinpo<~ib!e  to  cur\-e  a  lead  to  lit  such  outlines,  in 
cases  of  thi<  kind  the  1}'i)e  must  come  U])  airainst  the  cut. 
if  the  matter  i<  -olid  the  r|uads  enclosed  in  the  jiencilcd  outlirie 
may  now  lu'  remowd  and  the  cut  inserted.  If  the  matter  is 
leaded,  the  leads  bet  ween  the  lines  that  ;ire  alon'jside  of  the  cut 
nuist  be  shortened.     They  must  be  long  enough  to  i^revent  the 


158 


PRIXTIXG 


letters  from  clroppino;  down  on  the  end:^,  but  not  lonj::;  enough  to 
bind.  Obtiun  enough  picct'r^  of  odd  lengths  (do  not  cut  labor- 
saving  nialerialj,  mark  the  size  that  each  is  to  be  cut,  making 
each  long  enough  to  reach  I'roni  the  cut  to  the  end  of  the  line, 
take  them  to  the  lead-culter,  and  cut  them  all  to  i)ro])er  size. 
If  the  lead-cutter  is  right  Ijcside  \ou,  tlie}'  may  be  marked  and 
cut  one  at  a  tiiue,  but  do  not  waste  time  ruiming  a  foot-race 
between  the  jo!)  ;ind  the  lead-cutter.  J\.emo\e  a  full-length  lead 
and  substitute  one  of  proper  length.  'J'his  will  iea\e  all  the 
(|uads  loose  exci'pt   the  one-em  quads  beside  the  type  matter. 


1 

1 

' -^  v^  1  _  ^                                            -«.^_,.  1  ^                1 

: 

1 
I        j 

!      1 

1 

= 

A    ; 

1 

i   !  i  > :  :  :  : 

]'u;,  yo.— Showing'  '-I"}'[)c  ,Maitrr  as  J  I,  A;){)r:ir.s  oa   the   (lalli 
ufliT  ]ii>LTti()ii  of  the  Cut. 


kemo\-e  tlu'  loose  f|uads  and  spaces.  SH[)  the  cut  into  ])1;uh' 
and  put  enough  material  al)0\e  and  below  to  justifv  it  to  p:ige 
lenglli.  Xow  ('(U'cfitUy  ])lace  eiiomrh  <p::(e  between  each  em 
(|uad  and  the  type  to  justify  tlie  line.  If  the  eiu  (|u;i(l  strikes 
the  cut  ;it  an  angle,  and  lias  a  1endciic\-  to  wedgi'  the  line  out  of 
phnnb.  in-ert  a  Mnaller  >i."';e  (|ua(k  and  >ee  that  the  ])re>>ure  is 
exerted  ;ig;iin-t  the  end  of  tlie  hue  iml  agaiii<l  the  >i(k'  of  the 
(|uad.  The  job  is  now  coiuplete.  Place  furniture  ;ill  around  il, 
so  as  to  support  the  sider-,  and  tic  il   \\\). 

I3Q.   vSetting  Type  in  Circles,      llelow  ai-e  -howii  iwd  forms 
of  circle.-     a   label  and  a  job   ihat    wa<  en!    out    after  printinj^, 


'iAHl.l:S   A\l)   OJIIKR    iXTklCATi:   MAT'JKR 


159 


Tfie  prinlin,^;  of  the  latter  is  described  on  pa,c;e  246.  When 
t\'i)e  is  to  be  placed  in  a  circle  made  of  brass  rule  the  inside  of 
the  circle  must  be  liiied  with  leads  or  a  slu.t:!;  to  keep  ihe  ty})e 
away  from  the  rule,  Idrst  determine  the  mar<^in  inside  the  rule 
and  curve  the  niaterial  to  lit.  To  do  tliis  cut  a  strip  of  stiff 
paper  and  cur\e  it  in^ii'e  the  rule.  .Mark  the  len^i^^th  that  the 
lead  or  slug  is  to  be.  (hit  it  to  size.  If  the  office  is  not  ecjuipped 
with  a  curvin,y;-machiiie,  the  lead  or  shi,c;  may  readily  be  curved 
by  bendin^ij;  it  around  a  mallet diandle  or  a  shaft  on  a  printinf^- 
press,  care  beiiii.,^  taken  nol  to  bend  it  on  the  bias.     I'ry  the  curve 


I'lG.   yi. — Typo  Scl  i;i   Circk 


inside  the  rule.  If  too  lon^^,  cut  it  carefully  so  as  to  make  a 
perfect  M. 

There  are  two  wa}-s  of  ]>lacin,ir  a  line  around  a  circle.  One 
is  a  tentative  or  ruie-of-thumb  melhod,  the  other  an  accurate 
one  of  determining  the  exact  distance  around  the  circk",  settins^ 
the  line  in  a  slick,  f;istenii\Lr  it  willi  irummed  ])a]K'r,  and  then 
cur\-in,L!;  it  into  place.  The  latter  has  a  distinct  ad\anta,<j;e  over 
the  former  in  thr^t  the  t\'p.('  is  held  in  pro]>er  place  a.nd  position. 
The   former   is   the   old^r   ;Mid    n^ore   fre(|uentlv   used   nu'thod. 

In  the  first  method,  after  tl.f^  circle  is  lined,  determine  what 
t\-pe  is  to  l)e  used,  set  it  out  of  th,e  case  into  a  stick,  with  si);ices 
between  words.  I'kice  the  tv])e  inside  the  circle,  curxanu;  it  to 
fit.     W'lien  ab(^iii  three-fu/,r!hs  of  the  line  is  in  i)lace,  it  wiil  be 


i6o  i*ki:\'iix(5 

necessary  to  riir\\>  a  lead  to  fit  inside  so  as  to  hold  the  line  in 
position,  icaxinij;  the  lead  siiL(htl_\-  lon,L!;er  than  it.  will  be  when 
linished.  When  the  lead  is  in  place,  tinish  the  line  of  tv])e, 
lea\-in<^r  it  a  ioo>e  lit.  i;.\])and  tlie  inside  curxerl  lead,  mark  the 
correct  length,  cut  it  t.o  size,  and  force  it  into  ])Iace.  If  there  is 
room,  a  second  cur\ed  k'ad  should  be  forced  into  ])lace  for  the 
sake  of  stability. 

Next  set  the  horizontal  lines,  cuttinsi;  leads  to  lit.  Use  slu.gs 
wherever  possible,  as  they  are  iirmer.  When  e\er\thin,g  is  in 
place  and  titling  looselv,  lirst  justify  the  h.orizontal  t\'])e  lines 
lengthwise,  then  force  in  enough  material  abo\e  and  below  the 
horizontal  lines  to  \\edge  the  inside  tightly.  Lastly,  force 
enough  s])ace  in  the  cur\ed  line  to  tighten  it.  ]  )o  not  attem])t 
to  tighten  the  curxxxl  lin.e  unlU.  the  inside  is  hrm,  or  the  curve 
n:ay  be  forced  out  of  sha])e. 

'J'he  second  method  is  the  same  as  the  first  except  that  the 
curved  line  is  asseml)led  as  follows:  cut  a  ])iece  of  stiff  ])a])er  to 
lit  inside  the  lining  of  the  rule.  Determine  what  size  t\'])e  is  to 
be  used.  The  ])a])er  shows  the  outside  diameter  of  the  line; 
it  is  necessar}'  to  lind  the  inside  diameter.  I'he  circ-umference 
of  evei'\-  circle  is  s-T4t6  times  its  diameter.  As  the  line  runs  all 
the  wa\'  around  the  circle,  the  inside  diainetc"  will  be  less  than 
the  outside  b\'  1\\ice  the  bodv  size  of  the  t}'i)e.  'I'o  lind  the 
inside  diameter  wlien  the  outside  is  known,  multii)ly  twice  the 
body  size  in  [)oints  ])V  ^.1416  lo  obtain  ihe  number  of  ])oints  less 
that  the  inside  i>  to  be.  .Mea.sure  off  this  ;iumber  of  points  on 
the  stiff  ])a])er,  and  cut  it  to  '^ize.  Make  r.])  a  stick  to  this 
measure,  set  and  iuslif}'  ihe  line,  i)ut  ha\e  a  s])ace  at  one  end  of 
the  line.  Now  glue  a  ])i('ce  of  hca\-\'  nrniila  ])a])er  lo  th.e  bottom 
of  the  1  \-pe.  ( )!ie  or  1  wo  lhiclviu><e>  of  gummed  manila  1  inding- 
])a])er  is  u^^eful  for  this  ])ur])ose.  When  llie  glue  has  lirmly  set, 
the  line  t'an  be  curxcd  into  ])o-ili()u  in  the  circle,  and  will  lit  it 
])erf('Cll\',  each  letlcr  l)eing  held  in  juTfecl  iu>silion  radiall}-. 
d'lu'  balance  of  ik-;'  clrek'  <houid  l)<~  rmi>hcd  a-  alrea.dx'  describeik 

'j'he  circaikir  iob.  Idg.  01,  -hows  a  (ailoui  lor  a  tally-card. 
It  \\'as  moil n led  cii  a  i)iii  in  llic  center  <o  1  ha.l  it  could  be  rotated 


'rAKI.lvS   AND   OTIIKR   IXTRICVrK   MATTER 


i6i 


and  each  desi<i;n  l)routi;ht.  into  \iew  through  a  hole  in  the  mount- 
ing. It  was  \cry  imi)ortant  that  each  desifin  should  be  equi- 
distiinl  from,  the  center,  and  that  the  central  point  should  be 
printed,  'idle  tirst  step  was  to  cut  a  circular  hole  in  an  old 
electrotype  block,  d'his  was  lined  with  a  sluf^  and  the  charac- 
ters assendded  about  the  circle,  uniform  space  beint^  ])laced, 
between  them.  A  slug  was  curved  to  ht  inside  of  the  char- 
acters. A  scjuare  block  of  wood  was  placed  inside  the  circle 
and  the  job  was  justified  by  jamming  material  tightly  at  all 
j)()ints.  The  characters  were  now  forced  tightly  into  ])lace. 
A  proof  was  ]Hilled,  and  the  center  of  the  circle  determined. 
An  electrotype  tack  was  driven  into  the  block,  leaving  the  head 


Spaces  betwcon  letters- 


em  quada 


-Six-i)UiiU  sluj,'s 

l-"i('..  g2.— Showing'  How  ;i  Cur\e(l  Ij'nc  Should  be  Held  in  Position  with 

Spiices. 


of  the  tack  ]e\el  with  the  face  of  the  type.  The  head  was  then 
filed  to  a  ])lunt  point.  A  ]iroof  was  pulled,  and  the  center 
tested  with  a  pair  of  ca!i])ers.  Il  was  slightly  out  of  center, 
l)Ut  was  l)enl  into  ])()sition  with  ])incers. 

When  setting  letters  in  a  cur\-e,  the  to])s  of  the  letters  are 
spread  apart  while  the  bottoms  are  close  together;  the  larger 
the  letters,  tlie  broader  the  gap.  In  order  to  kee])  the  letters 
e(|uidistant.  it  is  sometimes  ni'cessa ry  to  ])ut  sj)aces  of  a  smaller 
size  at  the  tops  of  the  letters.      (See  Fig.  02.  i 

140.  Algebra,  Genealogies,  and  Pedigrees,  d  hese  repre- 
sent tlie  most  difficult  forms  of  all  t}-pe  C()m])<)sition.  This 
treatise  is  loo  elementar\-  to  undertake  to  ex])lain  this  intricate 


1 62  PRIXTIXG 

work.     The  student  will  not  be  qualified  to  undertake  it  until 

he  has  mastered  perfect  jusnticati(Mi  in  some  of  its  simpler  forms. 
He  should,  however,  read  ihe  cliapter  on  '"Difficult  Composi- 
tion," in  I)e\'innc's  "Modern  liook  Com])osition,"'  pages  171 
to  230,  and  tzel  an  in.-ighl  into  the  subject. 

OUKSTIOXS  OX  CHAPTER  IX 

1.  \Vhat  is  the  'r_\-[H)t;il)ul;ir  S\-stem,  and  how  is  it  rsed  ? 

2.  E.\{)lain  ho'.v  a  liand-set  ruled  blank  should  be  cast  oil. 

3.  Wdiat  are  Multio-Hexsel  'Quadrats,  and  how  are  lhe\"  used  ? 

4.  \\'hat  is  a  -ivax-entrrax  inc.  and  lio'.v  is  it  made  •' 

5.  Explain  the  .Mnn()t_\"pe  s\'stem  of  settinir  rule  work. 

6.  How   should   a   stick    be    made    uj)    when    setlinj,'    t\"pe    in    narrow 
measures? 

7.  Will  the  fact  that  t\'pe  is  new  or  old  make  any  difference  in  the 
castin<:-<jlf  of  a  table  'f     If  so,  ex{)lain  why. 

■S.    X'ame   the  ad\"anta,Lres  deri\X'd  b\-  the  use  of  three-{)oint  spaces  of 
eight-point. 

Q.  \\  hat  do  you  understand  b_\'  j)oint-thick  s{\aces  ? 

10.  Tell  what  spaces  or  (juads  ma\'  be  used  as  tjuads  or  spaces  of  another 
size, 

11.  Wdiat  (Id  you  understand  b\-  a  line-up  of  figures  or  type  ? 

12.  Explain  '.'.hat  meilKKJ  \-i'U  \\"ould  [)ursue  in  setting  more  than  one 
column  in  a  siiv_de  measure. 

13.  Ho'.v  should  blank-biink  headini:5  be  set  ? 

14.  ['kKplain  ho-.v  \-ou  would  jiroceed  to  make  a  column  of  t\-{)e  matter 
register  'Aath  the  fiMri/ontal  lines  on  a  ruled  sheet. 

15.  Is  there  an_\-  ad\aniage  in  setting  t\[)e  to  a  narrow  measure  if  it  i= 
possible  to  set  it  wider  ? 

if).  Secure  a  pic^e  of  printed  matter  t'ontaining  t\'{ie  run  around  a  cut, 
and  describe  in  full  just  how  \ou  '.'.■ould  set  the  job 

17.  l^esi'rihe  a  method  of  running  t_\"pe  around  a  cut  that  is  irregular  in 
outline. 

iS.  Describe  how  you  wf)uld  Set  a  ruund  label  ccjntaining  circular  and 
horizontal   type  lines. 

10.  ibi'.v  '.'."uuld  ynu  bend  lead>  and  -Iul's  into  circular  form  if  a  bending- 
machine  was  ii^t  a>"ailat)!e  f 

JG.  \\d!>'  i~  it  r.ece5^ar>-  t<i  place  spaces  between  letters  at  the  toj)  of 
some  cur-.ed  lines  '•' 


CHAPTER  X 


LOCKING  UP  FORMS 


141.  General  Principles. — Many  old-time  printers,  evi- 
dendy  under  the  impression  tliat  any  old  thing  is  good  enough, 
are  in  the  habit  of  building  up  their  forms  as  shown  in  Fig.  93. 
This  pyramid  st}-le  of  placing  furniture  is  wrong.  Contrast 
Fig.  93  with  Fig.  94.     Notice  that  the  only  bearing  the  furniture 


Fig.  93. — Improper  Way  Lo  Lock  up  a  Form. 


in  Fig.  93  has  is  alongside  of  the  short  end  of  the  job.  A  form 
put  together  in  this  manner  is  \-ery  apt  to  work  loose  and  pull 
out  on  press.  When  locked  up  in  the  proper  way,  as  shown  in 
Fig.  94,  both  job  and  furniture  are  being  locked  up  at  the  same 
time  and  there  is  no  likelihood  whate\-er  of  the  job  working 
loose  or  pulling  out. 

16.S 


104 


PKIXTIXG 


Fig.  96  shows  another  form  properly  locked  up.  The  job,  as 
ori,ij;iiially  set,  was  not  the  same  len,u;th  as  the  wooden  furniture 
used  in  locking  it  up.  It  took  hut  a  few  moments  to  add  enough 
niateriid  to  make  it  full  K-nuth. 


I'k;.  04.-    PropiT  Way  to  Lork  up  a  Porni. 

142.   Quoins. — Wedge-shaped    dexices,    known    as    quoins, 
ire  used  for  locking  up  forms.     For  many  years  wooden  quoins 


-^"P^ 


w^mssm^ 


wiTc  the  Oil  1\'  !;iiid-  in  ii-c.  bring  (lri\r  11  togulher  with  a  shooting- 
stick.     Then   came    iron    (|uoin-,,   kicked    with   a    ke>'.       Today 


LOCKIXG    UP   I'ORMS  165 

there  are  quoins  for  every  ima,i^inal)lc  ])urpose.  Fii^.  q5  illus- 
trates a  few. 

143.  Locking  up  a  Form. — In  general,  jobs  are  locked  up  in 
certain  ways  for  convenience  in  handling  the  sheet  or  to  secure 
better  rolling  of  the  form.  Jobs  containing  rules  are  usually 
placed  in  the  chase  in  such  a  way  that  the  rollers  do  not  strike 
the  ends  of  the  rules.  (See  Section  216  for  method  of  preventing 
perforating-rules  from  cutting  the  rollers.)  Inasmuch  as  it  is 
more  convenient  to  ha\'e  the  guides  on  the  left-hand  side  of  the 
tymi)an,  jobs  are  usually  locked  up  head  to  the  left.  There  are 
sj)ecial  cases,  however,  when  this  is  not  done.  Letterheads 
that  contain  but  few  lines  are  usually  locked  up  head  down. 
Envelope  corners  may  be  either  head  or  foot  down  if  the  enve- 
lopes are  not  opened  {i.e.,  the  flap  turned  upj,  always  foot  down 
if  the  enveloi)e  is  opened. 

It  is  always  advisable  to  lock  up  a  form  so  that  the  press- 
man can  read  the  printed  matter  on  the  draw-sheet  while  run- 
nmg  the  press,  for  by  so  doing  errors  are  frer|uentl\-  detected. 

Fig.  96  shows  how  a  letterhead  should  be  locked  up.  It  has 
been  ])laced  head  down  in  order  to  get  a  better  roll.  l"he  job 
has  been  set  forty-live  ])icas  wide,  and  it  is  nine  ems  deep.  Put 
fifty-em  furniture  abo\'e  and  below,  as  shown.  Add  a  ])iece  of 
metal  furniture  5X10  to  build  job  out  to  hfty  ems.  Place 
enough  material  at  the  bottom  of  the  job  ('one  [)ica  in  this  case) 
to  build  the  job  out  to  ten  ems.  Use  nothing  but  hft\'-em  fur- 
niture, arranging  the  same  in  a  neat  manner.  Do  not  have  the 
furniture  all  zigzag;  a  good  com])ositor  is  neat  in  everything 
that  he  does. 

After  the  furniture  is  in  place,  })ut  in  tlie  (|Uoins.  Thev 
should  be  arranged  as  shown  in  the  figure.  Note  that  the  jjoints 
of  the  fjuoins  alongside  of  the  form  are  pointing  toward  the  lower 
left-hand  corner.  This  is  the  point  toward  which  \'ou  wish  to 
drive  the  form.  If  the  ciuoins  are  ])laced  in  the  re\  erse  position, 
they  will  be  driving  against  the  f|Uoins  on  the  other  side. 

Having  placed  the  Cjuoins  in  ])ro]K'r  [josition.  lock  up  tlie 
form  ti^ht  enough  to  lift.     Stand  it  on  ed.Lre,  and  reni()\-f>   all 


i66 


I'RIX'JIXG 


dirt  and  grit  from  the  bottom,  using  either  the  hand  or  a  brush. 
Also  l)rush  the  stone,  if  it  seems  dirt}-.  Rephiee  the  form  on  the 
stone,  loosen  the  (juoins,  arrange  the  furniture  neatly,  and  ])ush 
the  quoins  together  as  tiglitly  as  possible  with  the  fingers. 
Then  plane  the  form  with  a  planer  and  mallet;  lirst  rubbing  your 
hand  across  the  face  of  the  i)laner  to  remo\e  anything  that  may 
have  adhered  to  it,  and  which  would  very  likely  batter  the 
type. 

The  word  phuic  means  to  make  level.     That  is  why  the  form 
is  planed — to  make  it  le\-el.     To  see  some  men  planing  a  form 


I'ica  slug  'Job  ilftiil  iuiiiiuuc,  0  x  lU  i.ii-.as 

I''i<'..  9(1. —  rr()])cr  A\'a}'  lo  Luck  up  a  kcUcrlicacL 


you  might  think  tliat  ])!aning  meant  to  drive  the  form  intc 
the  stone.  It  recjuires  but  a  very  light  ta])  of  the  mallet  on 
the  i)laner  to  drix'e  down  an_\'  letters  that  may  be  ])rojecting. 
1)0  not  drag  or  slide  the  ])laner  o\it  the  form,  but  lift  it  when 
moxing  it  from  ])oint  10  jjoint  owr  the  form.  If  you  slide  it, 
an\'  t\-pe  thai  mav  be  sticking  up  is  a])t  to  be  l)roken  off. 
When.  \'ou  ri'place  the  planer  on  the  stone  (or,  better,  a  shelf 
proxided  for  it)  do  not  lay  it  on  its  face,  as  it  is  a])t  to  ])ick  u]) 
urit . 


J.OCKIXG   UP   FORMS  167 

Every  form  possesses  two  dimensions — length  and  width. 
Every  form  also  possesses  a  certain  amount  of  "give"  or 
"springiness."  The  way  in  which  it  has  the  greatest  amount  of 
give  is  the  side  that  sliould  be  tightened  first.  In  the  letterhead 
in  Fig.  96  we  should  start  at  the  top  and  tighten  the  quoins  a 
little  with  the  key.  This  will  remox'e  the  greater  part  of  the 
spring.  Then  tighten  the  cjuoins  on  the  side  a  little;  then  the 
top;  then  the  side.  In  this  way  go  over  the  quoins  until  the 
form  is  "tight  enough."  This  can  only  be  learned  by  experi- 
ence. When  the  form  is  so  tight  that  the  letters  cannot  be 
pushed  out  by  a  fairly  good  pressure  of  the  lingers,  it  is  tight 
enough.  Do  not  exert  extreme  pressure  in  locking  up,  for  it  is 
comparatively  easy  to  break  a  cast-iron  chase. 

After  the  form  is  locked  up,  raise  it  above  the  stone  by 
placing  something  under  one  edge,  and  try  to  push  down  the 
letters.  After  the  whole  form  has  been  gone  over  in  this  man- 
ner, stand  it  up  on  one  edge  and  rub  the  hand  across  the  bottom 
of  the  form.  If  any  letters  are  loose  and  have  been  pushed 
down,  they  will  be  detected.  Do  not  drop  the  form  flat  on  the 
stone  after  trying  it  for  loose  letters  and  before  rubbing  the  hand 
across  the  bottom,  as  this  would  push  the  letters  back  in  place. 
See  that  everything  is  tight  before  sending  a  form  to  press. 

144.  Bearers. — In  many  offices  it  is  customary  to  use 
bearers  in  job-press  forms,  the  popular  belief  being  that  they 
prevent  the  rollers  from  bearing  too  hard  on  the  form.  A 
brief  inspection  of  rollers  that  have  been  run  on  bearers  will 
prove  that  the  bearers  do  not  bear  off  the  rollers,  but  that  they 
actually  sink  into  them.  Bearers  are  useful  only  under  cer- 
tain conditions. 

145.  Gudgeons. — In  all  types  of  job  printing-presses  the 
rollers  are  moved  up  and  down  across  the  face  of  the  type.  On 
each  end  of  the  roller-stock  is  a  wheel,  known  as  a  gudgeon,  that 
rolls  on  a  track  at  the  side  of  the  press.  This  track  should 
project  o.giS  inch  (type-high)  from  the  bed  of  the  press.  The 
gudgeon  should  be  exactly  of  the  same  diiimeter  as  the  roller. 
The  roller-stock  should  be  keved  to  the  gudgeon. 


x68  I'KIMINC. 

When  these  ];erfect  conditions  ])re\-ail.  if  the  rollers  are  not 
bearing  lirnily  enouL^i  on  the  form,  all  that  is  necessary  is  to  put 
a  few  sheets  of  paper  back  of  the  form;  if  the  rollers  are  bearing 
too  llrnaly  on  the  form,  glue  a  strij)  of  cardboard  on  the  track. 
In  the  Victoria  Press  the  rollers  are  raised  or  lowered  by  mo\ing 
the  whole  track  with  an  adjusting-screw. 

If  the  rollers  and  gudgeons  are  not  exactly  of  the  same  diam- 
eter, the  one  of  greater  diameter  will  roll  farther  than  the  other. 
For  exami)le,  su])pose  that  the  circumference  of  the  roller  is  six 
inches  and  that  of  the  gudgeon-^  only  l"i\e  and  one-half  iriches, 
what  becomes  of  the  other  half  inch?  The  gudgeons  in  rolling 
are  rotating  the  rollers,  both  makmg  one  re\-olution  in  the  same 
]~)eriod  of  time;  the  circumference  of  the  roller,  howe\-er,  moving' 
six  inches  while  the  gudgeons  onl\-  mo\e  liN'e  and  one-half 
inches.  That  half  inch  is  gained  in  the  ib.e  and  one-half  inche<, 
the  roller  sliding  o\-er  the  form  instead  of  rolling.  The  same 
thing  will  hap])en  if  the  roller^  are  smaller  than  the  gudgeon-. 
In  thi^  e\-ent,  it  ^^■ill  sli])  in  the  ()j)po,-ite  direction.  The  roiitart  of 
the  roller  on  the  form  should  be  a  rollin'^  eojilaet.  not  ,i  slidiir:;^  one. 

If  the  roller  is  sliding  instead  of  rolling,  it  will  fill  u])  the  t\])e. 
and  produce  smeary  ])rints.  It  will  abo  wear  out  the  roller-i>ins, 
which  finally  break,  lea\'ing  the  roller  free  to  re\-olve  in  the 
gudgeons. 

It  is  only  when  rollers  are  loose  in  the  gudgeons  that  it  is 
advisable  to  use  roller-bearers,  as  the\'  will  cause  the  rollers  to 
roll  over  the  forni  and  not  drag;  but  they  leill  not  bear  o^>  the 
rollers  from  tJie  form. 

There  are  adaptable  an<l  a.djustable  gudgeons  on  the  market, 
?o  devised  that  the  ])res^man  ma\-  alwa}s  ha\e  tliem  of  proper 
diameter  for  his  rollers. 

146.  Locking  Up  Register  Jobs. — "While  tliere  are  de\  ice- 
made  e>[)ericdl\-  for  rcLi'i-tcring  jolis  A'.illiout  unlocking  the  forms, 
e\"ery  ot'fice  is  not  equip]  )e(l  wilh  .-uch  ('c\'icc-.  When  in:])osing 
a  form  that  ma\-  ha\T  to  be  mo\-cd  to  gri  it  in.to  re'd-ler,  alwa\'S 
place  about  .-ix  two-poiiu  leads  at  the  >ide  awa\-  from  tb.e  ([Uoin~. 
Tlien.  if  it  i>  ncct>.-ar\-  to  Piiow  the  io!i.  it  can  In-  done  withoMt 


]X)CKIN(i    UP    lOR.MS 


l6o 


disturbing  the  furniture.  If  the  form  be  uiade  up  of  plates, 
use  leads  or  furniture  at  cacli  of  tlie  four  corners,  as  shown 
in  Fig.  97.  This  will  permit  of  twisting  the  plates  if  neces- 
sary. 

When  a  register  job  is  tirst  locked  up  I'or  i)ress,  a  chalk-mark 
should  be  made  across  each  quoin  in  such  a  way  that  it  marks  the 
(|Uoin  and  the  furiuture  that  it  abuts.  E\-er\-  time  the  form  is 
unlocked  and  a  change  made,  exactly  the  same  amount  of 
material  should  be  put  back  into  the  form,  and  the  ([uoins  and 
furniture  })ut  into  their  original  i)ositi()ns.     When  the  quoins 


Fic.  (j;. — -Mtlliod  of  I.ockini:  up  a  Porni  so  thai  it,  .May  he  I]a^i!^■  Moved. 


are  tiglitened,  the  ciialk-marks  will  all  come  into  perfect  align- 
ment. When  this  occurs  the  form  is  locked  up  exactly  as  it 
was  in  the  lirst  instance.  In  no  other  \\a\"  can  you  be  assured 
th.;it  sucli  is  tiie  case.  It  is  a  \x'ry  easy  matter  to  exert  more 
force  at  one  time  than  at  another. 

147.  Locking-quoins. — There  are  se\-eral  lockiii'^-quoi)is  on 
tlie  ma.rket,  o[)erated  with  a  s]>ring-act uated  catch  that  engages 
in  a  r;ick  on  tlie  fjuoin.  After  the  (|Uoin  is  tightened  the  catch 
is  released,  when  it  engages  in  the  rack,  and  the  cjuoin  is  locked. 
It  is  nu[)os>ibie  for  the  rjuoin  to  shi). 


I70  pRixrixc; 

When  runnin,!,^  register  jobs,  ])rcs?men  frequently  resort  to 
the  expedient  of  ])lucL(in^  the  quoins  with  a  wad  of  moistened 
l)aj)er,  which,  wlien  (h"_\".  liolds  them  lirmly  in  ])lace. 

148.  Jobs  with  Rules.-  -Jobs  containing  rules  should,  if 
possible,  be  locked  uj)  in  such  a  way  that  the  rollers  will  not 
strike  a,L^ainst  the  ends  of  >harp  rules,  for  they  may  cut  the 
rollers.  Forms  are  fre(|uentl\-  locked  up  at  an  angle,  usino; 
wed.ge-shaped  furniture,  to  prex'ent  any  cuttin,^  of  the  rollers. 

Perforat inL;;-ruk'  that  is  lockecl  u])  with  a  job  and  im])osed  so 
that  it  is  \-ertical  in  the  cha>e.  should  run  olY  the  sheet,  and 
should  ha\-e  a  two-point  or  three-])oint  face-rule  at  the  to])  and 
bottom,  d'his  will  prexent  the  rule  fron:  cutting  the  rollers. 
The  marking  of  the  tym])an  may  be  pre\'ented  by  the  use  of 
a  frisket.      (See  Section  212.) 

Fig.  q8  shows  the  ])roper  metht)d  of  locking  up  the  two  sec- 
tions of  the  rule  job  shown  in  Fig.  51  on  ])age  loq.  The  guide- 
edge  is  marked.  Ob>er\-e  that  the  top  and  bottom  horizontal 
rules  are  printed  in  the  form  with  the  \-ertical  rules.  This 
should  alwa}'s  l)e  done.  It  ])re\-ents  the  rollers  from  striking 
the  sharp  ends,  and  al<o  guarantees  a  ])erfect  joint.  If  the 
sheet  does  \'ary  a  little  it  will  not  show  a  gap  between  the  ver- 
tical and  horizontal  rules,  as  it  undoubtedlv  would  do  if  all  the 
\-ertical  rules  were  in  one  srction  and  all  the  horizontal  ones 
were  in  the  other. 

149.  Allowance  for  Squeeze. — Tt  is  almost  imi)ossil)le  for  a 
com])<;sitor  to  set  a  job  in.-idc  of  a  b'jrder  and  squeeze  it  together 
so  tightly  that  it  Avill  look  all  right  on  the  galle}-  and  still  make  a 
])erfect  joint  when  locked  u]).  Some  allowance  must  be  made 
for  s(jueeze.  \i  the  job  contains  man\'  lines  of  t\"pe  and  much 
spacing  material,  it  will  lia\e  more  springiness  tlian  if  ]>ut  to- 
gether with  coiL-iderable  >olid  furniture.  Tlie  jolj  sh(Hild  be 
Sfjueezed  together  as  tightly  a<  po>>ible  and  then  about  two 
])oints  more  ])Ut  in  to  allow  for  >queeze.  If  \-ery  spring}-,  allow 
four  ])oint  -. 

150.  Troublesome  Corners.  -  \\  lien  locking  up  a  joii  with  a 
ride   liorder.    make  a   ])erieet    lil    of   tlu-  corner  awax"  from   the 


LOCKING    UP    FORMS 


171 


Job  i<  fell  to  this  f.;ui(le  first,  then  turned  end  I'or  end. 


^  After  tlie  tirst  iin]iressioii  tliis  tdge  is  fed  to  the  guide 


FiG.  qS. — Showing:  Lock-up  of  a  Rule  I-'orm  in  Two  Section-,  to  hv  I'rinted 
at  One  Time.  When  the  slieet  is  turned  end  for  end  tlie  two  sections 
will  overlap,  thus  producing  two  copies. 


172  I'klXTJXO 

r]U(iins  l)y  ])u>hinrr  the  rules  together  with  a  piece  of  wooden 
furniture.  Xe\er  u>e  a  hodkin  for  thi^  purpose,  as  it  mav  hatter 
the  end  of  tlie  rule  and  prex'ent  a  jierfect  joint.  Now  lock  u]) 
the  form  carefull\-  until  all  the  corners  come  together  perfectl}-. 
Use  a  try-.--f|uare  to  see  if  the  end-  and  sides  are  at  ritiht 
an,Ldes. 

If  a  corner  should  pro\-e  a  little  refractory  and  per.-ist  in 
pa])in^^  open,  a  little  l)ee>wa.\  melted  into  the  joint  1)\-  the  heat  of 
a  lighted  niatch  niay  o\-ercome  th.e  diihcult}'.  After  the  wax 
hardens,  trim  (.){(  the  >ur])lus.  d'imoil  placed  in  the  open  joint, 
and  the  surplu-  trimmed'off,  ha>  al-o  pro\-ed  etTecti\-e. 

151.  Squaring  the  Form. — I!\-er_\-  form  with  a  border,  or 
which  ha>  rules,  either  horizontal  or  \ertical,  or  an\-  element 
whate\-er  that  \\'ould  mar  the  appearance  of  the  work  if  it  was 
not  at  ri,i:ht  an.irles  with  the  -ides  of  tlie  ])aper.  should  be  te>ted 
with  a  tr\'-srjuare  before  sendini:;  the  form  to  j)ress.  This  will 
fref|uentl\'  .-aN'e  a  nseles-  wa-te  of  time  in  the  ])ressroom.  for.  if 
the  job  is  not  scjuare.  it  A\ill  be  returned  to  th.e  com|)osin,f;-room 
for  correction.  Learn  to  do  tinners  correctl}-.  Tt  is  the  doing 
of  the  little  things  correctl}'  that  con-tilute.-  perfection. 

152.  Wooden  Furniture.--  Xo  matter  how  carefuil_\-  woorlen 
fi.n-niture  i>  kept,  it  will  -h.rink,  and  some  of  it  w  ill  w^.rj).  Warped 
furniture  is  fit  only  for  kindlin,LJ:-^^'o(Kl.  Throw  it  awax':  it 
inx'ites  trouble,  and  wa>tes  time. 

When  u-in.Lj  wooden  furniture  to  make  u])  forms  for  cxiiniici 
prer->e>  be  .-ure  that  th.e  pii-ce-  are  all  of  the  >ame  A\adth.  Some 
pieces  shrink  >n  badh'  as  to  be  unlit  for  thi-  purpo>e.  The}' 
are  all  ri.u'ht  for  job  form>,  but  are  not  to  be  relied  on  for  mak- 
ini:  uf)  mar,Lrins. 

]-'<)ur-em  woodc-n  furniture  lia-  a  irrooxe  runnim:  the  length 
of  one  >ide:  this  i.-  the  top.  u-e  it  t!]i>  -ide  uji.  It  is  almo-t. 
/  lil  Kdt  (juitr.  -f|uare.  Therefore  if  turned  (jn  its  side  it  does 
r;ot  mea-ure  four  pica-. 

Xfvcr  u-e  w.iter  on  x'.'ooden  furniture. 

153.  Riding  of  Forms.  Wlun  lockincr  u]>  a  small  form,  it 
will  -onietime-  be  noiireil  that    it   ha,-,  a  lendenc\-  to  "ride"— 


LOCKIXG   UP   FORMS 


173 


tliat  is,  the  pressure  causes  the  matter  to  l)ul,c;e  up  in  the  center. 
Unlock  the  form  and  see  if  anythin,;];  has  dropped  down  between 
the  t_\-pe  and  tlie  furniture.  If  the  cause  is  not  disco\-ered  in 
tliis  way,  take  out  a  few  of  the  ])ieces  of  furniture  and  ])kice 
them  side  b}'  side  on  the  stone  and  see  if  a  fjjap  is  \isible  l;etween 
them  (//  the  holtom.  See  Fig.  99.  Sometimes  the  furniture  is 
sliii;htly  wider  at  t)ne  point  than  at  another.  If  this  ]>ro\'es  to 
be  the  case,  eitlier  insert  other  furniture,  or  turn  one  or  two  of 
the  shaping  pieces  iipside  down,  when  they  wiU  counteract  the 
sloi)e  of  the  others,  and  the  form  will  lock  up  without  riding. 

The  riding  of  forms  on  cylinder  presses  is  also  a  frequent 
cause  of  trouble.     This  is  usually   due   to   the  fact   that   the 


Fig.    9(). — ShowiiiL;    Two    Pieces    of    W'lirped   Wooden   Furniture.      \\'hen 
pressure  is  applied  by  the  ciuoins  the  furniture  will  ride. 


material  is  wider  at  the  to|)  than  at  the  bottom.  In  locking  up, 
the  forni  i>  slightly  raised.  As  the  c\'linder  goes  o\-er  the  form, 
the  t}-pe  is  i)ushed  down,  but  not  the  furniture.  After  the 
cylinder  has  ])assed,  the  type  comes  U])  again,  and  brings  the 
furniture  with  it.  This  continues  until  the  furniture  is  high 
enough  to  be  inked  ])y  the  rollers  and  lea\-e  an  impression  on  the 
sheet,  thus  s])oiling  the  sheet. 

To  overcome  *his  trouble,  unlock  the  form  and  see  if  any- 
thing is  Ijinding.  If  not,  then  examine  tb.e  ftirniture,  and 
reverse  a  few  ])ieces  as  directed  abo\e.  If  this  does  not  correct 
the  trouble,  cut  long  strips  of  thin  cardboard  about  one  ])ica 
wide  and  drop  them  down  alongside  of  the  material  that  is 
riding.     This  will  usually  rectify  the  trouble.     As  a  last  resort, 


174  PRINTING 

pressmen  are  sometimes  comjjelled  to  drive  small  nails  into  the 
furniture  to  keep  other  material  from  riding. 


QrF.srioxs  ox  ciiaptkr  x 

1.  Describe  the  f)roper  way  to  lock  up  a  form. 

2.  W'liy  is  tlie  p}  raniid  >t_\le  an  improper  \va_\-  of  locking  up  a  form  ? 

3.  \\'hat  is  the  meanirLC  of  the  word  "  (Juoin  "  i 

4.  Name  t!ie  dilTeri-nl  (juoiiis  with  which  _\'ou  are  familiar. 

5.  I'xplain  the  at'tioii  of  a  (|uoin. 

6.  W)\\  should  ([uoins  be  placed  in  a  \wm  ? 

7.  \\  hen  lockin;,^   up  a   j(jb   tontaininj,'   rules,    how    should    the  job   bi. 
placed  in  the  form  ? 

S.  \\  hy  should  a  job  be  so  placed  in  a  chase  that  the  pressman  can 
read  the  })rinted  matter  on  the  tymj)an  ? 

9.  Why  should  a  jjlaner  ne\er  be  draj^'ged  o\'er  the  face  of  a  form  ? 

10.  A\'hy  should  a  planer  ne\  er  be  laid  on  its  face  ? 

11.  \\  liy  is  it  important  to  be<_'in  to  lighten  the  cjuoins  in  a  form  at  stjme 
spcciiled  place  ? 

12.  What  will  happen  if  the  ti,i,ditening  of  c^uoins  is  not  be<,'un  at  the 
riirht  j)lace  ? 

13.  How  would  you  te^t  a  form  to  make  sure  that  it  is  tight  ? 

14.  What  is  a  roller-bearer  ?     Of  what  use  is  it  ? 

15.  What  is  a  gudgeon  ? 

i().  Mxplain  full\'  wh_\'  it  is  so  important  to  ha\e  rollers  and  gudgeons 
of  (Xdclly  the  same  diameter. 

I".  If  the  rollers  were  pressing  loo  hea\il_\'  on  the  form,  liow  \\"0uld  }'0U 
o\ercome  the  <lii'iiculty  ? 

iS.  If  the  rollers  and  form  were  not  in  contact,  liow  would  >ou  bring 
them   together  ? 

ig.    How  should   register  jobs  be  locked  up? 

;o.  If  the  corners  of  a  rule  job  did  not  come  together,  how  would  \'0U 
rectify   the   matter  ? 

2[.  What  expedient  do  pressmen  sometimes  resort  to  to  pre\  ent  (juoins 
from  slipping  ? 

jj.  \\  h_\-  is  it  important  to  make  a  chalk-mark  across  ciui)ins  ;uid  fur- 
niture after  a  regi>ter  job  is  lockeil  up  fur  pre-s  ? 

23.  W  hen  a  rule  inb  1  on^i^liIlg  of  horizontal  and  \erlical  rules  is  made  up 
into  t-.M)  forms,  wh>-  is  it  important  to  ha\e  the  top  and  bottom  horizontal 
rules  placed  with  the  vertical  rules?' 

24.  What  do  _\-ou  understand  by  "  allowance  for  s(jueeze  "  .•' 


LOCKING   UP   FORMS  1 75 

25.  What  difficulties  are  likely  to  Ije  encountered  if  warped  wooden 
furniture  is  used  in  makinf;  up  a  form  ? 

26.  Why  is  four- em  wooden  furniture  marked  with  a  groove  along  one 
side  ? 

27.  Which  is  better  for  making  up  margins  in  forms,  wooden  or  metal 
furniture  ?     Tell  why. 

28.  If  a  form   was  "  riding  "  on  press,  what   would   \ou  surmise  was 
causing  ihe  trouble  ? 


CITAPTF.R  XI 

iMi'o-iriox 

154.  Placing  Pages  on  the  Imposing-stone.  rm])o-ition  is 
ihc  naiiic  uiv^c^n  to  tliat  branch  of  ])rinlin^  whirh  lui-  to  '!o  will: 
the  ])ro|)c'r  ])lacin,ir  ol  ])a,L,a'S  on  the  inii)o>in<i'->tone  so  that  when 
the  ])a,i:e>  Lire  ])rinte(l  on  tlie  sheet,  ami  tlie  >heet  folded,  th.e 
])a,<:::es  of  tlie  hook  wiU  ()])en  out  consecuti\e'i\'.  A  n:on:ent'.-- 
thonudit  will  rewal  the  fact  that  the  pa.Lres  cannot  be  laid  wtit  on 
the  .-tone  side  l)y  side  in  re.irular  sef|i)ence  and  be  in  jroj^er 
position  I'or  ;:  folded  >heet.  Pa.ires  that  l)ack  each  otlu-r  nu::~t  be 
at  o])])o>ite  ])arts  of  the  form. 

'J'here  are  two  \va\'s  of  ^ettini:  the  ])ro])er  ])a;.{e>  to  back  up. 
First,  1)}'  ])rintinti;  a  form  on  one  side  of  the  >hieet  then  tiirnin,^ 
it  CA"er  and  IjackinL''  it  uj)  with  tlie  sa.me  form.  'I'his  i>  called  a 
'Avork-antbturn  form."  Tlie  slieet  is  cut  in  Iialf,  furnisl:inL'' 
two  copies.  Second,  1)\-  ])rintinL:  a  certain  miml;er  of  |<u,i:e:: 
on  one  side  of  the  slieet  then  bacdxim^  it  up  with  another  form. 
This  is  called  workinLf  ">heetwise,"  and  refjiiires  two  forms  to 
produce  one  printed  >heet. 

If  a  >heet  of  ])aper  b-av  oXt2  inche>^  i-  folded  once  ^to 
6yr)  inche.-'  it  will  make  two  Iea\-es,  or  four  pa'_a--.  11  it  i> 
dr-ir(,-d  to  bind  up  a  mmiber  of  ])a'_:('s  into  a  book,  eithei'  b\' 
.'^i-u  in.L,^  or  b\-  -litchine  ihrouLdi  the  back  (-addle- -i  itched',  the 
number  of  pat,^e<  in  a  form  mu-t  be  in  multiple-  of  four,  'i'hat 
is  to  -a\',  the  form  mu-t  consi-t  of  four.  eiLrht.  t\\el\e.  -ixteen, 
'wentw  t  w  ent  v-four,  thirt\--two.  -i\l\--four.  or  more  pa^t,'.-. 

If  the  iob  i<  to  be  wired  tliroULdi  the  >ide  other  combina- 
tion- of  jiau'e-  ma\"  be  made  up.  but  such  combination-  are  so 
imu>ual  that  a  description  Wduld  ti'ud  to  confu>e  rather  than 
ai''  the  be.t^inrier. 

1-6 


IMPOSITION  177 

Inserts  consisting  of  single  lea\es  are  glued  into  sewed  books, 
but  they  may  be  wired  into  hooks  that  are  stitched  on  the  side. 

155.  Hand-  and  Machine-folding. — The  hrst  question 
asked  by  the  compositor  wlien  he  is  given  a  form  to  impose 
should  be  whether  tlic  sheet  is  to  be  hand-folded  or  machine- 
folded,  l)ecause  the  lay  of  form  for  hand-folding  is  not  the  same 
as  for  machine-folding,  nor  is  the  lay  for  machine-folding  the 
same  for  all  machines.  If  but  a  few  hundred  copies  are  to  be 
furnished,  it  is  a  foregone  conclusion  that  the  job  is  to  be  folded 
by  hand;  if  a  great  number  of  copies  are  required,  it  is  equally 
certain  that  the  jo!)  will  l)e  folded  on  a  machine.  If  there  is  a 
([ueslion  as  to  what  m;i chine  is  to  be  used,  the  compositor  should 
consult  the  ])ook])inder. 

156.  Margins. — Whenever  two  or  more  pages  are  printed 
together,  the  (|uestion  of  margins  must  be  taken  into  consider- 
ation. If  the  job  to  ])e  imjiosed  is  a  circular,  and  the  sheet  is 
simpl}'  to  be  cut  ai)art,  and  not  to  be  bound  and  trimmed,  the 
margins  will  l)e  made  up  to  the  fmished  size.  If  the  sheets  are 
to  be  trimmed  idler  ])rinting,  allowance  must  be  made  for  trim- 
niing.  'I'he  majorit}'  of  books  are  trimmed  around  three  sides — - 
lop,  front,  and  bottom.  One-quarter  inch  is  a  fair  allowance  for 
trim,  l)ul  this  is  nol  always  ]X)ssible.  It  is  frequently  necessary 
to  do  with  less  in  order  to  get  a  jol)  out  of  a  sheet  of  paper  of 
stock  size. 

157.  Determining  Margins. — Fig.  100  shows  the  i)ropcr 
inelliod  C/f  delermining  niargins.  Assuming  that  two  pages  are 
to  be  printed,  lliat  the  linished  size  is  to  be  six  inches,  and  that 
the  i)ages  are  of  the  same  size,  the  distance  from  the  edge  of  one 
p:ig-e  to  lire  edge  of  tlic  other  ]>age  should  be  made  just  six  inches. 
1 1"  llic  jol)  is  a  circuh'.r,  fold  a  sheet  of  the  stock  in  half,  and  make 
the  distance  l:etween  llie  edges  the  same  as  the  folded  sheet. 
(Fig.  loi.)  'When  the  guides  arc  pro]):_rly  set,  each  page  will 
be  ill  the  center. 

If  the  pages  are  of  uncf|ual  size,  mark  olT  Ihe  center  of  each 
[)age.  and  make  all  necessary  measurements  from  the  centers 
inste;u!  of  from  edire  to  cdire.      (V\<z.  102.) 


178 


PRIXTIXG 


158.  Determining  the  Lay  of  a  Form. — While  diagrams 
are  usualK'  ;i\-;iii,il)l'j  for  refcTeiicc,  so  th:il  the  ompositor  may 


I 


Fic;.  loo.-  -Makiii'-.'  up  .Margin-,  tn  (ii\cn   I  );:iK:i>i()iiS, 


Sl.r.  t    tol,lr,l    i„   l.alf 

L 

Fu;.  loi.-   MakiiiL'  up  Mar^Mus  to  Half  of  Slicet 


I -1 


Vh;    io:.--   I)i-i( 


Man 


.  I'r  o    ■   nfjual  size. 


verih- hi- work,  it  i>  udx'i-alik' t h:it  hr  should  kni  w  how  1  o  marl-' 
a  (hminu'  form  and  dclLnniiie  the  ka-  of  llie  pa;..t's.      Inasmuch 


IMPOSI'I'lOX 


179 


as  the  type  is  in  reverse  of  the  printed  sheet,  it  follows  that 
pages  printed  to  the  right  of  the  sheet  must  be  imposed  to  the 
left  of  the  form.  To  determine  the  lay  of  a  sixteen-page  form, 
fold  a  sheet  of  paper,  say  8X12  inches,  over  and  over  as  shown 


Third  folJ  here 
Second  told  liero 
First  f..Id  l.rre 

Vie.  10,^. — Showin^,^  Suiccssi\e  t'oldin^'s  to  J'nxlufc  a  Dummy. 

in  Fig.  103  until  finally  the  size  2X3  inches  is  obtained.     This 
will  produce  a  dummy  form. 

As  the  form   is  to  be  worked  and  turned,  folios  are  to  be 
marked  on  oiilv  one  side  of  the  sheet.     To  get  the  folios  on  the 


Slit  fihccts  luTi',  so  thr.t 
f„li,)-,inav  1h-  marked 


I'u;.  104.-  Show  ill",'  a  I'ohkd  l)ummy  willi  I'roi)cr  IMaccs  to  Alark  I'tjlios. 


dunmiy  so  as  to  sltow  the  })roper  position  on  the  stone,  mark 
page  I  on  the  inside  of  the  tirst  leaf — in  reality,  what  would  l)e 
page  2  of  ;i  ])rinted  sheet.  See  Fig.  104.  On  what  would  be 
]_)age  3  mark  folio  2.  Now  skip  the  next  two  pages,  for  they 
will  be  on  the  other  side  of  the  sheet  when  it  is  opened  out      Now 


I  So 


I'Rixrixc; 


mark  paf^^es  3  and  4;  then  skij)  two  pai^es  and  mark  the  next  two. 
In  this  way  ,i:<)  throu.Lrli  the  dummy,  kippin;.^  two  paa;es,  mark- 
ing liif  next  two.  At'UT  the  fir.-t  eii^ht  ]vi\v  keen  marked,  ii 
will  he  1  und  that  tlie  folded  lea\'es  will  ha\-e  to  he  slit  at  the 
lower  eorners  :o  that  the  folios  ma\'  he  marked  in  pr()})er  posi- 
tions.    Ma.rk  tliem. 

Xow  open  oin  the  sheet.  If  the  markin.c;  has  been  properly 
done,  the  folio-  will  all  he  on  one  >ide  of  the  sheet,  and  in  the 
p(;>itions  in   ^\•h.ich   the  ipa^L'^es  slioiild  be  ])laced  on   the  stone. 


Compare  witli  the  la\-  of  tlie  form  shown  in  Fi^Li;.  105.      The  lay 
(jf  aiu"  form  ira.\-  he  (h-ti-rndiK'(l  in  this  way. 

Some  comi)o-itor>  fold  the  .-h.eet  as  de-erihied.  and  instead  of 
ir.arki'i'j;  tlie  p::L'>->  h\'  1 -rLrir^nii's.L:  on  the  lirst  in.-ide  j»a.^c  (]yd'j.L-  2  ', 
tliL-\'  heu'in  on  tlie  ont-ide  on  pa^re  i,  an<l,  markin^'j;  two  and 
>ki;';)ip.Lr  t'>vo,  L^o  ihrou,L,di  the  dumm\'.  'I'hi-  ]>lafc-  tlie  ])a,<:es 
a-  tliey  \'dll  lie  ])rinted  on  tlie  .-heet.  noi  a-  the\-  sliould  he  on  the 
stone.  The  Iir.-l  ir.ethod  i,-  lo  he  jjreferrL-d,  a~  it  is  sometimes 
]>U/:/lin,L;  to  re\-er<e  the  pa,Lre-  from  the  print^'^d  ■-heet-. 


IMI'USITJON  l8l 

If  the  job  is  to  be  folded  on  a  machine,  it  is  better  to  obtain 
a  dummy  from  the  l)inder,  for  some  of  the  forms  have  to  be  laid 
inside  out. 

159.  Various  Parts  of  a  Form. — In  order  that  the  terms 
used  in  imposition  may  be  fully  comprehended,  Fig.  105 
and  the  accompanying  explanation  arc  here  given.  The  form 
shown  is  a  regular  sixteen,  and  is  to  be  folded  by  liand. 

The  point  marked  cut  is  where  the  sheet  will  be  cut  apart, 
thus  making  two  copies. 

The  i)oint  marked _/W(/  is  where  the  first  fold  will  ])e  made. 

Trim  is  to  be  allowed  in  every  place  but  the  back,  which  is  to 
be  made  up  to  the  trimmed  size. 

It  will  be  observed  that  the  pages  are  all  imposed  Iiead  to  head 
and  foot  to  foot.  This  is  imperative  ;  they  will  not  fold  pronerly 
if  ])laced  in  any  other  way. 

The  grippcr-cdge  is  the  edge  fed  to  the  guides.  As  the  sheet 
will  be  turned  right  and  left  on  the  press,  the  same  edge  always 
comes  to  the  grippers,  which  are  the  lingers  that  hold  the  sheet 
to  the  cylinder. 

The  page  numl)crs  are  called  folios. 

Notice  that  pages  i  and  16,  2  and  15,  3  and  14,  4  and  13,  etc., 
come  back  to  back.  Notice,  also,  that  the  sum  of  the  folios  of 
each  of  these  pairs  totals  17,  which  is  one  more  than  the  total 
number  of  pages.  This  })re\'ails  for  every  kind  of  form  where 
the  pages  are  bound  into  a  book.  If  it  were  a  32-page  form,  and 
the  folios  ran  from  i  to  32,  each  pair  of  pages  would  total  t^t,. 

The  form  shown  is  a  n'ork-aiul-tuni  form.  If  these  same  pages 
were  to  l)e  worked  in  two  forms  (shceticisc),  the  pages  would  be 
im])osed  exactly  as  shown,  but  the  right  half  would  constitute 
one  form  and  the  left  half  the  other.  If  worked  shcctwise  ti:e 
right-hand  edge  beconies  the  gripper-edge  for  the  right  half  of 
the  form,  and  the  left-hand  edge  becomes  the  grii)per-edge  for 
the  left  half  of  the  form.  This  seems  almost  o!)\-i()us.  for  ])age  2 
musl  l\u'k  up  ])ag{"  i,  consc((uently  the  edges  named  must  be 
run  to  the  guides.  The  lowest  folio  in  an}'  form  should  be  run 
toward  the  grippers. 


i8- 


PRIXTING 


Tf  a  slicetwise  form  is  l)ein^  imposed,  the  pafjjes  which  p^o  in 
each  half  of  the  form  may  he  determined  by  i)]acing  the  entire 
number  in  a  row  and  cancelHn^  each  alternate  two,  l)e<:^innin<^ 
with  page  2:   thus 

1^^45^;  89  K)  ]/l  12  13  H  ^S  16 

From  this  we  determine  that  ])a<j;es  i,  4,  5,  8,  q,  12,  13,  and  16 
go  in  one  forni,  and  ])ages  ?,  3,  0,  7,  10,  11,  14,  and  15  go  in  the 
other.     Compare  with  I'^ig.  105. 

It  will  be  noti('e(l  that  the  two  center  i)ages  of  the  form  (8 
and  ())  come  head  to  head  with  the  two  outside  images  (i  and  t6). 
This  ])re\-ails  in  all  forms,  regardless  of  the  number  of  pages. 
(See  Fig.  106.) 


— 

— 

1 

.s 

s 

n 

1 

It; 

n 
L 


fr. 

QZ 

1 

48 

Vie.   106. — Showing  How  \hv  Inside  and  Outside  I'a^es  of  \'ariouH  forms 
Come   'I'o<'ctlKr. 


In  c\-erv  ])air  of  pages,  if  the  foot  of  ea:h  i)age  is  toward  you, 
tlu'  uneven  folio  is  alwax's  to  t  he  left ;  if  t  he  heads  are  toward  you, 
the  uiie\'en  folio  i^  on  the  right.      (See  I'ig.  io().) 

160.  Imposing  the  Form.  —The  si\teen-])age  form  is  a 
(onxeuienl  one  to  use  as  an  illustration  of  the  proper  method  of 
imposing  forms,  and  the  stalenients  which  follow  a])pl\'  to  such 
a  form. 

l^efore  ])Iacing  the  i)agi's  on  the  stone,  see  that  it  is  per- 
fectly clean.  Arrange  the  pages  as  shown  in  Idg.  107.  Obtain 
u  c/iust  L-^ee  Section  172;  large  enough  to  enclose  the  form  and 


IMPOSITION 


183 


still  allow  room  for  the  quoins.  If  the  chase  is  one  that  just 
fits  the  heel  of  the  press,  make  certain  that  the  tyi)e  does  not 
come  outside  of  the  dead-line  on  the  press.  There  is  a  line 
marked  on  the  l)ed  of  e\ery  cylinder  ])ress,  known  as  the  dead- 
line or  gri})pcr  line.  If  the  form  is  placed  too  close  to  the  edge 
of  the  chase  and  comes  beyond  the  dead-line,  the  grippers  will 
strike  the  type  and  batter  it,  and  perhaps  mash  the  grippers. 
E\'ery  pressman  has   (or  should  ha\e)  a  gripper-gauge.     The 


6-eni  bir, 

or  1" 

th 

^r'".- 

>iin 

■as 

s 

=  1 

P- 

zt 

- 

X 

^" 

'2 

a'or  12  picafc 

. 

-'^t 

cc^    ^' 

^ 

- 

r=- 


r~- 


-^ 


r'iG.  107. — Diagram  Showing  Aluke-up  of  a  Form. 


type  must  be  placed  far  enough  from  the  edge  of  the  chase  to 
avoid  hitting  the  grippers.  To  accomplish  this  it  is  sometimes 
necessary  to  place  the  type  nearer  to  the  long  bar  on  one  side 
than  on  the  other.  Determine  the  proper  distance  with  the 
gripper-gauge. 

The  top  of  every  cylinder  chase  is  marked  in  some  way  to 
distinguish  it.  If  the  chase  has  shifting  bars,  it  is  important 
to  know  the  top,  because  the  bars  are  always  put  in  from  the  top. 
They  slide  into  dovetail  mortices,  and  taper  from  top  to  bottom. 


1 84  ]'Ri.\-]-j\(; 

When  rcmovin.c;  a  har,  al\va}-s  tap  on  it  from  the  hottom.  'I"o 
strike  it  on  the  top  \\\nil(l  wedLre  it  more  t'lrmlx-  into  tlie  mortice. 

When  chrise-hars  Ijecome  loo<e  I'rom  con.-tant  shiftini:,  it  is 
sometimes  necessar\'  to  turn  tlie  cliase  upside  down  to  ])revent 
the  ])ars  from  '"ri(Hni:,""  or  workini,^  uj). 

Where  mucli  locking  u])  of  c\'Hnder  forms  is  clone,  the  office  is 
equipped  witli  an  abundance  of  furniture  of  \-arious  widths  and 
lengths,  so  that  combinations  of  any  size  ma\'  rea(hl\-  be  made. 
If  the  office  is  not  so  efiui])i)ed,  tlie  con:positor  i-  com])clled  to 
use  whate\-er  kdjor-sa\'ina:  materiid  may  be  at  lianrh  or  eL<e  cut 
material  to  ht.  Ikich  form  ma}',  therefore,  Ijccome  a.n  in.(li\-idual 
problem. 

Either  metal  or  wooden  furniture  may  lie  used.  .Metal  is 
accurate,  but  heavy;  wood  is  Ii,ifht  in  \\ei,Ldit,  l)ut  unreliable 
for  width,  as  it  is  liable  to  shrink.  ]f  wood  is  used,  each  com- 
bination should  be  tested  Ijefore  l)einii;  pk.ced  in  ])osit!on. 

Wooden  furniture  has  less  tendenc}"  to  '"rifk'"  than  metal. 
If  wooden  furniture  is  used,  care  shor.ld  l)e  exercised  adiout  the 
four-em  pieces.  The  groo\e  is  on  the  to])  of  the  furniture.  It 
will  not  measure  four  ems  if  turned  on  its  sirle. 

After  the  [Yd'^i^e?,  are  proper!}-  laid,  and  the  cliase  pkiced 
around  them,  the  amount  of  space  necessar}-  in  the  back  should 
be  determined. 

Assume  for  the  sake  of  illustration  tli;!t  tliis  jol)  of  sixteen 
pages  is  to  be  j^rinted  on  a  slieet  25X;v'^  inclies,  tliat  it  will  be 
trimmed  to  6Xq  inclies,  and  thaa  the  pages  of  l}'j)e  measure 
4X7  inches.  The  sheet  after  ])rinting  and  fokling,  and  before 
trimming,  will  measure  ()\Xo'',  inclies.  This  will  allow  one- 
quarter  of  an  inch  trim  on  the  toj),  front,  ;ir,d  liottoni. 

Begin  at  ])age  t  and  me;i-ure  from  the  k'ftdiand  c'\;j:e  of 
page  I  to  the  left-hanrl  v(\'j:l-  ('f  ])age  I's.  Make  the  distance 
six  inches.  The  1\'])e  is  four  inche-  wide,  -o  a  coirfl'inat  ion  of 
material  will  be  ncc'kd  to  ma.ke  un  to  t  v.-o  inche-.  or  twel\-e 
])icas.  Th.e  ])aec  is  sex'en  inche-  long,  therefore,  the;  material 
to  1)C  used  in  the  backs  must  not  be  le.-;-  than  fort}--1wo  picas 
lorn:.     It  should  be  Ionizer.     If  ffiv-em  ])ieces  are  the  nearest 


IMPOSITION  185 

you  have,  use  them.  Make  up  eight  sets  of  the  combinations 
twelve  picas  wide,  and  place  one  set  in  each  back  throughout 
the  form. 

Next,  make  the  distance  from  the  foot  of  ])agc  i  to  the  head 
of  page  8  ex;;ctly  nine  and  one-half  inches.  This  will  leave  two 
and  one-half  inches,  or  fifteen  ])icas,  as  the  distance  between 
lieads.  The  width  of  the  page  is  four  inches,  or  twenty-four 
I'jicas.  ]Make  uj)  eight  combinations  of  metal  furniture  23X15 
picas.  Furniture  twenty-three  picas  wide  is  used  so  that  the 
pages  will  not  l)ind.  Place  tlie  material  in  the  eight  heads 
througliout  the  form. 

Now  measure  from  the  left-hand  side  of  ])age  i  to  the  left- 
hand  side  of  page  13.  This  shou'd  be  twelve  and  one-half  inches, 
or  just  half  the  sheet.  This  will  leave  two  and  one-half  inches, 
or  hftecn  picas,  between  ])ages  16  and  13.  Deduct  the  width  of 
the  bar  (let  us  assume  that  it  is  one  inch,  or  six  picas),  and  ])lace 
one-ludf  of  the  renuuning  amount  on  each  side  of  the  bar. 
This  will  be  three-quarters  of  an  inch,  or  four  and  one-half  picas. 
Do  not  place  metal  furniture  alongsble  of  the  bar;  use  a  six- 
point  reglet  along  with  the  four-em  furniture. 

Next  measure  from  the  foot  of  page  i  to  tlie  foot  of  i)age  7. 
This  should  measure  nineteen  inches,  just  one-half  of  the  sheet. 
The  same  amount  of  material  will  be  needed  here  as  alongside 
of  tlic  other  bar — four  and  one-half  ])icas.  Put  a  4X23-em 
piece  at  the  foot  of  each  ])age  and  a  six-jioint  reglet  on  each  side 
of  the  bar.  If  there  should  be  folios  at  the  bottom  of  the  pages 
near  the  sliort  bar,  do  not  measure  to  the  folio,  but  to  the  last 
line  of  the  i>agc.     Let  the  folios  go  into  the  margin. 

All  the  m;!terial  has  now  been  placed  inside  the  form.  Place 
wooden  furniture  ;i!ong  the  outer  sides  of  the  })agcs  and  wooden 
furniture  at  tlie  foot  of  each  outside  i');ige.  Place  one  ])air  of 
quoins  at  the  foot  of  each  ])age,  and  two  pairs  on  the  side  of 
each  page.  Remo\-e  tlie  strings  from  tlie  four  jxiges  in  one 
((uarter-scction  of  the  chase, 'oeginning  ni  the  page  nearest,  the 
center.  Finish  one  quarter-section  before  ]:)roceeding  to  the 
next.     As  tlie  string  is  removed  from  each  page,  close  the  furni- 


i86  rKL\TiX(; 

lure  around  it  and  push  it  toward  the  center  of  the  chase. 
Wind  the  strin.L,'  carefully,  as  descriijed  in  Section  37,  unless  the 
strin.LTS  are  to  be  retv.rned  to  the  maker-up  for  immediate  use.* 

After  all  the  st -in:.'?  ha\-e  been  remo\'ed,  and  the  pa.ces 
pushed  toward  the  center,  ])lace  enough  \vooden  furniture 
l)et\veen  tlie  fjuoins  ind  the  chase  to  just  fdl  the  space.  Look 
across  the  heads  of  die  pa.L'cs  and  see  if  they  line  up.  If  not, 
put  in  enough  mateiial  to  make  them  do  so.  A  lon,^  straight- 
edge  is  an  excellent  hing  for  this  ])urpose,  but  be  sure  that  the 
two  end  ])ages  are  be  th  of  the  proj)er  length  before  testing. 

Idle  raioins  shoul  .1  be  placerl  so  as  to  drive  toward  the  bars. 
(See  Figs.  94.  (lO.  and  97. j  Force  the  C|Uoins  together  as  tightly 
as  i)0s>ible  with  the  fmgers,  plane  the  form,  and  tighten  the 
c|uoins  with  a  key.  Do  not  tighten  each  quoin  to  the  full  limit 
at  once,  howe\"er,  but  go  o\-er  the  whcde  form,  beginning  at  the 
bottoms  of  the  ])ages,  tigditening  each  one  a  little  at  a  time,  until 
the  whole  form  is  tightly  locked  up.  d"o  lock  a  cjuoin  to  full 
limit  at  once  would  lia\"e  a  strong  tendency  to  ''spring''  the  bar. 
Do  not  plane  the  form  ajtir  it  i>  loektd  up.  The  lock-uj)  may  be 
tested  by  ])ropping  up  one  side  of  the  form  and  trying  to  push 
the  letters  down  with  the  lingers. 

If  a  proof  of  the  form  is  refuiired,  lock  the  form  just  tightly 
enough  to  ])re\'ent  the  letters  from  ])ulling  out,  and  then  pro- 
ceed to  beat  oiT  the  j  "(x.  f  as  ciescril)ed  in  Section  27.  Fach  pair 
of  pages  Ixing  back  to  back  throughout  the  form  should  be 
proved  on  a  single  ^heet.  Then  when  the  proofs  are  lifted  they 
may  be  folded  together  like  a  book. 

161.  Pages  Out  of  Center. — The  description  just  gi\en  was 
for  t)ages  centered  on  the  sheet.  Quite  a  number  of  our  best 
t\'pographical  i")roductions  are  imposed  out  of  the  center.  Some 
t\'])OL:raphers  make  the  head  and  back  margins  the  same  and 
allot  hfty  ])er  cent  more  margin  on  the  outside  of  a  ])age  than  in 
the  b'ack,  and  one  hundred  per  cent  more  at  the  foot  than  at  the 

*  If  tit-ufi  ^luL's  hru'c  been  used,  there  is  no  need  to  remove  the  string's; 
but  allov-;in(e  for  tlie  slues  must  be  made  in  the  amount  of  material  used 
betv. een  the  })ages. 


IMPOSITION  187 

head.  This  means  that  if  the  margin  of  the  page  is  four  picas 
at  back  and  head,  it  will  be  six  picas  on  the  outside  and  eight 
picas  at  the  bottom.  As  each  back  margin  is  four  picas  the  dis- 
tance between  backs  will  be  eight  picas.  If  one-quarter  inch  is 
allowed  for  trim,  then  the  distance  between  heads  must  be 
eleven  picas — eight  picas  for  the  two  margins  and  three  picas 
(one-half  inch)  for  trim.  After  the  head  and  back  margins  are 
in  place,  make  the  distance  from  page  i  to  page  7  equal  to  one- 
half  the  sheet,  then  make  the  distance  from  page  i  to  page  13 
one-half  the  sheet,  as  described  in  the  next  section.  The  bal- 
ance of  the  form  is  made  up  as  described  in  Section  160. 

The  relation  of  margins  for  pages  out  of  the  center  is  not  the 
same  in  every  office,  but  the  method  described  is  the  proper  one 
for  imposing  pages  with  unequal  margins. 

162.  Making  Up  to  the  Paper. — Order-blanks  sometimes 
specify  the  trimm.ed  size,  and  state  that  the  form  is  to  be  made 
u])  to  the  paper.  In  this  event,  make  up  the  back  to  the  trimmed 
size,  then  fold  the  sheet  in  half,  each  way,  and  measure  from 
page  I  to  page  13  for  the  narrow  way,  and  from  page  i  to  page 
7  for  the  long  way.  Put  enough  material  each  side  of  the  bars 
to  just  equal  the  size  of  the  folded  sheet. 

163.  Lay  of  Forms. — As  has  been  said,  forms  come  in  mul- 
tiples of  four.  Diagrams  of  the  four,  eight,  twelve,  twenty,  and 
twenty-four  are,  therefore,  given  in  Figs.  108-114.  The  sixteen 
has  already  been  fully  explained.  See  also  Fig.  116.  The  lay 
of  a  form  containing  any  number  of  pages  may  be  determined 
as  described  in  Section  158,  or  the  student  may  consult  some 
more  pretentious  book. 

Figs.  108  and  109,  showing  various  methods  of  laying  the  four 
and  the  eight,  are  so  obvious  as  not  to  require  any  detailed 
explanation.  It  will  be  observed  that  the  long  four  is  the  same 
as  the  square  four  except  that  pages  2  and  3  have  been  swung 
around  to  come  side  by  side  instead  of  being  head  to  head. 
The  same  thing  prevails  in  the  square  eight  and  the  long  eight. 
The  halves  of  the  square  eight  are  side  by  side  instead  of  foot 
to  foot  as  in  the  long  eight. 


z         e 

□  D 


PRINTING 


Orliipfr-fdKe. 


Orlpper-eclRp. 


Square  Four.  I^'ir^K   Four. 

Fig.   ioS. — Three  Ways  of  Laying  a  T'our-page  Form. 


Loni,'l'nur     lai'l  iTisi''.e  out. 

Useful   v.hen    p:iKe    four    is 

hlai;k. 


I-           5 

u  u 

!l            V. 

1           s 

7            2 

■"_ZI' 


(;rlpp(.r-fdk;e.  C;rli)p(T-i-d-p. 

Srjuare  Eij;ht.  Uoni;   Eii^ht. 

Fig.    log. — The  Square  lught  and  the  Long  Light. 

The  Twelve. — There  arc  sc\  oral  \vry.>  of  im])osii\s.,'  the  twelve. 
It  ma\-  be  laid  so  as  to  foM  without  cu1tin,L^,  or  it  mav  he  ])rinted 
and  then  cut  a])art  hefore  fohlini;;,  one  section  insettin,^  the  other. 
Fi,<f.  I  lo  shows  a  re,ii;ular  twelve.  This  sheet  is  folded  over  and 
()\-er.  There  should  he  fohhn.t^-niarks  between  ])a.!:jcs  2  and  5, 
and  the  sheet  should  be  folded  a  little  bit  scant  of  the  mark  to 
a\'oid  crimi)in,<ji;  the  ed,i;e  of  the  sheet,  when  making  the  second 
fold.  When  the  lwe]^•e  is  imjjosed  as  showi^  in  Fi,Lr.  t  i  2  it  may 
be  cut  apart  and  folded  as  a  four  and  an  ei,<i;ht,the  ei,Ldit  insettin.c; 
the  four,  or  it  ma\'  be  folded  without  cuttin,Lr,  both  outside 
fours  Itein.i^  folded  out  insli'ad  of  in.  The  d  is;;  chant  aire  of  this 
arran'j;emen1  is  tliat  the  sheet  niusl  Ijc  turni'd  for  th.e  second 
foil ;  it  ha<  the  ad\'antajj;e,  howe\er,  of  ax'oiding  tlte  c  rim[)ing  of 
the  r.lLre  of  the  >heet. 


IMPOSITION 


189 


It  will  be  noticed  that  in  Figs,  no,  in,  and  112  the  same 
four  pages  always  come  side  by  side  in  the  rows,  the  only  dif- 


9         L      •      a        9 


^IG.  no. —  Regular  Twelve, 
Folded  0\er  and    Over. 


9 

3 

11) 

9 

4 

1 

12 

U 

r— 1 

Fig.    III. — Twelve     Pages 

Worked    as  an    lught    and 

a  Four,  the  Eight  to  Inset 

the  Four. 


Fig.  1 1 . 


.V  Forra  of  Twelve. 


This  may  be  folded  '.vithout 
cutting,  or  it  may  be  cut  apart 
and  folded  as  two  forms,  the 
ei^ht   inscttiiif;    the   four. 


ference  being  in  the  positions  of  the  rows.     Inasmuch  as  the 
forms  work  and  turn  {tumble,  see  Section  164),  and  are  then  cut 


IQO 


PRIXTIXG 


apart,  the  two  halves  in  each  form  could  be  reversed  and  still 
back  up  properly.  In  fact,  any  form  whatever  can  have  its 
halves  reversed  if  they  back  each  other. 

The   Twenty. — Fi<i;.   113  shows  two  ways  of  imposing  the 
twentv. 


14       !       i:i 


n 


III        n  n        6 


n' 


5        n;  15       f, 


20 


19 


Twenty-paKC    Form. 
To  lie  cut  a;)art  a:i'i    folded 
as    two     separate     forrr.s.     the 
six*!-',-!!  insetting  the  four.    The 
shi-i-t  must  h'e  tumbled. 


I 

u 


Twenly-paKe   Form. 
To   he  lut  apart  ami  folded 
separately,  the  twelve  insetting 
the  eiv;ht.      The  sheet  must  be 
tumbled. 


Fk;.    113.  —  Two  Wa_\-s  of  Imposing  a  TuentN'-page  Form. 


The  Twenty-four. — There  are  many  ways  of  im])osing  the 
twenty-four.     One  arran,!.,'emenl  is  sliown  in  Fi,t^.  114. 

164.  Folders.  l''i.^.  115  shows  the  kiy  of  a  six-pa,ye  and  a 
twel\-e-pa,f^'e  folder.  This  l\'pe  of  folder  is  sometimes  calk'd  a 
''cat-step"  or  "pull-out  "  folder.  It  may  consist  of  an\-  numlier 
of  ])a^es — four,  six,  ei^ht,  ten,  IweKe,  etc.      The\'  ari'  all   laid 


IMPOSITION 


IQI 


in  exactly  the  same  manner.  Beginning  with  page  i  in  the  lower 
left-hand  corner,  make  page  2  back  it  up  head  to  head,  then  run 
consecutively  across  the  top  from  left  to  right,  come  into  the 


— 

L'() 

17 

s 

7 

1^ 

19 

fi 

1 

L 

1 

'J  I 

13 

lli 

u 

14 

2:3 

2 

Fig.   114. — A  Twenty-four,  Withoi.t  Cutting. 

bottom  row  at  the  right,  and  linish  consccuti\"eIy  from  right  to 
left.     7'his  brings  the  last  page  alongside  of  page  i. 


U 


Hcail  tM  Head. 


lU 

.1(1 

Ic 

.1(1. 

1        t;        o 

Grlpper-e(i«e. 
Si.x-page  roWif. 


1  1_'         11         11)         9 

Orlpixr-edtje. 

Twelve-p.'ige  Folder. 


Fig.   115. — Showing  the  Lay  of  Cut-step  Folders. 


The  folders  cut  apart  between  heads,  the  printed  sheets 
being  folded  over  and  o\-er.  As  there  is  no  trim  allowed,  the 
sheets  must  be  \-ery  accurateh"  cut.  The  margins  between 
pages  should  be  made  u])  to  the  folded  size. 

In  ])acking  u|)  a  form  of  this  kind  the  sheet  is  turned  over 
from  top  to  lx)ttom,  not   from  right  to  left.     This  method  ol 


102 


PRlXTIXCi 


c 

SI 

10 

II 

1  1 

_ 

S 
1 

Hi 

_ 

4 

01 

r 

_ 

9 

II 

14 

I 

s 

I- 

1-' 

Regular   Sixteen. 


Iir.poseii   lioin    Ceiiler. 


1 

r, 

u 

ir, 

1 

n 

111 

!  I 

1 1 

s: 

!»t 

I 

t 

!:i 

i  2 

111 

^ 

1  T 
14 

Pnr    I)e\'cr  S:; 
M:ir);;::a!   l!<",k    1- 


I'm-   Dev-rr   I'eri.  ..iic:.! 


l-'ic.    ii''.-I'our  \\'a\'S  of   ^nlp(l^ill■J:  ;i   Si\tcH'ii-p;iL;o    I'drni. 


Xr.ti 


-T-  -fi  •  1.  in 


iH.sr;-:;   m 


ni  POSITION  193 

turnin,c^  a  sl^ect  is  called  '''lunihlin.G;."  These  folders  must  be 
tumbled.  But  in  makin.ii;  up  other  forms  ne\-er  plan  for  a  tum- 
bled sheet  if  it  can  be  avoided,  for  any  \-ariation  in  the  size  of  a 
-heet  will  ])ut  the  ])a'j;es  out  of  re^i^ter. 

165.  Machine-fold.  l'"oldin;j;-machines  do  not  all  ])erform 
tlieir  work  in  exact!}'  the  >ame  wa\'.  It  i<  fre(|uently  necessary 
t(j  consult  the  binder  and  ha\-e  him  mark  a  sheet  for  folding. 
Xearly  all  machine,-  refjuire  the  forms  to  be  kdd  inside  out.  A 
work-and-turn  T()-])a,L:e  form,  can  I)e  laid  in  four  different  ways 
and  still  fold  correctly.     Sec  I'hj:.  iiC). 

166.  Signatures,  .\fter  a  book  ha-  been  ])rir.ted  the  sheets 
;ire  folded,  .uatlieri'l.  and  bound.  hach  sheet  n-.akes  one  sec- 
tion (A  the  hook,  au'i  i-  calk'd  a  s'rj^iialityc.  On  the  tirst  page  of 
each  >eclion  th.ere  i-  a  smah  figure,  aho  called  a  signature, 
placed  there  as  a  guide  to  the  binder  in  colkiling  the  sections, 
each  section  being  mimi;crc(l  con-ecuti\x'l\-.  If  each  section  in  a 
book  contain-  sixteen  pages,  a  .-mall  ligure  will  sometime-  be 
foimd  on  jiages  17,  ;^:;,  ..](),  65.  etex,  throughout  the  book. 

Sometimes  in  colkitina'  a  book  the  bookbinder  n^iy  gather 
two  shet't s  in<ti';id  of  on(x  or  m;iy  mi-phice  some  of  the  signa- 
ture-. To  ob\i;;te  thi-.  mark-  ai'e  fre(|uentl\'  printed  in  the 
back<  between  the  two  out-ide  p:ige-  of  ;i  foi'm.  '['his  is  done 
^^■ith  ;_i  liea\-y  rule,  which  is  placed  in  a  new  position  for  each 
form.     W'h.en  the  -ign;;ture-  are  collated  thev  resemble  Fig.  117. 


Fig.    117. — I)i;i:,'r:im   SIiowinL^   ( 'i)lI;itinLr-m:irks  on    Ma-,  k-  of   SiLaKiturcs. 

If  a  sign;iture  i-  mi--lng.  mi-j)laced,  or  du])licated  the  error 
can  be  ddt'cied  at  a  glance. 

167.  Insetting,  form-  arc  -ometime<  im])o-ed  so  that 
after  a  -licet  i-  ]irinlc(l  ;ind  (ail  :q)ait  one  ]):n-t  will  in-et  the 
other.      I'or   e\a!ii])l(x    ;i    t  wrKx'-pa'ie    lorm    ma\'   con-ist,   of   an 


194  l'Rl.\ri.\(, 

eij^'hl-pc^Q;e  form  and  a  fi)ur-])a,iie;  a  twcnty-pacje  form  may 
consi.-.t  ()[  a  sixteen  and  a  four  or  a  twcKc  and  an  eiti;ht;  a 
twenty-four  may  consist  of  a  sixteen  and  an  ei,L!;lit.  Whenever 
forms  are  imiiosed  in  this  way,  arrange  to  ]vd\c  the  larger  form 
inset  the  smaHer;   it  is  easier  for  the  hinckT. 

i68.  Press-points.— On  some  foldin,^-macliines  the  sheets 
are  fed  to  points  as  a  ,^uide  for  correct  mar,<:;ins.  When  these 
are  rerjuired,  t!ie  ]>ress-p()ints  are  screwed  into  wooden  furniture 
in  the  form  and  arranged  to  make  a  strong  mark  in  the  head 
margin.  Tliey  are  usuall}'  ])laced  lifteen  inches  a])art — scA'en 
and  one-half  inches  each  way  from  the  center  of  the  hrst  fold, 
(iet  the  i)roper  plac'e  and  distance;  fron;  the  Itindcr. 

169.  Other  Forms,  it  is  not  to  'he  understood  that  the 
various  forms  gi\en  in  this  cha])ter  are  the  only  ones  capable  of 
being  ])roi)erly  folded.  There  are  many,  many  (iliers.  Forms 
u])  to  i2(S  ])ages  are  not  uncomnTon.  Forms  are  frequently 
worked  iu'o-oii:  that  is,  two  sets  of  the  san^e  pag'cs  are  printed 
in  one  form  and  so  arranged  that  after  folding  and  Ijinding 
two  complete  copies  are  ol)taine(l,  thus  cutting  down  the  cost 
of  binding.  Manufacturers  of  folding-machines  issue  diagrams 
showing  the  x'arious  forms  c;!]>able  of  being  folded  on  their 
machines. 

170.  Proper  Lay  of  Lengthwise  Forms.  When  t}-pe  pages 
or  illustrations  are  imposed  si)  that  they  run  lengthwise  of  the; 
page  of  the  book,  the}'  should  read  up  the  ]);!ge.  This  will  place 
the  head  of  the  ])rinted  matter  to  tlie  left-hand  side  of  the  page. 
This  follows  for  both  righl-h.and  and  left-hand  ]>!ges. 

171.  Folding  Heavy  Paper,  If  a  job  is  be'ng  ])rinted  on 
hea\'\'  ])a])tT,  it  i-  iindxisabie  to  ha\e  the  signatures  made  up  of 
a  great  number  of  ])ages.  for  hea\y  ])a])er  has  a  tendency  to 
crimp  and  break  where  the  backs  join  the  heaals.  IJetter  i)rint 
the  form  a^  two  >ignaturcs,  one  insetting  the  other. 

172.  Chases.  Fig.  i  iS  shows  an  ordinary  bo()k  chase  and  a 
AIc(ircal  ('(/mbinat  ion  ("hase.  The  .Mc(ireal  chast'  is  an  es])e- 
cial!\-  ingenious  arra.ngement .  As  will  be  seeii.  the  chase  is 
made  up  of  ra'parate  barii.     Tliese  bars  cuuic  iu   Icnrllis  from 


IM  POSITION! 


T95 


four  to  sixty-two  inches,  all  iiiterchan'^eable,  so  that  with  a  few 
assorted  sizes  a  printer  can  make  up  a  chase  that  will  just  fit  his 


r~ 

_ 

\ 

i 

i 

i 
1 

L 

J 

Vu'..  I  iS. 


yiH'S(>f  linok  Cha- 


form,  thereli}'  obtaining  a  belter  lock-up  than  would  be  the  case 
if  the  chase  was  out  of  all  ])r(iporti()n  to  tlie  size  of  the  job. 


or  b 


orKsrioxs  ox  chai'ti-r  xi 

What  do  \'ou  u  mi  erst  and  hy  "  i'nposilion  "  ? 

\\  hy  arc  forms  usual!}-  made  up  so  as  to  Ije  in  inultij)k'S  of  four  ? 
What  is  a  work-aud  turn  fnrm  ? 
W  liat  i<  a  sliL-ctwisc  form  ? 
\\  liat  is  an  insert  ? 

Wliat  do  \-()u  imderstand  b>-  saddle^stitch.cd  ? 

\\'h>-  is  it   important  to  l^no'.v  wlieilu-r  a  job  is  to  l)e  folded  b\-  liand 
maehine  jjefnre  tile  lorni  is  imposed  ? 
W  liat  do  _\'ou  undei'stand  Ir;  mar^dn  ? 

On  how  mail}'  sides  of  a  pau'e  of  a  hook  is  trim  usua!l\-  allowed  ? 
Why  is  il  that  a  hook  requii'e-  trimmiiiL,'  and  a  eircular  does  not  ? 


io()  rkixnxd 

11.  IIf)\v  wciulil  you  (k-terminc  the  hack  mar,t;in  l)ct\veen  two  pages  if 
they  were  of  e(|ual  >\/a- :'    il   n;   uin(|ual  ,-~i/A' .-^ 

12.  What  do  ><)U  undeistaiKi  1)_\-  making  up  to  the  j)aper  ? 

iv  I)rseril)e  how  you  would  determine  the  lay  of  a  form  b\-  fokling 
and  marking  a  dummw 

1  ;.    Name  tin-  \ariiiu-  p.'irts  of  a  form. 

15.  ("an  you  ;k.in!;  uf  r-(in:e  reason  wliy  tlie  two  mi(klie  l)ages  and  the 
two  outsiik'  pams  of  t\ir\-  form  always  come  liead  to  liead  ? 

1(1.  When  inipn-ini:  a  pair  of  pages  with  the  fo(;t  of  each  I)age  toward 
you.  is  the  unc'.en  folio  to  the  k-ft  or  to  tlic  riglit  ? 

17.  What  is  a  diase  ? 

iS.   How  are  cha.sc  l)ars  inserted,  from  the  top  or  the  l)ottom  ? 

iQ.  liow  s'iouM  cha.^e-liars  Ite  remo'.'ed  ?  What  will  happen  if  the\- are 
forced  in  liic  w  I'oru;  dirci  lion  ? 

20.  Xame  tl;e  relali\X'  cuh'antag^es  and  disacK'antages  of  metal  and 
wooden  furniture. 

21.  Dr.aw  a  diagram  of  a  i^-jiage  form  showing  the  ])ages  in  proper 
[')o^ition  for  iian<l-fi-]ding.  Mark  all  ik.e  different  parts  of  the  form,  and 
show  the  (|uoins  in  proper  position. 

22.  W'h}'  should  we  l)(;gdn  with  tile  quoins  at  the  bottom  of  piages  when 
locking  u])  a  foriu  :' 

2^.   \\h\  is  it  \\:-onu  to  plane  a  form  after  il  is  locked  up  ? 

24.  W'lu-ii  Ijcai  ing  (iff  a  proof  nf  a  form,  w  hat  ad\antage  Ls  there  in  having 
eai  h  {)air  ui  [Kie'is  o!i  a  single  sheet  ? 

?■;.  Wlia.t  i-  a  cit  >lcp  or  |nilkout  folder  ?  Why  is  it  not  laid  the  same 
as  other  toldcrs  .•' 

20.   W  lial  i-  a  si'/natur(.'  ? 

27.  What  expedient  i-  sometii.ies  resorted  to  to  insure  accurac)'  in 
eoilal  ing  --ignatuie^  :' 

25.  W  lial  i,-  iic-ei  ting  ? 

20.   \\  hat  are  press  points  ?     Why  are  they  used  ? 

30.    IIiiw  sliDuld  leML't  iu'>  i>e  pag^es  read,  up  or  down  the  page  ? 

,^r.  What  is  1  he  di-ail\  anlage  in  iia\  ing  a  great  number  tif  ])age3  printed 
on  a  heavy  sheet  oi  iLipei'.  and  folding  u]i  as  oni'  foiau  ? 

v'.  What  advan'ac'es  does  tlie  .McCireal  Combination  C'hase  possess 
o\  er  the  oi-iliii.ir\"  kind  :' 


ciiapti-:r  xit 


CUTTIXGTOOLS   lUK   I'l^IX  rKRS 


173.  Miller  Saw-Trimmer.  —The  great  slogan  ot"  llie  day  is 
"cfficienc}',"  and  inventors  are  vying  with  each  other  in  e\-ery 
branch  of  the  printing  Inisiness  to  i)r()(hice  tools  that  will  curtail 
labor  and  increase  out])ut .  Wliereas,  a  decade  ago  a  printer  was 
conipelled  to  send  to  an  electr()tyi)cr  for  ^ 

the  various  odd  jobs  of  sawing,  cutting, 
trimming,  mortising,  beveling,  routing, 
and  dressing  up  material,  nearly  exery 
large  office  now  h;:s  a  single  machine 
that  will  do  all  of  these  things.  Tlie 
]\Liller  Saw-Trimmer  (I-'ig.  119)  is  a  ])io- 
ncer   in  this    cl;;ss   of  t()t)ls. 

Anv  iirinter  owning  a  machine  of 
the  above  t\'[)e  is  no  longer  imder 
the  necessity  of  cutting  leads,  slugs, 
and  rules  singly  on  the  lead- cutter. 
These  things  may  be  cut  in  luilk,  and 
the\'  leave  the  machine  accurately  and 
])crfectly  cut,  and  there  is  no  necessity 
for  further  (lres>ing  up  before  using. 
Tvpefounders  cut  aU  their  material  with 
metal-slitting  saws. 

174.  The  Lead-cutter, — No  office  is  com])lete  witlioiit  a 
lead-cutter.  It  is  the  most  useful  i)iece  of  mechanism  about  the 
office,  and  at  the  same  time  the  most  a])used.  I-'ig.  120  shows 
the  American  Lead-  and  Rule-cutter.  As  its  name  implies,  it  is 
for  cutting  leads  and  rules.  Leads  are  cut  ofi  the  front  of  tlie 
machine,  slugs  and  rules  on  the  back.     There  is  a  limit  to  the 


i'^iG.  1T9. — Miller 
Saw-Trinimcr. 


107 


loS 


i'Rixri\(, 


aniount  oi"  strc->  that  can  I'c  j)Ut  on  any  piece  of  mechanism. 
Thcrctofc  the  direction-  liere  L;i\-en  I'or  u-in,L:  the  lead-cutter 
will  he  dex'oled  more  lo  what  !u>t  to  do  than  to  what  to  do. 
The  actual  melh<Ml  ot'  -etlinu'  and  usinu^  tlie  cutter  is  oh\-ious. 
hut  the  author  ha-  -eeii  >o  many  l"ooli.-h  thincis  done  on  a  lead- 
cutter,  hoth  1)\-  apjirentice-  and  juurne\-men,  that  he  mu>l 
sound  a  warning'. 

Do  not  try  to  cut  >teel  rule  on  a  lead-cutter:  use  a  three- 
cornered  tile  for  .-uch  worh.  and  <lre-s  the  i)iece  to  size  anrl  per- 
fect hni>h  with  a  ilat  h!e.  Kememiter  that  thie  machine  is  a 
/m/(/-(  utter,  not  a  -teel  taittcr.  Kememher,  al.-o,  that  mitering- 
machines  are  not  to  he  w-rd  for  tliis  jiurjjose. 


Ii...   I.e.      .\ri:rri..,i.  l.^ad-  .-la  R./a 


XexaT  tr\-  to  eut  n;ore  th.an  one  lead  at  a  time.  If  \  ou  do, 
\-(ai  will  hend  the  end-  of  tlie  lead.-.  ;.nd  th,e\'  will  he  umit  for  use. 
If.  vdieii  cutting  a  -iiiLde  lead,  the  end  i.-  crimped  or  di-licd.  it 
!-  a  -ign  that  the  kiufe  need-  adju-'ing. 

.\e\er  cut   -lug-  on  t!;e  front  of  the  machine,  you  can  get  a 

h'etter    !e\"er:.'_:t;   (  ill    tile    liack. 

Xe\-er  ::tten  jit  t'l  (a'  a  -lu;_'  thicfaT  tlian  tweU'c  jioint-, 
uiae--  the  n:.,t  Idne  i-  iiuilt  for  l";e.A-\-  ^er\  ice.  In  fact,  twehce- 
]M'im  -Iul:-  :n:\"  he  loo  thich  f' if  -una;  cutter-.  I)o  not  rel\-  on 
\'our  iudirmt-nt  ;    ^-k  -ona;  e\perie!a  ed  •Ani'kman. 

Linotyjie  ^h;i:-,  ahicli  are  u-uai!\-  -ikter  ti;:,;i  regular  -Im:-, 
m::\'  he  cut  on  tla-  :i\'eraLre  cuta-r  il  ni't  aim-.e  laei\a'  [xiint-.  If 
ir.uch  of  thii-  ^^■ork  i-  done.  lioweN'er,  a  .-pecial  -lug-cutter  should 


CI  iriNC-TOOLS    FOR   PRIXTKRS 


199 


be  ])ro\-icle(l.  These  are  built  on  tl^c  same  |)rincii)le  as  a  lead- 
cutler,  but  are  ver\'  j^tron.^ly  niiule.      (Fi,^.  121.) 

The  blank  ])arts  of  linot}'i)e  slu.i^s  are  but  sli,^htl\-  lower  than 
the  face  of  the  t\'])e.  If  the  t}'j)e  mailer  is  \er\-  o[)en,  the 
rollers  will  louch  the  slu,<i;s  and  lliey  will  print  on  the  sheets. 
To  olniale  this  it  is  fre(|uently  necessary  to  cut  li.e  slu.tfs  away 
so  that  llie\'  will  not  ])rint.  d'his  is  sometimes  done  on  a  lead- 
cutler,  sometimes  with  a  coarse  tile.  If  much.  lii:olype  work  is 
done  it  will  pay  to  have  a  Barber  Low-slu<^  Trimmer  for  this 
purpose. 

Rule  u])  to  four  points  thick  may  safely  be  cut  on  a  lead- 
cutter.     The  operatiom  will  \'ery  likel}"  dish  the  ends,  so  it  is 


Vic..  121. — Ruu.-c  (ir  AnK-rium  .slu"-riittcr. 


advisable  to  cut    the  rule  a  few  points  lon,L,'er  than  actually 
needed  and  then  dress  it  to  size  on  the  miterint^-machine. 

It  is  soU'Ctimes  necessary  to  cut  ])ieces  of  leads  to  some  point- 
size  other  than  mullii)les  of  pica.  Some  machines  have  gauges, 
graduated  to  points,  that  ca.n  be  set  to  accom])lish  this  ])urpose. 
If  the  machiine  does  not  j)ossess  this  de\  ice,  any  regular  type  of 
machine  may  be  made  to  do  the  sanie  thin^.  Su])pose  a  num- 
ber of  ])ieces  thirty-four  ])oints  lon^  are  wanted:  make  uj)  some 
combination  of  spaces  and  (■^uads  to  e(|ual  thirty-four  ])oints. 
Set  the  gau,a;e  at  any  i)ica  measure  (say  twenty  ems).  Put  the 
coml)ination  of  spaces  and  quarls  against  the  gau,£;e,  insert  a 
piece  of  lead  (not  labor-sa\-ing)  about  eighteen  cms  lon,g  and  cut 
otT  the  end  of  the  lead.  Xow  remo\-e  ihe  cjuads  and  s})aces, 
push  the  lead  back  against  the  gauge,  and  use  the  lead  for  a  ne^Y 


joo  I'RIXl  i\(. 

!4aii,m'.  'I'lir  dislaiKi'  hct  w  rcii  the  c\u\  of  tht'  lead  and  (he  knife 
is  now  just  thirl)'-l"i)ur  poini-.  .\ii_\-  si/A-  lead  can  Ite  cut  in  this 
way. 

175.  Mitering-machine.  MitcTinLi;  a  rule  is  euttiuL:;  the 
end  of  it  to  a  he\cl  so  ihal  wlien  a  ri^lit  and  a  left  miter  a,re 
joini'd  lOj^ether  they  will  [)i"o{luice  a  corner  willi  a  t'erlain  an,<^le. 
If  a  ninet  \'-(leii'ree  corner  is  dc-;drcd.,  botli  miters  must  l)e  at  an 
an,^le  of  forl\--l"i\"e  de;!,i-ee>.  X'arious  forms  of  mitei'in^-machines 
ha\"e  from  time  to  liiiu-heen  deN'ised  lor  this  purpose;  some 
{)raclical)!e,  some  inipract  ica])h'.  l''or  manv  }-ears  (wo  ditfercMit 
types  of  machines  I'emadned  in  ])uhi|ic  fax'or -the  horizontal  and 
the  vertical.  The  horizontal  i^  known  as  (lie  ''.Mitcliell  Alit.er- 
in^L^-macliine."  It  has  ,ij;raduadi\-  keen  sui)])lantc'd  ky  the  ver- 
tical or  upii^ht   t\'\)v,  and  is  no  loULrer  manufactured. 

The  i)roper  miter  on  a  Mitchell  machine  is  secured  ky  the 
use  of  a  knife  irroup.d  to  (he  ])roi)er  kexcl,  a  set  of  knixx's  accom- 
pan\an,!j;  each  machine.  On  tlie  upriichl  maclune,  howt^\ cr, 
there  is  kut  oik-  knife,  :'.nd  the  pi-(>['er  miter  is  secured  ky  sldftin;; 
the  ,ii;auji;ed)a.r  around  the  arc  (U"  a  (  ircle.  The  kase  of  the^auu;e- 
k)ar  has  a  hole  in  it  aiui  is  pro\  ided  v.itli  a  i)in  whicli  nia\'  ke 
sli])i)ed  into  holes  in  tke  ked-plate.  When  the  hole  in  the 
j^'au,Li;ed)ar  comes  iii  liiie  with  a  hole  in  (he  ked-plate  and  the  |)in 
slipped  into  place  the  maclune  is  accu'-ately  set  to  miter  to  a 
certain  ke\'ei.  The  lio'.e^  in.  (he  ked-plate  iwc  lumikered.  If 
rule  for  a.  four-sided  korder  is  desiixc!  (lie  pin  m  s!i])])ed  in(o 
hole  Xo.  4.  'I'his  will  pi"0(luc(-  rules  of  (lie  i>r(>])er  mi(er.  If  a 
six-si(K'd  korder  is  de-ircd,  the  pin  i<  slii)])ed  into  hole  Xo.  (>; 
and  so  on.  'i'here  ai"c  two  >et-  o|  tmnikcred  holi-<,  -o  as  to  pro- 
duce ri,L:;lit  and  left  niilers.  I'hen  i~  (lui-  pi'ov  ided  a  (|uick 
mean>  of  oktaininsj;  au'.dc-  witkou!   makiuL^  calculations. 

'I'hc  .Mitclu-ll  machiiic  i<  c-]nciall\-  u>cful  in  cuttin;;  a,]iart 
or  miterinii  (kick  ruk-,  and  for  nioi't  i-iri'j;  letter-,  'kin-  ui)ri'j;ht 
machiiK-  i-^  u-t-ful  onk,-  for  mitci-inu"  and  for  dre:-.-in_t:;  material 
to  ~-iz(-.  'klie  iuali'|-i,il  mu-l  lii'-l  kr  cut  ai)art.  heads,  >1u,l!;- 
u]-'  (c,  I  I'll  1  loinl ,  and  rule  up  to  foiu"  point  ma\-  kc  cut  ap;ir(  on  a 
Icad-uitur       kulr  I  kickrr  I  k,i  II  fon!--p(iin(   >lionld  kc  cui   wi(ha. 


cu'i'j  i.\(.-i()()i.s  I'OR  i'Ri\ri;Rs 


20I 


hacksaw  and  drcssccl  to  size  on  the  ui)ri,irht  machine.  Tweh'C- 
])oint  brass  rule  is  about  the  hniit  that  should  l^e  attem,])ted. 
The  author  has  dressed  up  eight een-]>()int  rule,  l)ut  it  was  a 
hard  job. 

176.  The  Upright  Machine. — In  this  type  of  macliine 
(Fig.  T.?jj  the  knile  is  secured  to  a  knil'e-liolder,  whicli  is  mo\cd 
u\)  and  down  b\-  liand  in  two  slots  milled  in  the  body  of  the 
machine.  I'he  slots  are  wider  than  the  guides  on  the  knife- 
holder,  so  as  to  allow  some  \)\ay  sidewise.     This  is  important. 

When  using  the  machine,  the  knife-holder  should  be  moved 
to  the  right,  then  raised  to  its  highest  point,  then  moved  to  the 


I'"i(;.  \22. —  Rousi-  .MitiTiii,''-ni;i('him 


leff,  and  forced  down  to  make  the  cut.  The  amount  taken  off 
at  each  cut  is  determined  by  the  "set""  of  the  knife;  that  is, 
the  distance  it  projects  from  the  knife-holder.  One-half  a 
])oin1  (;ibout  0.007  inch)  is  about  right.  Hardl_\'  an\-  two 
machines  are  set  the  same  as  thi>.  It  is  a  matter  of  indi\idual 
preference. 

It  will  re;ulil\-  be  si'cn  that  each  cliangc  in  the  ''set"  of  the 
knife  will  alter  the  length  to  which  the  material  will  be  cut, 
unless  the  gauire  i>  adju-tt'd  to  meet  the  set  of  the  knife.  So 
far  as  the  autlior  i>  aware,  there  is  n.ot  a  machine  on  tbiC  market 
containing  this  es:-(.'nlial  feature.  I-nr  thir>  reason  the  com- 
po-^itor  is  warned  again-^t    relyinLr  on  an\-  machine  posse-sing  a 


202  I'KINTIXG 

''set '"  ,i:;iu<fc.  It  WcH  (loul)tlcss  all  ri.<i;ht  when  it  left  the  manu- 
facturer, hut  someone  may  ha\"e  altered  the  '"set"  of  the  hnife. 
Test  it.  The  machine  illustrated  iu  Fi^.  122  has  an  adjustment 
for  settii\L!;  the  ,^au,L:e  to  nuilti|)les  of  ])oints,  hut  it  has  no  means 
of  lirst  ad.justin^  the  ,L''au,La-  accuratel}'  to  pica  distances  from 
the  cutlin.ir-ed.ire  of  the  l.nife. 

When  usin,Lr  the  machine  do  not  slip  the  gau.^e  into  a  pica 
notch  and  proceed  to  cut  the  material  to  size.  .Someone  may 
ha\'e  mo\'ed  the  ])oint-;idjustment  a  point  or  t\vo;  ])erha])s  the 
knife  is  not  set  so  that  the  distance  hetwcen  cauue  and  knifc- 
ed.LH'  is  exactly  to  ])icas.  Test  the  knife-setting  before  using  the 
machine. 

To  reset  a  knife  so  that  the  ,s;au^^c  ^vill  he  accurate,  slip  the 
gauge  into  a  ])ica  notch,  place  a  tested  ])iece  of  lahor-sa\ing  rule 
the  same  length  as  llie  measure  of  the  gauge  again>t  the  gauge- 
bar,  and  set  the  knife  to  the  rule.  l"o  do  this,  place  the  knife 
looseh-  in  ])osition  in  die  knife-holder,  raise  it  until  the  knife  is  in 
line  with  the  middl  ;  (i  the  end  of  ihc  rule,  hold  the  knife- 
holder  firndy  again.-l  the  left-hand  side  of  tb.e  machine  by 
pressing  against  it  with  \'our  bodw  adju.st  the  knife  against 
the  end  of  the  rule,  and  clamp  it  securel\-  in  position. 

177.  Trimming  Material. — If  tiie  job  in  hand  is  simply  one 
of  trimming  lo  get  <tr;dglit  ends,  there  is  no  need  to  set  the 
gauge.  Wdien  u-ing  ilie  macT.ine.  ho\ve\'er,  there  are  sex'cral 
important  things  to  be  kipit  in  ndnd. 

The  proper  method  of  o]H'r:;iing  the  knife  is  to  swing  the 
handle  lo  the  right,  r.  i-e  it  to  fidl  1  ri-iit,  mow  it  to  the  left,  and 
make  the  down  >troke  firm  and  >Ie::d\'.  At  the  same  time  ])ress 
the  material  again^t  the  km'fe-holdcr  and  hold  it  tirm.h"  along- 
>ide  of  the  gauge-bar.  Contimie  cuttmg  until  .-Uibicient  material 
has  been  remowd.  When  bringing  the  knife  u\)  for  a  new 
stroke,  be  careful  not  to  rcb  the  knife  again.-t  the  material.  To 
do  .-o  ma\'  rub  a  burr  on  the  toj)  of  it. 

178.  The  Burr  on  Rule.— Xearl_\-  all  mitering-machines 
!ra\-e  a  lairr  on  bra.--  rule.  After  lini-h.ing  tlie  trimmini:.  turn 
th.c  rule  on  end.  bottom  towan!  the  knife,  and  trim  otT  tlie  burr. 


CUTTIXG-TOOLS   FOR   I'RIX'J'KRS 


203 


If  the  rule  is  lo  be  trimmed  on  botli  ends,  ])C  sure  to  trim  off  the 
burr  on  the  first  end  l^efore  trimmin,^  the  other.  If  you  do  not, 
the  burr  will  tilt  one  end  of  the  rule  and  the  other  end  will  be 
trimmed  at  an  an,L,de.  Compositors  who  are  in  the  habit  of 
producing  rules  trimmed  on  the  bias  alwa\-s  blame  it  on  the 
machine,  ne\"er  oh  themseh'es.     Remember  tJie  burr. 

179.  Trimming  to  Gauge. — When  a  number  of  pieces  of 

Left  haiKl  In<I.x-ti;;^'LT  liol.lin^'  ritamlard 
^  ruleu-uiiKt  ;_'augL-lMr  w  hili- Hiuiiib-serew  is 
'  N  l,eiiitr'ti'lai'iiL-abv  tliuiub  and  niiiUlle  linger. 
/  ■ 


i;i'-'ht  luiti'l,  'Holding 
knift-bur  up  ami  to  the 
left,  with  knife-edge 
midw.ay  of  the  rale. 


I'b 


rule  are  to  be  cut  and  trimmed  to  the  same  size,  cut  the  strips 
apart  on  the  lead-cutter,  leaxing  them  long  enough  to  allow  for 
trim  on  each  end,  for  the  lead-cutter  may  possibly  ''dish'"  the 
rule  or  l:)end  the  face  of  it.  Cut  enough  for  the  whole  job.  Take 
the  strips  to  the  mitering-machine  and  proceed  to  dress  up  one 
end  of  each  rule,  being  careful  to  remo\-e  the  burr, 


204 


TRINJIXC, 


Now  set  the  gaui^e.  T(.)  do  thi-  correctly  obtain  a  piece  of 
labor-saving  rule  (test  it  to  insure  accurac\-j,  ])lace  it  against 
the  gauge-bar,  raise  the  knife-hr)l(ler  high  enough  to  bring  the 
knife  to  about  the  center  of  the  labor-sax'ing  rule  (see  Fig.  123); 
while  holding  the  knife-holder  lirmly  to  the  left,  {jress  the  rule 
against  the  knife-edge,  move  the  gauge  against  the  rule,  and 
clamp  the  gauge  in  ])osition. 


J-'iG.  124. — Drc??inu  up  ;i  Sir.ull  Pi','' i-  dt  Ri:!c  "ii  a  J^litt  rinir^^Iacliinc. 


The  di-tcuu;c  bclwrcii  kiiitV-rdu;f  and  gauL'c  i-  now  cuicHy 
the  same  as  the  length  of  the  rule.  Do  not  make  the  mis- 
take of  placing  the  rule  ;:gainst  tlie  bod}-  of  the  knife-holder 
instead  of  the  knife-edge  vT.en  -ettini:  the  gauge:  if  }-ou  flo,  the 
rules  will  be  the  thickne--  of  one  cut  >horter  than  the  sam]>lc. 

When  a  rule  i.<  now  iikiced,  again.-t  the  gau.ge  it  will  be  -^een 
whv  it  is  uf^ce-^arv  to  haxa;  some  pla\-  -idcwise  in  the  uj^right 


CUTTIXC;  TOOLS    FOR    I'Rl.X  Tl'RS  205 

slots,  for  the  rule  is  longer  than  the  measure.  Hold  the  rule 
down  against  the  base  and  back  against  the  gauge,  and  con- 
tinue cutting  until  no  more  material  can  be  removed.  Stand 
the  rule  on  its  end  and  remo\-e  the  burr. 

Be  \'erv  careUil  not  to  strike  the  rule  on  the  up  stroke.  If 
you  do  it  will  trip  the  rule  and  jam  the  corner  against  the  gauge, 
thus  battering  the  face  of  the  rule  and  spoiling  the  piece.  A 
piece  of  rule  v/iih  a  bias  end  or  a  Ijattered  corner  will  not  make  a 
perfect  joint.     Both  delects  can  be  a\-oided  with  a  little  care. 

180.  Cutting  to  Multiples  of  a  Point. — If  a  piece  of  rule  is 
to  be  cut  to  some  multiple  of  points,  set  the  gauge  accurately 
to  picas,  and  place  enough  material  between  the  gauge  and  the 
rule  that  is  to  be  trimmed  so  that  the  rule  will  be  the  right 
length  when  linished.  For  e.\amj)le,  sup])ose  that  a  rule  two 
points  less  than  ten  picas  is  wanted.  Set  the  gauge  accurately 
to  ten  picas,  put  a  space  two  ])()ints  thick  in  front  of  the  gauge, 
place  tiie  rule  against  the  s])ace,  and  proceed  with  the  cutting. 
When  the  rule  is  llnishied  it  will  be  two  ])oints  less  than  ten 
picas. 

181.  Cutting  Very  Small  Pieces  of  Rule. — When  cutting  a 
j)iece  of  rule  that  is  x)  short  that  tliere  is  not  enough  space 
between  the  gauge  and  tlie  knife  for  tlie  insertion  of  the  fingers 
to  hold  the  rule,  set  the  gauge  to  a  wider  nieasure  and  use  a 
piece  of  rule  of  the  same  th.ickness  as  the  piece  being  cut.  This 
will  act  as  a  gauge.  The  distance  between  the  end  of  this  rule 
(which  we  will  call  the  ""gauge-rule"',)  and  the  knife-edge  is 
the  si/e  to  which  the  rule  will  be  cut.  Set  the  gauge  in  the  same 
manner  as  descriljed  in  Section  179. 

Tlie  author  has  cut  ])ieces  as  small  as  six  points.  It  if 
almost  impossib'le  to  hold  extremely  small  pieces  in  position 
with  the  lingers.  They  w/dv  be  easily  held,  howe\-er,  ijy  placing 
a  six-])oint  slug  in  fnjnt  of  the  rule  and  the  "gauge-rule"'  and 
pressing  them  both  against  the  gauge-b'ar.      'See  Fig.  124.) 

182.  Type  "  Fitting  "  on  a  Mitering-machine.-  -The  process 
of  m<<rti-ing  or  be\-elling  letters  so  that  one  ma}'  o\-erlap  another 
is  kno\\n  as  '"  lifting.'' 


20(J  I'KIXTIXCi 

Side  mortices  in  initials  or  for  fittint^  letters  are  best  made 
on  a  Miller  Saw-Trimim-r.  i  Sec  I'i^.  i-\S-'  II"  a  Mitchell  ma- 
chine is  a\'ailal)le  it  will  also  be  found  useful. 

This  is  how  the  A,  \',  and  A,  in  A\'ALOX,  on  pai^^e  103, 
were  cut  and  titted. 


t'lc.  1  .?5."-    LctttT-  .Mi.rti-rd  1.)  fit. 

The  ujirii^ht  machine  is  sometimes  used  for  this  purpose, 
but  the  letters  are  cut  on  an  an,L,de.      (See  Fi,Lr.  12O.) 

Tlii>  is  not  as  good  a  way  as  the  first,  for  pressure  on  the 
ends  of  the  line  is  apt  to  wedi^e  the  line  out  of  ali_Ljnment.  It  is 
usually  done  cmly  when  a  Miller  or  a  Mitchell  machine  is  not 
a\ailable.     The    printer    who    lacks    a    mitering-machine    can 


Fic.,  Tjr..-— T.ettcTS  ^klitcred  (o  Fit, 


accom])lish  the  same  result  with  a  coarse  hie.  It  is  a  laborious 
task,  ho\\ever,  and  re(|uires  considerable  skill  to  make  a  pertect 
job. 

183.  Type-high  Machines. —Owing  to  the  f,ict  that  the 
printinL:-])lates  furnished  to  the  ])riiiter  are  fre(|uentl\-  abo\-e 
type  high  (o.()iS  inch',  man\'  ])riiiter-  ha\'e  found  it  ad\-isable 
\()  iiistul  lypr-Iii'Ji  Dhirhinrs.  The>i'  are  de\'ice^  for  dres-ing 
ott  the  bottom  of  ])l;ite--.  There  are  >e\-er;il  machine^  on  the 
market,  and  the\-  accom])li.-h  tlie  work  b\-  idinLf,  (lre->iiig  olf 
with  kiii\-e-.  or  b_\-  till'  use  of  rotar\'  cutting-tool^. 

When  1>'1H'  and  ])late<  are  worked  in  one  form,  it  is  \-erv 
e--ential  tluit   they  be  all  of  one  height.      The  u>e  of  tvpediigl; 


CUT'J'IXG-TOOLS   FOR   PRl\ri:RS  20'/ 

machines  saves  a  lot  of  time  on  make-ready  in  the  pressroom. 
A  form  of  pkites  that  are  either  abox'e  or  below  t\-pe-high  will  be 
rapidly  worn  out  if  run  on  a  cylinder  ];ress. 

184.  Care  of  Machines. — The  c;ire  of  all  cuttini^'-tools  in  a 
composin,i^-room  should  Ije  entrusted  to  one  man,  whose  duly  it 
should  be  to  keep  them  clean,  well  oiled.  an<l  the  cutting-edges 
always  sharp.  A  sharp  tool  sa\'es  unnecessary  strain  and  wear 
on  the  mechani-m:  and  by  being  a  ])leasure  to  the  user  is  con- 
ducive to  better  work.  Tool-l)locks  for  use  in  sharpening  the 
knife  usualh'  acc()m])any  the  u])right  mitering-machine.  By 
j)lacing  the  knife  against  the  sloping  side  of  this  device  and  rub- 
bing them  both  (n-er  the  face  of  a  goofl  emery  or  carborundum 
stone,  a  new  edge  wiU  be  put  on  ihe  knife,  and  at  just  the  right 
bevel.  When  edgin^^  a  cutting-tool.  eniea\-or  to  maintain  the 
original  bevel,  for  that  is  the  proper  angle  for  perfect  service. 

(^)ri;sTi()xs  ox  ciiat'i  1:1%  xii 

1.  Name  some  of  tlie  things  that  ma_\-  be  (ione  on  the  Miller  Saw- 
Trimmer. 

2.  How  should  steel  rule  be  cut  ajjart  and  dressed  to  size  ? 

3.  How  man\'  leads  may  be  safel\'  and  accurately  cut  apart  at  the 
same  time  on  a  lead-cutter  .•' 

4.  What  would  _\<)U  surmise  '.vas  '.vrong  witli  a  lead-cutter  that  crimjied 
or  dished  the  end  o<  a  lead  or  rule  ? 

5.  \\di\'  is  it  ina(h'isalde  to  cut  thick  slugs  or  rules  on  an  ordinary  lead- 
cutter  ? 

6.  If  \'ou  needed  some  leads  eighteen  i)ic;is  and  three  points  long  how 
would  \'ou  cut  them  to  si/.e  on  a  lead-culler  that  lu,d  a  gauge  that  was  only 
adjustable  to  picas  '. 

7.  Describe  how  you  Nvould  secure  lead.-  of  the  following  lengths  on  the 
machine  s[)okeri  of  in  (Question  0:  iiS  p(dnts.  1:2  [Joints,  94  jjoints,  98 
points,  and  37  points. 

8.  How  would  \'ou  cut  atjart  a  thick  rule  or  slug  if  a  special  machine 
was  not  awiilable  ? 

9.  What   is  a  miter  '^ 

10.  Wh>'  are  ricdit  and  left  miters  necessar_\  ? 

11.  How  are  the  projjcr  miters  secured  on  t!i..'  .Mitchell  machine  .■'  on 
the  upright  machine  ? 


2o8  PRIXTJXG 

12.  Describe  how  you  would  set  tlie  ,i;au,ue  and  how  you  would  operate 
the  upri^rlU  miterintz;  niacliine.  Tell  \\]i;a  en  h  parlieular  mcn'e  is  intended 
to  areoni[)lish  or  to  aNnid, 

].v  W  h\'  should  the  •■  set  ~'  of  ihe  kiiil'e  on  an  I'pri'^dit  niiterinir-niaeliine 
al'.\'a_\'<  he  the  same  a>  when  the  niaehiiie  lel't  tlic  inanui'aelurer  ? 

14.  Describe  the  resettin.u  of  a  knife  so  that  the  pi(-a-<,Mu.L;e  will  be 
aeeurate. 

15.  \\h}'  is  it  so  in-,i)ortant  to  retno\e  the  burr  from  the  ends  of  brass 
rule  ? 

10.  Why  is  it  neeessar\-  to  lia\e  some  sidewise  pla_\-  for  the  knifediolder 
in  the  upri.^ht   slots  ':" 

17.  What  will  hapi)en  if  a  rule  is  tri[>ped  on  tlie  uji  stroke  of  tlie  knife- 
holder  ? 

iS.  If  a  miterini,'  maehiur  did  not  possess  a  point -adjustment,  how 
wouhl  you  cut  rule  to  a  muUi|)!e  of  points  r* 

n).    Describe  a  method  of  v  uttint;  \er\-  small  pieies  of  rule. 

20.  \\  hat  do  you  understand  by  ty[H'-littinL:  '-^ 

21.  Describe  the  dilTerent  \\a_\s  of  fittint:  t_\pe. 

22.  \\  hi(  h  is  the  better  way  of  liitinu'  type,  b_\'  niiterin.t,'  or  b\'  n'.ortis- 
in[^  ?     (ii\e  _\()ur  reasons. 

23.  W  hat  is  a  t>pe  hiuh  macdiine  i" 

24.  Why  is  it  inii)ortant  to  ha\e  all  f)rintiiii:  purfa(  es  in  a  form  e\;u  tl>- 
t\'pe  hi.idi  ? 

2v  < 'f  \\hat  use  is  the  tool  block  that  u<uall_\'  aceompanii-s  an  upriidit 
mitc-rinLj-mac  hine  .-' 

20.  W'h_\'  is  it  adsisable  to  place  one  man  in  char,u;e  of  all  the  cutting- 
tooh  in  a  coniposing-roorn  ? 


CHAPTKR  XIII 

C'OMIMjSIXOMAClIIXF.S 

185.  Economy   of   Machine    Composition. — While   every 

branch  of  the  printinf^  business  is  showing  wonderful  progress,  in 
none  is  the  stride  more  rapid  than  in  the  field  of  composing- 
machines.  It  has  not  been  such  a  great  number  of  years 
since  men  laughed  at  the  idea  of  being  able  to  set  type  by 
machiner\'.  To-day  it  is  an  established  fact;  in  fact,  so  firmly 
is  it  establisl'ied  that  tlie  statement  may  be  safely  ventured  that 
there  is  \ery  little,  if  any,  straight  matter  now  being  set  l)y  hand. 
From  the  standpoint  of  economy,  any  piece  of  matter  containing 
upward  of  three  thou>and  ems  can  be  composed  cheaper  on  a 
machine  than  by  hanrl.  Moreo\-er.  the  |)rinter  is  not  only 
buving  compositiiMi  Ijut  material  from  which  to  print,  so  that 
there  is  no  wear  on  his  own  material. 

'I'here  ha\-e  been  Cjuite  a  numlier  of  machines  invented  to 
set  foundry  type,  among  them  the  Rogers,  Thorne,  and  Simplex, 
but  the  sujierior  efficiency  of  the  machines  that  both  compose 
and  make  the  type,  either  singly  or  on  a  slug,  has  resulted  in 
their  being  aln^ost  supplanted,  'fhe  major  ])ortion  of  straight 
matter  to-day  is  either  monoty])ed  or  linotyped.  Each  method 
has  its  \-()taries,  and  for  certain  reasons  each  is  better  adapted 
to  s])ecitic  ])urposcs. 

186.  The  Linotype, — The  Linotype  machine  (Lig.  127),  so 
called  because  it  ca-ts  a  "hne  o"  type,"  or  slus,  was  invented  hy 
Ottmar  Mergenthaler,  in  rSS^.  The  macliine  consists  essen- 
tiallv  of  a  ^;/(it;(/:/;/('  containing  brass  matrices,  in  one  side  of 
which  two  ch.aractcTS  hax'e  Ijecn  [lUnched;  a  keyboard,  connected 
with  the  magazine  by  a  rod,  pawl,  and  wrgc,  so  that  one  matrix 
may  be  released  at  a  time  by  simply  tcjuching  a  button  on  the 

209 


210 


PRIXTIXG 


keyboard;  an  asscmbliug  device,  to  carry  Ihe  matrices  into  the 
stick,  so  that  tlie  ojK-rator  can  ,u;au^e  his  lines;  we(l,^e-shai)ed 
spacc-hanih,  so  constructed  that  when  inserted  l)et\veen  words 
they  niav  be  ex])andcd  and  the  line  justitied;  and  a  device 
to  carry  t,ic  composed  line  owv  to  the  caslin_^^  mcelianism,  wliere 


■K  -  "Z^^        /T^ —  • 


/^ 


ilyiH-  .\<).  !  7. 


the  line  is  justified,  and  tlie  matrices  lield  a.^rainst  the  mold- 
disk,  while  metal  is  bein^  forced  into  the  mold  i'rom  the  melt iii^ii;- 
I)()t,  and  the  line  cast.  After  the  line  is  cast  the  matrices  are 
"withdrawn  from  aij;ains1  the  mold-disk,  an  arm  comes  down  from 
the  toj)  of  the  machine,  the  mal  rices  are  slipped  onto  the  arn^ 
the  arm  is  raised,  and  the  mafricc'S  are  pu-lied  off  onto  the  di.-- 


COMPOSIX(]-AIACIII.\i:S  211 

tributing-bar,  wlicre  ihey  arc  carried  forward  l)y  a  worm. 
Each  matrix  has  a  key-way,  so  arran,tj;ed  lliat  the  matrix  can 
only  shj)  from  the  distributin,!j;-bar  wlien  it  ^ci^  over  its  own  pkice 
in  the  mai!;a/.ine.  In  this  way  tlie  matrices  are  automaticaUy 
returned  to  the  ma.^azine  ready  to  l)e  used  a,!i:ain. 

The  o})erator  of  a  Linotype  c(^m]")oses  the  matrices  and  con- 
trols the  casting  nieclianisni.  If  errors  occur,  it  is  necessary 
to  reset  llie  wliole  line,  ])crlrai)s  se\eral  lines,  in  order  to  co'rrect 
them.  The  machine  is  specially  adapted  to  newspaper  work, 
for  the  slugs  caji  he  handkxl  with  less  care  than  is  requ.ired  in 
ha.ndling  t\i)e  matter  com]iose(l  of  indi\idual  letters. 

Each  matrix  in  a  magazine  is  stami)(Hl  with  a  certain  char- 
a.cter  or  letter  of  the  alphal)et,  hut  in  two  different  faces  of  ty])e. 
As  till'  matrix  is  lacing  assenibled  in  the  com[)osing-stick,  it  is 
possible,  1)}'  the  use  of  a  S'pecial  de\ice,  1o  bring  either  face  into 
alignment,  thereby  setting  two  dilTerent  faces  of  t\'pe  in  one  line. 

The  early  type  of  machines  contained  but  one  magazine, 
and  could  make  slugs  of  but  one  size,  unless  the  mold  was 
changed.  Of  the  later  styles,  tlie  Xo.  q  has  four  magazines,  and 
can  cast  eight  different  faces,  adl  the  o})erations  of  change  being 
made  by  the  op^era.ttn-  siin])ly  by  moxing  a  few  le\'ers;  and  that, 
too.  without  lea\ang  his  seat  at  the  keyl)oard. 

E\en  though,,  the  Einot}'])e  casts  ^olid  slugs,  still  it  is  pos- 
sible to  cop.ii)ose  tad)les  on  tlie  machine.  This  is  done  bv  the 
use  of  speciad  m;itrices,  which  cast  sniidl  lugs  in  the  slug  so 
that  ])!ece>  of  triringuhir  brass  rule  can  bi  put  into  position  and 
the  lugs  crimped  about  the  rule.  Anollu^r  way  is  to  make  saw- 
cuts  in  the  slugs  in.  j)roper  position  and  thi'n  ioixa  ])ieces  of 
brass  rule  into  these  cuts. 

Tcd)ular  work  may  also  be  done  by  cutting  the  slugs  to  col- 
umn Viidtli,  and  using  rules  between  the  cohnnns. 

The  \ery  latest  method  is  by  tlie  use  (if  the  Auto-Mat  Tabu- 
lator, a  de\-ice  consisting  of  a  matrix  with  two  mcA'able  jaws, 
so  arranged  that  in  c;i-ting  a.  rule  a  triangular  orifice  is  left  in.  it, 
into  which  a  triangular  rule  can  be  sli})ped,  tlnis  making  a  [)er- 
feet  ioint  in  the  rule. 


212  I'KIXriXG 

While  the  Linot\'r)e  is  f!"i'f|iuTit!y  used  for  setting;  newspapers. 
it  mu-t  not  to  l)e  infrrreii  llial  it  is  useful  only  for  this  work; 
there  is  ;in  inerea-in'j;  al.uiidanee  of  hi,L'h-class  niagazine  and 
hook  voirk   1  eiiiL!'  j  iroihicriL 

187.  The  Monotype.  -'Y\\.:  Monot_\-pe,  so  called  because  its 
j)ro(luct  eon-!~l-  of  separate  letters,  was  in\-ented  by  Tolbert 
Lanstoii.  in  iSSj.  A  complete  out  lit  for  composing  ty])e  con- 
sists of  two  separate  |)ar1s    -a  ki  y/ oiira'  '  I'ig.  1  2S)  and  a  casting- 


Fir, .  i:>.-^y 


vuirhiuf  I'"ig.  120  .  The  (-oniie(  1  ingdink  bet'.veen  the  twc 
machiner;  is  a  rilTon  of  ]);:per  in  whieh  hole-  ha\-e  been  punchicd 
'somevdiat  011  ih,e  orPcr  of  a  mu-ie-rtilj  ,  the  holes  automatically 
controlling  tlie  ta-ting  de\  ire,  so  th.at  whatewr  character  was 
touched  on  th.e  l.exi'oaril  I'dll  be  ea-t  on  ttn'  cast inLT-machine. 
It  abii  aut' iirai!  ieailx'  ca-l-  -jiace-  of  iu>t  the  right  thickness  st) 
ihat  after  I'ie  liiie  i-  (Mr.pMMd  il  eAactl\-  lit.-  the  measure  to 
which  it   v.ar-  ,-et.     Ti.e  ca-iine'-Piiachine  automaticallv  makes 


co.MPOSixG-:\iAciiixi;s  213 

the  t\-pc  and  space?  and  com]xiscs  the  lines,  moxing  each  line 
forward  so  that  the  next  nia}'  cwme  into  pro])er  position. 

The  successful  o])eration  of  the  Mon()t_\-])e  s\-stenT  is  due  to 
the  fact  that  each  character  is  cast  on  soiree  predetermined 
width,  or  unit.  The  Monotype  unit  is  one-ei.^hteenth  of  the 
cap  M  of  the  font.  When  a  line  is  to  be  com[)osed  it  is  only 
necessary  to  know  the  width  (set-size  1  of  the  face  of  the  font, 


riG.  ijy.---MuiiOi\-i)i'  C'a.-lin 


and  the  len.iith  of  the  line.  When  the^e  matters  ha\'e  been 
decided  it  is  sim])l}-  necessary  to  consult  a  chart  (for  these  cal- 
culations ha\'e  been  made  and  charted  '  and  set  the  indicator  to  a 
certain  number  of  units.  This  inelicator  shows  how  many  units 
e)f  the  kind  of  t}'[)e  we  wish  to  use  may  be  'gotten  into  a  line  of 
the  width  we  wish  to  set. 

When  a  key  is  touched  on  the  ke\'board  the  indicator  mo\'e3 
TO  the  riudit  a  number  of  units  e(|ual  to  the  width  ot  tlie  letter 


214  1'K1MI.\(, 

>trutk.     Wlifi  tin-  rnxt  ke\-  i.-  tniKJicI  \]\e  indic;itor  mo\-e3  that 

nuir.liL-r  of  unit<.  In  tlii-  wiiy  tlif  full  wirlth  of  tlic  sp;ice  is 
u^cd  up.  until  iIrtc  is  n.ot  .-uiiicicnt  space  to  <j.(ji  m  un\'  more 
\\or(i.-,  after  wl'.ieh  it  i-  nvic- -::r\-  to  space  tlie  lin.e. 

At  tl:e  toj)  of  the  ke\  hoard  there  is  a  cylindrical  (!e\-ice 
called  a  ju:':tyh::J,-M:ii!i'.  \\  hieu  nearin.;:  tlie  end  of  the  line,  as 
tlie  line  is  heirm'  con-jiu^ed.  eac)i  tin'.e  a  letter  is  struck  the 
c\-linfler  ir.o'.'es  a  n.un!her  of  i:;.it-  e(|ual  to  tliat  letter:  each 
linie  a  nurnial  -pace  i>:  louclied  u  jxanter  n-.o\es  up  one  step 
on  tile  i\.>tif\'in'_r-.-c.de.  Alter  th.e  line  i>  C(jn";i)leted,  tlie  pointer 
on  tl'.e  iusiif\'inLr--cale  shores  A'ddch  justil^an,L;;d^e^■s  nnist  be 
strucix  to  ])urich  holer,  that  will  set  the  space-setting  n:echanism 
on  the  carter. 

.•\1  !ir.-t  thouL'^hit  it  seems  almost  im})C>s-il)le  to  strike  a  stpace 
aiifl  afterward  determine  its  size.  \\'hen  we  realize  that  the 
iiI)hion  is  run  into  th.e  castin.i^^-jraichiiK'  hackward,  the  mailer 
hecan^es  riviite  clear,  for  tlie  id'-t  th.ii!,ir  tliat  l;a])]'ens  on  th.e 
castinL:;-mach!ne  i-  the  last  thinii;  lliat  was  done  on  tlie  ke}dioard 
--the  ^pace-^ett!nLr  mechani-m  i-  ~rt  to  ^ize.  I'lds  is  dotie  with 
a  ])cdr  of  accurate  •.^"ed,'ies.  th.e  si'ttiuL''  of  \vldch  adds  tlie  reriuired 
amount  to  tlie  nor"mal  wedLie.  Once  th.t  sp;.ce-castin!j:  mech.an- 
ism  !-  -et  for  a.  line  each  space  emerires  from  tlie  ca^ter  e.xacth" 
of  tlie  same  \'diltli. 

'I'liere  are  t'.'O)  huiiorc-d  and  t  ■.\'ent\--ll\'e  mat  rice-  in  a  matrix- 
CaSe  '  L'i.r.  i;0'  <n  th.e  c.i-ter.  c.;ch.  C'.)r.tr<il!ed  h}-  a  ke\"  on  the 
keviMi^rd.  i  here  are  :;itee!i  rn'.'..-  with,  id'teeu  character.-  in 
each  r!)w.  The  r.)'.e-  in  oiil  d:r>aaii(,!;  are  c.dlrd  iunt  nn^s.  and 
the  I'.flren  (dia'"actrrs  in  ea.  !:  uuit  ;"o-.',-  are  alwa\'>  ca^t  on  the 
s,.me  \'.id'h  'if  1i(m!\-.  Wduai  the  nu;' rix-c.:-e  mo\e-  into  an\" 
unit  p.r-itiMU  da-  la^ld  i-  -el  ai:i  nmat  icall\-  -o  that  the  letter 
c -1  !-  I  111  a  h'  'dy  (if  di"  ]  )ri  '•  K-r  \-.  id;  h.  1  f  t  he  m.n  r!\-ca>e  mw\a;^ 
t.i  ria'hleen-'Uni'  i)--i;i":!.  d:v  naild  np-n^  to  tli:t  width;  if 
tlie    r:.:i'  v\\-i\:-r    anWr-    \n   idia'-Uilit    jiii-iliiUl.   the    Ilii  >M-open  in<: 

(  )-'da-  :-  tla    f  .1  1   thai   M-a^  it  xo-  i-  :dl  (  :. -t  .  .f  Kuit  widdi.  it 

!-  1 1!.  cd(  .,;;}■    ~eii-.- ;)acn.aa  aud   tliei'eaa-e   -in-idaily   ad.ipted    to 


coAii'osixc;  AiA(iii.\r:s 


215 


tanukir  wcirk  (Fip,.  i.^il.  It  i.s  mathenialiccilly  accurate,  and 
all  lines  are  absolutely  of  the  same  len,<i;th.  Tabular  matter 
can  be  conii)ose(l  in  column  form  and  deli\-ered  on  the  galley 
readv  for  the  iii>erlion  of  ihe  rules. 

'I'he  use  of  special  characters  in  the  matrix-case  })ermits  of 
setting  units  \vhicli,  whi'n  assembled,  look  exactly  like  work 
composed  of  brass  rule.     (See  Fig.  79 (/'j  and  Fig.  82.) 


jjj 
fff 

aa 

00 

oo- 

?-)!-< 

XX 


Fic.  1^,0.--  ,Mi>iint\-[K'  ]\l;ilri\- 


Imc.  i^u-— Illustrat- 
ing the  delation 
ht'lwccii  Cliarac- 
tcTs  (jf  tlic  Same 
Font:  Thus,  M 
('i8-unit  Cliarac- 
tLT)  is  the  same 
Widlla  as  T/nrc 
j's  or  fs  (0-unit 
Characlersi,  or/i.o 
a's,  o's,  f,'"s,  or  x's 
(Q-unil  Charac- 
ters). 


It  is  also  ]:ios>ible  to  com])ose  and  cast  a  large  face  on  a 
small  l)ody  ])y  su]>])orting  tlie  oxx'rhanging  ])art  with  plain 
ciiiads  or  xx'ith  slugs  made  on  the  Monotype.  Faces  as  large  as 
sixt\'-])oint  can  be  cast  on  bodies  as  small  a-  twehx'-])oint. 

188.  Mounting  Illustrations  in  Machine-set  Composition. 
— There  was  a  time  when  it  \\as  ab-olutel}'  necessary  to  run 
type  matter  around  the  blocks  on  wiiich  illustrations  were 
niotmted.     That  necessilx'  no  longer  exists. 


2I() 


rkixrixf 


Thf  .M()n()ly])e  C"om[);iny  \v;is  the  1ir>t  in  llic  licld  \villi  a 
method  of  niountini^  iilustrations  (Hrectly  on  the  compo'secl 
materiah  To  do  this  it  is  nece.-sary  to  know  ju-t  what  part  of 
the  pane  is  to  ])e  co\-ere(l  with  t\-pe  cMkI  what  part  with  illus- 
tration. This  is  determined  1)\-  the  u-e  of  a  hnoul-shcct.  The 
quads  are  of  such  height  that  a  uhile  ele\-en  points  thick  when 
mounted  on  tlie  (|uads.  will   ke  exactly  t_\'pe-high.     After  the 


Fig.   I  31;.- -  Showinq;  Mur^.otvpe  Method  tA  Mui;n:i;i,^'  Cut  Directly  on 
'ju;id-,  mi'l  also  I'urm  and  U^e  ui  'J'ii--i:[j  SkiV^^s. 


proof  i;^  kinalK'  pa-sed  llie  jilale  i.-  cemented  to  the  ([uads. 
(Id-.  IS 2. 

The  Linotype  (^impany"-  invtlvid  i-  to  ])rcpare  a  layout 
sheet,  tlien  .-et  the  line.-  of  tvpe  (,f  tlie  proper  length  to  go 
arounri  the  illu-tratii  ai.  .Vfter  tlie  whole  T)age  is  in  type  the 
slug>  are  lined  up  aloni:  the  in  d'ie  ;ind  the  klank  parts  of  the 
slug-  routed  a\va\'  to  tlie  ])riip(r  drpih  r-o  as  t(!  torni  a  le\"el 
ka-e  for  tlie  i)late,  Altrr  tin-  -'irjr-  are  rea.— enikled  tlie  ])late  i.-, 
placed  in  po-itinn  aivi  iiailrd   f:i-!   Im  the  .-lu'_^-.       idg.    i;;.! 

189.  Non-distributicn.  WkiU-  the  pnnluct  of  the  Mono- 
tv])e  machine   ma>'  In'  lii-trikutrd   into  ca-e,-,  and  then  set  ky 


COM  I'OSlNCi-.M  ACI 1 1 X  i:S 


217 


hand,  it  is  Ix'coming  more  and  more  evident  that  such  procedure 
is  inadvisable.  Tliere  are  two  reasons  for  tliis  :  first,  it  is 
better  to  liave  new  material  on  eacli  job;  second,  it  costs  money 
to  ])ick  a  jol.)  apart  and  tlien  distribute  tlie  t}'pe.  Doing  away 
with  the  necessity  for  distril)ution  is  the  order  of  the  day,  and 
the  next   (leca.de  will    tloubtless  witness   many  radical  changes 


I'lc.  1,-;,^.-  I  iii()i\p(_  ^'ui,^  l\()iilc(l  Ready  for  ^Mounting  llki^^lralioii- 


in  the  ]M-o(luction  of  com])osed  tvi)e.  l^\en  now  the  Mono- 
t}'pe  C'ompan\-  has  pro\  ided  altachments  lo  its  casting-machine 
for  j)roduring  t\'ne,  ])()r(lers,  leads,  slugs,  rules,  electrotype 
bearers,  riiid  tic-un  slug<.  The  use  of  this  material  renders  dis- 
tribution unnecessar}-.  After  a  jol>  is  completed  it  is  swept  off 
into  the  melting-] )ot. 


2i8  I'KIMlXd 

'\']\v  I.iiiolyite  niacliinc  is  a  comhiiu'd  composing  and  casting 
mechanism.  The  caster  ])ai"t  of  the  maclune  is  sold  separately, 
and  may  be  used  for  casting  leads,  slugs,  rules,  borders,  etc.; 
tlie  length,  howex'cr,  is  restricted  to  thirty-six  ])icas. 

At  tliis  writing,  the  Linotyi)e  ("omi)any  is  putting  out  a 
machine  known  as  the  Ludlow  'I'ypograph.  With  this  machine 
the  matrices  are  set  in  a  s])ecial  stick  and  the  lines  cast  on  a 
slug,  which  is  then  put  into  ])lace  in  the  job.  It  will  cast  a  face 
as  large  as  forty-eight  ])oint  on  a  t wel\e-point  slug.  Slugs  of 
\-arious  thicknesses  and  lengths  can  also  be  cast.  The  slugs 
are  of  the  re([uired   height  to   scpport  the  overhanging  slugs. 

190.  The  Intertype.— Inasmuch  a.s  some  of  the  l)asic 
patents  on  the  Linot\-pe  haw  expn-ed,  another  machine  built 
along  the  same  general  lines  has  made  its  ai)])earance.  It  is 
called  the  lnterty])e.  It  is  a  newcomer,  is  rai)idl\'  adding 
im])rovements,  and  is  destinecl  to  become  a  \ery  important 
machine.  Its  strt)ngest  bids  for  fax'or  are  the  facts  that  it  con- 
tains fewer  ])arts  and  is  being  marketed  at  a  much  lower  price 
than  the  Linotype. 

191.  Type-casting  Machines. —  Printers  are  hnding  it  ex])e- 
dient  to  instal  ty])e-casti!ig  machines,  thereby  kee[)ing  their 
cases  ])lentifully  sujiplied  with  ty])e.  There  are  f|uite  a  few- 
machines  on  the  market.  The  .Monoty])e  caster  will  cast  t\'i)e 
bodies  as  large  as  thirty-six  [joint.  Tfie  Ab)not}-pe  ('ompany 
has  an  extrenu'ly  large  number  of  ty])e  faces  from  which  to 
choose,  and  the  matrices  may  be  rented  for  a  nominal  sum. 


QUKSIIONS  OS  C'lIAl'l'lOR  XIII 

I.   What  is  niacliiiu' (■onii)()>iti()n  ? 

2..    What  t'.'.o  ili>tiiut    mrthiiilsof  niaihiiic  composition  arc  in  \-oL;uf  :it 
the:  prcsint    linu  ?      I  )c.-,i  I'ihc   tlifiii. 

,.;.    \\\\\    ]<  \]\r   l.iliolv  pr  iiKU  liitic  so  callr.  i  ? 

4.  What  (Iocs  tlif  woi'il  inonotxp.c  iiican  .-' 

5.  ( ii>.  (•  a  .L'riicral  oul  line  of  1  lie    iiiannrr    in    wliioh    lines    arc    composed 
and  I  ast  on  the  Linotype;  on  ihr  Moiiot\-]H'. 


C()Mih)six(;-ma('iiim;s 


219 


6.  How  is  tabular  work  composed  on    the    Linotype?    on    tlie  Mono- 
type ? 

7.  What  is  the  -Monot_\[)e  unit  ? 

8.  How  man_\'  matrices  are  there  in  a  .Monoty[)e  matrix-case  ? 

9.  ]v\[)hiin    how   ilkistrations    are  mounted  on   Moni)ty[)e  quads;    on 
Linotype  slugs. 

10.  What  do  you  understand  by  non-distribution  ?     Why  is  it  ad\isable? 

11.  What  is  the  Ludlow  Typograph  ? 
13.  What  is  the  Intertype  ? 


ciJAPi  i:r  XIV 

PRKSSWURK 

TiiK  term  pressivork  coxtTs  two  cnlircly  dilTcrcnt  methods  of 
obtaining  im])ressi()ns  from  type  forms  :  ^y  the  aid  of  e\linder 
presses  and  by  the  aid  of  ])l;itt'n  presses.     The  latter  is  tlie  only 


|.     < 


one  tliat  will  l)c  di-cu^-t-d  in  tlii-  i  i.mI  i-c.  I'riniarih',  Ix-iaust 
it  is  the  ^-implcr  nielhod  and  ihc  oiu-  Hkrl\'  lo  he  in  m-nrral  use 
in   manual  trainiiiL,^  m1im()1>,  and   I)eeau>e  il    i-  the  logical   sUp- 


PRKSSWORK  22  1 

pinfi;-stonc  to  the  more  C()m])lc\-  one  of  cylinder  presswork,  and 
admits  of  clearer  exjxjsition.  He  wlio  aspires  to  be  a  cylinder 
pressmar.  sliould  first  master  the  platen  ])ress.  When  that  is 
accom]~)lished  he  is  fiualified  to  take  uj)  cylinder  work  under  the 
guidance  of  a  skilk'd  pres>man. 

192.  Platen  Presses.    -A  i)lalen  i)rinting-press   is   one   in 
which  the  form  is  locked  up  aiaiinst  a  Itcd  and  the  impression  is 


I'lr,.  135. — CiuiiKllcr  >i;  I'ri.  l  (joi'doii  I'lv-s. 


delixercd  against  a  llat,  sir.noik,,  lex'el  ])late  called  a  platen. 
There  are  two  types  of  platen  presses:  one,  known  as  the  "clam- 
sheir"  t\"pe,  in  which  the  platen  r()ck>  up  a!j;ainst  the  bed  (Figs. 
i:;4  and  1,^5);  tlie  other,  knov/n  as  the  sliding  platen,  in  which 
thic  pkitt-n  is  In-st  placed  i)aralle!  with  tlie  bed  and  then  drawn 
up  airainst  it  (  h'ig.  130!.     The  latter  method  is  the  better  one. 

193.  The  Bed.— The  bed  of  a  ])rinting-i)ress  is  the  part  on 
or  against  which  tlie  form  is  fastened.     On  platen  presses  th.e 


J'KIM  l\(, 


l)c(l  i<  always  attaclied  to  >ntnc  ii])ri'_:lit  ]iart  of  llie  framework. 
[]i  somi'  tx'pc^  of  ])rc---i,'.-  tlir  franu-woi-k  niow^,  in  others  it  is 


_rv-iy 


■|\-.  M.Hui 


ri'iid.      W'liiK-  no  ;,(iju-l  nu-nt   oi   tin-  hrd  i-  f\-rr  ri-riiiired.  it  is 

\i.-r\-  iii;j)i  rt;,iit   1,1  .^.i.  tlmi   iIk.  i',,rni  i~  >afrl\-  InrKL-d  au'aiiir-t  it. 

194.   The    Platen,      hui-niiah    a-    ilu-    plaU-n    i>    the    part 

a,u^airi~l   vdiiih  thr  in,; 'rr--i(  in  i.-  i-km.  incciri>  ir,u,-t  he  prnxddcii 


PRESSWORK  2  23 

for  altering,  regulating,  or  ef|ualizing  tlie  impression.  This  is 
aecomplished  by  tlie  use  of  adjusting-screws  Ijeneath  the  platen. 
To  allow  for  variation  in  nuiking  read}',  the  experienced  press- 
man has,  for  general  use,  a  sheet  of  presshoard  and  three  or  four 
sheets  of  hard  pa})er  on  top  of  the  j)laten.  This  tympaii,  or 
packing,  as  it  is  sometimes  called,  is  co^'ered  with  a  sheet  of 
hea\'v  manila  i)aper,  called  a  draii'-shcet. 

It  is  cjuite  e\ident  that  if  the  platen  is  not  properly  adjusted 
the  impression  will  not  be  even.  The  proper  way  to  adjust  the 
platen  is  to  lock  u])  four  large,  gothic  letters,  one  in  each  corner 
of  a  chase,  and  pull  an  impression.  By  raising  or  lowering  the 
impression-screws,  as  required,  the  whole  four  letters  may  be 
made  to  show  uniformity  of  impression.  When  this  is  accom- 
plished, the  screws  should  be  fastened  with  the  lock-nuts.  After 
the  platen  is  once  properly  adjusted  it  should  ne\'er  be  changed 
unless  it  becomes  sprung,  or  it  hr.s  been  necessary  to  alter  the 
imi)ression  in  order  to  [)rint  a  hea\}'form  that  could  not  possibly 
be  locked  in  the  center  of  the  chase.  If  the  im|)ression  has  been 
altered  for  a  special  form,  it  should  be  leveled  before  i)roceeding 
with  the  next  one. 

195.  The  Draw-sheet. — The  draw-sheet  is  the  hea\'y  sheet 
of  manila  })aper  that  is  stretched  tightly  over  the  packing  and 
clamped  under  the  tympan-bales.  The  guides  and  fenders  are 
fastened  to  it. 

196.  The  Grippers. — The  grippers  are  the  long  steel  "fin- 
ger?""  or  strips  that  are  clami)ed  to  the  gri|)per-bar,  which,  in 
turn,  is  mo\-ed  l)y  the  mechanism  of  the  press,  and  causes  the 
gri])])ers  to  i)ress  the  sheet  tightly  against  the  t}'m])an  while  the 
impression  is  Ijeing  taken,  and  to  hold  it  there  while  the  form 
and  sheet  are  being  withdrawn.  On  extremely  light  forms  they 
are  not  necessar}-.  If  the  form  is  a  hea\'y  one  and  carries  much 
ink.  thev  must  be  used  to  ])ull  the  sheet  from  the  form.  They 
are  adjustable,  and  should  be  i)laced  in  the  margins  on  light 
forms  and  at  the  ])oint  of  strongest  suction  on  heavy  form.s. 
Skeleton  grip])ers  are  \-ery  con\-enient  to  have  at  hand,  for  it  is 
sometimes  necessary  to  use  gri})])ers  in  a  \'ery  narrow  space. 


224  I'Rixrixo 

If  tlic  ^rippers  fail  lo  exert  the  ref|uire(l  pressure  on  a  sheet, 
a  few  thin  pieces  of  cork  f^lued  to  them  at  ditfereiit  ])oints  wiH 
usually  ])ro\-e  eiTecli\'e. 

197.  Roller-bearers.  Tlie  suhjecis  of  roller-l)carers,  jjjud- 
geons,  etc.,  are  fully  treat^'d  in  Sections  144  and  145,  and  sliould 
be  re\ie\ved  at  this  point. 

198.  Rollers.  --Printers'  rollers  ;;re  made  from  a  composi- 
tion containiniz  ,L,due,  .glycerine,  mola.^ses,  and  other  ingredients. 
Each  manufacturer  has  his  own  pel  formula,  the  ])roportions 
of  wlrich  he  \'aries  according  to  the  >eason  of  the  \-ear.  These 
rollers  are  \-er\'  susceptible  to  changes  in  tem])erature  and 
humidity.  It  is,  therefore,  :m])oss!l)le  to  m;ike  a  composition 
roller  that  will  he  in  perfect  condition  at  all  times.  Heat 
will  soften  the  composition  and  cold  will  liarden  it.  It  will 
absorb  moisture  from  ihe  ;ur  and  become  '"tackx-."'  A  roller  in 
perfect  condition  for  printing;  \  ields  sli'^litly  under  a  hrm  ])res- 
sure  of  the  linLrer,  a.nd  h;is  enouLfli  "t;ickiness"  to  cause  the  ball 
ot  the  hand  to  drau,  \\];en  it  is  rubbed  o\er  its  siu-face.  If  the 
hand  slides,  it  lacks  suction.  If  tlie  f;n.t:er  sinks  into  the  roller, 
the  roller  is  too  soft ;  if  it  does  not  dent  the  roller  at  all,  the  roller 
is  too  hard.  Summer  rollers  (whiih  a.re  ])ur])osely  made  of  a 
firmer  C()m])osition )  are  too  hard  for  winter  use;  and  winter 
rollers  are  too  soft  for  summer  u.se.  Soiue  ])rinters  chanue  their 
roller  outlits  four  times  a  year.  This  ])ractic(;  reall}'  pays; 
for  a  pressman  can  easil\'  wa.ste  in  1  ime  the  cost  of  a  set  'A  rollers 
trv'ini;;  to  do  y;ood  work  with  jioor  rollers. 

Hot,  luimid  weather  i^  especially  trxint:  on  a  com])()sit ion 
roller;  the  at  iuos]>heric  heat  and  I  he  frictional  heat  sometimes 
beiiiL!;  sufticient  to  c;iu;-e  the  co!nj)(>^it  ion  to  "run  cK)wn." 
Rollers  should  be  care!'u!I\'  watclied  on  hot.  dam])  da\s. 

Some  inks  ha\e  a  \er\'  deleterious  I'll'ei  I  on  composition 
rollers,  manv  of  them  posse.^-in^  an  a,-t  rinu'ent  j)ropert_\'  which 
takes  all  the  suction  out  of  the  Killer. 

Rollers  ,^rad.uall\'  shrink,  and  frr(|uen1  chan^inu'  of  ^ud^'ons 
is  necessar\'  so  as  to  ha\c  i-o!ler  ;oid  irud^eons  of  the  same  diam- 
eter.     See  under  '' ( iud^eons."  Stri'oii   145. 


pki;ss\\c)RK  225 

199.  Oiling  the  Press.T-Onc  of  the  first  thin.i^s  with  which 
the  enibrx'o  ])ressman  should  make  himself  familiar  is  how  and 
where  to  oil  the  pi'ess.  IvNei"\-  oil-hole  should  ])e  located,  and 
never  ne,ij;lecte(l.  'ilie  pre-s  should  be  full)'  and  carefully  oiled 
each  mornimx  Ijcfore  l)eii;innin,^  work.  A  few  drops  at  each 
point  i^  usually  sutiicienl.  Do  not  ilood  the  press  with  oil,  for 
the  suri)lu^  will  >iniply  I'un  to  waste.  If  any  oil  runs  over  the 
part  while  in  the  act  of  oiling,  wii)e  it  off  at  once.  If  the  ]ircss 
has  oil-cu])s,  see  that  they  are  filled  each  morning.  If  }-ou  find 
that  the  oil-cups  do  not  need  tilling,  it  is  a  sign  that  they  are  not 
feeding.  Adjust  them,  and  he  on  the  lookout  for  warm  bearings. 
If  there  is  even  the  slightest  scjueak  alx)ut  a  press  ferret  it  out; 
something  needs  oil.  d\)  neglect  it  may  ruin  the  machine. 
The  side-a.rms  on  platen  ])resses  recjuirc  careful  attention.  Do 
not  fail  to  oil  them  daily.  Also,  be  sure  that  all  oil-holes  are  not 
clogged  with  dirt,  otlierwise  they  will  not  get  oil  even  though 
you  think  yon  are  t)iling  them. 

Xe\er  attempt  to  oil  or  wi])e  a  ])ress  while  in  motion.  It  is 
positi\-ely  dangeriuis:    pr;ictice  the  motto  "Safety  first." 

200.  Shrinking  of  Furniture. — After  a  form  has  been  locked 
up  and  left  ^tanding  for  some  time,  it  is  usually  found  that  the 
tvpe  is  loose.  This  ma}-  be  due  to  one  of  two  causes,  i)erhaps  to 
both.  The  wood  may  lia\e  shrunk,  or  it  may  have  \-ielded  to 
the  compression  to  whicli  it  was  suljjected.  In  any  e\'ent, 
ne\-er  go  lo  ])res>  with  a  form  without  ilrst  l)eing  assured  that 
the  type  is  absolutely  tight.  If  the  ])ress  is  left  standing  with 
the  form  on  it  for  any  length  of  time,  try  the  Cjuoins  befc^re  j)ro- 
ceeding  with  the  job. 

If  comjjelled  to  lea\'e  a  press  ^landing  for  any  length  of  time, 
remo\-e  the  rollers.  Xe\'er  !ea\e  the  rollers  in  contact  with  the 
fi)rn"i  or  on  tlic  iiik-plate;  tiie  ccwistant  i)ressure  will  mark  or 
mar  them. 

if.  [or  any  reason,  a  job  is  not  coiTijileted  at  once,  but  is  left 
on  press  for  a  few  days,  do  not  leave  the  i)re>s  wide  open,  with 
the  t\-mpan  expo^ed.  to  the  air,  but  close  it,  with  the  tympan 
almost  in  cop.tact  wiiii  the  type.      If  left  wide  open  during  damp 


:':()  l'kiNrj.\<, 

weather,  the  pajUT  on   tlic  l\-:r,;i,.!!   j^.a"  ah^<or'>  nioisture  aiici 
^var[)  to  <;ic!i  ai;  cU-r,'  ;;<  ti,  -;m  l\  {],,,  n:akr-!T,a :\-. 

201.  Impression.  Thrrr  i--  (!i\!-:-il\-  ^i  -  oia^-a  anaiiai 
prL■^^laL•n  a-  in  v.-'u,i\  c;  i:,-!  i:  a' i\-  a  pv-a  i  !  i;  ;.rc--'(aa  MiUiihl 
<ir  ^}a'ul(]  not  tin.  ^h.-ri  ^h^r.,-  ,.::y  i  .a  ■:■<•--:.  .a  iM  ;j:e  l.;iek? 
'i'here  are  >o  i;aaiy  [ar'nr.  raa-r'aa  ia'-  ;la>  "i,^ -\]i>]].  llait  it 
can  only  he  a!:-^\^a■l/|[  ,  a  i  ;■  -yi^i.!  a.  a  'ai't^ai'  a  (jf  caah  lair- 
ticular  ca-r.  fa  a -iirr:  h  -';;,-  '■;.:  i\  --'  ,;;  ]■-■  ,.;  r^hach'  aetr— 
sar\-  to  pre--  'h^  Jah  a:a  i\"  aaa:;^  1  ""  ■  a:.pc:\  li  ihe  \':-{,vr  i.- 
soft  and  \'ielaina  the  haorr---!i:a  :-  ■  -a,..:  ta  ,aa.v.-.  it'  il:t.  pajn-r 
is  hard  and  nMn--ds(  a'hrat  il  '"'aaa;a-  ;;  .-' ';T  "ah;  ihh:  i;(:ai.--i- 
tates  eo:]-i.irr.,hh-  s-aaa-/;-  a,  <r\  {].•■  i:ih  hrad}'  on  thv  ji.a'er. 
Here,  ai~(a  l!a-  iay  a\/~:-;;  >:.  ^  i  (■:,;;/  s-  -hov/.  \  rf>h  ]i:ia,dna 
will  >la  r,\  tin:  iny  )••■•- -ii  in  Vv/-;  i'lhi  :'-  •"  '  •;  h(_  ;•  c  ,ndh  :<  m -.  .\  ia.rd 
pachini:.  ailh  -a:oiah  payvr.  a-ot;  n  pe.  aad  ao.  ^d  iah,  r-i-ia'd 
show  iiut  little  i-:pre-''aa  h  'aai  t]a.a  i  a  ;-eia;  t!,:'1  p>pe.  iah. 
stoch.  and  ;iailday  ;  !l  rv.U  v  aa  <  iha  :  at-d^n,  T:  (av  ;■  laiiv 
one  hiCtvjr  iK-re  o\aa"  -.adah  th-  ]aa;,--ra.:n  :".-  aa;.  rnatrni  — 
{)ae;dnLr.  Jf  pordlde.  1  r  -h^'a.o  ;aa  t-  a  ;a  rd  p'  ch'aa.  di;c 
])r(;--inan  naa-!  taha  \'.  iaa  !  ^  av:  ,a^ .  :- :  ■■a  :-  a"\  ra  aiaa  ;  ad  a^e 
inh  -uilaide  to  hoda  Wha  '..\:-  :,aa(,  ;:  aa:  :a--1  hiia  ae  is 
=  a!)i)o-i.-d  lo  j.r-da  r  ;••■'■•"  v';  -]:.  d'h!-  i-  .'a..:v  id:-  hii''-al- 
edye  and  -ad;  (■■'■  at  ,:'■':■!.-:  a/a  s  r-  arr  i'^^d  aa 

202.  The  Tyrnpan.     d'it'i  a  did^i.ar  .  ii  -a^^  ad  >'/:-!a  th,*  a 

i:~  the  0   :~e.      h  p  a  >    i     'a  ■    ■  -    ■  :   ^  '     ■■   ;     .    a  ■'  !:.  '   a.-:adr-'  >  ai 


rKi'issw'okiv  227 

ihe  cause  of  llial  louu'Iin,!^'.  It,  is  olivious  that  if  tyi)c  is  l)cin!]; 
enihcddcd  in  a  so'd  j)ai.  King  lln>  wear  is  all  oil  ihe  edj^^es,  wliicli  will 
he  ,L!;raclu;illy  roinuled. 

203.  Inserting  the  Form.-TIie  first  step  in  llie  j)r()cess  of 
L';eHini^  a  jo])  re:i(l\-  foi' )  iriiViiiiL,^  is  to  insert,  tlu:  form,  in  tlie  ])ress. 
Open  llie  j>re,--  !o  it<  luiiesl  e.vtenl,  :it.  wliicli  time  tlie  rollers 
will  be  at  ilieir  lowest  j)oint,  a.nd  cle:ir  of  tlie  form.  .Insert  the 
form  (l)Lin:r  \  ery  earefu!  n.ot  to  strike  tlie  ,Li'rip])ers),  and  clamp  it 
in  ])o<ition.  Xext,  nio\a.'  the  i^ripix'rs,  if  nect'ssa.ry,  so  that  they 
will  (  iL-;ir  tlu'  form,  iiat  he  sure  that  tlie}'  are  liuht  hefore  lea\an_cj 
tlu-m.  If  lite  dr:i\v-.-~herf  u^cd  on  the  jtrevious  form  will  do 
fiir  the  pre-eni  on.e.  ^iri;)  ol'i  all  guides  and  fenders.  'J'hen 
remove  tlir  preNaous  mahe-read}-  p-elainin;;  it  for  future  use 
if  the  joh  i-  to  he  kepi  stanilinii),  insert  enoiii^h  sheets  to  make 
up  for  lliose  remo\ed,  and,  proct'edi  ^vith  a  new  make-ready. 
All  the  map.ila  -''eels  on  the  t  \'i'''!])a!i  should  he  clanrped  l.)eneath 
the  lym;);!n  hales.  .\!\\;p\s  he  sure  to  put  th.e  joh  in  the  ])ress 
with  the  (|uoins  ad  llie  to]).  If,  for  any  reason,  the  form  is 
!-e;;io\  ed  from  the  })re-<s  or  il<  i)(>sition  chan<j:;ed  adtcr  the  grii)pers 
a.nd  ,<.;uides  ha\'e  been  set,  he  sure  that  the  form  does  not  strike 
them. 

204.  Make-ready.- -d" lie  material  of  Avhicli  ]^rint,ing  forms 
are  eomjMKcd  ii}'!)e,  n\^-c,  I'order.-',  orn-nnenis,  illustrations,  etc.) 
is  seldom,  if  vvrr,  of  uriif'inn  iiei,ii;ljt.  Jn  order  to  secure  a 
Mrm  and  e-\a.-n  impre,-,d.ai  of  this  material  on  a  sheet  of  ])aper,  it 
i--  iv'ee.-sar\"  to  y^n  ihrou'j;h  an  oi)eration  known  as  nuikiiii^  ready. 
'Yhv  \\vA   >tv'i)  in  \h\>  operatioai  is  the  pidlinLT  of  a  trial  sheet. 

I  h,-'  ^krc;  i<  exaaiined  in  a  L.'ood  li^'lil',  and  llie  impression  noted. 
\\  hiTv'  thi  inp)rr<sio!i  \-,  v/eak,  the  s])ols  are  outlined,  with  lead- 
pencil  IV;;. rl--,  :\\\i\  patches  an,-  suh-^c(;uentl\'  j^isted  thereon. 
d'hi<  i'>  !sn;n\n  r-  ::p(;/iinLi  11  pi.  Mow  llian  ont'  spot-up,  or 
j)aiehcd  -hcM,  !.-;  u-uaiiy  rciiuircd  l;ef(;re  the  form  is  ready  for 
[)rinii!pp  d1u:  rcsuhant  series  of  paiclied  s'leets  is  called  a 
}}u:J:i  yriiiv. 

A  ]v;'s-ma;i  wdi  -■omciimes  ]i!;ice  one  sheet  of  make-ready 
l)eneaih    ihe  iyp<.'  or  form  m  order  to   mako  e\er\'thini;  le\'el. 


228  I'RIXTLNG 

When  this  is  done  that  ])arl  of  llie  niakc-rcady  is  called  an  nyidcr- 
lay.    The  ])arl  that  is  ])laced  on  the  l\'ni,])an  is  called  an  overlay. 

Inasmuch  as  it  i<  im|)ossil)le  to  (ell  ju>t  how  nuich  im])ression 
is  Ix'inu;  exerted  by  the  type  a,!i;ainsl  the  sheet  if  the  type  is 
flooded  with  ink,  ihe  pressman  sliould  see  that  there  is  too  little 
rather  than  too  much  ink  on  the  press.  Many  a  jiressnian  has 
frittered  awa\-  time  because  he  used  loo  much  ink  when  making 
ready,  only  to  lind  that  when  the  color  (amount  of  ink)  was 
properly  adjusted  for  ])rinting  the  job  the  form  was  breakinc; 
away,  and  he  was  compelled,  to  stop  the  i)ress  and  s])ot  up 
another  sheet,  if  the  prexious  job  on  the  ])ress  recjuired  a 
;zreat  deal  of  ink,  remo\-e  about  half  of  it  from  the  plate,  and 
thorou,ghly  distribute  the  balance. 

Before  takin;^  the  trial  impression,  the  tx'mixin,  or  packinc;, 
should  be  arrans^ed.  Jhx'ssmen  differ  as  to  the  i>ro])er  method  of 
doing  this.  One  good  way  is  to  ha\-e  three  or  four  sheets  of 
manila  pa])er  clam])ed  beneath  the  tymi)an-balcs.  Between 
the  bottom  sheet  of  manila  and  the  ])laten  ])lace  three  or  four 
sheets  of  the  same  stock  as  that  on  which  the  job  is  to  be  made 
ready.  Pull  an  impression  on  each  manila  sheet  as  a  guide  for 
])lacing  the  make-read\'  sheets. 

When  the  trial  im])ression  is  secured  tlie  sheet  should  be 
be  held  to  the  light  and  examined  on  the  back.  l\  the  t_\-pe  is 
punching  through  at  an\-  ])oint  it  is  exidence  tha.t  there  is  some- 
thing beneath  the  ty])e.  d'his  must  be  remox'ed,  the  form 
should  then  be  o])ened  up,  re-[)Ianed,  and  again  locked  u]). 

If  examination  of  the  sheet  does  not  rexeal  :\ny  txpe  ])unch- 
ing  through,  but,  instead,  certain  areas  lacking  impression, 
these  low  ])laces  should  be  marked  as  a  guide  for  patching  or 
spotting  u]).  These  low  areas  or  places  art'  to  b'C  coN'cred  with 
jxitches  of  thin  paper  (usually  I'dcnch  folio)  in  ordiT  to  make 
them  le\'el  with  the  high  s])ots.  The  lower  tlie  spot  the  nion 
pat  die-  recpiired. 

In  order  to  ])ro])erlv  see  the  imi)re>:d()n  the  pre-sman  sliould 
Iiold  the  sheet  to  the  light,  about  (in  a  level  xvilh  tlie  eyes;  he 
should  then  njo.rk  on  the  back  of  the  sheet  the  outlines  of  the 


PRESSWORK  229 

low  areas,  using  a  heavy  crayon  or  pencil  for  this  purpose. 
Sonietiines  three  or  more  patches  may  be  necessary  on  an 
extremely  low  place,  eacli  succeeding  patch  becoming  smaller  as 
it  hears  the  cenier.  The  outlines  for  these  patches  are  to  be 
marked  on  tlie  sheet.  After  all  of  the  low  places  are  marked 
on  the  back,  the  sheet  should  be  turned  over  and  examined  on 
the  face.  The  back  of  the  sheet  should  be  placed  in  contact 
with  a  sheet  of  carbon  paper  or  put  on  the  ink-plate  of  a  press, 
and  the  low  places  on  the  face  gone  over  with  a  pencil.  This 
will  lea\e  marks  on  the  back  of  the  sheet. 

The  sheet  is  now  ready  for  j)atching.  Having  secured  some 
French  folio,  a  little  paste,  and  a  sharp  knife,  put  a  little  dab 
of  paste  on  the  smallest  area  first,  stick  on  a  piece  of  French  folio, 
and  with  the  sharp  knife  cut  the  folio  to  the  outline  shown  by 
the  pencil-miirk.  If  more  than  one  jxitch  is  recjuired  on  a  low 
;irca,  each  succeeding  patch  covers  the  smaller  one,  so  that 
when  the  patching  is  complete  the  lowest  spot  in  that  area  has 
the  greatest  numljer  of  patches.  Do  not  use  much  paste; 
just  enough  to  make  the  paper  stick.  Paste  on  the  large  patches 
with  a  scries  of  iiiiger-dabs  around  the  edges  and  with  a  few  in 
the  center. 

Wlien  this  spot-up  sheet  is  ready,  cut  off  two  diagonally 
opposite  corners  close  to  the  printing,  raise  the  upper  tvmpan- 
bale,  lower  the  top  slieets,  and  ])aste  this  make-ready  in  register 
with  the  impression  that  was  pulled  on  the  lowest  manila  sheet. 
Take  out  a  sheet  of  the  loose  stock  near  the  platen.  Put  the 
tympan  sheets  down  smoothly  and  carefully,  clamp  the  tympan- 
bale,  and  pull  another  impression.  The  job  should  now  be 
fairly  level,  with  some  low  ])laces  still  in  e\-idcnce.  Go  over 
this  sheet  the  same  as  you  did  ihc  ilrst.  Should  a  third  spot-up 
be  necessary,  follow  the  s;imc  routine.  When  everything  is 
priming  clearly  and  distinctly  on  the  face  without  showing 
much  ini])ression  on  the  l^ack,  the  make-ready  is  complete. 
After  tlic  job  is  fully  made  read}',  remove  a  few  of  the  loose 
sheets  near  the  platen  and  place  the  [)ressboard  just  beneath 
the  draw-slieet.     This  will  give  a  good,  llrm  imuression. 


230  i':;i\ii\(; 

To  ux'oid  ;ill  ri--k  of  Lrftlinir  lln-  ->i)()t-up  >lirc(s  out  of  register, 

always  rclrasc  tlu'  l\'ni|)aii  sIktI  s  !)\"  oijimuiil;'  tlic  haim-  txaiipaii- 
haK',  ])i\'f(.r:!lilv  tlu  io!)  om.-.  '1  iu'  iij'p;T  -liicl  ^  can  In/  rollrii 
down  out.  of  the  \\,[\-  w'uiio  i)u!ii!);i  iiiKac-.-ic:!-  011  tlu:  iiianila 
shci'ls  or  for  jilaciii^  a  sjiol-up  -A:vv\  in  ])o-i{i;in. 

Il  ail  occ\L-ion,.l  lottor  is  -■.■  i'^"'.  lia^t  it  iri;,i;cs  no  niark  on  {ha; 
slu'ot,  it  is  cxiticnl  tliat  it  i<  !)a.(ily  worn.  \]:\\v  il  clian^cd  ;it 
onco.  If  it  (annot  It  r'-r.!a i-c(1  wiii!  a  'ort K  i'  laic,  l/Ut  must  ])C 
usfd,  paste  cnouLrb  lawrs  o"  pcipcT  o:;  !m--  i-otioin  of  it  to  niako 
it  t  \-po-!ii<j:h. 


,  \ 


i-V/A  n\\^:^i.i,     ■■■■    t:.'  I)!:-.   1;  :\ 
cciriiur  Kji  Uiu  lrin;r  it  would  i'i~4i 


l,,y.       Shouill-   !!>.\V  \.>    Hr 


T,  .1    l.rlUr. 


Occasiotadly  a  r\^\ijjr  irttt-r  wiii  kv  l.adi\-  I'altfia'd  on  ofu 
coriaa',  ;  n(i  liirrr  \,ili  wr.i  In-  .iMoiluT  irtM  r  in  tiir  olliic  u>  rrjilacc 
it,  luaua;  il  rnii>l  kr  u-rd.  \\  ill'  a  iilllf  ;-i;;r!u;i; y  tiu'  |a"a^>!iian 
ran  niako  ilu-  iny>ro— ion  l'^.'-m  i^v  \\  p!\  ~;  nla'.io.  I:  i!':;\-  p.- 
nri'f'-<ai"\"  Id  o\ar!a\'  iha  liai'rrid  CDriaa  nail;  a  piaco  ci  (-rd- 
koai'd.  1  ail  i  iic  ca  I'di  loa  rd  ]•:  '  1  k  --'in!; Id  !  i.  1  ^  ■  alfd  :a  d:a  -ana 
anylc  .a-  t  i,i  ^;il  i  >  |-  <^ .  t  ;a' ■  ;;  '■  ai  oa  d;  ;  'a-  ^da.-'  d.iwa:  .:ao  iii-t 
touch  the  (luana'  •>{  ikc  ia'oaa  laa  no;  ]iunc'i  tia-(na;!i  \h>:  stock. 
(Sec  I'iy.    1  ;;. 

205.  Overlaying.  k' a-  |i:-,m>--  of  n:dday  ri-ad\-  balftor:;- 
pki'i--  i-  l.,jo'.',i:  :  <;. ' //a  wo/a.  !)'-a;>>  da-  ca:iina  of  o\a:aa^-; 
k\'  h.ind.  ik(  rr  a  !'c  a   naU'l-cr  0!   lacciainical  nuaiaai  ■  of  rnakirai 


i'j-;i;ss\\()kK  231 

them,  sc\cT;iI  heiii,:^  patented.  Tu  order  to  o])t;un  a  ,i:;radation  in 
tone  \-alues  l!ir(>ii':liouL  1  lie  pieiure,  certain  j)arts  of  the  ])late 
r.'cniire  Uiore  ;!n;u-e;^ain  l!i;;ri  o'dirrs.  The  dee])  sliadows 
r.Miuire  the  tno-i .  \\\c  h\-A\4i::]\\>  the  lea-^t.  Between  these  two 
extremes  ihi,  hi:,  )re.--^iwn  -luuild  IjC  A'aried  Ijv  the  number  of 
.-■■heels  lit  nwrh.;."  11. ■•.■!.  ri\\^;''r.^{  fr^^m  ahiout  three  or  four  in  the 
s!:adows  lo  n,  :e  ;.!  .,H  in  Me  hi\:hd'^ri-|s.  'i'}-e  JKilf  tones  take 
ahorn  t  we  shen  s  li  i'\a'r!:.}'.  i'o  malce  a  Irind-ciit  overhi}',  pull 
ah-)ui  h:i\[  ;,  c'o/en  inipre^ricns  C'f  the  i/iaiu  on  i'"rencli  foli?)  or 
"div  ]>]\;i'.[  pajier."'  L'--e  one  ;dieet  as  a  IxioixL^iround  on  wiheli  to 
p:.s'i'  i!^e  eu;:ii!'s.  "^hit  ^i^-e'x-  and  e,;re!nily  around  t:ie  out- 
Inu'  ()\  e..eh  d;---'  >  >h.ido\\  end  j)a-tc  the  ia;loui  in  proper  position 
on  the  tjaeh;j;roi:nd.  l^o  this  vdth  ah  iLl-  parts  that  need  o\-er- 
le\  inL^.  -[.atiij;  oil  the  r>  •pdr-he  nu:a-h.;-  of  laN'ers  for  each  place. 
Tins  must  ae  .cry  aecuraie'}'  dene,  ity-  if  an\-  ]);irt  of  an  o\-erlay 
0-.  L-riapv  a  pa? ;  diat  vli h-s  not  rep u: re  u.  the  eiVect  wid  l^e  sj^oiled. 
-\iier  the  o\eria\'  is  eompieled,  ii  should  lie  ])asted  on  a  t\'mpan. 
sheet  in  rce;istar  wilh  an  impres:d»ai  that  has  T)i"'-^'vious!y  been 

puih'd. 

In  tile  otliei'  n-a:l!a':dr:  of  o\eria\'in'i  this  pradafion  is  secured 
iy  meeiiaTur:-.!  nuains.  Son^c  (■!  the  proee-s^s  are  secret,  some 
ar-'  r.itlio"  riai  o:^  ii;.  .\n^"on^'  inlcre-ted  in  n^eclianical  o\"erlays 
should  coivuh.  "'ihc  A-  arican  Manual  of  I'l-esswork,"'  page  34. 

200,  Gaiuea.-  After  ih.;  job  i:-.  sali-f^icioriiy  naide  ready, 
thi'  i:u:'L:^  t-aaa  A..;  i,-p  Tia-re  are  a  num'-er  of  !j;au(^c-pins  on 
the  Tn;:"Aci,  'au  the  old  fa-hioia-d  thrrr-cin  pica  rpiad  seems  to 
b^_-  1  oldi'p;  ia-  (a,\  n  in  la^aai.u"  'a\a)r.  A  fy>>: pini-'^dw^c,  eonsist- 
in'.'  of  a  sh^at  of  iran-aaiaaA  cA^iIidd  v.adi  ruleil  lines  ];rinted 
t;  erci,  n.  aff''a  s  n  p\:Ak  iuoAa:d  of  de'ernuninp  marpin-a  An 
eoaaay  aoo'i  o:,/.  bona  •ay.  vda  n  t'u'  uA  is  to  in-  printed  in  the 
'-i-vWr  v.i  Aa  ■'  ;■.  P  ':  'a  ana  :a\  ar--r'-S:A;n.  (ui  A;e  dra\v-sheet, 
!a'  ;■  '1  -h'a't  o'  'he  -a-r',  ;.;:  v.-ai'-h  -he  job  is  to  be  printed,  and 
\[-v  i;  Of;  ifa  (bav.  - -a;o.-'  a-'tb  a:e  edae  (A  the  jaqKa-  apainst  the 
upper  e  ha-  vA  iho  'a'intid  raut  rr.  i  h  A  \-A  Aeaoo  ,P!  i!ie  marpin 
at  A;o  i.oiuaa  of  Aa>  sloc!^.  .\-  on!;.'  half  of  i  ae  marpin  is 
waalida'  t;aAiotA>aa  fold  the  <^aoi  b.uk  uiU  il  it  s  eclLre  touches 


i'RINTIXt; 


the  hottoni  of  the  prinlini:.  Tlic  jhw  cdc'c  of  llie  ]);rper  i.^  tlu' 
I)ropiT  HKiruin.  Make  I'/.d  ])(_iuil-ir,:irks  in  the  Io-.nxt  inargin 
on  the  draw-sheet,  one  i;ear  the  to])  d  tlic  jo!),  th.e  other  near  the 
bottom,  and  draw  a  line  ])ara'iM  wilii  the  lower  ed^irc  of  the  joh. 
This  is  where  the  hoHom  .cruidrs  are  to  Ih'  plaeed.  I'rocccd  in 
the  same  manner  for  the  ^i'-h-  a:uid,c,  ar/l  marl,  its  ])osition. 
''See  Fic!.  I  ^S. ' 

Procure  lliree  th,ree-em  jiic'i  r|ii;id~.  "I'laee  a  little  lif'uid 
glue  on  one  of  the  broad  -id.r-  >•[  eaidi  quad,  rub  it  li'.ditiv  o\-er 
a  sheet  of  ])a])er  to  di-t '-ibvlf  the  crlue  c.-ridv,  wine  off  all  the 


glue  from  blu-  top  narrow  rr'cfe  wl:ere  tho  sheet  will  tourli.  and 
put  the  cjuad  on  the  dra  .'.--heel  in  ])roper  ])osition.  IMace  ail 
three  guide-  in  thi,^  way,  piri-,--ii;'.j:  them  do\'Ti  tlrmlw  J)o  thi.- 
Cjuicklv;  th.en  ])uil  ;l  sheet.  ;ip..l  lr~t  the  mar'iin-  at  op,ee.  To 
do  thi.-,  f'  >ld  the  ^heet  in  had',  h,,k'  ii  1:)  the  light,  and  -ee  if  both 
margin-  arr  tka-  ^a^iu•.  If  ni'.  iv  tr  wirieli  wa,\-  an.d,  hn.w  murh 
either  one  or  bi.th  guide-  vrr{  br  na-wdl.  arid  nv '\"e  them 
Ijefore  tlie  giia-  h...-  l;;,d  lia.e  t-  -  W;  i '^  m  rmi-.c  t':o  head  and 
foot  Uiartzin-  in  the  -an.r  maiin;  r.  1  ho  LTuide-  -hould  he  n,o\-ed 
in  the  direeti'  ^n  opot  iriie  to  th,:l  in  \'.  hioh  '  i'e  printing  -lioukl  go. 
If  the   printing  :diouid  go  i\nv::,.   !i:>''-e  t!ie  guidi.-  up;  if  the 


]>Ri;SS\V()RK 


233 


printin<i;  slioulcl  jjjo  U]~>,  niovc  the  guides  down.  With  a  little 
experience  the  ])ro])er  settin,i^M:)f  <i;uides  should  be  accomplished 
before  the  glue  has  had  time  to  set. 

After  tlie  guides  are   in  ])roper  position   some  precaution 
must  be  taken  to  kee])  the  edges  of  the  sheets  from  cutting 


I'll..  i,i().-- Showiim  C"iuick"5  and  l-'cnders  in  l\)::;iUon. 

between  the  guides  and  the  draw-sheet.  This  is  accomplished 
by  making  a  X'-shaped  slit  in  the  draw-sheet,  the  V  pointing 
toward  tlie  guide,  and  slightly  raising  the  point  of  the  V.  As  an 
additional  safeguard,  and  also  to  firmly  anchor  the  c^uad  to  the 
draw-sheet,  a  stri])  of  gummed  paper  should  be  pasted  beneath 


\ 

{\ 

^\ 

dva\\"-?li 

l-!it  in\ 

^^ 

/ 

/ 

1   llKUlih 

Fig,    140. — .'>ho\viii^r   \'-sIil   and    Quad    (niitk;   Ilcid    Down   willi    Gummed 

Manila  I'apcr. 

the  V  and  carried  com]:)letely  over  the  three  sides  of  the  guide 
and  out  over  the  draw-sheet  for  a  distance  of  about  one  inch, 
llie  gummed  maiiil;!  j>aper  used  for  binding  parcels  is  excellent 
for  this  ])ur])ose.  Figs,  i^g  and  140  will  make  clear  the  pre- 
ceding explanation. 


-\^4 


l'ki\  1  IXC 


Two  sets  of  ()ua(i  '.niiofs  s-houid  !k'  kej)t  on  himd,  one  set 
.-oakinL:  in  water  while  tiie  oilier  i>  in  u,-^;'. 

If  the  job  i-  a  hir:j;e  one,  with  an'iue  ni;in.dns,  _t;;7/;/;(T.-  should 
he  used  to  kie[)  tliesh,r:  a;.{ains;  t  he  lyrni)::ii  alter  ])rinl  iii::;  if 
it  is  a  sjnall  one,  lit  t  le  pii  ee>  of  eardiioard,  calied  fi  lulcrs  ■  si.e  Vy.';. 
i^(>),  are  nsuali)'  suhieii'ii: .  A  feniter  '.\  sinvuv  a  strip  of  s'iiY 
eardhoard,  h^Mii  al  a  r^li;a:l  ,.n:de,  :su;  jl'ud  lo  1  lie  (ira  w-du  et. 
The  hent  par!  of  if  -■:\i\:i-^.  ;;;;  diyhiK'  f.::ai  liie  d; :.  \\  -.;.ei.i .  an;! 
the  stoels  ean  he  sliii  ijene.Lth  it.  i\  '-er\e-  \'^)  ]>rc\(n'  the  foiaa 
from  puliitiL'  the  ;-*oa!,  awav  fror~i  the  dr.; '\--shvet .  I-'eiider> 
should  he  placed  on  tha  aadae  :ddc-  of  ii:e  siaTi,  :::id  at  sonic 
])oint  in  the  niariAin  \'d  •  ^f  Vi^vv  v\ih  !jv;t  ^;rike  iia;  i}.pe. 


/ 


^      / 


Ik.     r  i  I  .       Hi  r,\  111""  ;i 


■1!  •!  ■    .  ,i;  a   :■    \!;!-,    \u-  [  .-,|  iia.i  \\w  l'l\,-. 


207.  Feecing;  a 


■p-f 


ae    n:in:ar    w;    \-aie';    a    -neet 


should     h(.    fen     in-r;    ■  hi      ;.o\   ; 
of  the  sheet.      !f  l!a    j'aprr  i  ■•   ! 
ean    he    Ln'a-;  sed    h\'  i  la'   t  h;  "a 
hourd   -h'/ht  i\'   \',  1!  h(;  it    mW''  ']• 


I H  • ; !  ( :  -    o  u 


i>ee  :  i;a  a;  : 
niantaii  (  r;n 
'ir    eannot 
i-i  ri  M  \\  a 


ui  it  .       \]   '  f 


:.nd  U-;  !;^o  io-e.  i! 
;  id  •  !•■■  tipi-t  a'  i,;i, 
ad   Ui'  'o  i!a'   -h('a-^ 

i;  t'  h:  or  ;  i'v  iddy, 


'■|h  hi-"'   'i- 


pile 


o'    irn'  p, 


PRI-:SS\\()RK 


235 


This  will  cause  tlic  siiccls  to  project  slis^htly  (like  the  leaves  of  ■ 

a  fill!',  so  ilial  \hv  vdy^c-^  m.iv  readily  oe  iSJjr.isped.  Grasj)  the 
e<I,^;e  oi  lac  toj)  shcc;  i^lwecn  the  ihunih  and  index-linger  of 
the  ritriu  IuukI,  ^aipix.uliiig  t!^e  l)od}'  of  the  siiect  with,  the  otlicr 
tinkers,  and  turn  it  co!n{)letcl}'  o\-cr,  at,  the  same  time  swinging 
it  from  the  feedhoriril  into  i)osition  on  the  tympan,  and  pushing 
it  up  to  the  guides.      i^Sce  idg.  142.) 

Tlic  ])rirLt'.vi  slieel  is  withdrawn  with  the  left  hand  at  the 
s;huc  tiiiVv-  ilia!  t';;c  plain  sheet  is  being  hrouglit  o\cr  with  the 
right.     Some  j^re.-smen  insert  tlie  plain  sheet  });irtly  in  the  [)ress 


r 

-■- 

ta 

\\ 

1 

'■"X     ,  ' 

'          ' 

'\     ' 

L 


'^ 


■A  t\i:'i;.i:i  r:.;  .1 


PiL-  ■■u.nnud"  u;,t. 


before  the  nrinted  (')Tic  :s  witlalrawn.  This  is  a  very  bad  habit, 
for  in  nine  cases  dui  of  ten  the  ('C\\'S'.  of  tiie  incoming  sheet  wiil 
touch  the  ink  v)n  tlie  jirinted  sheet  -wvX  be  soiled.  I'hi-  will  not 
1)C  detecled  until  the  sheets  are  s;  r  d;:htened.  They  must  then 
iie  trinuued  lo  get  clean  cdge-^.  --'•>metinie-  to  the  detriment  of 
the  n^ar-in,  :'nd.  :dwavs  at  nddition:d  expen-e  for  trimming 
Ab)re'i\-!T,  sprdrgr  ij-,.  iM-infcd  sluMa  uTcy  !u::rk  the  ]a:ck  of  tlu- 
plaiii  d-i(\'f  ;:!v]  give  it  the  ;a)T-iearanc?  of  otT^et. 

If  it  !-  iurvvd'  k'  t(^  \Ml!!drav;  the  [adnted  sheet  before  the 
pk;;!!  one  iwudw-  the  pre--.  r:iist>  the  prin^a;  -hcet  and  I'.-v^X  the 
plain  one  bone;i(I-)  it.  not  o\\]v  it.     Th:>  \'."d'  -Ti-\'a"t  -cTiuLr. 


236 


I'RINIIXC. 


If  you  ha\e  trouble  in  withdrawint;;  the  sheet  because  the 
finj^ers  slij)  over  it,  eitlier  f:isten  a  ])iece  of  sandpaper  to  one 
fmirer  with  a  rul)ber  band,  or  moisten  the  tinker  occasionally 
on  a  j)iece  of  rair  saturalcxl  v/ith  ^dycerine.  Do  not  wet  the 
hn_c:er  v^itli  spittle.     Such  practice  is  unhx^izienic. 

There  is  a  dilTi'rencc  ])i't\\een  tb.e  two  sides  of  every  sheet  of 
uncoated  ])ai)er.     'I'!ii<  is  due  to  Ihe  fact  that  it  is  almost  im- 


J''i(;.  ij-;.-     hr\  iim-r;ii  k~  and  I'rainc. 


I)ossibic  to  eliminate  tiie  mark  of  tlie  wire  -creen  from  one  side  of 
the  paper  (>ee  Srrtiun  2^\]'.  The  rou.Ljh  ^ide  is  the  ^vire  side, 
the  smooth  side  i.-^  the  feh  siije.  W'itli  some  ])apers  this  dilTer- 
ence  i>  >o  jjronounced  tli;it  to  ])rint  on  the  wire  side  would  spoil 
the  iol).      I'hxaminc  the  -t'-i  !;  e;irefulb/  liefore  ])rintim,'  on  it. 

208.   Drying  the  Sheets.  -  If  tlu-  form  is  a  liirlit  one  or  the 
stock  ab^orbs  the  inl-;  rc'adiiy,  the  jjrinted  sheets  may  be  jjiled 


PRESS  WORK  237 

without  " offsetting  ";  that  is,  without  the  ink  on  one  sheet 
marking  the  back  of  the  sheet  above  it.  If  there  is  danger  of 
olTset  do  not  pile  the  ])rinte(l  sheets,  but  kiy  them  out  on  drying- 
racks  (Fig.  143),  in  such  manner  that  one  sheet  does  not  touch 
the  printing  on  the  other.  Letterheads  can  usuaUy  be  over- 
lapped, somewhat  after  the  manner  of  laying  shingles  on  a  roof. 
If  the  job  is  a  small  one,  and  from  twenty  to  thirty  piles  can  be 
laid  out  on  a  drying-rack,  begin  at  one  corner  of  the  rack  and 
lay  oil  as  many  j)iles  as  the  rack  will  hold.  By  the  time  the 
sheet  for  the  last  pile  has  been  laid  the  first  sheet  placed  on  the 
rack  should  be  dry  enough  to  hold  another  sheet  without  off- 
setting. Go  over  the  piles  in  regular  order.  Watch  carefully 
for  olTset.  If  it  occurs,  the  job  must  be  slipsheeted  as  directed 
in  the  following  section. 

209.  Slipsheeting. — When  one  printed  sheet  offsets  on  the 
next  it  is  necessary  to  slipshcct  the  job.  This  consists  in  putting 
sheets  of  some  rough-surfaced  stock  between  the  i)rinted  sheets, 
placing  them  alternately,  first  a  printed  sheet  then  a  slipsheet. 
Paper  known  as  heavy  news  is  frequently  used,  but  oiled  manila 
is  much  better  and  lasts  longer.  Never  use  enameled  paper  for 
slipsheets,  or  the  sheets  will  stick  together.  Inasmuch  as  it 
recjuires  the  services  of  a  boy  to  put  the  sheets  in  and  take  them 
out  again,  slipsheeting  is  never  resorted  to  if  it  can  be  avoided. 
Sometinies  a  press-feeder  can  put  the  slipsheets  in  while  he  is 
running  the  job,  but  usually  at  a  sacriike  of  speed.  If  the  job 
can  be  put  out  on  a  rack  in  layers,  each  layer  can  be  slip- 
sheeted  by  the  feeder.  The  slipsheets  should  be  within  reach 
of  the  feeder's  left  hand.  As  he  linishes  each  layer  he  can 
quickly  catch  a  slipsheet  and  place  it  without  missing  an 
impression. 

210.  Envelopes. — If  an  envelope  be  held  to  the  light  it  will 
be  seen  that  certain  parts  of  it  overlaj-),  producing  one  or  two 
extra  layers  of  paper.  If  the  printing  strikes  at  such  a  j)oint 
a  cutout  must  be  made  from  the  envelope  itself  and  pasted  on 
the  tympan  so  that  there  will  be  equal  thicknesses  of  paper  at 
all  points.     (See  Fig.  144.) 


,s 


J'klX  i  l.\G 


(■    '';.',  .1  .  I' 


i!h'-  air 


«  I    .  .-.     ;      I 


;;  .  •  I  -Lu::;:.- 


J'K];SS\\'()RK  2V) 

slip  llie  flap  into  fhc  cin-clopc  nnd  cut  a,w;i.y  the  end  of  the  fliip 
l-y  followini,'  liie  oulline  of  the  ui)T)er  ed.t^e  of  the  b;ick  of  the 
en\'e!()])o,  iisin-i'  a  shar])  knif'?.  Now  cut,  away  the  entire  back 
of  the  envek.pe,  bein;;  ciroful  to  ])reserve  the  full  outline  or 
dimensions,  retainiu'^  notinnii;  luit  the  front  of  the  envelope  and 
the  remaining  section  of  the  flar).  The  cutout  sliould  now  be 
pk-.ced  in  ])osition.  i'l:!ce  a  perfect  cnveloi)e  on  the  guides  and 
dniw  a  ])encil-niark  or^  t lie  dniw-slieet  along  the  bottom  and  side 
of  thiC  envelope.  ]\enn)\-e  the  envelo])e  and  stab  a  few  holes 
along  ti'.is  ])encil-m;;rk  ris  a  guide  for  jdacing  the  cutout  on  the 
sheet  be!ie;ith.  liaise  tlu'  npjKT  tym])an-bale,  lower  the  draw- 
sheet,  and  j>;;ste  t];e  cutout  on  tlie  first  niam'la  tymjirai  sheet 
be!(i\v  the  drr:w-s]ieet.  Rei)lace  the  drriw-shicet,  and  })ull  an 
in^iiression.  If  the  ^^c)^k  h;is  ijeen  careful!}"  and  properly  done, 
the  [)rinting  should  ])resent  a  uniform  aj)pearance. 

if  tlie  en\-elope  l;;is  ;i  jirinted  addres--,  covering  the  lower  half 
oi"  it,  make  it  ready  a^  if  for  a  plain  sheet  (jf  paper,  set  the  guides, 
and  cut  out  the  two  parts  where  th.e  sides  and  Ijott.om  are  glued 
togcMdier,  following  tlie  outline  closeh'.  Put  the  cutout  in  posi- 
tion on  tlie  nianila  tympan  sh.cet  as  (]escrii)e(l  above. 

Any  envelojic  c:;n  ])C  made  rc;idy  in  tins  manner.  In  making 
a  cutout  it  is  simply  nccessar}'  to  ha\-e  enou:^!!  ])ieces  of  ]>a])er  of 
proper  slaijie  in  pterfeci  regi'^1(T,  so  th.it  when  tl:e  en\-elo])e  and 
tlie  cutout  ;;r(^  pi:iced  in  position  tlie}'  will  give  ari  e([u;d  mmilier 
(^f  kivi^rs  of  i);iT)er.  If  tlie  en\-eJupe  h;is  ffuu"  t  hicknesses  of  ])aper 
at  one  point,  three  at  arother,  wud  two  at  anotlier,  it  will  be 
id  two  jtieces  to  tha  two  la\'ers,  one  piece  to  the 
,-e  !U)Tie  ;i1,  all  where  tliere  are  four  layers. 
1  cutout  use  one  of  the  en\-clo]>es,  so  that 
lily  ])C  Uyl'-v'cd,  If  ijie  en^•elol;cs  are  to  be 
aj)  fa:a  t'>  ;.:i  (an-eloi)e,  cud  \\-here  the  four 
;y  ihc  wliole  four  layers;  where  the  three 
\'  iv:'\  retaining  one;  wlierc  the  two  la}-ers 
th.  'i'his  will  leave  'MK  !;i\'er  (ATr  the  three 
iud  two  over  the  two.  making  four.  When 
llu'  cuLv)ut  a.iid  thi'  (auelopc  are  ];)ut  into  register  and  held  to  the 


necessary  to 

;ul 

d   tV^ 

three  !a\Trs, 

;in 

(1  Ik 

Wlien  maki; 

theoutliee-^ 

'''■'. 

;'  re.- 

i'rd  closed,  a 

ura 

!  ne 

■f. 

,  cr 

;'   av 

laA"ers  occur, 
(K'cur,  r-'  .:ir; 
kivors,  niaki 

cu 

'  ;!W 
four. 

243 


PklNTIXc, 


li.dit  it  will  he  f(jun(l  that   they  present  a  uniform  tone.     Put 
this  cutout  in  position  as  der^crilied  ab()\-e. 

211.  Opening  and   Closing  Envelopes.— The   printing   of 
envelopes  is  very  hard  on  type,  owing  to  the  particles  of  gum 


S'.ip  one  tla;) 


Fi;ips  !jent  iiack  so  t: 
(.:r.vc'io;)es  ■.vlV.  lie  ::;■- 


r"iG.  145. — ]\lL-thc)(l  (if  Opening  out  Enx-eldpe  Flap^. 

that  frequently  stick  to  them.  If  the  price  obtained  for  {>rintinr; 
them  admits,  it  pays  to  open  out  the  flaj^s  before  ])rinting. 
Fig.  145  illustrates  how  this  should  l)e  done.  Orasp  a  pack  (of 
twenty-tivc)   in  the  left    hand   and  bend   the  en\-elopes   back 


'u;.  14(1.-  -Slvv.'/i 


r  W" 


slightly  at  the  top  so  as  to  raise  the  flap  of  llie  tup  one.  Grasp 
the  uprai.-ed  tlap  with  the  thumb  and  lingers  of  the  riLrht  hand, 
slip  the  top  of  ihe  etix'elope  iienealh  the  llap  of  the  one  beneath, 
and  push  il  complelel\'  under,  (ira-p  the  ikip  01  lluit  one,  and 
proceed  in  like  manner  until  tlie  llaps  of  tlie  wh.oie  pack  ha\-e 


rki;ss\\()RK  241 

been  slipped  one  under  the  other.  Raise  the  flaps  and  Ijend 
them  back  far  enough  to  cause  the  envelopes  to  He  straight. 
With  a  little  practice  this  can  be  done  \-ery  quickly. 

The  envelopes  may  be  closed  while  in  the  act  of  taking  them 
from  the  press.  Withdraw  the  envelo[)e  with  the  left  hand  by 
sliding  it  up  the  tympan.  As  the  flap  projects  above  the  edge 
of  the  tym})an,  close  it  with  the  thumb      (See  Fig.  146.) 

212.  Frisket. — Owing  to  the  fact  that  parts  of  a  form  some- 
times become  inked  and  mark  the  printed  sheet,  it  is  often  nec- 
essary tc  resort  to  the  use  of  a  frisket.  This  is  a  sheet  of  manila 
paper  stretched  tightly  between  the  grippers  and  glued  to  them. 
An  im[)ression  of  the  form  is  ])u!led  on  the  manila  sheet,  and 
holes  are  cut  in  it  so  that  the  type  may  go  through  and  print  on 
the  sheet  beneath. 

213.  Registering. — Registering  seems  to  be  about  as  puz- 
zling to  the  beginner  in  i)res5work  as  imposition  is  to  the  average 
compositor.  The  fact  that  everything  is  in  reverse  seems  to 
confuse.  If  the  job  is  too  low  on  the  sheet,  the  guides  must  be 
moved  down;    if  it  is  too  high,  they  m.ust  be  moved  up. 

When  printing  a  job  in  more  than  one  color,  pull  plenty  of 
register-sheets  of  the  kev-[)late  or  form,  and  register  each  suc- 
ceeding color  into  the  key-form.  Registering  can  be  facilitated 
by  pulling  an  impression  on  the  draw-sheet,  oiling  a  register- 
sheet  so  that  the  impression  can  be  seen  through  it,  and  then 
mo\'ing  the  register-sheet  until  it  is  in  register  with  the  impres- 
sion on  the  draw-sheet.  Draw  a  pencil-line  around  the  guide 
sides  of  the  sheet,  and  mark  the  i)osition  of  the  guides  (a  register- 
sheet  having  been  mar]-:ed  and  preserved  for  this  purpose). 
Have  tJic  guides  in  the  sar,ic  position  for  all  the  colors. 

DilTiculty  is  sometimes  encountered  in  regir^tering  vignetted, 
three-color  halftone  plates  in  the  center  of  a  large  sheet,  espe- 
cially if  th  ^  jcjb  is  a  small  one.  Owing  to  the  fact  that  there  is  no 
circumscribing  outline,  some  prominent  point  in  the  center  must 
be  taken  ;is  a  registering-[)oint.  For  a  trial  register,  set  the 
guides  as  Ijcfore  described.  If  one  j)lace  is  in  register,  and  the 
balance  of  the  job  seems  to  swing  around  that  point  as  a  center, 


242  PRTXTTXG 

Stick  a  pin  throu,2;h  that  central  ])()int,  rcmovt  the  (guides,  and 
very  carefully  swinj^  the  sheet  the  re(|uire(l  amount.  Replace 
the  guides.  The  reason  for  ren"io\-inL;  the  Lmides  is  that  one  of 
the  bottom  pjuides  must  <^o  down  and  the  other  up  when  a  sheet 
is  swunp;  around  a  center.  Moreover,  tlie  side  guide  would  be 
crooked.  A  movement  of  two  ])oints  near  the  center  of  a  sheet 
may  require  a  mo\-ement  of  ten  points  at  the  guides. 

214.  Slurring  of  Rule  Jobs. — When  a  job  is  completely 
surrounded  by  rule  and  all  the  corners  are  perfectly  joined,  tlie 
pressman  is  frecjuently  troubled  by  his  inability  to  overcome 
slurring,  that  is,  ])roducing  a  double  mark  on  the  sheet.  This 
slurring  is  due  to  the  air  which  is  compressed  inside  the  rule 
border  at  the  moment  the  sheet  touches  the  rule.  The  air  is 
forced  out  over  the  edges  of  the  rule,  causing  the  sheet  to  move 
slightly  and  resulting  in  a  slur.  This  happens  more  frequently 
on  a  ])ress  with  a  sliding  ])laten.  It  can  be  obviated  by  drilling 
a  coui)le  of  holes  through  the  rule  as  an  outlet  for  the  air. 

215.  Embossing. — Kmbossing  is  the  pressing  of  paper  or  thin 
cardl)oard  between  a  pair  of  dies  so  as  to  leave  the  design  in 
relief.  The  first  essential  is  the  die,  which  is  usually  of  brass  and 
hand  cut.  All  the  details  that  are  to  a})pear  on  the  face  of  the 
finished  ]>ro(luct  are  cut  into  the  brass  plate.  If  the  plate  is  not 
type-high,  it  is  mounted  on  an  iron  base.  The  best  way  t(~ 
mount  a  plate  is  to  attach  it  with  screws  to  the  iron  base. 
Lacking  this,  the  next  l)est  (and  usunl)  wa}-  is  to  coat  one  side  of 
a  stri])  of  hea\'y  manila  ])a])er  witli  glue,  and  wrap  it  about 
the  iron  ba.se  until  it  has  b>een  built  \\\)  to  tlie  pro])er  height. 
Then  glue  the  br;:ss  ])late  to  the  manila  ;)aper,  holding  it  under 
pressure  until  lirmly  set.  As  embossing  re(|U;res  considerable 
pressure  it  should  only  be  attempted  on  strongly  built  presses. 

After  the  glue  is  thoroughly  dry,  the  plate  should  be  locked 
up  in  a  chase  and  clamped  on  the  bed  of  the  press.  The  next 
step  is  the  n;aking  of  the  counter.  This  is  done  by  the  {■)ress- 
ma.n  in  various  wa}'s,  one  of  which  is  as  follows:  strip  olT  the 
tympan,  leaxiug  the  jtlaten  bare.  Clue  a  sheet  of  strawboard 
to  the  ])later,.      While  the  glue  is  ^ettiim,  mix  a,  little  Alabastin^ 


tRESSWORK  243 

with  enough  liquid  plue  and  sodium  silicate  (sokible  water- 
glass)  to  make  the  com[)ound  of  atjout  the  consistency  of  putty. 
Smear  this  in  a  fa  rly  even  layer  on  the  strawboard  in  such 
position  that  it  will  cover  the  die.  Oil  a  sheet  of  tissue  or 
French  folio  paper  and  cover  the  composition  with  it.  Go  over 
the  inside  of  the  die  with  an  oily  rag  or  dust  it  with  French  chalk 
(powdered  soapstone)  to  prevent  the  composition  from  sticking 
to  it  if  the  oiled  j^aper  should  break.  Start  the  press  and  apply 
the  j)ressure  gradually,  letting  the  press  go  over  once,  with  a 
lingering  squeeze.  Remove  the  oiled  sheet  and  examine  the 
counter.  If  it  has  failed  to  fully  fill  the  deep  parts  of  the  die, 
apply  a  little  more  composition  where  it  seems  to  be  needed, 
cover  with  an  oiled  sheet,  and  pull  another  impression  as  before, 
If  the  counter  is  now  perfect,  trim  off  the  surplus  compositioii 
while  it  is  still  plastic,  cutting  it  away  entirely  where  it  is  not 
needed.     Allow  room  on  the  strawlioard  for  the  guides. 

Leave  the  press  wide  open  so  that  the  composition  will 
harden  quickly.  It  is  better  to  make  the  counter  just  before 
leaving  in  the  evening,  so  that  it  may  harden  overnight.  It 
should  be  as  hard  as  stone  in  the  morning.  If  the  counter  has 
any  sharp  or  rough  places  that  seem  to  break  or  tear  the  stock, 
they  may  be  smoothed  with  fine  sandpaper. 

Another  method  (which  the  author  has  seen  highly  recom- 
mended, but  which  he  has  never  tried)  is  to  use  an  old  talking- 
machine  disk.  Soften  this  by  the  aid  of  the  heat  from  a  paint  er's 
gasoline  torch  or  a  Bunsen  burner,  and  make  the  counter  while 
it  is  in  a  plastic  condition.  If  tlie  first  strike  is  not  a  comi)lete 
success,  soften  it  again  and  add  more  impression.  This  hardens 
at  once. 

216.  Perforating. — Perforating-rule  conies  in  two  heights — 
type-high  and  slightly  higher.  When  it  is  run  in  type  forms,  it 
should  be  just  t}-pe-h.igh.  The  cutting-edge  is  sharp,  and  if  it 
sticks  up  above  the  type,  there  is  nothing  to  pre\'ent  it  from  cut- 
ting into  the  rollers  and  ruining  them.  It  will  also  cut  into  the 
draw-sheet  and  pile  up  an  aggregation  of  ink  in  the  perforations, 
Fven  when   th.e  rules  are  type-high   they  should,   if  possible, 


.^44  i'ki\ri\(; 

[■»ro]cct  beyond  the  cdi^c  of  ihr  [)ri:itcd  sheet,  and  each  end  should 

I'c  abutted  with  :[  sliort  ;)iecc  '.'f  three-[)()int  face-rule  to  prevent 
the  end-  from  cutting;  the  roHers.  The  three-point  rule  can  be 
prcwnled  ir^un  marking  the  draw-sheel  by  usini;  a  frisket. 

It  would  be  an  iuipro\-enient  if  perforatinci-rule  were  slightly 
lower  thin  tvpe-high  so  tli.it  it  would  not  touch  the  rollers  at  all. 
A  thin  sheet  of  zinc  or  bra--  under  the  draw-sheet  could  be  used 
lo  give  tlie  required  iinpr(.'>-ion  for  a  clean  cut.  Of  course,  this 
would  not  be  fea-il)le  if  tyj)c  came  very  close  to  the  rule. 

217.  Scoring. — All  machine-rjiade  ])a])ers  have  what  is 
known  a-  .1  grain.  That  is,  the  sheet  will  fold  and  tear  more 
readil}'  in  one  direction  than  the  other.  The  grain  runs  the 
length  of  the  stock  on  the  j)a])cr-making  machine,  and  usually 
the  long  way  of  the  sheet.  It  is  impossilde  to  fold  some  cover 
stocks  across  the  grain  without  cracking  them.  When  the 
stock  must  be  folded  in  that  direction  it  must  be  scored.  This 
consists  in  mashing  the  fibers  with  a  thin,  blunt  edge.  A  j)iece 
of  brass  rule  is  usually  used  for  this  i)urpose,  being  locked  in  a 
cha.-e  in  ])roper  [)Osition.  As  no  printing  is  to  be  done  the 
rollers  should  be  remoNX-d.  The  make-ready  consists  in  adding 
sheets  to  the  tympan  until  the  rule  mashes  the  stock  just 
enough,  so  that  it  will  fold  without  breaking,  but  not  until  it  is 
sutTicient  to  cut  it.  If  tlie  .-lock  is  a  co\-er  for  a  book,  two 
scoring-rules  may  be  neces-ar;c,  the  distance  between  them 
beini:  equal  to  the  width  of  the  back  of  the  book.  All  scoring 
should  lic  done  on  the  out-ide  of  the  sheet.  If  there  is  ])rinting 
on  the  inside  of  the  <heet  it  .-hould  be  doi'ic  before  the  scoring,  as 
the  -coring  ha-  a  tendcncv  to  lieml  the  sheet. 

Scoring  i.uil  ])rip.tin'j:  can  be  done  at  oiie  orveraiion.  If  the 
primed  miirl;  made  b\-  the  -corirvi-rule  is  (-bjectionidjle,  it  can 
be  jirev-euted  ]>y  the  u-e  of  :i  fri-ket.  (See  >ection  212.)  It  sel- 
dom -how-  ;i!;er  t!a'  .dieei   i-  foliieil. 

218.  Cutting  and  Slitting.  —  Slit-  and  cutouts  of  various 
sizes  and  slia'pe.-  can  be  made  i>n  a  platen  press  liy  the  u>e  of 
>teel  cuttirvj-rule  as-emb!ed  into  ])roper  form.  If  the  outline 
is  n(jt  reei.an:'ular.  tlic  u-ual  methotl  is  to  la\'  out  the  sha])e  in 


PRESSWORK  245 

lead-pencil  on  an  old  electrotype  block  from  which  the  plate 
has  been  removed.  The  block  is  then  cut  along  tlie  pencil- 
marks  with  a  jig-saw,  and  the  cutting-rule  bent  to  lit  the  saw- 
cuts.  The  block  is  then  locked  up  in  a  chase.  Cutting-rule 
is  of  just  the  right  temper  so  that  it  ma\'  be  bent  without  break- 
ing;  it  should  be  severed  with  a  three-cornered  file. 

Best  results  are  obtained  when  the  cutting-rules  strike 
against  a  thin  sheet  of  zinc  or  brass  ])laced  under  the  draw-sheet 
on  the  tympan.  If  the  piece  of  stock  that  is  cut  out  sticks  in 
the  cutting-die  instead  of  falling  to  the  floor,  a  few  pieces  of  cork 

-    I'l.-rforutiiit,'  ru'i'  ^Soorins-'-i'uks 


2  <?  The  Terabciitine  Co. 

C  B.  -118  and  419 

^  3'  Mariner  and  Merchant 

H  r^  EuildinK 

2  5  PHIL.VDELPHIA,  PA. 


>Cuttoig-ru!(: 


'The 


disappearing 


Dollar" 


Yours  —  perhaps.- 


Fic.   147. — A  Job  that  was  Prinu-d,  C'lil.  Stored,  and  Perforated  at  One 

Operation. 

glued  to  the  block  near  the  rule  v;ill  eject  it.  A  sheet  of  heavy 
paper  on  the  floor  to  catch  the  cuttings  will  facilitate  cleaning 
up  after  the  jol)  is  fmislied. 

219.  Printing,  Cutting,  Scoring,  and  Perforating  at  One 
Operation. — By  the  exercise  of  a  liale  ingenuity,  tlie  ]>ressman 
can  frequently  accomplish  severed  things  wiili  one  impression. 
In  Fig.  147  is  shown  a  jol)  that  v/as  printed,  cut,  scored.  ::nd  per- 
forated at  one  operation. 

An  impression  of  the  job  was  I'lr.-t  i)r,iK-d  and  all  llie  type 
underlaid;  then  the  rules  were  ail  })usbA'd  d';wn  so  that  thcv 
would  not  take  ink.     The  rollers  w(;re  raised  so  that  the\-  would 


246  PKIXTIXG 

not  mash  into  the  type.  Tlie  job  was  made  ready  and  enough 
impression  put  on  the  wirious  rules  to  make  them  cut,  score,  or 
perforate,  as  refjuirefL  When  \V(jrking  a  job  of  this  kind  if 
there  is  diiTicuhy  in  getting  the  dap  up  after  it  is  cut  and  scored, 
a  piece  (;f  springy  cardboard  glued  to  the  draw-sheet  will  serve 
to  open  it. 

220.  Printing  a  Two-color  Register  Job  by  the  Aid  of  a 
Frisket. — Fig.  91  sl;ows  a  two-color  job  for  a  tall}--card,  the 
various  });irts  of  which  had  to  Ijc  kept  in  i)erfect  position. 
Such  a  job  is  diiTicult  to  set,  and  more  diiTicult  to  skeletonize. 
There  is  reall\-  no  need  io  skeletonize  it,  for  it  can  be  kept 
intact  and  })rinted  l^y  the  aid  of  a  frisket.  Pull  a  j)roof  of  the 
job  on  light  cardboa.rd  and  cut  out  the  t\'])e  not  desired.  Paste 
this  on  the  back  of  the  form,  in  perfect  register,  then  lay  the 
form  on  the  stone,  unlock  it,  a.nd  push  down  the  type  not  desired, 
plane  the  form,  and  lock  it  up  again.  Strips  of  the  same  card- 
board should  be  glueil  to  the  ndler-tracks  to  raise  the  rollers. 
Take  out  enough  ])acking  from  the  tym])an  to  com])ensate  for 
the  thickness  of  the  cardijoard  underlay.  ^lake  the  job  ready. 
Cut  a  frisket  so  that  onl\-  t!ie  j^rinting  desirecl  will  };e  impressed 
on  the  ^het't.  If  the  other  part- do  print  slightly  the  ink  will 
get  on  the  fri>ket,  not  ow  the  slieet. 

After  the  lir.-t  color  i.--  comi)leted,  Avash  up  the  ]^ress.  put  uj- 
the  other  color,  cut  a  new  underla\',  ju.-t  tlie  re\-erse  of  the  lirst, 
bringiuL:  wo  wlial  was  down,  ])ushing  down  what  was  up,  make 
a  nrw  owri;i\-  and  a  new  frisket.  Be  v-ry  carrfnl  not  to  dis- 
plarr  tlw  draii-:-/!'' t,  thereb}' altering  the  guides.  The  jolj  v.'ill 
the!)  be  in  perfect  regi.-ter. 

221.  Washing  Up.  —  It  is  generall\-  conceded  that  the  best 
solulio'i  for  w:;-!:ip.g  roller.-  is  kero-ene.  It  is  not  inflammable 
at  (jrdinar}'  t  enu  >er..turcs.  as  i-  benzine  and  gasoline,  and  it 
leax'es  a  certain  aiv.ount  of  oiline-s  on  the  rollers  that  is  con- 
ducix'e  to  loll::  life.  ikaizine  ewqiorates  r|uickl\',  and  fre- 
ciUentK'  t:d--.e-  l!ie'  -uctiou  \',i'h  it. 

Benzine  i-  in.  liigh  fa\-or  \'.-itli  rom])Ositors  for  cleaning  tyi)e 
IjCcause  it  ewipor^te'-  at  once,  and,  if  necessarv,  another  proof 


PRI':SS\V()RK  247 

can  be  pulled  very  shortly  after  washing  the  type.  This  is 
impossible  with  detergents  of  an  oily  nature.  Type  that  is 
frequently  washed  with  benzine  finally  becomes  encrusted  with 
dirt,  and  a  lye  l)ath  is  then  necessary  for  a  perfect  cleansing. 

222.  Removing  Hard  Ink  from  Rollers  and  Press. — When 
rollers  and  presses  are  neglected  or  not  thoroughly  cleaned, 
they  become  encrusted  with  hard  ink.  This  also  happens  with 
ink-knives  and  ink-slabs.  There  docs  not  seem  to  be  any- 
thing Cjuite  so  efTicient  for  softening  these  incrustations  as 
dead-oil.  This  is  a  gas-house  product,  with  a  characteristic  odor. 
Carbon  tetrachloride  is  also  recommended  for  this  purpose. 

223.  Safety  Devices. — Only  within  a  comparatively  few 
}'ears  has  it  been  recognized  that  every  member  of  our  complex 
social  system  has  a  definite  producti\'e  capacity  and  monetary 
value,  and  tliat  the  maiming  or  the  shortening  of  the  life  of  an 
indi\-idual  is  just  so  niuch  loss  to  the  community  at  large. 
Legislators  ha\-e  taken  up  the  matter,  and  laws  are  ])eing  passed 
compelling  employers  of  labor  to  safeguard  their  workmen. 
No  piece  of  machinery  that  in  any  wise  jeopardizes  the  life  or 
]U'rson  of  the  attendant  should  l)e  permitted  to  l)e  used  without 
proper  s;ifety  attachments.  Printing  machinery  is  particularly 
dangerous. 

All  e\])()scd  gear-wheels  on  ])rinting-presses  should  be 
encased,  so  that  it  Avill  lic  inipossildc  for  the  attendant  to  be 
caught,  no  matter  how  careless  lie  inax'  be.  Fl\'wheels  should 
be  co\ered  with  sheet-iron  on  the  outside  so  that  no  one  can 
get  between  the  sjx^kes. 

There  is  liardh'  a  ])rinting  office  that  has  not  at  least  one 
I'ressnian  or  feeder  who,  at  some  time,  has  not  had  a  finger  (per- 
haps a  wliole  hand)  mash.ed  in  a  platen  press.  There  are  now 
sexx'ral  (le\"ices  on  the  market  that  will  lift  the  feeder's  arm  out 
of  the  way  in  time  to  a\()id  accident.  I-^'ery  press  should  be 
e(|ui{)ped  with  some  such  device.  Fig.  148  shows  a  (le\'ice  for 
this  ]iur])Ose.  True,  attendants  are  freciuentl\-  Acry  foolhardy; 
they  will  take  big  chances  to  accom])lish  something  without 
".topping  the  press.     Sometimes  safety  attachments  are  thrown 


24'S 


I'RI.NIMNX; 


back  or  out  of  use.  Dont  lake  surli  risks.  If  sometliin^  serious 
should  ha])pen,  it  will  neees>itate  a  nnieh  lonj^er  slo]),  and  it 
may  mean  a  ])ainful  and.  ])ermanenl,  disabilit}'.  No  amount  of 
safeguarding;  will  prexent  an  accident  unless  there  is  intellii^ent 
co-o])iM'ation  on  the  ])ai't  of  the  workman. 

While  this  cha])ter  is  dexoted  to  ])kiten  ])resscs  and  not  to 
cylinder  presses,  tlie  author  cannot  refrain  from  telling  of  twc 
accidents  an.d  one  near-acci(k'nt  on  cylinder  ])resses  with  which 
he  was  j^ersonally  a.c(|uainted.  The  two  accidents  ha])])ened  in 
])recisely  the  same  way,  one  of  them  seriously.  In  both  cases 
the  pressman  was  ti-ying  to  renio\'e  something  from  the  form- 


Mc,.  i.|S.  --S\Kc>ur  S;ifcly  I)c\M(x-  for  JdI)  I'rcssi's. 


rollers  while  the  prc-s  \va-  running,  and  just  at  flie  moment  of 
reversal  r;!(  h  had  a  hand  and  ;ii-in  drawn  ])i"tween  the  rollers. 
F()r1un;!tel\  ,  in  one  case  tlu'  fecdei-  stoi)])ed  the  ])ress  imnie- 
diatel\-  1)\  throwing!;  off  the  ])ower  and  ])ressing  hi>  body  again>t 
the  llywhccl.  This  accident  i-e-ulled  in  a  l)a(lly  si)raine(l  hand. 
The  second  pre-^niaii  was  not  ^o  fortunate.  His  arm  was 
drawn  in  up  lo  liie  elbow,  net  ('.-.--ilal  ing  ampiUation. 

'i'he  nciir-.ici  ident  oii'urred  when  a  machinist  was  working 
beneath  a  cxiindei-  pi-e->  and  pu>he(i  his  foot  against  the  back-U]) 
lexer,      lie  didn't    know  he  wa?  doing  it,  but    thought   sonu'one 


i'Ki:ss\\()RK:  249 

was  start i!\ii;  the  i)ress.  When  lie  nioxx'd  to  ,i;et  out.  of  harm's 
\\a\'  hv  ren;o\ecl  the  eau>e.  Moral:  nex'er  <;et  under  a  cylinder 
])ress  to  tix  anxiliin!^  or  clean  u])  while  the  ])ower  is  attached. 
If  it  Is  l)elt-dri\en,  throw  olT  the  belt;  if  it  is  electric-connected, 
pull  out  the  fuse. 

If  \'ou  are  ruiuiinii;  a  ])ower  cuttin.ir-n-iachine,  keep  your  eye 
on  the  \icious  knife-l)lade  luitil  it  conies  to  a  full  stop.  Under 
no  circumstance  he  tempted  to  reach  under  the  knife  until  you 
know  you  are  safe.  This  is  the  one  dani^'erous  machine  that 
caiuiot  well  he  guarded,     ^'ou  must  be  }'our  own  guardian. 

Xe\er  wipe  around  any  kind  of  press  while  it  is  in  motion. 
Keep  in  niind  the  slogan,  '"  Safety  tirst ! "'  Remember  also,  that 
a  cai'eful  workman  is  the  best  safet}'  de\-ice. 

gii:.SiK)XS  ()\  CllAPTIiR  XIV 

1.  W  hal  is  a  jilaU'ii  press  ? 

2.  l)i'srril)C'  iho  dilTcrt'iil  t\'pc's  of  ])laU'ii  presses. 

3.  Whit'li  part  cf  the  press  is  the  bed  ? 

4.  \\  Jiii'li  part  of  tile  press  is  the  [)lalen  ? 

5.  W'liat  is  a  t>  ini)an  ? 

0.   \\1iat  is  I  lie  (irav.-siieel  ? 

7.  WTiat  are  tlie  in'i{)pers  ?     Why  are  they  used  ? 

S.  ( )f  what  use  are  roller-l)earers  ? 

().   W'ltat  inm'edieiits  are  usually  used  in  composition  rollers  ? 
10.   \\  liy  is  it   neie-sar_\-   to  \ary   the   ingredients  during   the  different 
s;asons  of  the  \"ear  ? 

M  .    1  )eseril)e  t  he  ph_\->ieal  eliaracteristies  of  a  roller  in  perfect  condition. 
12.   \\  iiat  causes  some  inks  to  ha\'e  a  deleterious  actitui  on  composition 
r  Jlers  ? 

I,-;.   \\  li>-  is  it  neces>ar_\'  to  chanu'e  the  gudireons  on  composition  rollers  ? 

14.  What  special  care  should  you  exeridse  when  oiling  a  press  ? 

15.  Why  are  forms  t'onlaining  wooden  fiu-iiiture  usually  loose  after 
standin--,'  for  some  time  '-' 

[().  Why  -liould  roller-  not  he  allowed  to  stand  in  contact  with  form  or 
•nk4)late  fia-  aii_\-  lenul  h  of  lime  ? 

17.   Sliould  or  shoiiK!  noi  a  printed  sheet  show  an\-  impression  ? 

i.s.   W  huh  f-  belter,  a  hard  or  a  soft  [lacking  ? 

i().    Whal  cau-es  type  to  wear  round  on  its  edges  .-' 

20.   What  will  |M-e\ent  type  from  wearing  round  on  its  edges'- 


PKiXTIXC; 


;"i.  If  type  i?  rounded  <in  its  (.'(I.t^'cs,  how  can  we  ^ct  it  to  leave  a  jierfect 
impression  on  a    sheet  '■: 

12.  Desirihe  how  you  would  phu c  a  form  on  a  platen  i)ress,  tellirf: 
what  each  mo\-e  is  intended  to  aeeomplish  or  a\()i(h 

2^.   Should  the  (juoins  he  at   tlic  top  or  bottom  of  a  form  ?      \\'h_\  ? 

2.\.   \\  hat   do  _\ou  understand  hy  mal^e  ri'acK  :' 

25.  (;i\e  a  lull  desrri[)tion  of  your  method  of  maki!i^'  a  form  read}'  for 
printing:. 

2t).   Why  is  it  ina<l\'isal)le  to  carry  much  ink  while  makinj^'  a,  form  ready  ? 

27.   What  is  an  "  <)\crla_\-  "  ?    an  "underlay""? 

2S.  Why  is  it  adxisahle  to  open  the  upper  tympan  l)ale  instead  of  tlic 
lower  one  when  pullin,'-r  impressions  on  the  tympan  sheets  and  when  placinj^ 
the  make  rt'adx'  in  po>ition  ? 

20.    Desciahe  the  makin.^  of  a  hand-cut  o\cilay  for  a  halftone. 

30.  W  hat  is  a  tympan-.u'au.Lje  ? 

31.  Describe  the  settiuL;:  of  (|uad  f:uides  on  a  jjlaten  ])riss. 

_^2.   W  h_\-  do  we  luake  \'-siiaped  slits  in  tl)i>  draw  sluet  near  the  ;zi-iides  ? 

,^,-;.   W  hat  is  a  fender  'i     \\  hy  is  it  used  ? 

,v]..  \\  hat  do  _\"ou  understand  1)_\-  buckling'  or  crimpin;:;  a  sheet  as  api)lie(l 
to  ])res>  fi'cdin.t;  ? 

35.    I  low  would  \'ou  "  ll_\-  ""  a  sheet  when  feedin.t,'  a  pri'ss  ? 

,^(^.  What  will  happt'U  if  the  inconu'n;;;  slietl  rubs  o\i'r  the  surf;ue  of  the 
{)rinted  sheet  as  it  i>  bein^  withdrawn  from  the  press  ? 

37.  II  \'ou  were:  ha\in;j;  diliicultN'  in  withdrawiiiij;  sheets  from  the  {)ress, 
how  would  you  ON-eriome  it  i 

^S.   I  low  can  \'ou  distinj,aiish  the  ri^dit  from  the  wi'oiiy  side  <:l  the  pa])er  ? 

30.   What  is  olYM-t  ? 

40.  ilow  should  lettei'heads  be  laid  out  to  ax'oid  oiYsetlini;  .•' 

41.  Why  is  it  neccssar_\-  to  slipsliect  a  job  ? 

42.  What  kinds  of  paper  may  be  used  for  slipshi'cls  ?  What  kinds  ma\' 
not   be  u>c(l  ? 

4-;.    hcscribc  the  making  of  an  enxclope  cutout. 

44.  1  )e>!  ribc  how  I  he  lla|)S  of  en xclnpis  should  be  opcu'd. 

45.  I  low  ma\-  1  he  llap-  of  en\'elope-;  be  closed  \\hile  in  the  at  t  of  drawing 
I  he  en\elo[»es  from  1  he  pres>  ? 

40.    W'jial  i>  a  fri>kcl  i      llow  i--  it  macle,  and  why  is  it  used  ^ 

47.  W  lien  prinlini,'  Jobs  in  more  than  one  color  why  is  it  necessary  to 
!ia\e  the  iruides  alwaxs  in  the  sanu'  po-ition  lor  e\"ei'y  sheet  .-' 

4S.  I  )cscribe  a  nielhod  of  ;,'ettin,L':  a  small  job  in  '■e,ud^U•r  in  the  cenler  (.f  a 
.aru'e   sheet. 

.)().    llow  would  >  ou  prexcnl  a  rule  job  li'om  :  birring." 

50.    Whal    i-  embi  i.—  in;,',  and   how  i.-  it    done?' 

^  I.    \\  hat   i-  iiei-foial  in::  1  ule  ^ 


TRESSWORK  251 

52.  Is   it    an    advantage   or   a   disacK'antagc   to   have   perforating-rulc 
higher  than  type-high  ?     Cii\-e  your  reasons. 

53.  What  is  scoring,  and  why  is  it  necessary  ? 

54.  If  you  wanted  to  print  and  score  at  tlie  same  operation,  how  would 
you  prcN'ent  the  scoring-rule  from  marking  the  sheet  ? 

55.  What  do  you  understand  by  cutting  and  slitting  ? 

56.  If  you  wished  to  m;.ke  a  cutout,  irregular  in  shape,  how  would  you 
proceed  ? 

57.  If  the  piece  of  stock  that  is  being  cut  out  should  stick  in  the  cutting- 
die,  how  would  \-ou  eject  it  ? 

58.  Describe  how  you  would  prepare  a  form  so  that  you  could  print, 
cut,  score,  and  perforate  at  one  operation. 

5().  How  may  r.  two-color  register  job  be   printed   without   skeletoniz- 
ing it  ? 

60.  Why  is  benzine  not  as  good  as  kerosene  for  washing  rollers  ? 


CIIAI'TKR  XV 
PK1N[1.\(;-I.\K 

224.  Composition.  -  I'he  object  of  this  chapter  on  printing- 
ink  is  not  to  <iWc  llie  student  a  full  and  comprehensive  treatise 
on  its  manufacture,  hut  sim])ly  to  ])()int  out  a  few  things  regard- 
ing it  and  its  use  that  a  ])rin1er  should  know.  The  manufacture 
of  ])rintingdnk  is  too  com])lex  a  ])rocess  for  the  a^■erage  kiyman, 
in\()l\ing  as  it  does  a  knowledge  of  cliemistry.  In  general,  the 
ink  may  he  said  to  consist  of  a  pi'^moit,  a  vehicle,  and  a  drier. 
\'ari()us  otlier  suhstances  are  added  for  s])ecilic  ])uii)oses,  ])ut 
unless  one  is  familiar  with  the  composition  of  an  ink,  it  is  unwise 
to  make  additions  that  may  enter  into  chemical  coml)ination 
with  it,  foi-  other  })r()])erties  may  he  im])arted  that  will  completely 
dehar  it  from  use.  .All  (k)ctor!ng  of  an  ink  should  he  done  hy 
the  maker,  or  hy  the  use  of  ingredients  made  and  recommended 
])y  him. 

225.  Pigments.  -There  is  an  inlimte  munher  of  })igments 
used  in  the  making  of  ])rint  ingdnk,  some  of  them  occurring  as 
earths  in  a  raw  ov  natural  slate,  some  are  hurned,  some  are  ])re- 
ci])ilate(l  from  chernical  mixtures,  and  others  are  made  hy  dyeing 
a  hase  with  some  coloring  matter.  \o  mattfr  what  the  ])rocess 
of  ])reparat  ion,  the  ohiecl  of  t!ie  i)igment  is  to  gi\e  hody  and 
color  to  the  ink.  d'lie  i)ignients  used  in  printing-inks  vary  in 
tinctorial  sti'cnglh.  hor}'  hlack  has  greater  cowring  power 
thari  cither  carhon  hlack  or  lam])hlack.  I'\)r  this  reason  a 
high  price  ink  i<  sonicliincs  cheaper  in  tiie  long  run  than  a  low- 
[)rice  one,  hecau:-!-,  co.^l  foi'  co-l,  it  will  coxcr  a  larger  area  than 
will  t  he  low  -j  irire  nnc. 

226.  The  Vehicle.  1  he  vehicle  whi(h  carries  the  ])igment 
and  ])ermit~^  it  to  he  rolled  out  and  s|iri'ad  thinly  o\er  a  surface, 

2.S2 


PRTX'J'IXC.-TXK  253 

is  varnish.  Varnishes  for  printing-inks  are  made  from  rosin-oil 
and  from  linseed-oil,  the  better  j^rades  bein.e;  made  from  the 
latter.  Linseed-oil  is  obtained  from  the  seeds  of  the  flax  plant. 
The  seeds  are  erushed,  heated,  and  put  into  hydraulic  presses 
which  squeeze  out  the  oil,  leavint^  a  residue  known  as  oil-cake, 
which  is  used  as  fodder.  The  seeds  are  about  sixty-five  per 
cent  oil.  The  raw  oil  is  boiled  for  detinite  ])eriods,  de])ending  on 
the  consistency  or  viscosity  desired.  The  longer  the  oil  is 
boiled  the  more  viscid  it  becomes.  It  is  thus  possible  to  obtain  a 
varnish  suitable  for  mixing  ink  for  almost  any  purpose.  Each 
particular  branch  of  printing  requires  a  different  kind  of  ink. 
The  inks  used  in  lithography,  die-stamping,  or  intaglio  printing 
are  not  adapted  for  letterpress  work. 

227.  The  Drier. — When  linseed-oil,  or  a  varnish  made  from 
it,  is  exposed  to  the  air  it  absorbs  oxygen  and  turns  to  a  gum. 
When  a  varnish  and  a  pigment  are  intimately  mixed  together, 
each  individual  ])article  of  pigment  is  encysted  in  a  covering  of 
varnish.  When  rolled  out  thinly  and  ex])ose<l  to  the  air,  the 
varnish  dries  l)y  absorbing  oxygen  from  the  air.  This  drying 
can  be  accelerated  by  ntixing  with  the  varnish  some  substance 
that  will  yield  up  oxygen  to  tlie  mixture  or  cause  it  to  take  it  up 
f[uicker  from  the  air.  Such  sul)stanc('s  are  called  driers.  There 
are  quite  a  number  of  combinations  used,  but  one  of  the  best 
is  a  mixture  of  the  oxides  of  lead  and  manganese.  Prussian, 
Chinese,  and  bronze  blues  have  a  natural  affinity  for  oxygen  and 
dry  ciuickly. 

Nearly  every  ink-maker  has  his  own  formula  for  the  making 
of  driers,  and  it  is  well  to  use  ink  and  drier  from  the  same  manu- 
facturer. You  then  know  that  the  drier  is  ada])ted  to  the  ink. 
Driers  come  in  liciuid  and  in  paste  form  The  paste  form  is 
considered  the  better,  especially  for  inks  that  are  to  be  kept 
stitT,  because  it  does  not  thin  the  ink  as  does  the  li([uid  form. 

Soft  ink  will  dry  quicker  on  absorbent  paj)er  than  on  hard 
paper,  because  dr_\-ing  is  facilitated  by  the  absorptive  ])ower  of 
the  stock.  Soft  ink  should  not  be  used  on  hard  paper  because 
the  pa])er  is  not  absorbent.     Hard  ])a])ers  require  stiff  inks,  and 


254  PRIX'JIM. 

the  ink  sliouUl  ])e  firmly  ])re55ed  into  the  paper.     Stiff  inks  dry 
1a-  oxidation;  -oft  inks  ])artly  by  ab.S()r])tion,  jjartly  b\' oxidation. 

228.  Pressroom  Temperature  and  Humidity. — To  the  unin- 
itiated, the  puttini,'  on  of  ink  and  the  ])rinting  of  a  job  appears 
the  simplest  of  operations.  So  it  is  when  e\X'rythin_<f  is  just 
ri,Ldit.  Hui  e\'er\-thin^  i>n"t  ahva^'s  just  ri^ht.  K\'ery  change 
in  temperature  or  in  the  amcjunt  of  moisture  in  the  air  alters 
conditions.  Ink  that  ,i:i\e>  sati>fa('t;.r\'  results  at  one  tem- 
perature may  not  work  well  at  another.  Pa|)er  that  will  not 
''pick"  unrler  ordinar}-  conditions  ma}'  peel  off  on  a  damp  day. 
The  ink  may  be  too  >iiff  or  too  soft.  It  ma\'  <ii\'c  a  mottled 
impres>ion.  It  ma\'  offset.  Sometimes  ink  will  dr\'  on  the 
press  while  runninir,  but  will  not  dr\-  o\'ernight  on  ])a])er.  In 
fact,  the  pressman's  troubles  are  legion. 

The  tinie  is  undoubtedly  coming,  and  is,  perhaps,  not  far 
distant,  when  the  u])-to-date  pre^snxjm  will  be  glass-encased, 
where  tem])erature  and  humidity  can  be  kej)t  under  perfect 
control.  When  thi^  is  done  a  major  portion  of  the  trouble  will 
be  eliminated.  Not  onl\-  does  humidity  affect  the  working 
Cjualities  of  rollers  and  ink,  but  it  also  entails  endless  troulde  in 
the  registering  of  forms,  especially  with  enamelled  papers. 
Taper  forty-four  inche<  long  has  been  known  to  expand  one- 
fourth  oi  an  inch  o\ernight.  Xearl}'  e\'er}"  experienced  press- 
man can  recount  some  unpleasant  ex])erience  resulting  from  the 
ex])an-ion  of  })aper.  The  author  knows  of  one  job,  printed  in. 
nine  colore  on  enamelled  ])a])t'r.  It  took  about  two  weeks  to 
(iimplete  the  jol).  during  which,  timr  there  were  many  changes 
of  temperature  and  humidit\'.  If  one  color  ran  owr  from  one 
da\-  ti;  the  next,  tlu'  fu'-t  d;i\-'<  woi'k  would  not  alwa}-s  register 
with  the  iiext  d,i \'V  \\'()rk.  If  the  humidit}' x'arii-d  from  morniim 
to  e\"eiiing,  the  >heet>  al-o  \'aried  :  -o  did  t lie  rcLn'-ter.  When  the 
iob  \va-  comjileted,  about  oiie-lialf  of  the  .-heet.-  were  thrown 
a\va\    berau.-e  the\'  did  not   reL'i-ter. 

229,  Adapting  Ink  to  Stock.—  In  order  to  ])ro(luce  a  perfetl 
elTerl  in  jirinlitiLr.  the  ink  nui-t  be  >uited  to  the  stock.  If  the 
Job  ha-  main'  lialftoiie-  of  fine  >crcen.  a  highly  enamelled  ])aper 


rRL\rjx(;-ixK  255 

is  essential.  If  the  coatintr  on  tlie  |)a])er  is  tender,  a  st)ft  ink 
must  be  used  to  ])re\-ent  the  ''taek  ""  of  the  ink  from  i)ullin,<f  off 
the  eoatint^.  The  best  pkm  for  oN'ercomin.u;  l)kiek-ink  troubles 
with  halftones  on  enamehed  paper  is  to  ha\-e  two  inks  from  the 
same  maker,  one  a  soft  halftone  black  the  other  a  stiff  halftone 
black.  I>y  a  judicious  mixin<r  of  these  two,  any  consistency 
re([uired  may  be  obtained.  If  the  stiff  ink  is  too  stiff,  add  the 
soft  ink;  if  the  soft  ink  is  too  soft,  add  the  stilT  ink.  In  fact, 
if  the  ])rinter  be  provided  with  two  different  consistencies  for 
each  color  of  ink,  he  can  overcome  nearly  all  his  troubles.  It 
may  be  argued  that  the  addition  of  a  thin  \'arnish  will  accom- 
plish the  same  result,  ])ut  such  is  not  the  case.  If  varnish  is 
added  to  an  ink  the  ink  is  thinned  and  its  covering  power 
decreased.  More  ink  is  secured  but  it  has  less  pigment  per 
square  inch;  on  the  other  hand,  if  the  soft  ink  as  sent  out  by 
the  maker  is  used  the  covering  power  is  retained  yet  the  ink 
is  softened. 

230.  How  to  Remedy  Ink  Troubles. — A  proper  apprecia- 
tion of  the  changeable  composition  of  a  printing-ink  and  of  the 
multitude  of  variable  conditions  that  arise  during  its  use  usually 
leads  to  the  best  ways  of  overcoming  ink  troubles.  Every 
change  in  temperature  produces  a  change  in  the  consistency  of 
the  ink.  If  the  ink  gets  cold  it  becomes  stiff  and  causes  trouble. 
To  remedy  this,  the  temperature  niust  be  raised,  or  if  this  is  not 
possiljle,  the  consistency  must  be  A'aried,  usually  by  the  use  of 
a  thinner  \-arnish,  or,  better,  by  ndxing  the  stiff  ink  with  a  softer 
ink.  If  the  temi)erature  rises,  making  the  ink  too  soft,  obvi- 
ously, it  should,  be  mixed  willi  a  stiff  ^■arnish  or  a  stiffer  ink.  The 
j)roper  temperature  for  a  jircssroom  i.~.  Ijctween  70^  and  80'^  F. 

If  the  ink  pulls  off  the  face  of  the  j^apc-r,  it  is  too  stiff;  it 
should  be  softened.  If  it  offsets,  too  much  ink  is  being  carried, 
there  is  not  enough  im])rcssion  on  the  job,  or  there  is  not  enough 
drier  in  the  ink.     The  remed\-  in  i-acli  case  is  o])vious. 

If  an  ink  gi\-es  a  mottled  impression,  this  is  evidence  that 
the  ink  is  too  thin  and  lacks  cohesion;  it  needs  more  "tack."' 
Add  heavy  varnish,  or  use  a  hea\ier-bodied  ink. 


256  i'is:i\ii\(. 

231.  Dopes. — Nearly  LAcry  experienced  pressman  has 
gathered  an  outiit  which  he  terms  '"doije."  luich  of  these  sub- 
stances he  uses  for  specilic  purjjoscs.  Occa-ii)nall\-  a  pressman 
is  found  who  ]>ins  fiis  faith  to  one  "do])e.""  wliich  he  ccjnsidcrs  a 
panacea  for  aU  inL:  troubles.  Another  will  ha\-e  an  array  of 
red,  white,  and  blue  ]:)0wders;  paste  and  licjuid  driers;  castor- 
oil,  vaseline,  tur])entine,  sodium  silicate,  c'c.  With  tliis  bat- 
tery, he  feels  competent  to  tackle  an\-  ink  trouble  that  arises. 
Freciuently  he  would  be  Ijetler  oil  witiiout  such  so-called  reme- 
dies. If  he  is  not  full\-  aware  of  just  wliat  action  eacli  has 
under  every  condition  of  temperature  and  humidit}',  he  is 
usually  groping  in  the  dark.  The  \'alue  of  the  time  wasted  by  a 
pressman  tr\'ing  to  get  an  ink  to  work  ])ro])erly  may  frequently 
be  more  than  the  cost  of  an  ink  that  would  work  properly  witli 
out  doping. 

At  the  same  time,  there  is  no  (len\'ing  the  fact  that  it  is  not 
always  con\-enient  to  stop  a  ])ress  while  vraiiip.g  for  the  inkma.n, 
and  the  pressman  must  frequently  rel\'  ujM)n  his  own  resources. 
The  novice  should,  howe\-er.  undertake  to  remed\-  ink  trouljles 
oni}'  under  the  guidance  of  a  c()m])elent  pre-sman.  Unless  th.e 
[iressman  is  also  an  ink  chemi>t  or  know-  deimilel}-  \nm^  pre- 
\-ious  ex])erience  what  the  result  will  be,  it  is  ratlier  ri>ky  to 
tamper  with  an  ink  by  the  addition  oif  oiher  materials.  As 
stated  l)efore,  the  safest  wa.y  to  lK:ndle  the  ink  probleni 
is  to  ha\'e  a  stilY  and  a  soft  ink  of  tl-e  s:;me  color.  I!}-  a 
judicious  admixture  of  these  two  a  suilalde  ink  ma\-  u>uall\' 
!)(..■  (jbtained.  If  not,  then  consult  the  inkman;  the  problem 
i>  his. 

232.  Mixing  Ink."  It  frequent  1>-  ha|»pen,s  that  a  job  is  to  lie 
printed  in  a  specilied  color  and  the  ]ire-.-:r.an  i-  Called  on.  to 
match  it.  This  lie  can  sometime>  do  b\-  n:ixing  ink>  that  he 
has  in  stock.  It  is  a  ]iroce>-,  howe\er,  tl:at  calls  for  a  well- 
de\eloped  color  i)erception  and  a  knovdedu'e  of  color  analx'sis. 
Here  is  an  extremeh'  intere.-tinu'  I'leld  for  a  ]ire.--man  wlio  is 
anxious  to  get  aliead  in  his  wur]-;,  for  a  iire--m;:n  wlio  knows  how 
to  obtain  a  particular  tint  without  \sa-ting  time  in  its  produr- 


tion  is  a  valual)le  acquisition  to  any  office  and  need  never  be 
out  of  employment. 

The  student  is  uri^ed  to  re;id  and  di.L^fcst  Andrews's  "Color 
and  Its  Application  to  PrintinLr"'  and  Miinscli's  ''Color  Nota- 
tion." Both  of  these  writers  ad\'ocate  a  theor\'  rcf^arding  color 
that  is  at  variance  with  that  usually  acce])te(l,  but  Andrews 
offers  so  much  that  is  of  practical  value  thcit  the  pressman  will 
do  Vi'ell  to  read  his  book  carefully.  He  also  gix'cs  specific  direc- 
tions for  color-mixing. 

233.  Mixing  Tints  and  Shades. — The  inexperienced  press- 
man will  sometimes  make  the  mistrd-ce  of  adding  a  little  white 
to  a  large  amount  of  the  bo(l\-  color  when  he  wishes  to  ol^tain  a 
t  int  of  that  color.  This  is  wrong  i)racticc.  When  mixing  colors, 
alwa}'s  put  the  stronger  color  into  the  weaker,  and  do  so  by 
adding  a  little  at  a  time.  If  a  tint  is  to  be  matched,  and  it  is  not 
known  what  body  color  has  been  used,  try  the  experiment  of 
adding  a  faint  trace  of  the  strong  color  assumed  to  be  the 
correct  one  to  a  little  white.  Mix  a  little  of  the  combination 
onl}-  until  assured  that  the  right  color  is  being  used.  When  this 
has  been  determined,  proceed  with  the  mixing  b}'  taking  the 
required  amount  of  white  and  adding  the  body  color  until  the 
right  tint  is  secured.  It  is  ;dways  better  to  mix  a  little  more 
than  seems  neces^.ar}',  for  if  there  is  any  shortage  much  valuable 
time  will  be  wasted  in  matching  the  second  ndxture  with  the 
tirst.  Use  a  glass  slab  wh.en  mixing  inks,  for  it  can  easily 
be  kept  clean.  Work  the  colore  together  thoroughly  with  a 
palette-knife. 

When  a  certain  shade  is  desired,  if  it  is  to  be  made  by  the 
r.ddition  of  black  or  some  darker  color,  take  a  \'olume  of  the 
lighter  color  and  add  tlie  darker  to  it.  Make  the  addition  grad- 
ually, and  mix  the  ink  thoroughl}'  as  just  explained. 

234.  Duotone  Inks. — T\\-o-color  effects  are  obtained  in 
])rinting  halftones  b\'  two  distinct  methods.  In  one,  known  as 
the  duograph  or  duotype,  two  halftone  ])lates  are  prepared,  one 
for  ])rinting  the  h,::h";(i!u-  ]:r(i]H^r  I'l;'  (:lher  for  ])rinting  an. 
undertone.      The  othtT  melliod   i>  b\-  ilx-   i;-e  of  (i;;();(;ti.'   ink. 


25S  PklXTlXG 

"Duotone'"  means  two  tones,  and  the  effect  of  two  tones  is  ob- 
tained by  one  print in.ii;. 

If  a  halftone  i)icture  ])rinted  with  duotone  ink  is  examined 
it  will  be  noticed  that  each  dot  in  the  halftone  seems  to  be 
surrounded  with  a  halo  of  a  li^Lditer  color.  This  is  due  to  the 
fact  that  the  ink  is  composed  of  two  colors  that  ha\-e  not  amal- 
gamated, the  li<^hter  of  which  has  si)read  out  over  the  pa[)er 
producing  a  stain,  ver}'  much  as  a  sj)lash  from  a  shaft-hanger 
would  do  if  the  thick,  dirl\-  oil  dro])])ed  on  a  })iece  of  paper. 
The  most  peculiar  feature  of  the  ink  is  th.at  the  job  must  be 
dried  in  the  dark.  If  dried  in  the  light,  th.e  undertone  does  not 
develop.  Do  not  attempt  to  modify  a  duotone  ink  by  the 
addition  of  do[)e,  esi)ecially  if  any  other  part  of  the  job  has  been 
printed  with  the  same  ink  without  doping. 

235.  Halftones. — Before  the  student  can  have  a  defmite 
idea  of  the  use  of  process  inks  it  is  essential  that  he  should 
understand  the  method  of  making  halftones  and  be  familiar 
with  the  theory  underlying  ])rocess  work. 

In  the  production  of  the  beautiful  halftones  that  are  now  so 
much  in  evidence  in  modern  jorinting,  the  photogra})hic  image  is 
kept  on  the  surface  b}-  breaking  it  u])  into  dots.  If  these  dots 
be  examined  it  will  be  found  that  while  they  are  uniformlv 
spaced,  they  vary  in  size,  ranging  from  almost  imperceptible 
dots  to  sizes  so  large  that  they  coalesce.  This  is  accomplished 
by  the  use  of  a  screen,  which  is  placed  in  the  camera,  in  front  of 
the  negative,  while  the  i)icturc  is  being  taken.  These  screens 
are  made  by  ruling  ])ieces  of  glass  with  a  series  of  parallel  lines, 
then  tilling  the  lines  with  some  o])ariiie  material.  Two  ])ieces 
are  j)laced  face  to  face,  \\itli  tlie  lines  running  at  right  angles, 
and  cemented  together.  This  ])roduces  a  checkerboard  with 
minute  oj)enings.  The  halftones  in  this  book  A\"ere  made 
through  a  screen  ha\'ing  one  hundred  and  thirt\--three  lines  to 
the  inch.  News[>aper  halftones  are  u-uall\'  si.\t\"-fi\-e  lines  to 
the  inch.  Screens  a-  tine  a>  foi'r  hundred  line.-  to  th.e  inch  ha\'e 
been  made.  This  means  four  hundred  line<  and  four  hundred 
spaces,  yielding  a  si)ace  i,'8oc  Dart  of  an  in(~h  wide. 


PRIN'I  IX(MNK  25q 

236.  Three-color  Process  Work.  -According  to  the  Brew- 
ster theory  of  color,  the  primary  colors  are  red,  yellow,  and  blue. 
From  these  the  secondary  colors,  orange,  green,  and  i)urple,  may 
be  mixed;  and  by  tlie  mixture  of  a  primary  and  a  secondary  a 
tertiary  color  is  ])roduced.  From  this  it  is  evident  that  all 
colors  may  be  obtained  simply  by  the  admixture  of  the  primaries 
in  dilTerent  proportions.  The  production  of  the  beautiful  three- 
color  process  engravings  is  accomplished  by  the  use  of  a  half- 
tone screen  and  by  photographing  the  colored  original  through 
three  different  color-filters.  Three  separate  plates  are  made. 
According  to  the  amount  of  red  in  the  original  ])icture,  dots  of 
the  required  size  to  give  the  right  amount  of  red  in  the  finished 
picture  will  be  provided  for  in  the  red  plate;  wherever  yellow  is 
needed  in  the  fmished  picture  the  right  amount  will  be  pro- 
vided for  in  the  yellow  plate;  the  same  with  the  blue. 

When  the  three  plates  are  printed  from,  the  effect  is  as  if  the 
object  were  printed  in  an  infinite  number  of  colors.  If  exam- 
ined under  a  magnif\-ing-glass  it  will  be  seen  that  the  j)icture  is 
built  up  of  a  mixture  of  red,  yellow,  and  blue  dots  of  varying 
size.  It  will  also  be  noticed  that  the  production  of  a  hue  is  not 
due  to  the  printing  of  one  dot  over  another,  but  by  printing 
them  l^esidc  each  other. 

It  is  obvious  that  the  juxtaposition  of  red  and  blue  gives  the 
effect  of  pur})le.  If  red  predominates,  the  effect  is  a  reddish 
purple;  if  blue  predominates,  it  is  a  bluish  purple.  If  the  dots 
are  small  and  much  of  the  white  of  the  paper  is  visible,  the  effect 
is  that  of  a  tint. 

When  making  the  negatives  the  lines  of  the  screen  are  placed 
at  a  different  angle  for  each  plate,  to  avoid  tlie  ])roduction  of  a 
checker].)oard  or  moire  ])attern  in  the  ])icture. 

237.  Process  Inks. — It  has  l)een  f(Huid  that  inks  that  match 
the  true  sj)cctrum  colors  do  not  gi\"e  good  results  in  three-color 
process  work.  By  experiment,  cert;un  hues  of  the  three  fimda- 
mental  colors — red,  yellow,  and  l)lae — ha\-e  ])een  found  which 
produce  excellent  results.  These  inks  are  called  process  inks. 
When  ])rinting,  the  ])uites  are  run  in  tlie  order,  yellow,  red,  I)lue. 


2f)o  rkix'i'ixr. 

Owinfj  to  the  fact  that  the  three  fundamental  colors  cannot 

producH'  :i  lihick  or  a  ,i;ray  shadow,  a  fourth  color  is  sometimes 
re.-oiU'il  'lo.  This  color  is  a  urayish  lilack.  When  printinr:;  a 
four  lolor  i)roccs>  ])i(iui-e,  the  folio\vin.ii;  is  the  ])ro|)er  orrler: 
yellow,  reel,  hhick,  blue.  It  is  better  to  run  the  black  before  the 
blue,  for  if  the  black  is  run  last  and  darkens  the  tones  of  the 
,ii;reen>.  there  is  no  ()])])ort unit}-  to  rectify  the  trouble.  If  the 
blue  is  run  last,  the  ri.i^du  hue  may  be  used  to  ])roduce  the 
ri'(|uired  tone<  of  Lrrecn. 

When  one  inl^  i<  jjrinted  o\-er  another,  if  the  first  ink  dries 
iKirik  it  is  frc'iuentl)'  necessar_\-  to  increase  the  tack  of  the  one 
thai  i<  to  le  suix'rpoK-d ;  each  subseouent  one  bein^  taclder. 
Ink-makers  ])rn\iilc  si)ecial  ])re])arat ions  that  may  be  used  to 
t)b\iale  th.i;--  ti-oui.le. 


(^)l'i;SlI{).\S  ox   (  IIAl'Tf.R  XV 

1.  Name  thrcf  tliiiiL's  that  e\i'ry   k'tlerpre'ss   j)rintin{,'  ink   should   con- 
tain. 

2.  What  i~  a  piL'nirnt  ':' 

3.  ( )f  what  use  i-  \arnish  in  a  [)rintinL'-ink  ? 

4.  Of  what  sul)^taIH■(■^  arc  \aniishrs  usuaUy  t'omposed  ? 

5.  \\  hat  is  a  drur  ."      \\  li_\'  i>  it  used  f 

(1.    Is  a  drier  alisolutcl\-  ^ccc^sary  in  a  printinizdnl;  ? 
7.   What  is  tlic  diffcrcnic  hcl'Accn  a   h(|iiid    and   a  {)aslc  drier?     'J'cll 
under  wliat  < diidii  ions  eac  li  sliould  be  used. 

;s.   \\'h\-  iloes  ~.,,i'i   inj^  dr\'  (juickcr  (Ui  some  papers  than  on  otliers  ? 

(J,    W'liat  kind  of  ink  ^];ould  be  iiscd  on  hard    papers?"    on  s.)fl   icipcrsi-' 

10.  Wliat  ciTcc;   lia\e  Icinpcraturc  and  humiditv-   on    :he  workinj;  (juali- 
tie>  of  an  ink  !•' 

11.  if   llic  ink   _\-ou    were   usin,Lr  |)ullcd    the   face  off  of   the  paper,   how 
would  _\-ou  rectify  the  troul)le  ? 

[J.  If  tlie  inl:  was  too  thin,  liow  would  \'ou  stilTcn  it  ':" 

I  ^  W'li.at  is  the  disad\antai:c  of  usiiiL;  \arnisli  to  soften  an  ink  ? 

I  \.  Wliat  i-  tlie  matter  with  an  ink  tliat  ^d\a-s  a  mottled  impression  ? 

15.  Wiiai   do  you  undcistand  h_\-  "  tack"  ? 

i'l.  Xi'iie   -omc  of  tlu-  ^ul)Statue^  Used  1)>'  pressmeii  in  dopinj^  ink. 

ly,  l.\:il:d;i  t::r  proprr  mctliod  of  mi.xiiu'  tints  and  sliades. 

iS.  W  hal   i-  :i  duoloiic  ink  ]' 


]'KI.\  riX(i  l.Mv  2()i 

iQ.    Kx[)lain  how  Jind   \vh_\'  a  duotonc  ink  clc\'cIops  two  tones,  and  tell 
what  s[)ecial  liandlin;:;  of  the  sheets  is  necessary  for  perfect  results. 

20.  What  is  a  halftone  plate  ?     How  is  the  printed  ima<^e  produced  ? 

21.  What  is  the  ISrewster  theory  of  color  .^ 

22.  What  do  \'0U  understand  h_\'  three-  and  four-color  process  work  ? 

23.  What  colors  of  ink  are  used  in  the  three-color  process  ?  in   the    four- 
color  process  ? 

24.  Name   the   order   in    which    the   colors   are   j)rinted   in    three-color 
process  work  ;  i;i  fou;'  tolor  process  work. 


CHAini-R  XVI 
PAPER 

238.  Origin.— Paper,  that  indispensable  substance  for  which 

modern  ci\'ilization  linds  so  man\-  uses,  had  its  origin  in  the 
papyrus  i)lant,  from  which  it  derives  its  name.  The  early 
Egyptians  split  the  stalk  of  the  plant  in  two  and  peeled  otT  the 
pellicle  in  la\'ers,  then  placed  these  so  that  they  overlapped,  and 
stuck  them  together  with  some  adhesi\-c,  thus  producing  sheets 
or  leaves. 

The  modern  article  consists  of  a  prepared  fiber  mixed  with  a 
number  of  substances  that  act  as  binder,  filler,  coloring  matter, 
etc.  These  substances  are  intimately  mixed,  and  after  passing 
through  a  number  of  processes  are  hnally  laid  out  on  a  moving 
wire  screen  which  ])roduces  the  pa])er  as  a  continuous  web. 

239.  The  Fiber. — If  a  ])iece  of  paper  be  torn  apart  and  a 
section  of  it  held  to  the  light,  it  will  be  seen  to  possess  a  feathery 
edge.  This  is  the  fiber.  It  is  the  most  important  part  of  the 
paper,  and  gi\'es  it  strength.  Long-fiber  papers  are  stronger 
than  short-fiber  ones  made  from  the  same  materials. 

All  fbcrs  are  of  \-cgetable  origin.  \\"hile  there  are  a 
great  number  of  long  and  strong  vegetable  fibers  throughout 
the  world,  the  cost  of  prcparati(m  and  importation  makes  their 
use  jtr{^hil)itivc.  Owing  to  tlic  low  rate  at  which  jxiper  must  Ijc 
sold,  the  eost  of  the  raw  m;iterial  is  an  im])()rlant  factor.  Of 
our  nati\"c  til)ers,  ilax  (linen")  and  cotton  are  most  commonly 
used.  Linen  makes  the  \'ery  best  jiapcr.  cotton  ranking  second. 
Other  -ubstances  arc  as  follows,  in  the  order  of  their  importance: 
wood.  e>[)arto  fa  grass  .  manila.  and  strjw.  An\'thing  that 
yield>  a  filter  i-^  useful  for  [)a])er-nKikini:.  The  residue  of  licorice- 
root,  after  the  extraclion  of  the  licorice,  is  used.     The  linen  and 

2(J2 


PAPER  263 

cotton  used  in  the  ])etter  <:^ra(les  of  paper  are  obtained  from  shirt 
and  collar  factories.  Other  grades  are  made  from  old  rags. 
Rag  stock  is  stronger  than  wood-pulp.  Paper  is  frequently 
made  by  combining  them. 

The  bulk  of  the  paper  used,  however,  is  made  from  wood- 
pulp.  Owing  to  the  fact  that  timber  is  becoming  scarce  in  the 
eastern  section  of  the  United  States,  wood  is  being  made  into 
pulp  in  the  forests  and  shijjped  to  various  paper-making  centers. 
Much  of  the  pulp  used  in  the  United  States  comes  from  Norway, 
where,  owing  to  the  wooded  mountains  and  the  consequent 
cheapness  of  water,  water-power,  and  timber,  it  can  be  pro- 
duced and  imported  into  the  United  States  in  competition  with 
the  home  product. 

240.  Pulp. — The  first  step  in  the  preparation  of  fiber  for 
use  in  paper-making  is  to  reduce  the  material  to  pulp.  If  pure 
white  linen  or  cotton  cuttings  are  used  no  special  preparation 
is  necessary  other  than  to  dust  them  and  then  cook  them  in  an 
alkaline  solution  with  steam,  after  which  the  fibers  are  thor- 
oughly washed  and  l;leached.  If  assorted  rags  are  used,  they 
are  taken  to  a  sorting  department,  sorted  and  graded,  then  cut 
into  small  pieces,  dusted,  and  boiled  in  a  strong  solution  of 
alkaline  water  to  loosen  the  coloring  matter,  after  which  they 
are  washed  thoroughly  and  bleached.  They  are  then  ready  to 
go  into  the  beater. 

Before  wood-pulp  is  put  into  the  Ijeater  it  is  prepared  by 
grinding  the  wood  mechanically  or  by  treating  it  chemically. 
The  paper  used  in  the  average  newsi)aper  is  made  from  mechan- 
ical wood-pulp.  The  mills  that  make  the  ])aper  are  located 
near  the  source  of  supply.  The  trees  are  cut  down,  carried  to 
the  mill,  stri]>ped  of  the  bark,  put  on  inclined  tracks,  carried 
against  circular-saws,  cut  to  lengths,  dropped  into  hoppers, 
held  against  grindstones,  and  ground  to  short  liber.  To  pre- 
vent the  heat  generated  by  grinding  from  igniting  the  wood,  a 
stream  of  water  is  played  against  the  wood  and  grindstone. 
The  water  carries  awa\'  the  ground  p;irticles.  Th?y  are  passed 
over  a  sie\-e,  which  excludes  all  that  are  not  sufficiently  minute 


264  I'RIXTIXG 

to  be  used  in  makin;:'  ])a]>er.  As  mechanical  wood-pulp  con- 
tains \-ari()u>  deleterious  suli-lance^,  it  deteriorates  rapidlv  and 
darkens  oPi  e\])o.-ure  to  li,L:!u. 

Ck.emieal  wood-])!!!])  i-^  made  1)\'  irea.tinL:  <mali  ])articles  of 
wood  with  eliemicaU  to  rcmox-c  ail  extraneous  sui)Slances  and 
lea\'e  nolhinir  kut  the  iii-er,  whicli  i.-  rcall\-  the  cell-walls  of 
the  plant.  There  a.rc  two  naatliods  of  makin:^  chemical  wood- 
f)ul]) — the  sdilo  proiA--.^  and  the  -ulpIiiU'  proces^:.  The  former  is 
the  chea]HT  ])roce.-,-,  hut  the  latter  xa'eid^  a  stronger  hijer.  In 
both  ])rt)Ce>>L>  the  wood  i-  tir.-t  chi])])ed  into  <nu  11  ])article3.  In 
the  soda  ]lroce^-  the  chii)~  of  wood  are  ])ut  into  a.  cx'lindrical 
tank,  called  a  di'^(-t>r.  toiiether  with  a  .-])ecii'.ed  amount  of 
caustic  soda,  and  suiijected  to  li\-e  stea.ni  at  a  ])re.~sure  of  about 
ei.uduy  ]K)und.-.  for  aliout  ei.udit  hour-,  th.e  c\"linf'er  kein.c:  rotated 
during  the  boilin^ii.  Th.e  tank  is  then  o])eried.  th.e  lifjuor  drained 
olY,  and  the  l)ul])  thorou.Lrhl}'  \va,--hied.  The  first  lir|uor  is  pum])ed 
into  e\-a])orators.  where  it  becomes  a  s\tu]),  after  which  it  is 
burned  and  tlie  soda  reclaimed  as  soda-ash.  After  heim:  mi.xed 
with  lime  the  soda  ash  a.uain  becomes  caustic  soda,  and  can 
thus  be  used  a,L'ain  and  a^eain.  It  is  due  to  this  reclamation  of 
soda  that  the  soda  ])roce-.-  is  chea])er  than  the  >uli)hite  ])roce^s. 
for  with  the  latter  all  \hv  chemii'al-  are  wa.shed  awa\-  anrl  lost. 

241.  The  Beater.-  In  order  to  thorou,i:hly  incor])orate  the 
in^rredients,  and  also  ,L:rind  th.e  ii'her  into  ndnute  ])articles,  all  of 
the  materials  of  \\T.iLh  j'a])er  is  co!i^])osed  are  jiut  toLreth.er  into 
a  clexace  called  a  h,<il(r.  r^ee  Iul:.  140.  The  material  ])asses 
between  a  steel  or  stone  bc-djilate  and  a  revoh'inLr  r(jll  on  the 
[)erij)hery  of  which  thick  steel  I).ars  h.a\'e  !;een.  i:nifornd\-  ]»laced. 
The  >])ace  lielweeM  l!;^-  roll  an*!  1  lit-  bed]  lia*  e  can  l)e  accuratel}' 
adju-ted  >o  that  the  ikiier  in  ])a.->in;^  between  them  i>  torn. 
dra.iiLIedi,  or  lea-lcil  nu'  -o  a-  to  ](roduee  a  feather}-  end.  in- 
stead; of  biana:  ca:  oiT.  Tld-  r:;u-e-  the  liber.-  lo  ma,t  together 
in  the  v.'eb  of  thi-  ]ia|ir''.  ;  'i^i  iiroiluee  a  .-t  roUL'er  article. 

242.  The  Refining-engine.  IVoni  the  1-eater  the  ])ul]>.  nov/ 
ca'led  .//r',  L'oe-  to  -  ir.:.(h;:.e  cai'ed.  ;;  [ordan.  or  relinimr- 
en^^ine  Td.ij;.  150,,  '.'diich  in  action  ;.nd  a])])earance  is  \'ery  much 


PA  ft:  I 


20: 


2  66  PRIXTIXG 

like  a  coffee-mill,  except  that  it  is  fully  encased.  Here  the 
stuff  recci\'es  its  final  ^L'rinding  or  reiming,  after  which  it  passes 
on  its  way  to  the  pa])er-makin,i{  machine. 

243.  The  Paper-making  Machine. — Figs.  151  and  152 
show  respectixely  the  wet  end  and  the  dry  end  of  a  paper- 
making  machine.  After  the  stuff  lea\-es  the  Jordan  it  passes 
into  a  sand-trap,  where  it  is  n^ixed  with  a  great  quantity  of 
water,  and  as  it  tlows  along  all  hea\-}-  particles,  such  as  sand, 
iron,  or  other  foreign  substances,  sink  to  the  l;ottom  and  are 
caught  by  rip])les.  The  stulT  continues  on  its  way,  passing 
through  a  hne  screen  to  the  head-  or  regulating-box,  thence  out 
under  the  gate  on  to  the  wire  screen. 

The  gate  is  adjusted  to  allow  a  certain  amount  of  stufT  to 
pass  through  in  a  given  time,  and  is  very  seldom  changed. 
Different  thicknesses  of  pa])er  are  obtained  by  regulating  the 
speed  of  the  machine.  The  faster  the  n^.achine  goes  the  thinner 
the  paper  produced;  the  slower  the  machine  the  thicker  the 
paper.  In  fact,  the  machine  is  really  la}'ing  out  a  predeter- 
mined weight  of  paper  in  a  given  time.  I'he  daily  output  of  a 
machine,  in  tons,  is  fairly  constant,  provided  the  paper  is  not  so 
thin  as  to  be  troublesome,  in  which  event  the  speed  of  the 
machine  and  the  set  of  the  gate  ma\-  ha\t  to  be  altered. 

As  the  stutT  emerges  from  under  the  gate  it  flows  onto  a 
moving  copper  screen,  oi  fine  mesh,  made  like  an  endless  belt. 
The  screen  is  mo\'ing  forwcird  at  a  uniform  rate,  taking  a  uni- 
form layer  of  stuff.  A  sidewise  shiiking  motion  is  imi)arted  to 
the  end  of  the  screen  neare>t  the  regulating-1)0x  which  tends 
to  set  the  filjcrs  at  various  angles,  causing  them  to  mat  together. 

As  the  screen  mo\-es  forward,  the  bidk  of  the  wiiter  in  the 
stutT  j)asses  through  the  screen  by  gra\it\".  In  its  forward 
journey  the  stuiT  ])asses  o\'er  suction-ljoxes.  where  the  balance 
of  the  water  is  remo\a'd.  The  stutT  is  pre\-ente(l  from  llowing 
off  the  sides  of  llie  screen  ])V  a  belt  of  rulilicr,  called  a  deride. 
which  nu)\-e.-  f(jrward  in  unison  with  the  screen.  The  shaking 
motion  of  the  stTcen  tend<  to  force  some  of  the  stulT  Ijeneath 
the  deckle,  thu^  ])rofluring  the  deckle  edcre,  so  much  desired  in 


PAPER 


267 


t^:?^ 


2  68 


pRixrixr, 


PAPER 


269 


270  I'RLVnXd 

high-grade  work.  If  the  deckle  is  not  desired,  it  is  cut  off  with  a 
jet  of  water,  Ijefore  the  stuff  leaves  the  screen. 

If  the  ]Ki])cr  is  to  be  watermarked,  either  with  a  name, 
trade-mark,  or  with  a  series  of  parallel  lines  (thus  producing 
laid  paper),  it  is  ])assed  Ijeneath  a  dandy-roll,  which  is  a  hollow 
C}'linder  of  wire  gauze,  on  which  the  design  is  worked  out  with 
thin  wire,  soldered  fast  to  the  outside  surface  of  the  cylinder. 
The  weight  of  the  cylinder  jjresses  the  design  into  the  still 
])lastic  mass  of  the  paper,  pushing  aside  the  rr.aterial.  The 
reason  the  watermark  is  visible  when  held  to  the  light  is  because 
the  paper  is  thinner  at  those  ])laces. 

After  leaving  the  screen  the  pa])er  is  run  between  heavy 
brass  rolls  and  rolls  covered  with  thick  blankets  or  felts.  This 
serves  to  com])ress  the  ])aper,  absorb  the  balance  of  the  water, 
and,  so  far  as  possible,  oljliterate  the  mark  of  the  wire  screen. 

From  the  felts  the  i)aper  goes  to  the  drying-rolls  or  drums. 
These  are  heated  by  steam,  and  l)y  the  time  the  ])aper  emerges 
from  the  rolls  it  is  thoroughly  dry.  It  is  then  passed  through 
a  calender  to  im])art  a  finish,  after  which  it  is  cut  to  size  if 
machine-lniished,  or  rolled  up  if  it  is  to  have  further  treat- 
ment. 

The  necessity  for  an  abundance  of  pure,  clean  water  in  the 
making  of  pa])er  will  be  realized  when  it  is  stated  that  in  all  the 
()])erations  necessary  from  the  time  the  wood  fiber  is  j^iut  into 
the  digester  until  it  is  laid  out  in  a  thin  layer  on  the  wire  screen, 
a  barrel  of  water  has  been  used  in  the  preparation  of  two  ])Ounds 
of  pa])er.  As  the  diluted  stuff  floats  from  under  the  gate  to 
the  wire  screen  it  is  ninety-six  ])er  cent  water. 

244.  Hand-made  Paper. — If  a  sheet  of  machine-made  paj^er 
is  torn,  it  will  be  found  that  it  tears  more  readily  in  one  direc- 
tion than  at  riglit  angles  to  that  tlirection.  This  is  due  to  the 
fact  that  tlie  forward  moxement  of  the  screen  under  the  gate 
has  had  a  tendency  I0  set  the  fibers  in  a  longitudinal  direction. 
This  is  known  as  the  I'/ain  of  the  ])ai)t-r.  All  machine-made 
]);i])ers  possess  tlii^  grain.  II.iiKbniade  i)a])ers.  howe\tT,  owing 
to  the  wa\'  in  which  they  are  made,  do  not  ])ossess  ;i  grain. 


PAPER  271 

When  makin<^  paper  by  hand,  the  workman  uses  a  wooden 
framework,  or  mold,  covered  with  a  copper  screen.  Another 
framework,  known  as  the  deckle,  is  fitted  over  the  screened 
framework,  and  both  of  them  are  dipped  into  a  tub  containing 
the  stuff.  The  mold  is  then  drawn  u])ward  through  the  stuff, 
rapidly  or  slowly,  as  may  be  necessary,  so  as  to  leave  an  even 
and  uniform  deposit  of  stuff  on  the  screen.  As  the  mold  is 
being  withdrawn  it  is  given  a  constant  circular  motion,  which 
tends  to  swirl  the  hbers  at  all  angles,  and  prevents  grain.  After 
the  water  has  drained  from  the  stuff,  it  is  put  between  sheets  of 
felt,  and  then  compressed  in  a  screw-press,  after  which  it  is  hung 
up  in  lofts  to  dry.  Hand-made  papers  are  very  much  stronger 
than  machine-made  papers. 

245.  Book  Papers. — There  is  an  inhnite  variety  of  i)apers. 
The  most  imi)ortant  are  machinc-fniislied,  sizcd-and-super- 
calciulcrcd,  and  coaled  or  enamelled  papers. 

Machine-fmished  pajiers  require  no  subsequent  treatment 
after  leaving  the  machine,  but  are  usually  cut  to  size  after  leaving 
the  calender. 

Sized-and-supercalendered  papers,  called  engine-sized  by 
]')a])er-makers,  are  made  by  adding  the  sizing  to  the  other  in- 
gredients in  the  ])eater.  This  sizing  is  usually  saponified  rosin, 
which  is  ])reci])itated  on  the  fiber  by  the  use  of  alum.  After 
the  p;i|)er  leaves  the  drying-drums  it  is  rolled  up  and  then 
coiueyed  to  a  calendering-machinc,  where  it  is  steamed  to 
bring  out  the  starch,  after  which  it  is  passed  between  calenders, 
Vv'hich  burnish  the  surface  and  impart  a  gloss. 

A  calendering-machine  (iMg.  153)  consists  of  heavy  rollers, 
some  of  polished  chilled-iron,  others  niade  up  of  disks  punched 
out  of  sheets  of  paper.  These  disks  are  i)ut  on  a  mandrel  and 
subjected  to  man\-  tons'  pressure,  thus  making  a  cylinder  of 
solid  ])aper,  with  the  edge  of  each  sheet  on  the  circuniference  of 
the  roller.  This  cylinder  is  then  turned  down  in  a  lathe  to 
I)ro])er  size,  after  which  it  is  gn)und  and  ]K)lished.  The  iron 
and  ]xi])er  rolls  are  of  ditTerent  di;imeter.  and  are  placed  alter- 
natcK-  in  the  calendering-niachine.     When  the  machine  is  set 


272 


i'I^I\II\(i 


in  motion  there  is  friction  I)et\veen  the  surface  of  the  rollers  and 
the  niox-inti;  weh  of  |)ai)er,  and  a  .li;1(>-<  i-^  inipaiied. 


Coated  or  eiianielled  papers  are  usualiy  prepared  1)\-  first 
makiiii^  a  \w\i  ni  paper,  1  lim  j )a --iuL^  1  he  >her1  1  lii'c iuli;Ii  a  1  r< aiLrli 
u »n1  a iniiiL:  t  he  ei):ii  iu'j;,  after  which  it  is  passed  between  roner>  to 


PAPER  273 

squeeze  off  the  surplus  and  leave  an  even,  smooth  coating,  or  by 
])utting  on  the  coating  by  the  aid  of  brushes,  which  leaves  it  in  a 
smooth,  even  layer.  After  coating,  the  paper  is  passed  through 
calenders  to  be  polished. 

246.  Flat  Papers.— There  was  a  time  when  nearly  all  large 
siz.cs  of  paper  were  folded  before  delivery,  the  smaller  sizes 
ben:ig  delivered  flat,  d'hese  were  called  Ihits.  The  name  still 
persists  for  the  smaller  sizes,  even  though  all  large  book  papers 
are  now  deli\-ered  flat.  Flats  are  the  papers  usually  used 
for  writing  purposes,  and  emlorace  writings,  bonds,  and  ledgers. 

Owing  to  the  high  state  of  i)crfection  attained  in  the  manu- 
facture of  pa])er,  it  is  almost  impossible  to  tell  from  a  superficial 
view  of  a  sheet  of  paper  of  just  vhat  it  is  composed.  Some 
papers  watermarked  linen  ledger  have  so  little  linen  in  them 
that  the  amount  is  negligible. 

Ordinary  writings,  especially  the  cheaper  grades,  contain 
nothing  but  wood  fiber,  and  are  composed  of  ingredients  that 
impart  to  it  a  Ihiish  that  will  take  writing-ink. 

Bond  papers  are  composed  of  good,  strong  fiber,  with  plenty 
of  sizing  which  gives  them  a  hard  finish. 

Ledger  papers  are  bond  pa])ers  that  have  been  tub-sized 
to  give  them  a  coating  that  will  fill  up  the  pores  and  impart  a 
smooth  finish,  specially  adapted  to  writing-ink. 

Papers  that  are  to  be  used  in  blank-book  making,  especially 
matters  of  record,  should  be  made  from  all-linen  rags. 

247.  Sizes  of  Paper. — Tn  the  early  days  of  paper-making, 
manufacturers  restricted  themselves  to  a  moderate  number  of 
sizes.  Today,  papers,  especially  book  papers,  may  be  obtained 
in  many  sizes  and  weights.  Flat  papers  have  not  changed  as 
much  as  book  ])apcrs.  The  following  list  gives  the  names  and 
sizes  of  flat  pa])ers: 

Demy,  i6"X2i" 

Folio,  I7"X22" 

IMcdium,  i8"X23" 

Royal,  i9''X24" 

Double  Cap,  ly'^X.-'S" 


274  PRiArixd 

Super  Royal  20" / 2?)'' 

Doulilr  I)cni_\-.  iJrdail,  2i"X,32''' 

Doulile  T)i_'n\\".  Lop.LT,  i(^"y ^2" 

Douhk'  l-'olii).  22",/'  -:4" 

Double  -Medium.  2^"y,;6" 

Double  Royal.  24"X,;S" 

Double  Double  Cap,  2S"X,34" 

Some  book  paper.-  may  be  oljtained  in  I'le  following  sizes: 

2S"X42"  ,;^"   X46" 

2S"X44"  0^"   y'-o" 

248.  Tlie  Ream. — Tlie  average  .-^ehoolbo}-  i-  being  taught 
that  there  arc  t\vunl\'-fuur  .- Iiect^  to  a  (^uire.  and  l\ven.t\-  (juires 
to  a  ream.  Thi-  m[d-;t,>  fou,r  liundrt-d  and  eiirlity  -heX-  to  a 
ream.  Thi-  i>  the  leiia!  n-am.  .\!1  [)a[)er-  '\-xec])t  a  Ifw  im- 
ported one>  and  tho-e  that  are  .-o  exjien.-ix'e  that  tlie\'  are 
worth  upwarrl  of  two  cents  a  -heet  ■  are  now  m.ad.c  up  into  reams 
of  live  hundred  ^^leet-.  or  tWL'nt\--fi\"e  -iRxlr-  to  a  rpiire.  As 
mo>t  jol).-  are  ordered  by  tlie  tliou-and.  or  a  multi[)le  thereof, 
thi-  facilitate^  the  computation  of  the  neces-ar\'  .-tock. 

249.  Weights  of  Paper. — A  paper  i- known  b\-  the  number 
of  pounds  it  weigh.-  to  the  ream  of  fi\-f  hurulred  -heet-.  bjook 
papers  are  ba.-ed  on  a  >l'ieet  25>',y^  inehe,-  iii  :d/e;  llat,-.  on  a 
ba.-i^  of  17X22  in.che.-:  car(i;KXird,  nn  a  ba.-i-  of  2  2\y  2'^\  inclie-. 
If  a  ])aper-dealer  were  to  te.-t  a  .-heet  of  ]ia[)er  by  feeling  it  and 
sa\'  that  it  feel.-  like  ba-i-  eigiii\'  pa.pLi-.  he  mean.-  th.at  a  ream 
of  it.  25X,-",S  inche.-  in.  :Xe.  w.'uld  weiudi  eight  \'  ])e)U.n.d.-.  If 
the  .-tock  v,-ere  a  vrritim:-.  a  bwud.  '•.■■:  a  ledLjer.  and  lie  .-aid  that 
il  feel-  like  an  Xo.  2Z  jKiper.  I;e  mean-  tha^.  a  ream  of  it,  17X22 
inehe>  in  size,  would  weiiih  iwen!\'  pound-. 

250.  Designating  Paper  .According  to  a  Substance  Num- 
ber.-  Prior  to  ihe  Woi'ld  \\'..r.  p:4)er  wa-  made  -e,  that  it 
wei'ihed  a  certain  p.umber  1  4"  [:oup.d.-  to  I'u-  rean.i.  It  wa-  al-o 
made  in  an  imnun. c  n;m.ber  of    k/.e-    and    color.-.     O-.vini:  to 


PAl'ER  275 

the  scarcity  of  raw  materials  (liirinfj^  tlie  war,  the  Unitcfl 
States  GoN'crnmeiit  placeil  man}"  restrictions  on  the  pa^jcr 
in(ki.-tr\-.  The  United  Stales  llureau  of  Standards  advo- 
cated clianges  in  the  s\-steni  of  paper  size.-;  and  weights.  As 
a  result  of  numerous  >ug,i';estions,  paper-makers  have  adopted 
new  standards  f(jr  making  paper. 

Unfler  the  old  system  of  sizes  and  weights,  paper  was  made 
so  that  it  weighed  a  certain  cirji  mimbcr  of  pounds  to  the 
ream.  To  do  this  it  was  neces:-ar\-  to  var\-  the  speed  of  the 
f)aper-making  machine.  .\s  a  re-ult,  the  j)aper-maker  was 
making  an  infinite  num])er  of  ihickiicsscs  of  paper.  If  a 
printer  Vv'as  using  a  {)a[KM-  tk.at  weighed  twenty  pounrls  to  the 
ream  (jf  i-jK2  2  inches,  and  he  wanted  the  same  weight  of 
{)aper  in  >ize  19X24  inches,  he  could  not  get  it.  The  nearest 
he  could  get  Vs'as  i(jX24 — 24  pounds.  Exactly  th.e  same  pa[)er 
would  ha\-e  weiglied  24.4  pounds.     See  Section  252. 

I'nder  the  new  system  tlie  paper-maker  does  not  alter  the 
speed  (jf  hi-  machine.  He  makes  a  [)aiper  tliat  will  weigh  a 
certain  e\"en  number  of  pounds  wlien  cut  to  17X22  inches. 
If  it  weighs  sixteen  pounds  to  a  ream  of  17X22,  it  is  called 
sub.-tance  Xo.  16.  If  it  weighs  twenty  pounds,  it  is  Xo.  20; 
and  so  on. 

The  same  method  pre\'ails  vdth  book  papers.  The  Ijasic 
size  is  25X38  inches.  A  j)aper  that  weighs  50  pounds  to  a 
ream  -S^-S^  inclies  is  called  basis  50.  U  it  runs  So  i)Ounds 
to  a  ream,  it  is  basis  So;   anrl  -0  on. 

A  ba-ic  weight  produt:e.-  a  staiidarii  iJiichncss  for  each  par- 
ticular paper.  When  a  -tandiard  lhic]vne-<  is  cut  to  other 
sizes,  the  paper  does  not  always  run  an  even  number  of  poundis 
to  the  ream.  I'o  avoid  intricate  calculation,  weights  are  listed 
in  the  nearest  half-pound  i)er  ream.  See  I'ables  \1  and  VII, 
also  Seclitjn  2^2. 

A  studiy  of  these  taides  <hov.'s  tluit  it  is  ncj  longer  necessary 
for  a  |)rinter  to  figure  relative  weight-.  The  weights  are  given 
in  the  taljle-.  The  number  at  tlie  top  of  each  column  is  the 
basis  number.     The  numl)ers  iii  eacli   hnriz(jntal   row  op;)o.-ite 


>76 


i'kixTixc; 


TAHI.K   \T     STIO\MXC.   Till:   Sl/.F.S   AX!)   WF.TGIITS   PER   REAM 

oi'  lioxi)^,  i.ixi;x<.  i.i;i)(,i:ks.  axd  oihi-.k  i-eat  papers 

WUES  ALVDi:  ACCURULXC.    TU  .^L'BSTAXCE  XU.MBERS. 


4X34 

6X21 

6X26 
0X42 

X22 

7X26 

X2S 

X44 

X50 

SX25 

SX4'- 

0X2.1 
UX26 
0X28 
qX.^o 
UX4S 

20X2S 
20X56 

2TX32 

2iXj3 

22X25  I 

22X34 

23X2S 

23X31 

23X34 

24X3-^ 
24X4^ 

26X32 

2')X33 
2f,X34 
26X3^ 

27X40 


2 '^.•■40 

2>/'42; 


.S4  ■  44 


:;  .,  13 

lOi 

Tl', 

I4J 

23 
13 

T  -' 

26 

3,1 

16 


14:. 

2() 
16 


24 


u] 

iS 

21' 

18 

22 

2  0  \ 

29 

3 'J 

43 

16 

23 

24 

10 

-a] 

2.^1 

-)-■  ^ 

^  _  i 

80' 

32 

4" 

4'^ 

41 

51 

(n 

i:] 

22 

26', 

35 

44 

S3 

io\ 

24' 

20  • 

21 

2')  . 

81  • 

22, 

2^1 

84 

24i 

8°: 

3''i 

39 

4') 

5') 

24 

30 

36 

4> 

'do 

72 

20 

_:;6 

4i 

20  J 

8  7 

44  i  1 

24 

30 

V' 

T  ~  1 

40 

1 

4^ 

.  r   1 

,^  I 

4 1  .■ 
.  - 1 

.•)3  2 

42 

50 
r8 

3'' 

4' ' 

50 

,   ! 

(.i\ 

74 

"-,     I 

44 
4'-' 

~ "" 

^  ^ 

47 

5  - 

42 

4'-' 

^8 

(1: 

41 

;i 

Cil 

4'' 

,^7 

( '  > 

:.  1 

1, ,  1 

40 

III 

7,', 

( ,  ■ 

>  s 

<il' 

\        28 

N'  .  32 

X.  .36 

-\  ^  40 

Xo.  44 

,  -  1  1 

40  i 

46 

51 

56 

25 

281 

32i 

36 

392- 

31 

,  „  1 

3  3  2 

40 

44^ 

49 

50 

57 

65 

72 

79 

2S 

32 

36 

40 

44 

88 

3-^ 

42^ 

47i 

52 

, .  1 

40] 

4.6 

51 

56 

56 

(n 

72 

So 

88 

71 

Si 

92 

102 

112 

31 

-1  - 1 
,10  J 

40 

44^ 

483^ 

02 

71 

80 

89 

97 

34 

39 

44 

49 

53l 

37 

42. i 

472 

53 

58 

40 

452 

51 

57 

62i 

42!. 

49 

55 

61 

67 

68 

78 

88 

98 

107 

42 

48 

54 

60 

66 

'S4 

96 

108 

120 

132 

50 

5  7 

65 

72 

70 

52 

59I 

66i 

74 

Sii 

42 

48 

54 

60 

68 

S'> 

64 

72 

80 

88 

4S 

55 

62 

60 

76 

_ ,  1 

61 

68.1 

76 

84 

;iv\ 

67 

_  - 1 

/  J  2 

83i 

02 

02 

71 

8o 

8u 

97 

08 

78 

88 

oS 

107 

80 

98  i> 

1 1 1 

123 

i35i 

0  •) 

71 

So 

S) 

08 

''4 

-  ,  1 

82i 

02 

101 

(.0 

76 

3- 

05 

104 

74 

8  ^ 

95 

100 

I  lO 

81 

02  i 

104 

lis] 

I  27 

71 

^I 

02 

102 

1  12 

80 

0  1 

102 

114 

I  25 

>4 

oO 

108 

1  20 

1,1  2 

■"^0 

102 

114' 

I  27  I 

140 

3  - 

0^ 

I  10 

I  22 

184 

■  23 

1  l^^' 

1  -^ 

175'. 

I  "31. 

1  I  2 

I  j^ 

i44 

KO 

I  7O 

PAPFR 


277 


TABl.K  Vri  -SIIOWTXG  THK  SIZF.S  AXl)  WKIClIirS  TM-.R  RKAM 
OF  IU)()K  RAPFRS  \\Hi;X  .\F\l)i;  A(C'()K1)F\(;  10  SUii- 
STANCE    BASIS. 


Size. 


24 
25 
26 
26 

28 
2S 
20 

34 
,55 
.S6 
3S 
41 
42 
44 
44 


X3S. 
X32. 
X36. 
X38. 

X2Q. 

X40. 

X42. 

X44. 

X52. 

X4I 

X44. 

X46- 

X44. 

X45 

X4S. 

X50. 

X61. 

X56. 

X56. 

X64 


Basis  40 

liasisSO 

li  iSlS   60 

40 

50 

60 

30 

37 

44^ 

3'' 

45 

55 

40 

50 

60 

32 

40 

48 

44 

55 

66 

50 

(12 

74 

^2 

65 

78 

(H 

80 

06 

53 

66 

76 

60 

74 

8q 

^'4 

So 

q6 

70 


I5a.-,is  80   iia>is  100 


('3 

60 

80 
106 
100 

104 

I  20 


70 
83 
90 

100 

132 
124 

I  ^o 

148 


Q5 

lOO 
I  10 

I  20 

158 
148 

15') 
178 


64 

70 

/  / 

86 
go 
IT  2 
02 
104 
1 1  2 
no 
1 16 
128 
140 
184 

I  72 
rSo 
208 


80 


^0 


63 

88 

QO 
104 
126 
105 

IK) 
I2S 
126 
133 
146 
160 
210 

ig8 
208 
23S 


100 
74 
91 

ICO 

79 
1 10 
124 

158 
132 
148 
160 

157 
166 
182 
200 
264 
248 
2O0 
206 


the  >\/.e<  arc  the  wcijzhts  per  ream  for  thai  .size  and  for  the  ba.sis 
in  that  column. 

The  standard  size  for  cardlmard  is  still  22.^X28',   inches. 

251.  Other  Papers.  While  flats  and  book  papers  have 
undergone  a  change  in  weights  but  not  in  basic  sizes,  cover 
papers  have  undergone  a  change  both  in  sizes  anrl  weights. 
Organizations  of  printers,  adx'ertisers,  anrl  publicity  experts 
have  agreed  to  restrict  the  number  of  sizes  and  -ha[jes  of  their 
ad\"crtising  matter  so  that  j)a[)cr  will  not  be  wa-ted  in  cutting 
and  so  that  the  manufacturer  may  make  fewer  sizes  and 
weights.  To  accomplish  this,  okl  -izes  anrl  v/eights  of  cover 
papers  have  been  abolished,  and  co\-er  stocks  are  now  listed  in 
the  following  sizes  and  weights: 

20X26) — 50,  65.  8c: 
-o'^'^'-oS     7.5)  9,S;  1 17- 

In  Section  loi,  page  98.  a  con-tant  or  muhijjb/in'j;  factor  is 
given  for  determining  the  dimension-  of  the  lu'potenuse  oblong. 


2  78 


TRIXTIXG 


'["111-  (iljldnLT  lias  licxn  ciulor-fd  1)\"  many  inlluenlial  national 
orLranizalion-.  aniDUi:  llicm  tiit,-  X'ationa!  A^-ocialion  of  Pur- 
cha-iiiLr  ALa-;u-.  American  Inr-iiiuu-  of  Arcliitccts.  American 
Swrit,-i\-  iif  Mrrlianic:;!  l-inL:;]:i'L-r-.  I'niU'd  Typollic-la'  of  America, 
Xatidiial  I'iiOtT  'I'rade  A--ociat:on.  I'niled  Status  T)cj)artmcnt 
I'i  Commerce.  Clianilier  of  Commerce  of  liie  United  States  of 
AnK-riea.  It  i-  \)viu'z  a'ixdcatcd  -invaltaneou-]}'  in  America, 
]''.iir()j)L-.  and  Au>lral:a.  Tiu-  nr\v  cover  -ize  is,  for  all  practical 
]un'i)()~es.  an  hvnotenu-e  iddomr. 

New  c(i\"er  .-i/.r.  j^X^o  inclie-. 

By  calculation.  j,-;"X  1.4142  ^  -jj.^j 7  ittches. 


Or.        ' '     =  2  :;.  ^  "^4  inclies. 
1.4142 


Tlii-  mraii.-  that  cowr  -paper-  in  tlie  new  .-:/c.  j-p'-'y;  inches, 
will  cui  winiiiii!  \\-a-iL-  to  Ir-.'potcnu-i-  oMoni:-. 

TliL  term  ■■h\-poti'nu-e"  i>  Ldx'en  to  tb.i.-  olilonc:  l)ecause  the 
ratio  of  k-r/jtli  to  \'.'id,t;i  i<  dct(-rminud  \)y  an  lp\-i)otenu-e. 
-■' — I  Taki:v2;  tlie  widali  a-  one  dimension,  diraw  a 
riL'iit  an^dc  the  other  -id,c  of  wliich  ha-  the 
sam.e  dimension.  Draw  an  ]iy*)otenu-e  from 
cornL-r  to  cn'-MLr.  Tlii-  ]p\'potcnu-e  i>  the 
le-n-'h  (d  liic  -idc  dc^ired.      ^er  Idi:.  154. 

In  e\cr\"  trian-rK'  where  t:ie  l^a-e  and 
allilteh-  arc  of  opKal  fhm.'n-ion-.  the  1  a-e 
i-  !iithi^  !r.'po!rn\;-.- a-  i  :  \  2.  The  -onare 
Too-  of  :  i-  1.4 142.  l'hrrcf('re  multi'dxdriL: 
ihr  vddtli  of  a;y  -i/e  do-i:'rd  '  y  T.4142  vdil 
i:"\'o  the  h-n2'ih  nn.(;--a:'y  t^  ]>!-oduco  an  I;\-- 
pM^nu-e  oh'h.nL:.  Or.  if  ihelemrth  i- known, 
d;-."'  h-  dp  t.4142  t'l  od;:dn  tlio  width  de-ii-ed. 
252.  Rule    for   Figuring  Relative    Weights.       \mw    t^ait 

'j]\' -   '■'   "i-an'-   ■,::■:■   idvon    in    iah'o~,    there   i-   i  /  ■!    the   ^ame 


d..  li- 


IWIM'.R  279 

need  as  fornicrh'  for  printers  to  know  how  to  fit^ure  relative 
weights  of  paper.  Oceasior,a!!y,  howe\'er,  when  odd  or  special 
sizes  arc  desired,  it  will  l)e  necessary  to  know  how  to  figure 
the  resultant  weight  when  tlie  sul)stancc  is  known. 

The  usual  formula  for  determining  relative  weights  of  paper 
is  the  following: 

Desired  weight  X basic  numl^er      ,     .     ,       .  , 

,i — -. — . =  desired  weight. 

JKisic  size 

Basic  size  in  llats  is  17X22;   in  book  papers,  25X38. 

Examples. — How  much  will  a  ream  of  19X24  weigh  if  the 

basis  is  No.  20? 

lyX  34X20  , 

--=  24.4  pounds. 
17X22 

This  is  listed  in  the  table  as  24.5  ipounds. 

How  much  will  a  ream  of  32X44  weigh  if  the  basis  is  80? 

32X44XS0 

--^~  =iiS.57  i)ounds. 

25X3<S 

This  is  listed  in  the  table  as  119  pounds. 

253.  Envelope  Sizes. — Xearh'  all  paper-dealers  are  now 
making  ])a]:)cr  and  en\-elo])es  to  match,  in  sizes  suitable  for  oflice 
stationerv.  If  sjieciiil  sizes  are  desired,  the}'  can  be  made  to 
order.  Tal)le  \\l  gi\es  the  numbers  and  sizes  of  envelopes 
ordinarily  carried  in  stock  in  standard  white  papers. 

TABLE  vnr,"i;xvt:i.()i>i':  sizes 

C()MMi:KCI.\L 
No.                                                   Size.                     Nn.  Size. 

5 3/./'X5y'  10 4i"X9V' 

b\ rx/'X(>  "         II 4r'xio;;" 

6^ 3s"X()V'  12 4i"Xii" 

M 5  "Xii^' 


.vr'xc 

1 

1 

4- 

^r'xs 

B 

AROXI 

.\I 

Size. 

X 

0. 

\o.                                                      Size.                      Xo.  Size. 

4 ^  -    '   4  , ..  .-:..•■ 4  b    X  :>  s 


2So  I'RixriXd 

Drug  and  Pay  P.wklopes 

No.  Si :'.(.'.  ^<'w.  Size. 

I li"X.2'"  ,5 2i\"X3;" 

2 2A"X3r'  I'ay 2y'X4l" 

254.  Figuring  and  Cutting  Stock.  -W'lK-n  fiuurin.L'  on  stock, 
be  sure  that  you  are  ])lannin.L[  lor  llie  rii:lil  number  that  ma\-  he 
cut  from  a  sheet,  and  ahva\'S  endeax-nr  lo  use  a  -heet  that  will 
cut  to  size  with  a>  lilth-  wa.-le  a^  [)<).-.-:hle. 

Manv  co\'er  stuck^  will  !"oM  only  with  the  ^rain  and  not 
across  it,  unless  scored.  If  iheru  i>  an\"  ch'jice  in  the  matter, 
cut  the  stock  S(j  that  it  will  f(dd  with  the  ^L^-ain. 

The  avera,iie  letterliead  is  Si/ 11  inches  in  -ize,  and  four 
niav  be  cut  out  of  a  slu-rt  i~'A22  inches.  If  a  short  letterhead 
(8-2 X7I  inche-)  is  de>ired.  it  ma\'  he  cut  out  of  i7X22dnch 
stock,  six  bein.L'  obtained  from  a  >lieet. 

Paper-dealers  will  not  sell  an  o'ld;  niiml»er  of  .-lieet>.  and  it  is 
necessary  to  order  >tock  in  e\'en  fiuiri_>.  The  u.-ua!  allowance 
for  spoila<;e  on  a  job  i>  two  per  cent  for  each  time  a  sheet  ,^oes 
throuf^h  the  pres>.  If  the  job  i-  a  three-color  ])r()cess  one,  three 
per  cent  for  each  time  throuLdi  th.e  ])re.-.-  is  ;:iot  too  much. 

If  it  is  your  dut\-  to  cut  paper,  ])roceed  with  extreme  caution. 
Paper  is  frerjuentl\'  I'LUirerl  to  L'et  a  certain  nuniljer  out  oi  a 
sheet  in  one  directiori  and  a  certain  number  in  the  direction  at 
right  an'iles  to  thi-.  .Man\-  a.nil  many  a  time  ha\-e  such  cal- 
culation- b'Ceri  iij)-et  becau.-e  the  cut'er  took  the  I'lrst  cut  in  the 
wrong  direction  ! 

OrP.sTIOX-  ()\"   CIIAl'TI'R  XVI 

1.  From  -.vhat  <'A'\  V<:u'<-r  'a  ri'.-.-  :'-  r..:r:-,w 

2.  \\;i:i'  :-  ih'-  -■:•.-■  i:  ^  •-■  ti.ar  -;  -,  -  :.,i;,rr  a^  ^trcneth  ? 

3.  XarM-  "ia-  (iiarr'-M   p!.;nt~  ir'iM  ■.',::.:,  rtxr  is  cbiaincd  ? 

4.  W!i:a  i-M;;;.r 

5.  Wha;  i-  -,vu(.  i  in!;-  '^ 

C.    l-;v;,!ain  tar  (:i;":"'.rr:aa>  !irf.vi-t-:-:  -a.  ]:.:'\]  al  an'!  (  hemical  wood-pulp, 
7.  Of  ;:.'•  v.:o  (  Lcii'i'.ai  \vu,,.':-\,:_:'.i,y.  :■:''•.  h  i-   i i.,- Ik-i lir.  soda  or  sul- 
phite ^     \V!;v  ^ 


papi::r  281 

8.  Whirh  is  the  chcajier  process,  the  soda  or  the  sulphite  ?     Why  ? 
g.  What  is  a  diu'cstcr  ?     \\  hy  is  it  used  ? 

10.  Descrilje  a  heater,  a.ud  tell  wl'at  action  it  has  on  the  liber. 

1 1.  \\  hat  is  a  Jordan  ? 

12.  How  is  pa[)er  of  dilTerent  thickness  obtained  on  a  pajier-making 
machine  ? 

13.  Would  it  Ijc  j)ossible  to  sell  paper  b\'  the  pound  if  the  paper-making 
machine  al\va\s_ran  at  uniform  sjieed  "■'     (ii\e  reas<Mis  for  your  answer. 

14.  \\  hat  per  cent  of  th(;  "'  stuff  "  is  water,  as  it  runs  out  on  the  wire 
screen  ? 

15.  What  jircvents  the  ''stulT"  from  running  ol7  the  screen  at  the  sides  ? 

16.  \\  h>'  does  the  screen  ha\e  a  sidewise  motion  imparted  to  it  ? 

17.  What  produces  the  feather\-  edge  on  paper  ? 

iS.  What   is  the  so-called  wa.termark  in  pajier  ?     How  is  it  produced? 
iQ.  Why   is   the   plastic  layer  of  paper   run   between   heavy   rolls  and 
Idankets  or  felts  ? 

20.  Is  there  any  dilTcrence  in  the  appearance  of  the  two  sides  of  a  sheet 
of  machine-ilnished  j)a[)er  ?     Wliat  is  the  difference,  and  \\hat  caused  it  ? 

21.  II(,?Tv  is  paper  dried  wldle  in  j)rocess  of  manufacture? 

22.  What  is  a  calender,  and  wh_\'  is  it  used  ? 

23.  Why  is  hand-made  paper  stronger  than  machine-niade  paper? 

24.  What   is   a   mai  hine-hnislied    pai)er  ?     a    sized-andsupercalendered 
pa{)cr  ?     a  coated  paper? 

25.  Wh;it  iia})ers  are  usuall_\-  known  as  "  flats"  ? 

26.  I  low  man}'  sheets  in  a  legal  ream  ?     How  man_\-  in  a  ream  of  book 
paper  ? 

27.  (live  the  basic  sizes  in  the  following:    book  papers,  llats,  cardboard. 
2S.  What  do  you   underst.and    hy    a    20-pouTid    paper  ?    an    8o-j)ound 

paper  ? 

2g.  Wdiat  do  }'()u  understand  by  relati\'c  weights  ? 

30.  fii\'e  the  formula  for  iinding  relati\e  weights. 

31.  How  mucli  would  a  ream  of  paper  22"X2S"  weigh,  basis  80? 

32.  How  much  v.'ould  a  ream  of  [laper  32"X44"  'vwigh,  basis  70? 

^^.  What  ad\'antage-  are  derived  b\'  making  paper  according  to  a  sub- 
stance numlier  ? 

34.  Wliat  difference  does  it  make  if  co\'er  stock  i^  cut  with  or  across 
the  grain  ':■ 

35.  What  is  the  u>ual  allowance  for  s[)oilagc  ? 


GLOSSARY 

Abbreviation.— Part  of  a  word  used  as  a  substitute  for  the  whole  word. 
Examples:   Pa.,  for  Pennsjdvania;    X.  J.,  for  Xew  Jersey. 

Accent. — A  letter  with  a  mark  attaehed  lo  show  that  the  accent  falls 
on  that  letter:  e,  acute;  e,  grave;  e,  circunillex.  Other  marks,  as  e 
(dieresis),  f  (cedilla),  n  (tilde),  are  diacritical  marks,  and  are  used  to  denote 
pronunciation. 

Agate. — Name  used  for  a  size  of  t\'pe.  On  the  point  system  agate 
became  5  i -point. 

Alignment. — When  different  sizes  of  type  arc  so  justified  that  their 
faces  all  line  at  the  bottom,  they  are  said  to  be  in  alignment.  See  Point- 
line. 

Alloy. — A  iKisic  metal  mixed  with  other  metals  to  give  it  certain  char- 
acteristics.    See  Type-metal. 

Antimony. — A  metallic  element,  used  in  type-metal  to  make  it  hard 
so  that  it  will  resist  wear. 

Antique. — A  name  given  to  a  type  face.  The  topic  headings  in  this 
book  are  set  in  ten-point  Old-style  Antique. 

Appendix. — Tiiat  part  of  a  book  usually  added  as  an  afterthought, 
or  to  incor[K)rale  matter  omitted  from  the  text. 

Apprentice. -One  who  is  working  under  an  agreement  to  serx'e  an  em- 
ployer for  a  stipulated  time,  with  tlic  {)ri\  ilcge  of  !e:irning  a  trade. 

Ascender. — That  part  of  a  lower-case  letter  that  extends  above  the  body 
of  the  letter.     Tiie  letters  b,  d,  f,  h,  k,  1,  :ind  t  liave  ascenders. 

Balance.— W'lien  a  piece  of  t\'pe  composition  has  its  warious  parts  so 
grouped  l!i:it  they  are  equalized  in  mass,  it  is  said  to  possess  balance. 

Bar. — Book  chases  usually  have  bars  across  their  centers  to  prevent 
them  from  spre;iding  under  i)ressure. 

Bastard. — Anything  :iround  a  printing  ofi'icc  not  to  standard  form  or 
size  is  said  to  be  l)astard. 

Beard. — See  beard  of  type.  Fig.  29. 


2^4  i'Ri.\Ji.\(; 

Bearers.— Roller-bearers  arc  useful  in  job  press  forms  when  the 
roller-[)iiis  arc  Ijrokcn,  lor  thc_\  llieii  cause  the  roHers  to  rotate.  Elec- 
trotype bearers  arc  pieces  of  metal,  type-hi;,^h,  phiced  around  tyjjc  forms  to 
l)rotect  them  wliile  maivin<,'  a  mold  in  wax. 

Belly. ^W'hen  type  forms  are  loiked  u[)  and  tested  with  a  strai<,dit- 
edge,  it  frequently  hapi)ens  that  the  luics  l)i:id  at  the  ends  and  show  a  gradual 
depression  in  the  center.     '1  his  is  railed  a  belly. 

Ben  Day  Process. — .\  jjrocess  in\ented  by  lien  l)a_\-,  and  used  by 
photoengra\XTS.  The  [)rocess  consists  in  using  gelatine  films,  with  designs 
in  relief,  wdiich  arc  inked,  and  the  designs  transferred  to  metal  j)lates. 
After  being  co\'crcd  with  a  resin,  which  a.dlieres  to  the  ink  and  is  burned 
on,  the  plate  is  etched. 

Benzine. — .\  licjuid  deri\'ed  from  coal-tar  distillation.  Used  for  cleaning 
type  and  presses. 

Bevelled  Rule. — When  the  face  of  rule  is  at  one  side  of  the  body, 
and  the  shoulder  sloi)es  to  the  otlier  side,  it  is  said  to  be  bevelled. 

Billhead. — .X  form  of  olTice  stationery,  usually  sent  with  goods  on 
delivery. 

Black-letter. —  .\  black  faced  type,  usuall\-  called  Ifxt.  So  named 
because  when  set  in  mass  fcjrmation  tlie  \',hok:  tone  (;f  the  page  is  black. 

Blank-out. — The  blank  part  of  the  last  paire  of  a  chajiter.  In  the  days 
of  piecework,  when  t_\-pe  v.'as  mostl)-  all  si't  by  hand,  the  compositor  who 
got  the  last  "  take  "  in  a  chapter  got  paid  for  the  blank-out. 

Blocks. — Used  for  tem[)orarily  mounting  i  le(  t  rf)tyi)es.  The  old  form 
of  electrotvpe  block  is  rapid!\-  giving  way  tcj  solid  and  seclional  blocks. 
The  latter  are  comjiosed  of  units,  and  can  be  made  up  to  an\-  si/.e  desired. 

Bodkin. — .\  long,  tapering,  sharp-pointed  instrument  useful  for  getting 
t\'pe  out  of  a  line  while  making  correction.- 

Bodoni. —  Designer  of  the  hrst  modern  roman  type  face.  Theie  is  a 
t}-pe  named  in  his  honor. 

Body.— See  diagram  of  a  type,  t'ig,  29. 

Bold.—  .\n\-thing  that  stands  out  [)rominently.  Certain  heavy  facer 
of  ty{)e  are  called  bold. 

Boldface.—  A  n.ame  gi\cn  to  \y]H:  that  i^-  heavier  than  the  text  in  which 
it  is  used.  All  topic  headings  in  tills  bool:  are  in  boldface  tyj)e.  See 
Proofreaders'  .Marks. 

Book  Chase.-     \  larg'c  ihasc,  usually  wilh  shiftin",  b;irs       ]■'[<:,  uS. 


GLOSSARY  285 

Border. — Anything  enclosing  a  job,  and  intended  to  ornament  it,  is 
called  a  border. 

Bottled.— When  type  is  so  badly  worn  that  it  no  longer  stands  upright 
on  its  feet  it  is  said  to  be  "  bottled." 

Bourgeois.—.!  name  given  to  a  type  under  the  old  system,  now  sup- 
planted by  nine-point  under  the  point  system. 

Braces.— Here  are  a  few  sami)le5  of  braces.     See  also  "  Cock  and  Hens." 


Brayer. — .\  small  hand-roller,  used  to  keep  up  a  uniform  supply  of 
ink  on  a  job-press.     Sometimes  used  for  inking  type  when  pulling  proofs. 

Break-line. — The  last  line  of  a  paragraph. 

Brevier. — That  size  of  type  now  called  S-point  under  the  point  system. 

Brilliant. — .V  size  of  type.     Now  called  3 ', -point  under  the  point  system. 

Bronzing. — C'o\-ering  a  printed  surface  with  bronze  powder.     The  bane 

of  the  pressman's  life. 

Burr. — .\ny  small  projection  left  on  metal  after  some  mechanical 
operation.     See  Section  17S. 

Cabinet. — An  enclosed  wooden  or  steel  frame  containing  type  cases. 
Some  of  the  newest  are  very  elaborately  equipped  for  holding  leads,  slugs, 
and  other  spacing  material.     See  Fig.  i. 

Calculagraph. — .-\  combination  clock  and  time-stamp,  so  arranged  that 

the  elapsed  time  between  two  stampings  is  shown  on  the  sheet. 

Calendar. — .\  printed  device  showing  the  months  of  the  year. 

Calender. — .\  mechanical  (le\-ice,  consisting  of  alternate  rollers  of 
chilled-iron  and  paper,  and  of  diilerent  diameters,  used  for  polishing  the 
surface  of  sized  and  coated  j)apers. 

Cancelled  Figures. — Figures  with  strokes  through  them,  used  in  te.xt- 
books  of  mathematics,  etc.  i  :i  ^  4  5.  See  under  "  Imposition,"  page  182, 
also  Section  250. 

Caps. — Capital  letters  are  usually  spoken  of  as  caps. 

Caption. — The  explanatory  matter  printed  beneath  an  illustration  is 
called  a  caption. 

Case. —  A  receptacle  for  type  or  other  material,  partitioned  to  keep  the 
different  items  sei~)arate. 


cS(,  TRIXTIXG 

Case. — The  co\-er  of  a  hoo;:.  after  Ijving  printed,  stamped,  and  made 
up  t'l  pr(jf)er  size  to  iit  the  book,  i~  kivj-.va  a=  a  case. 

Case-rack.  —A  frame  used  fur  the  storage  of  type  cases. 

Cast. — An  exact  duplicate  of  a  t\-,')e  form,  obtained  either  by  electro- 
typing  or  stereotyping. 

Casting-ofl.^  Measuring  t\T)e  to  ascertain  lio'.v  it  will  di'cide  into  pages. 

Catch-line. — .\  line  consisting  oi  a  fe'.v  of  the  unessential  words  in  a 
piece  of  atlvertisinc.  but  nece~~ary  lo  bind  tlie  main  lines  together. 

Cat-step  Circular. — .V'so  ciilel  a  "  [lull-out ''  circular.  .A  circular 
printed  on  two  side-  of  a  lone  strip  of  pai);;r.  and  wiiieh  is  folded  o\'er  and 
o'.'er.     "Many  lime- tables  are  folded  in  tin.-  manner. 

Cedilla.— A  mark  under  the  letter  g  w'len  it  occurs  before  a,  o,  or  u. 

t'")  indicate  tiiat  it  lia-  tiie  sound  of  s.  as  i.n  i;icade. 

Celtic.-d'he  name  of  a  tvpe  !a>  a     Tlds  is  CELTIC. 

Chapter  Heading,  -d'he  t^i.ain  iiead  at  t!ie  beginning  of  each  chapter. 

Chase. — An  iron  <-)r  -t'^e-l  fraitna  in  whi',  h  forms  are  locked,  so  that  they 
may  be  held  hrml_\-  cju  tlie  bed  of  the'  yiress.  Tiicre  are  many  kinds  of 
chases— cylinder,  job,  spider.    Ab  (  .la  al    *  ■  jmijiaa;  !■  a;,  electrot\'pe,  etc. 

Circumflex.— An  accent,  6,  used  to  designate  tiie  long  sound  of  the 
\"0'.',el. 

Clarendon.— The  name  of  a  type  faie.     Tiiis  i-  CLAHENDON. 

Coated  Paper. -Wlien  a  hi-rhly  enamelled  jiai'^r  i-  dedred.  a  web  of 
paper  is  hrst  made  and  tlien  inateil  aial  aalendered.  It  tomes  in  gl(.i^>y 
and  dull  hnis!;.  an  i  i=  a  prere(pii;dle  fv^r  Idah-arade  ladiione  '.vurk. 

"Cock    and    Hens."  — la^iiA  :a,i    aiaaae.  iers     tlait    m:iy     be     joined 

toLT'.-tiaT    to    make    i;raies  . — .  .      I!y  lia:  ii.t  ri  idu',  tii  ai  of  ikisiies 

•lie   braces  ^an  be  made  (d  wiri^-a-  -'.a- 

Collotype.  ~A  ;.laitn-pla!a)ar.ad.>  n-tiiod  <<i  pr;;uim:.  ddie  j)rintin;:- 
plate  luasi-t-  id  a  cei.aiae  :a!:i  naaa'ad  -ii  a  iaavy  pk.te  of  gla^s.      dd.e 

Colophon,— \dr:a  d'y.  a  tr.L  knmra;    '- a-nv  :ay  pb.aed    at   the   end  of  a 
Color   Work.  -    \  term  a-ed  :■,  ^  ■'-  >.:  '.'..  .\  aart  .a  ar'ada.^  in  ^^"id^dl  t;;e 


Complementary  Color.  -  la  ;k.  ,  a.  ;;  -i~  ■  :  ■■'■\.l\-  i:a:;a  it  i-  f' -and  t;;at 


GLOSSARY  287 

produce  white  light.  Either  of  these  lines  is  complcmentan-  to  the  other. 
In  pi<,'ments,  no  two  hues  ran  be  combined  to  pro(hice  white  ;  the  result 
is  a  gray.     Green  is  complementary  to  red. 

Composing-room. — A  room  where  type  is  set  or  composed  and  made 
up  into  forms  for  printing. 

Composing-rule. — .\  compositor  docs  not  set  one  line  of  type  directly 
on  top  of  another,  but  uses  a  composing-rule  on  which  to  comj)ose  tj-pe. 
It  may  be  of  brass  or  steel,  and  is  usually  two  points  thick.  See  Figs.  10 
and  II. 

Composing-stick. — A  metal  de\ice  used  by  compositors  to  hold  tlie 
type  while  it  is  being  assembled  into  lines.  It  has  an  adjustable  knee 
so  that  it  can  lie  set  to  different  measures.  The  \x'ry  latest  ones  are  gradu- 
ated in  ems  and  half-ems  of  pica,  and  are  capable  of  being  (|uickly  set  to 
these  measures.  The  com[)osing-stick  tleri\"ed  its  name  from  the  fact  that 
the  first  ones  were  made  of  wood.     See  big.  S. 

Composition. — That  part  of  printing  covering  all  the  necessary  opera- 
tions incident  to  preparing  forms  for  press. 

Compositor. — One  who  composes  type  or  performs  any  of  the  various 
0{ierations  incident  to  preparing  forms  for  press. 

Contents. — .\  resume  of  the  subject-matter  of  a  book. 

Copper. — A  reddish  metal,  sometimes  used  as  an  allo\'  in  type-metal 
to  impro\"e  its  wearing  equalities. 

Copper  Thin  Spaces. — Pieces  of  copjicr,  one-half  point  thick,  cut  to 
labor-sa\  ing  lengths,  usually  from  si.\  points  to  forty-eight  points. 

Copy. — All  material  furnished  to  the  printer  and  to  be  used  by  him  in 
the  firoduction  of  printt-d  matter  is  known  as  "  copy."  It  may  consist 
of  mamiscri[;t,   reT)rint,  illustrations,  ])hotograj)lis  for  reproduction,  etc. 

Copy-holder. — One  who  reads  coi)}-  to  a  proofreader. 

Corner  Quads. — Pieces  of  typ.e  metal  cast  in  tlie  form  of  a  right  angle, 
and  used  .'iround  tlu'  corncTs  of  jobs,  the  inter\'ening  space  being  filled  in 
with  metal  of  the  same  thickness. 

Cost  System. — .V  modern  efficienc}'  method  of  ascertaining  e\'ery 
item  of  expense  connected  with  the  production  of  a  job  of  printing. 

Creasing.  —  If  cardboard  or  co\'er  stock  is  so  tliicl^  tliat  it  cannot  be 
folded  \'.atli(iut  breaking,  it  is  necessary  to  crease  it.  This  is  usuall\-  done 
on  a  printing-j)ress  b\'  locking  up  a  jiiece  of  rule  in  the  chase  anrl  exerting 
pressure  against  tlii'  t\-mpan,  the  stock  being  fed  t.)  a  guide.  AH  h^avy 
cover  stocks  that  are  to  be  folded  against  the  grain  must  be  creased. 


?ss 


l'RIXl'I.\(i 


Cut-in  Note.— An  fxi)l;inat(ir_\-  iidtc  \>:\l  riL'lit  into  the  text  to  which  it 
l)clon'-r>.  S(.-\rr;il  iir.is  (if  liic  irxl  IjeiiiLr  si-l  t<)  ;i  luirrowcr  nieasurc  so  as  to 
aUiird  room  for  tin-  I'lOie. 

Cutter.— One  \--lio  operates  a  ci;ttiiiL'--mac];ine. 

Cutting-machine.  -A  medianiLal  lie-.iee  eon=i-tinLr  of  u  bed,  a  clamp, 

and  a  knife,  and  used  lor  cultiiiL:  stock  to  ti'e  rrcjiiired  si/e. 

Cylinder-bands. —Strip-  of  t'lin.  ilat  steek  fi-'e;iid  in  position  near 
the  CN-liiider  ar.d  c  lo-c  i(,  tko  bed  of  tlie  pnss.  'I'hvy  lu-rp  the  rear  ed,i:e  of 
the  slieets   from   faUii'.L:  on   tile  bed   of  ti'.e  piL'SS. 

Cylinder  Press.-  \  pri-iMn--Tin  <;  crmsi-iinLr  of  ;.  ryiinder.  a  flat  bed, 
:ind  an  automat  ie  inkini:  dr-.de  .  d'k.e  tyjie  tcirm  i-  ku  kcd  on  the  llat  Ijcd, 
and  tlie  bed  mo'.as  bark  and  fo'-tk.  l)ene  .til  tl  r  rcl,;t;;i,r  .'vlindor.  tlie  slieet 
bein^;  lield  nil  i;ir  .  ylindcF  vddle  i!io  impr>-^i<.,n  is  O'li:-  taken.  If  t!ie 
c\dinder  makes  but  nne  ix".  ■. 'iut  i'  n  duriae  a.  i.ir-.'.-ark;  an  1  ba.ekv.ard  motion 
of  the  Ijed.  it  is  callod  a  "  drum  "  eylindur;  if  it  maias  t\'."o  re\olulions 
durini:  a  forv/ard  and  Iiaekv.-ard  motion  of  tk;e  lied,  it  i~  caklud  a  t'.vo-re\'olu- 
tion  e\-liiider.  In  tiie  latter  teiie  cf  nuicidia-.  •.d.i'.e  t'lc  bed  is  m<j\in,t^ 
forward  the  eslimier  is  raiscil  so  tiiat  tlie  b'-d  ma.}"  pass  lienealli  it  ;  \\dien 
the  bed  is  mo\any  baek'.'.ard  tk.e  eylindi.r  is  do'.'.ii.  taldn_'  tin.-  impression. 

Dandy-roll. — .\  ryiindrieal  ro'l  used  on  a  paper-ma.kinLr  machine  to 
produce  tlie  ■.".'atcaanark  and  tlie  kiiii  elYect  ^vili^jl  is  \i.~iide  wheit  a  sheet  of 
papi-r  is  lield  to  tk.e  lic'lit. 

Dashes.  -  bkdn.  or  ornaniental  pii  i -r-  of  rule  used  to  separate  various 
jiart.-  iif  printed,  matter. 

Dead-line. —.\  line  ma.rked  on  tlie  bed  of  ,i  cvk.nder  jire-.-  a,s  a  puide 
for  pkeim.;  the  form,  if  tlie  t\a)e  >. viands  l)e\ond.  the  deaddine  it  v.iU 
strike   tlie   L'rippers  on   tlie  c_\!i;id,er. 

Dead  Matter. -d'>'[ie  tliat  hcis  betn  used  .and  v.-hieii  is  ready  for  dis- 
tribution. 

Deckle. -ddie  fiathery  edi-e  th.it  i-  i:a  ident  to  the  proces-  of  makini^ 
paper.      It  is  left  on  tin.'  printedi  .-Iul  t  t-^  .a-.a-  an  a."ti.~;ic  etfect. 

Delete.  '\'i<  e.apuna'e;  lo  remo-.e.  See  "dele,"  undt  r  Proofreatlers' 
Marks. 


Descender. — Tliat   pa,rt  of 


tk.at   descends  !)elo\v   the 


Diacritical    Marks.      .\bi;i;s  u-ed  iti     iiv  liem. ark-  to    -ii  I'.v    tiie  jir  iper 


r.LOSSARY  289 

Dieresis. — Two  dots  (  "  )  placed  cntT  the  second  of  two  adjacent  \-owels 
to  show  that  tluy  are  to  Ijc  j)ronounced  ije{)arately,  as  in  cooperation. 

Distributer. — An_\-  mechanical  device  that  distributes  type. 

Distribution.  —  [Macini;  type,  rules,  leads,  furniture,  and  other  material 

in  their  res}>ecti\x'  places. 

Distributor. — One  who  distributes  type. 

Dope. — Xearl\-  e\"ery  pressman  has  some  pet  material  which  is  supposed 
to  be  a  panacea  for  all  pressroom  troubles.     This  is  known  as  "  dope." 

Double-leaded. — Placifig  two  leads  between  lines  in  text  matter. 

Dovetailing. — When  doubling-up  leads,  the  arranging  of  them  so 
that  they  o\"erlaf),  or  break  joints. 

Draw-sheet. — The  top  sheet  of  a  tympan,  to  which  the  guides  and 
fenders  are  attached. 

Drier. — .\  material  added  to  ink  to  facilitate  its  drying. 

Drying-rack. —  A  skeleton  frame  with  remo\'able  slides.  The  printed 
matter  is  spreatl  out  on  the  slides  when  printing,  and  the  slides  are  placed 
in  the  frame  until  the  material  is  dry.     See  J-'ig.  143. 

Dub. — An  inexperienced  printer,     .\  mediocre  workman. 

Dummy. — Unprinted   sheets    made   up   into   the   form    in   which   the 

finished  jol)  is  to  appear. 

Duograph. — Two  halftone  plates  made  from  one  copy  and  usually 
printed  in  black  and  one  tint,  or  two  hues  of  the  same  color,  the  two  plates 
Ijeiiig  made  with  different  screen  an<xles. 

Duotone. — .\n  ink  which,  on  drying,  gives  the  job  the  appearance  of 

having  been  printed  in  two  different  colors. 

Duotype. — Two  halftone  jjlates  made  from  one   copy,  both   from  the 

same  negati\'e  and  etched  diilerently. 

Egg-shell  Finish. — A  finish  given  to  enamelled  papers  whereby  the 
luster  is  destroyed. 

Electrotype. — A  ])iiniing-plaie  made  by  the  deposition  of  a  copper 
shell  in  a  wax  mold.  This  i>  Ijacked  with  lead  and  trimmed  to  size  and  thick- 
ness.   Before  being  printed  from,  it  niu:-t  be  mounted  type  high. 

Em. --The  sciuare  of  an\-  bi  dy  of  1\'i)e.  The  pica  em  is  the  unit  of 
mea-urcmei'it  in  j>rintii:g  (.li:;  e-.    ^ee  "en." 

Embossing. — Pre-- iiig  jniper  or  cardljoard  between  a  pair  of  dies  so 
as  to  lca\'c  the  dc~i'.:n.  in  rvhvi . 


2(jO  I'RIXTIXG 

En. — ()rn'-li:i!f  of  :in  cm.  C)^^■in;'  tn  tlic  siniiiarity  in  sound  of  cm  anc 
en.  tiiL-  en  (lua'i  is  fucincn.tly  s[i()kcn  of  as  tlie  '"  nul  "  qn.ad.  and  the  em 
as  the  "  inuLLon  '"  quad. 

Enamelled. — Said  of  paper  tliat  has  In-en  coated  and  the  surface 
calendereil  to  a  hij^ii  oijlish. 

Envelope  Corner.— Adx-ertisin'.^  niatler  firintcd  in  tlie  upper  left- 
hand  corner  of  an  en\-c!o;)c.  uswalls'  rr-;  ricud  to  iiiv,  nrmc,  business,  and 
address  of  tlie  sender.      Useful  in  c:;sc  of  inisc;irria,4c-  of  t!ie  letter. 

Expanded. — .\  name  jds'cn  to  a  type  face  wiiose  width  is  slightly 
wider  than  a  normal  one. 

Extended.— .\  name  'Avcn  to  a  t}pe  face  (if  extreme  v.ddth. 

Face. — That  part  of  a  ty})e  thcit  is  ink;  d  and  wincli  leaves  tlie  impression 
on  tlie  printed  surface. 

Fat. — Said  of  nialter  that  is  fuM  of  illiisf  rations,  blank  lines,  or  o;-)en 
sp;ices. 

Feeder. --One  ■viio  fc^cds  a  press.      .\]-o  a  c:;nic  fnr  anc  piece  of  nvcclian 
ism  that  acconipiisiics  tlie  same  i 'dri' -  i  hat   of  put  tin;;  slu-ets  licjwn  to  a 
guide  or  holding  Ih^m  in  a  (ieiiidK-  po-idon. 

Feet. —When,  a  t>'!K;  is  c:c;t  ;hcr-c  i-  a  jet  adhci'ing'  io  tiie  (.enter  of  the 
hot'  im  of  tlie  letter,  'i'lds  i^  bi-okeii  oi'f.  ie,;\-ing  a  rough  seiiion.  .\  gi'oo\-e 
is  ;)!ougl;ed  throua;!!  the  cenlei"  lo  r<  move  !hh-  rou^rii  scctio!i,  aiul  tins  !ea\es 
the  letter  Nvitii  two  sej)arate  sc'tic'ns,  on  v.  hit  h  it  stan^ls.  These  are  called 
feet.      See  Idg.   20. 

Felt  Side  of  Paper.  -.\'d  pajn-rs  are  ma.de  on  tuie  vcire  si'reens,  which 
lea\"e  what  is  known  as  a  wu'v  mark  on  one  >ide  ui  th  -  paper.  With  a 
view  to  eliminatiiiL'  ihi:-,  tln'  pap'-r  is  .-(iUcv/cd  hc'wccn  !ica\\'  l)iard<cts. 
Tiiis  im[)arts  a  feli  unlA:  to  the  pajMi'.  d'lie  ■.■,  ire -marl^  .k^  ne.er  eiilirely 
eliiuiiiated. 

Fenders.  —Pieces  of  (an!bi;an!  g'ued  to  tiie  tymp.ui  to  j)rev(  nt  a  slieet 
from  .-^lipiiing  o-,  cr  llu-  :'m\<\i  -. 

Fiber.- Part  ni  the  (  ■'k:I  :r  sjivicMrc  nf  pia-ut-;  li-ci:  in  papt'r-making 
to  iuijjart  >trc:i-lli.       kiic  k-i.ger  the  :]]«  v.  tkc  .  ir^i.^^i'V  ii    ■  pa.icr. 

Flats. -It  var-  foru'criy  t  k;-  cu.-lo.n  vlih  ci  r  v  -he^-l  s  c'  paper  to  count 
them  inlo  (lain  ^  and  ;V!d  'kcm  in  iialk  :-ma!I  :d/e^,k  p 'i.-T  were  n<,t  fi.kkd, 
hut  were  deli\er.  d  !ki!.  In  lais  v..;\-  I'ai'cr  up  to  about  17X28  inclies 
became  kiK  c.'.n  a.s  ik';.~. 

Fiv.      .\    mecliani:  ai  de-,  ice  \.!lh   k  u'  '.'.Mnden   -!ia;is.   u^-ed   ('U   lylindcr 

pres-'-  In   re    eive   t  ke   ;e-i::led   ;d!ci'!    '  V<  ■':]'.    '  ke   .xTudeT    ami   place  if    on   a   Jiile 


GLOSSARY  2gi 

Flyleaf. ^The  blank  iyA'j,v  at  Ihc  front  or  back  of  bound  books. 

Folding-machine. — .\  mechanical  device  so  constructed  that  it  will 
fold  a  sheet  of  paper,  ready  to  be  bound  into  a  book. 

Folio. — ()riL;ina!l\",  a  le^if  in  a  boolc.  b'rom  the  Latin /o/fj/w,  a  leaf. 
In  the  earl_\'  da\s  hooks  '.'.cre  actually  written  on  the  leaves  of  {)lan;s; 
hence  the  name  leaves,  j'he  h^'ure  used  to  designate  a  page  number  is 
aho  called  a  folio.  I'oHo  is  the  name  gi\en  to  a  sheet  of  paper  17x22  inches 
in  >\/.c. 

Font. — A  comfilete  assortment  of  any  one  size  and  style  of  type  is  called 
:i  font.  Tvpefoii'iders  hax'e  a  regular  fouling  scheme,  each  font  containing 
a  prescribed  number  of  each  letter  or  ch.aractcr. 

Footnote. —  An  explanatory  note  i)ut  at  the  foot  of  a  page,  and  usually 
referred  to  by  some  specilic  mark  in  the  text 

Form. — An  assemblage  of  type,  quoins,  etc.,  locked  up  ready  for  press. 

Form-truck. — A  two -wheeled  device,  used  for  rolling  heavy  forms 
froin  pLice  to  place. 

Fournier  (Pierre  Simon  h — A  native  of  France,  and  inventor  of  the  point 

s\-stem. 

Fractions. — IVactions  arc  made  in  three  dilTerent  forms:  solid,  I2; 
piece,  i;    and  adaptable,  '"'/iciiO. 

Frame. — A  coniposing-stand,  of  skeleton  form,  with  slides  for  holding 
cases.     See  Idg.  i. 

Frisket. — A  sheet  of  he;ivy  paper  rdretclied  across  the  grippers  of  a  job 
press  and  cut  out  so  that  only  tlie  type  can  rnant  on  the  sheet  on  the  tympan. 
It  is  used  wlien  certain  parts  of  the  foim  mark  and  si)oil  the  sheet. 

Full-point. — T'le  mark  of  punctuation  knov\'n  as  the  period  is  frequently 
called  a  "  fuU-poInt." 

Furniture.^  Pieces  of  metal  or  wood  userl  in  making  up  forms.  It 
comes  in  wi(h.hs  wliich  are  muilijiles  of  picas,  and  in  warious  lengths. 

Galley. — Sometimes  called  a  "  pan."  It  ma\'  be  of  wood,  but  is 
usually  of  metal.  It  consists  essentially  of  a  smooth,  llat  bottom,  with 
raised  edgts  along  three  sides,  the  end  being  left  o[)en  so  that  the  com- 
posed matter  may  be  pus'ied  from  the  galley  to  the  stone. 

Galle\'-boy.  —  A  bo\-  v.hose  dut\'  it  is  to  lool;  after  the  galley's  of  type, 

pulling   pro(.'fs,   etc. 

Galley-press.  —  \  {le\-ice  corisisting  essentiall\-  of  a  base  and  a  heavy 
roller  running  on  track;-,  and  ;;sL'd  for  pro\  ing  galle\"s  of  type.      See  Fig.  19. 


202  J'RIXTIXC, 

Galley-rack.— A  -ectiiiiial  ra^  k.  v/iil!  iiiclined  ^lide-.  for  holding  palleys 
(if  \yiK-. 

Gauge-pins. —I'icrL-  ot"  -l^^ci  i-::eta!.  ^Ui:r.[K■d  into  form,  and  u-ed 
a-  L'liidt'-  I  I)  l!:c  lyir.jian  of  a  j^  h  j.rc-.-. 

Gauge,  Type. — A  -trii)  (.f  -.VMcd  or  i^ictal.  .eradualerl  in  ty{)e  sizes. 
Tlie  ^'auLTC  u^uall}'  u-i-d  ]>y  coi^ijx.-iti  ^r-  i-  .L'radualed  in  jtioa  and  ])alf-pica 
>i/(-. 

Gothic. — A  name  ::i\en  to  a  ty;ie  fare,  usually  square  in  outline  ;infl 
de\-i.id  of  ^erif■;.  The  Mi-oalkd  te\t  letter  i~  really  (;otliic  in  form.  Thi^ 
iellc:r  is  in  'J' jtliio — H. 

Graphic  Arts.  -A  name  tluit  endir^u  e~  every  nirm  <,i  printing  tiuU 
lia-  f'ir  its  oLje^  t  the  profiui  tinn  of  tr\t  it  ion-;  ralii  in. 

Grave  (  ^  . — An  aeient.  r-iL'nif\-in'_'-  t'lat  the  h.-ller  i-;  not  to  be  stroniriy 
aroc;Ved . 

Great  Primer.- -A_  rian:e  i:\vin  to  a  ^i/:e  of  ix-pe  that  v.-as  in  vi.j:ue 
prior  to  ll;e  ad'  iption  >  f  tl:e  j)'  lir.t  -\  -lem. 

Gripper-edge. — -Ti-at  tdre  i-f  a  .-iieet  of  f)aj'er  v.hii]]  i:;  taken  hold  oif  b\ 
the  crripper-  on  -  cylinder  p''e--.     SnUietime-  called  i:uidc-edLre. 

Gripper-gauge.  —A  LMUire  u-ud  I.y  pre~-n-.en  a::d  eompo-itor-  to  d.eter- 
mine  ■-■here  i^  pla<  e  the  tv'jte  matter  ia  a  iha-e  i.r  on  jirc-s  to  a\-ii;d  beim: 
strut  k  by  the  ;:r::.:>er=. 

Grippers  -  d  he  ~n;all  tniL'or-  on  a  e}-|;r.der  pri -s  that  h-ih!  the  s'leet 
tirmly  ai:ain~t  the  ( \linder  v.hile  the  in:pre--ior;  i-  beinL:  lal-;en.  '  )n  a  j-^b 
pre-s  the  i:r:pper~  are  -in:ply  hat  plei  e~  of  steel  that  pre^s  airainst  ti;e  :rheet 
and  h<ild  it  iir:r;;\-  a::ain-t  the  tj.-mpan. 

Gudgeons.  -Metal  v.heob  thai  a-'e  ~li;)pod  M\-cr  the  ettd-  of  tite  r.iller- 
^tool;-  on  ji,b  j^re—e-.  'Id;e  :;;;o^o-  :,-  r.ll  it:  the  traok-  anf'.  beiri^  keyed  to 
the  ^toik-,  (au~e  the  riiher-  t-i  r  .0;'e.  dd;ey  -h-uld  be  of  the  ~an:e  diatn- 
eter  a-  the  rnller-.  Adaptable  arsl  adju-talde  irudi'eoit-  are  n:ade  for  thi- 
[.urpii-e. 

Guides. -On  job  T)re--e-.  (ithir  oniid-  i:lued  to  the  tynipan  or  iraime- 
piiiS  -tuih  into  it :  -<  i  ;)lai  ed  ih'^:  the  ji;  inth  l:  i  eroe:-  int-i  pr<  mer  [jo-iii^.n 
on  the  -heet .  fiji  a  i  ■slhtder  o''i  --  the  bi  it  I '  'r:,  -j'Al'ii.'-  at'e  ;.;- toned  to  a  bat", 
anfl  the  ~lde  L;i;;di  ~  t  .  the  feedb- -a'-d .  JIai  h  L-idde  i-  ret  by  n.io,  in-  a  -  re'-v 
v,-hi' h  ha-  a  n-dhed  head,  a  Mt--'re^.^-  Is  hlh.-  it  in-nd\-  after  it  ha-  been 
[irojierly  adjt;-!t  d. 

Hair-line.   -  d  he  \er\-  ntte  I  ins  -  i-f  ;t;  y  t;.  :■•  fa-  .■  are  kii'--.'.  n  a-  halrdine-. 

Half-title,      d'he  na-.e  ■  rr  tl'h-  .,f  a  h-.h.  pla  .-d  at   the  mad  ■  f  the  hmt 
Halftone.     A  ph  .n  en-ra-.  i  d  p;,:-,    i  .  od-:^' ^  i-f  d   m  .f  ■.arj.ha:  -:/e-, 
tiiid  ^h;^do■.^  -  of  a  i  'h  tare,  bat  all  the  half  or  interna,  dia  to  I'-ne-. 


GLOSSARY 


293 


Hell-box. — A  box  into  which  all  manner  of  bent,  battered,  or  useless 
printing  material  is  thrown.  There  should  be  sep)arate  boxes  for  tyjie, 
leads,  and  hniss  rule. 

Imposing-stone. — A  framework  surmounted  by  a  smooth,  le\'el  slab 
of  marble  or  steel,  on  which  forms  are  imposed. 

Imposition. — The  placini:  of  pages  in  a  form  so  that  they  will  print 
in  proper  position  on  tlie  sheet. 

Imprint. — The  nanie  and  address  of  a  firm.  A  name  put  on  printed 
matter  to  show  who  did  the  priiiting. 

Indention. — ^^'hen  one  line  stands  in  farther  than  another  it  is  said 
to  be  indented.  I'aragra[)hs  are  usual!}'  indented.  If  the  first  line  begins 
flush,  and  the  subsecjuent  lines  are  held  in  a  little,  the  indention  is  called 
a  hur:i;i>iii  indrntion. 

Index. — A  compilation  of  the  most  essential  things  contained  in  a 
book,  and  arranged  alphabetic;dl_\-  for  quick  reference. 

Initials. —  Largi'   letters   used   at   the  beginning   of   the    main   sections 

of  a  l)0ok  or  other  printed  matter. 

Ink.—  .\  combination  of  pigment,  ^•arnish,  drier,  etc.  Made  in  many 
foims,  colors,  and  consistencies,  to  suit  the  \aried  requirements  of  the 
printer. 

Ink-balls. — Formerly  used  for  inking  forms.  They  were  made  of 
leath.er  stulTed  with  cotton.  Since  the  ad\"ent  of  rollers  the\^  are  no  longer 
used.  A  picture  cm'  two  ink-balls,  face  to  face,  is  frequently  used  as  a  sym- 
bolic sign  by  printers. 

Ink-knife. — .\  thin,  flexible  steel  knife,  used  for  mixing  inks. 

Inserts. — J'iec^s  of  pirintecl  matter  produced  separate!}'  from  the  main 
bod}'  of  a  book  or  maga/ine,  and  inserted  in  {proper  position  before  binding. 

Intaglio. —  .Nny  engra\'ed  surface  wliere  the  di'sign  is  cut  in  the  metal, 
and  ',vhich  is  filled  with,  mk,  the  surface  being  cleaned,  so  that  the  ink  in 
the  design  may  be  transferred  to  ])a|K'r. 

Ionic. — A  name  gi\en  to  a  t}'pe  face.  This  is  a  specimen  of  Ionic 
type-H. 

Italic. — A  slof)ing  type  face,  named  in  honor  of  Italy. 

Italic  Quads. — .\r,iong  tlie  uninitaled.  the  sending  of  an  apprentice 
foi  italu-  quads  is  sujjposed  to  be  a  joke.  'J'he  .\merican  Type  Founders 
Compimv,  how'AiT,  did  make  a  font  of  •( Gothic  lt;i!ic  in  which  ex'cry  letter 


;k;4  I'RJX'riXC, 

!'>p(.'(l,  ;ui(l  \','!ii(h  rr'jiiii'((l  iialii'  t|u;i'l~.     'i'i:i-  ila!!'-  matriic-  u-cci  'iii  the 
l.;;<i!M/.-  '1  yi)..-rap!!  ai-w  -l.'pc  in  ihj-;  i-a!.ncr. 

Jeff.  -To  !::'M-.\-  i-ni  <nia'i~  i:'  i':'-  -aiM-  niai.iH-r  a~  diic.  'I'!u;  diu- 
thrM,',  !;/_^  ll'.L'  'ji'talc-l  nuiiiljer  i,.i"  (;iia;!-  v.iih  tl.c  uirl-c  up  v.-iiii.iiiL:  tlic- 
tlin  )■.'.■ . 

Jet.— A  sir.ai!  iiri'jcriirin  rm  tia,.'  I:nii(im  u\  c-arh  Diecc  of  t_\'pc  a-  it  conic- 
frii!;i  liaj  iimM .  The-  jcl  i-  la-'-kin  '  ■:':  arai  !':,_•  r(.i;i:hiic-~  reiiaAu'l  \'.ilh  a 
!)lai,c.  ]\]Ur-  k-a\-ini:  I  he  idler  v.  ;i!i  i.'.m  u-et. 

Job  Press.- -Any  priiniiiLr-pr-e -^  i:--i'!  [nr  i,rintin:/  jwo-.  h'ornierU 
re-:ri':i<l  h,  platen  pre--e-.  :-'.i:' ■■  the  i'  i  r'-ri'i' ti'/n  o'i  curxail  elecli'Mtype 
[iKiti  -.  ~;i:a!i  ]'■]>  e\-!i!:(h;!-  pie-e-  ha'/e  a  pp' ■;. -rfi  '•■!  t  he  n;arhet. 

Journeyman.  A  fi:h-:'( 'Ilt^  a  -.■.  aAiaaa.  A  i'ev.-  ceMurie:-  a^M  thi- 
iit!e  \'.a^  t:i-.  e;i  to  a  x'.nriiaaa  ••■ii'i  ]•  a:ia:eye'i  ir'iia  pla<  e  I'l  phn  t:  in  laaje:' 
lo  a<  rpiire  a  fail  i;:a  r,'.  le'k'e  ;a  h:.-  ir.aaa 

Justification.      Ma!;;!:_     a     !:■<•     I't     a     -Jiwn     tnearure.      W'lien    u-ii::: 

Kern.  Thai  pari  '■;  li:e  fa  e  ^a  a  '-lur  v,  !,;<  h  la.-er'ai'ii:-  the  h-iriy. 
'hiie  !e!iei-~  f  and  j  are  i.-uah\-  i.eraeri.  Heiaiai:  i'\  ti.e  hern  en  the  f  it  i- 
ncee-.~ar\-  in  lia\e  lia:  liaaMire-  li.  n.  il,  ih ,  and  : a .  AJaijy  itahc  letter- 
are  heraeih 

Keyboard.  -Ai!  a— endeaLre  <  ■'  i:e\-.  -}-~;err;a'i' a"y  arran::e'i.  ea  !; 
of  ■.'.hi'h  cnir-'--  ~'Mae  i:i'ha.h-a:  -i  a'rar.r;-;!  thai  a  laalrix  naty  lie 
a-einhle'i  'a-  in  tia-  Lira:t:pe  aa-l  liaeitv;..-  nr  a  hater  cart  la-;  in  ihe 
.Men.ayia-  . 

Key-plate.      A:;y  iilaie  tiiaa    :■-  i.-n'  a-  a  :Jiii  ie  '<>  i^l  ^tiicr  jTii'  -  iaiu 

,-h.r  pr.nr--  ih.-  hi...  h  pht  ■■  ;-    :-..:. 

Labor-saving  Material.  \;  y  n.^r'a!  ■ '.>'  ^r  '  a-t  to  temJa.r  jh^  ;i 
!'-na'  :  -  . 

Laid  Paper.  h\'>-  :iep.-''  v.'y/r '•,.  ■-.'.. -a  h.-'h  i-.  th:  !;::hi.  -ho/.-  (l.-e, 
eae'  I   i  -   ri  ai^r  a   '.  a' e;  na^.  ri. .  a    o    '-  hi  e  :  .  '\a-  ;aa--a'a-  '  a'    ;  ae  ':;i:  h\ -'' A 

Layout.      !'^...--      h.  .    a    ■.-.aaaaa     h.aa'aa     •      :.    hT.     l-aahy   nairhc-i 
Lavout  Man.      >ia..-':a'-    <:.-''   '    a    -a -.-a' a,-,  i  .'      i'!;iiiiah\-    a    t-.!'"- 


GLOSSARY 


295 


Lead. — One  of  the  t:lemc!its  of  tlie  c.-irth.  Th ,'  basic  metal  in  an  alloy 
used  as  t\pe  iiu-tal.  Tlie  ])ro', xirlion  of  load  in  t\"pe~metal  varies  with  the 
size  of  \\-])v  to  In;  cast. 

Lead-cutter. — A  device  for  cuttin;,'  stri[)s  of  lead  to  required  size. 
See  I'ii;.  120. 

Leaded  Matt'T. -Tspe  nritter  with  leads  b'^twecn  the  lines. 

Leaders. —  I. ea.ders  are  jn'riods  or  dots  cast  to  diiTerent  multiples  of 
the  body  size.  The}'  are  used  in  tables  to  lead  the  eye  from  one  point  to 
another.  Ojwii  leaalers  run  one  dot  to  the  em.  and  are  cast  on  one-,  two- 
and  three-em  units,  (dose;  leadei's  are  cast  on  en,  em,  and  two-  and  three- 
em  units,  and  ai'e  s(imetimes  used  ;;s  a  subsf  i'.ute  for  dotted  rule. 

Leading. —  Idacint;  the  required  number  of  leads  in  a  piece  of  compo- 
sitioii. 

Lead-rack. — ,\  partitioned  receptacle  for  the  accommodation  of  stock 

sizes  ot  leads. 

Leads. -Strips  of  metal,  made  to  multiples  of  j)oints,  and  used  in  spacing 
lines  of  t\-pe. 

Leaf.-  !-"arh  separate  sheet  of  p;i[H'r  in  a  book.  Some  of  the  earh' 
books  \^'ere  made  b\-  scratchim;  on  lea\es  with  a  stylus;  hence  the  word 
"  leaf." 

Letter-board.  — .\  llat  bo.ird,  usually  witli  strips  of  wood  around  three 
edges,  used  ;is  a  place  of  stoniLn/  for  composed  t\-jU'. 

Letterhead. -i'iie  printed  form  at   the   head  of  sheets  of  letter  paper; 

also  rhe  slieet  itseh"  a.fier  it  is  printed. 

Letterpress.  -    I'iie    adjecti\e  ;     denoting    printing    that    is    done    from 

r;dsed   surfaces. 

Letter-press. -Tiu'  n  !un;    denoting  an  oflice  de\ice  for  copying  letters. 

Letter-spacing.  I'uttiriL'  thin  spaces  betwt.'en  letters  in  a  word  in 
order  to  incfiase  tiie  leuL't!;  of  t'.'e  word,  or  to  make  uniform  the  apparent 
white  space  bet'.'. ecu  ti'c  Idlers. 

Ligature.  I'wo  cli;iracters  jniiu'd  together  on  one  b(jdy,  as  h,  IT,  A^ 
i\.  etc.      I'lrroiiLousiy  c.illed  io:::)lyp(  ^. 

Light-face.      .\    n  ime    -ini-'.-tinKs    !:i\en    to    a    ty[)e    face  whose    major 

and  !iii:::);'  e!c:,icii;-  :ire  'vXTy  na'Tow.  and   ihertfoi-e  light  in  cliaracter. 

Line-engraving.  -  .\  !'h.<itoengra.\ mg  wliose  \arious  parts  are  reprc- 
:;ented  in  line-,  and  n.(it  bi-okc!!  ui)  into  half  tones. 


20)6  l'RI\TT\(; 

Linotype. — A  compcisiFiu'-maLhiiic.  After  tin-  o;)cr;aor  ;;.-scmbIc?  a  line 
of  matrici'S,  the  murliine  autornatii  all_\-  casts  a  "  linf-i)'-t_\'[)L-.''  or  ?lug, 
and  tht-n  <listribute5  tlu-  matrice?  into  a  maL'a/iia.-,  rtTui}'  for  u-c. 

Lithography.  — A  planou'rapliiL  mctlioii  of  priiitiiiL'.  (JriLri:ia!ly,  it 
simply  meant  printing'  from  stone,  hut:  at  ti:e  pre.-ent  time  it  n'.so  co\xts 
printim;  from  ^'rained  /.inc  or  aluminum  phUer-,  'hhe  jiro',  e>i  is  based  on 
the  antaL'onism  of  L'rease  and  v/ater.  'I'he  de<i;:n  r)n  ti;e  stone  is  made 
receptive  of  irreas;.'  ink.  'I'he  stone  aij.^orbs  ■■■.ater  and  resists  th.e  ink. 
By  successivel>-  moistenini,'  an'!  ink.inu'  tlie  stone,  impre-sions  can  be 
obtained  on  paper.  Thin  sheet.:  of  /.inc  ur  aluminum  are  used  in  the 
"  oflset  "  process  of  printing'. 

Live  Matter. — Type  matter  that  i~  not  ready  for  distribution. 

Lock-up. — Locking  up  forms  for  pire-s 

Logotype. — .\  combination  of  letter?  joined  to:_'ether  on  one  body. 
Ligature  is  the  proper  name,  thouL'ii  mcjst  pjrinters  call  them  lo'-rotypes. 
See  "  Lijj;ature." 

Long  Primer. —  Xame  of  a  size  f)f  t}'pj  in  use  before  the  adoption  oi 
the  point  s>"stem.      Ten-pcdnt  i,-  tiie  -i,.e  ne.are^t   to  -.ehat  was  ioni:  j)rimer. 

Lower  Case. — The  hr.'.er  of  a  pair  •<•:  lyp-  i  a~e~  ;  'lie  one  in  which 
Ihe  small  letters  are  kept.  .\lso.  one  of  the  small  letters.  W'iien  de;i;j- 
natini;  a  lower-case  letter  on  a  proof  the  contrriction  '■  hi.."  is  v.Titten. 

Machine  Finish. — Usually,  a  dull  hrd.-h.  left  on  [Kiper  as  it  comes  from 
the  paper-making  machine 

Magazine. ^That  part  of  a  com[)osin_'-m:;cl:ine  in  v.hich  the  letter? 
or  matrices  are  stored,  read}'  t<"j  be  as?embied  into  Hnes, 

Majuscule. ~.\  letter  u?ed  as  ,a  ^apit.-j  letter  durinc  the  period  when 
books  were  written,     .^ee  "Minuscule-." 

Make-ready.  —  The  proiess  of  _'ettim:  a  j(.b  really  to  print.     It  cons:  =  tr- 

of  pulling  an  impression,  s[.)ottin'^'  up.  settiiv-'  c'uide--.  eti.     d"h;e  name  is  also 
Luven  to  the  sheet  containin_'  t!je  ^p- 't-uT'. 

Make-ready  Knife.  — .\  l-.rhfc  -:•'  -  i  -liv  s':c.:>ed  ;ind  •-:round,  and  used  i"-: 
cutting  the  [deces  of  p,.p^■r  i:sed  in  --.^ir ;[::,:  up  a  nnd:e-read\-. 

Make-up.— .\  compo-itor  ■.vh.o-a  du'y  it  i-  to  m.ake  up  comiioserl  type 
into  j),i:.'e~. 

Make-up  Rule.  -  >ome'irne^  .^iiid  a  '  i.urnpb  i- i: "  rule,  because  it 
push  the  tvne  :don^       [•■   w  u-'-d  li\-  ;iev.>;ia;>'  r  n:en  in  ni.ikinj  up  pa-e^ 


CLOSSARV  297 

Mallet.  -A  udodfii  head  niounicd  o;!  a  liaiulle.  I'sed  in  conjunction 
willi  an  iiiiciAcri'd  planer  t"  plaiu'  fc.rnis  fjr  witli  a  proof-jjlancr  to  beat  off 

pionf-:. 

Margin.-  Tlie  amount  of  si)ace  around  the  printed  matter  on  a  l)age. 

Marginal  Note.  I'.xphmatnry  matter  placed  in  the  margin  of  a  [uige, 
Ur-u;dl_\'  he.-ide  llie  matter  to  uliich  it  refers. 

Mass.- -Spoken  of  in  rehition  to  groups  or  jiatches  of  type  matter  on  a 
page. 

Matrix. — That  [)art  of  a  mold  in  which  tlie  face  of  type  is  cast. 

Measure.    The  hngth  to  which  a  stick  is  set. 

Melting-pot. — That   part  of  a   casting-machine  in  which  the  metal  is 

mehril. 

Minion.  -A  name  of  a  t_\|)e  si/.e  in  use  before  llie  advent  of  the  point 
s\'stem.     Sc'\en-[)oint  is  tlie  size  nearest  to  what  was  minion. 

Minuscule.  -( )ne  of  the  small  letters  de\-e!()})e(l  during  the  period  when 
books  were  written. 

Mitering-machine. — A  niQchaniral  device  for  obtaining  straight,  smooth 
end.-  oil  leads,  >liigs,  rule,  etc.,  so  arranged  that  it  will  miter  U)  any  angle. 

Modern.  -  .V  name  gi\cn  to  a  t\pe  face  that  is  characterized  by  straight 
serif-  and  thin  hair-lines,     first  cut  b'\-  Jiodoni  in  1783. 

Mold.- That  part  of  a  casting-machine  in  which  the  bodj-  of  the  type  is 
ca^t . 

Monotone.  -.Ml  in  one  tone,  .A  name  gix'en  to  a  t\'pe  face  in  which 
the  N'arious  elements  arc  all  of  ecjual  width. 

Monotype.  -Literally,  one  t\pe  or  letter;  sf)ccitically,  a  com{)o>ing- 
mac  hine  thai  ;  asts  anti  comj)()ses  indi\-idual  t\j)e  units  into  pages,  read_\-  for 
printing. 

Mortice.  -The  noun.  Any  cavit}'  cut  out  so  that  something  may  be 
inserted  in  it . 

Mortise.  -The  \-erl).  To  make  a  cavitj-  so  that  something  may  be 
inserted  in  it. 

Nick.  --.\  de{)res-ion  left  in  one  side  of  the  body  of  a  type  during  the 
proce.-s  of  ca-ting.  So  iliat  the  letters  will  be  in  the  j)roper  order  for  print- 
ing, t\-[ie  i,-  .-et  in  the  stick  with  the  nick  up. 

Nippers.  The  grippers  on  a  cylinder  press  are  sometimes  called  nippers. 
See  '■'  .riiiiier>.'" 

Nonpareil.  -Xame  of  a  >\/.c  of  t\-j)e  in  use  before  the  adoption  of  the 
[)oint  -\-.-tem.  It  was  ju-t  half  the  -i/.e  <jf  pica.  It  is  therefore  si,\-[)oint  on 
tile  point  swteni . 


2',s  i'Ki\'r].\(, 

Numerals.  -'T\w  Ar.'iliic  r,unH-ral-  are  i,  _  s-  ■!  ■  "■  '-■!'■:  ''!'-■  K"n\iri 
IUlll:rraI~a'c  1,11.  111.  ]\\  Weir. 

Offcut.  r-i:.  rt  M-  :i":,~  <.;■  raprr  rt'-.  h  !en  oM-r  afu-r  :;;c  "ri::i:.ai  -;.'(  k 
Ka-  i  r,  n  i  i:i  (i'.'/.n  i^i  tl,c  ^i/u  riiii;;i\(i  f^  r  a  j"!j. 

Off  Its  Feet,      ^ain  (  f  l\-pc  w!,..;.  it  i-  i.'a  .  landi;;::  i-erfcc  th-  u[)rii:ht . 

Offset.  \  -;::ia!_:v  re-u';;!;::  fj-^  m  carryi:.L;  -<>  t;  v.'  h  ink  <.n  a  -hect  that 
-'i!V.'  I'i  ii  ak'  en-  V,  l];e  liMtt^.:::  .  i  the  rkeet  ai)'i\-c  it. 

Offset  Printing. —  A  plain ■-nni'ke  pr-.  e-.^.  v,-kerein  tk.e  ink  f.n-ni  t'-e 
f>>riii  i>  \'.y-i  '':.'-._L  ein  a  ruik^er  ikanket  inrtea'l  i  i  he::.::  transferred  direet!}- 
tM  tile  -:ah  ;, 

Old-style.  -A  type  faee.  t  kara-  U-riz-d  !  y  (.Ikinue  ^erif.^. 

Optical  Center. -Tiiat  p-k.i  (.:i  a  i>ri;:-.rl  })a::e  v.ik' li  the  e\-e  reem- 
naturali}'  t'l  -vek  a~  ll;e  een'tr.  h  i-  -k.:ku}^  ak^i'.e  tke  ai  lUa!  (rnti-r  id 
l';e  pa::e:  'i'y'.r.-j .  apiiri  i-drna' l-'v .  !  ;,r:  e  rk  k'  ii-  i  i  \]:v  d;-tani  e  fr:ini  ;!:e  t-ji. 

Ornament.  -An\'  ride,  i)  ^v-'^r.  ^r  e< -r;'.  eiUi^  r:al  de'd>.e  i;-ed  a~  an  en;- 
he!k-  a:  <r..\. 

Outlook  Envelope.    -.\n  i-n-..'  .p^  tia:  frMn;  :k  vd.i'  ii  l;a-  Kreii  prepared 

a;  d  add-',---  <  n  tke  eiiek  ,ru!'e  rra;.'  '"v  ~i-:J  .  dk.i-  -a'.e-  1  i;r:e  anal  a\-'  'id-  err^r. 
Overhang.— -Vnx-tkinL:  ti.at  jir^  di.it-  i-ey-nd  ti.e  r.;u:n  l.'^dy  d  tke  t\-pe 

eir  -!ai:. 

Overlay.    -Wdien  prepa:d:n:  a  f-  rin  ■  f  t}-pe  'a-  pkite-  ut  printini:  it  i- 

1  \di!ai(.'r    it  i-  (  aked  an  ew-ka,;.  .    k'  '"   '-  . ';,:  un^ier  ■  r  ka'  k  :  .f  1::e  I'  rn-. ,  it  i- 
Overrunnins;.  -(k;---.  in.:  ■     i  •■  ■-    r''^   ^:- an   'i.e  e;  d  id  'a.i.-  ;:' e  t-  t:.r 


Page.     (  e.e  .-kk   ■• 

Paging.      ■■'  k  k.a 

Paiette-knd'c.      \ 

Panel.      ■..   a      kk: 

Parchment.      1  ki 

Pearl.       \ 


GLOSSARY  299 

Perforating. — Punchi:',,;;  sni;ill  Iiolcs  or  slits  in  a  piccx-  of  paper  so  that 
it  will  tear  casil\'  at  sonn;  (icsircd  jilacc. 

Perforating-rule.—  A  pit'cc  of  steel  or  brass  rule,  usually  put  into  a  type 
form,  so  the.t  tiu'  j(il)  nvAv  be  printed  and  i)erf(jrated  at  the  same  time 

Photoengraving. — Any  enuravinj;  process  in  v.hieli  plioto^'raphy  plays 
an  imnortai:t  part. 

Photogravure.— An  inta'dio  prit^tins,'  process.  By  the  aid  of  pho- 
toi,'rapiiy  holes  of  different  sizes  ;ind  dt-ptiis  arc'  etidied  in  the  outside  surface 
of  a  cojiiXT  cylinder,  do  breal-;  uf)  t'li;  plioto.Lrrajdiic  inia.ire  so  that  it  will 
produce  h.oles,  it  is  neccssarx'  idtlier  to  make  ihe  ne,LMti\e  throu,t^h  a  screen 
or  lay  a  <,,'iain  on  t!ie  cylinder  tliat  will  resist  the  action  of  ilic  elcliing-iluid. 
Th.is  kecjJS  Tne  surface  of  tl;e  c}-Iin.der  le\"el.  Idie  oyhnder  rotates  in  a 
fountain  of  inl;,  tiie  surijlus  bein.:;  scrayied  from  the  surface  by  a  "doctor," 
Iea\d:.%'  the  ink  caily  in  the  holes,  ddie  sliadows  of  the  pictures  have  deep 
holes  whicli  !ri\'e  uji  a  lot  of  ink,  wid.le  the  hi;-;lidi!dus  have  shallow  hioles  and 
(d\-e  but  very  little  ip,k. 

PhotoraechanicaL  — Sadd  of  a  process  in  which  p!:oto,irraphy  is  an  aid 
or  an  auxiiiar\-  to  son:e  mechanical  process. 

Pi. — Type  matter  tliat  has  fallen  a^part  an''  its  various  elements  badly 
mixed. 

Pica. — Thie  name  f  a  t_\'f5e  size.  Und^er  the  point  s}stem  ;)ica  became 
tweh.  e^{)oi:it.     The  name  pica  is  still  used.     It  is  the  unit  of  length  for  leads, 

slugs,  rules,,  furniture,  etc. 

Picking  (of  Paper). — Prin.iers  frcLjuently  ha.ve  trouble  with  enamelled 
or  coated  jiapers.due  to  the  fact  tiiat  t!ie  ink  is  so  tacky  that  it  pidks  the  coat- 
ing from  tlie  lace  of  the  [ia!)er. 

Picking  "  Sorts." — When  a  comj^ositor  is  setting  a  job  and  he  finds  that 
icrtain  ne^-ded  iL-iters  a.re  Tr.'ssh;a;  frorn  tin-  case,  lie  is  -ometimes  com[)elleti 
to  ::o  around  ti;c  oKa:e  jdc'dn^  "sorts'"  fi'om  oilier  jolis  in  order  to  set  his 
cwn. 

Piece-fraction  — .\  fraction  tliat  h,as  been  made  up  of  more  than  one 
iik'ce.  d"hem(X'l-u>cd  iracliop; .  'ike  J 4, >j'," a,  etc.,  arc  made  in  oi;e[)iece;  but 
unusual  fraction.s.  like    i.'r.u    or    '-'•'   ,   ,,  are  built  up  of  pirces.  called  piece- 

Piec  -hand  — .\  w^rk.man  wh.o  i-  i>aid  at  a.  specified  ra.tc  for  the  weak 
d:at  he  ''oe^.  lb-  i^  n.  t  [laid  by  the  wnk.  His  earnines  dejiend  enti'\'ly 
■j'A  ti'e  \a)!nna  ;  f  '.■.orf   ilia!  iu;  produces. 

Piece-  ork.  — In  con-p  .,k;  ,n.  j)icce-woik  is  that  which  is  })aid  for  .it  so 
niucii  pel-  ti'.ousan'.l  ems. 


300  rKlXIlXG 

Pigment. — Any  solid  puhstance  tli;tt  i.-;  afitii-d  to  printins-ink  to  pive 
it  b<j(i>-  and  color. 

Planer. -A  Ido,  k  of  hard  vvood.  one  fare  o:  -hi-d:  is  level  and  sna)^,th. 
Used  nn  tr.e  fare  ui  t_\i)e  inm^^  to  ;';-::  'a,-::::  ::M  tie  letters  and  make  the 
form  i)!ane  or  le'.'el.      "1  i,e  i.'.vv  iri  a  pron:  ;'i::;er  i^  s  (i\  ered  -.'dUi  felt. 

Planographic— .\ny  jirintiivj  ;'r.  -  .-..  /d.  -r  the  ink  :?  taken  from  a  plane 
surface.  .\d  s-edi  i^rn  e~-es  are  based  on  tin-  antaijonism  of  grease  anr] 
water.     (See  Lithe!_'rcij)h\  ,j 

Plate.— .\n>-  meta!  surface  so  prepared  that  after  beinc;  inked  it  is 
capable  of  \deldinj:  imjjressions. 

Platen. — ddiat  part  of  a  jf.l;  printin_'-[>r'ss  on  which  the  make-ready, 
t\-nit)an.  an'i  iruides  are  pla' ed.  and  on  widel;  the  sh.eet  takes  th.e  impression 
from  ttic  tyf)e. 

Point.— Th.e  unit  of  the  fioint  -\--tenn  It  is  one-t-.velfth  of  the  .\n:  rican 
pica,  an'l  measures  .cp^^4  indi  t;  i  d:.     d'ype  sizes  are  nov,-  based  on  thi=  unit. 

Point-line. — When  the  face<  f  t}  ;;e  :-  ;  lacci  in  sue];  po.-ition  on  the  body 
that  \'ariou-  si/es  may  be  ju~d;a  i  by  u^;n;r  nn.ierial  that  i?  some  multiple 
of  tile  point,  it  is  said  to  be  on  p'antdine. 

Point-set. — Said  of  a  f-nt  of  t_\-pe  v  h.ose  characters  are  all  cast  on  body 
widths  that  are  some  muitiple  (d  ti^e  point. 

Point  System. — .\  system  '  f  ra-'in_-  tyne  bodies  on  some  multiple  of  a 

unit  ea'led  a  poinc.     One  p-dnt  i^  .- ;  ;-a  incin 

Poster. —  A  printed  rheet  ur^  d  for  outdoor  display  ad'.'ertisint:,  usually 

pasted  on  iuklj.;  u"ds  at:'   f^  :.'  :■■        .\  o-.  .-^;;Cet   ]''•::'.'_■•:  :^  a  ^i^;^:c   sheet  ;^X42 

ineiu-  in  >i/e;    a  f.vo-d:ee;   p-:-'    '  :-  n...de  by  udnj  t.v(i  s;:ei's.  onedndf  of 
tile  de-;i:n  beiu::  o;i  ea'  h  -::<  et.      \''-.-  larje  t'OSters  are  made  up  of  a  com- 

Poster-srick.—  A    kirtre,    -.voo  im    ..  anr    rin.'-stivk.    usv^d    when    settin? 

Pressman. —nne  ■.vho^■■  d  ;';.  ;*  i-  to  T-^nare  f'  rnis  fo:  ;  rintiuLt.     This 

Pressroom.--  \  r  >  ;ni  :■■'::<  :i  prindn^  ;.■  doni-.  dd.e  ideal  pres>room  is 
one  that   ;-  ~  ■  ■  rr.n.t    :  •■.:.'  '.■.:::•.■■  r  'u-'-  .n.d  ];umidi'>'  ma\-  l.-e  i  ontroiled. 

Prin':n;:^-press.  '•.-.;  n.-  ■  :  ::-■  ',....--:  fo  m  v.i.i^i:  a  -u.  '  .-:-i;on  of 
'erd:ij  toe  ink  'o  i.  n-  r  or  r.d.er  mat  ■:;  o  !  •.  the  at^niii  ation  (d  nri  ^~ure. 


GLOSSARY  301 

Process  Work. — Work  obtained  by  f)rintini^froni  plates  prepared  by  the 

pIu)toeiii:r;uiii,i;  [Jrocess.      A  lialttone  process  w'nen  by  \aric  olored  i)icturcs 
may  be  obtained  by  the  use  of  three-  or  four-eoior  [)lates  as  originals. 

Proof. — Any  printed  inipn-^ion  of  a  job  that  has  been  made  for  the 
purpoie  of  inspeetion  and  correetion. 

Proof-paper. — Any  papir  used  for  pullint;  ])ro()fs.  Dry  proof-paper  is 
specially  made  lor  llie  purpt)se.  one  side  of  it  being  liiglily  glazed. 

Proof-planer. — A  jie,.-b  of  wood  one  face  of  whieh  is  perfectly  plane  and 
covered  with  a  layer  of  felt. 

Proof-press. — Any  piece  of  niechai;ism  made  especially  for  pulling  proofs. 

Proofreader. — One  wiiose  duty  it  is  to  read  proofs  and  mark  the  errors. 

Pull-out. — Anything  pulled  out  from  the  form  b_\-  the  suction  of  the 
rollers. 

Pull-out  Folder. — A  i)rinted  ein  iilar  whose  i)agcs  have  been  folded  over 
and  o\-er.  The  pages  jnill  out  when  opening  the  folder.  Also  called  "cat- 
step"  folder. 

Pulp. — Wood  or  other  \-egetablc  fiber  from  which  paper  is  made. 

Punctuation. — The  sepiiration  oi  words  in.to  clauses  and  sentences  by 
the  use  of  marks,  each  of  which  lias  a  deliniie  use. 

Quads. —  H'ocks  of  t>pe  metal,  cast  to  (xiint  sizes  of  body,  and  in  mul- 
ti;)les  of  tlie  s<iuai-e  of  liie  b(;ii}-.  A  one-em  tjuad  is  just  as  wide  as  it  is 
thick;  a  two-em  (juad  is  twice  a,s  'I'.ide  as  it  is  thick;  a  three-em  quad  is 
three  times  as  wide  as  it  is  thick.  Y-h.  cjucals  of  \'arious  sizes  are  illustrated 
on  page  (\ 

Quoin. — A  niechar  cal  dc\  ice  so  constructed  that  it  ma\'  be  ex'^andcd, 
thereb\-  exerting  pressure.  Used  by  printers  to  lock  up  for  11s.  See 
I'-ig-  95- 

Quoin-key. — A  de\isL  for  ti::htening  ciuoins. 

Quotation. — Matter  written  by  one  author  and  made  use  of  by  auc  her, 

the  kilter  ''i\ing  full  credit  to  the  former. 

Quotation  Furniture. --Metal  furniture  that  has  been  cast  in  type 
molds.  Th;e  bod>-  of  the  furniture  iui:-  a  smo:)th  top,  but  it  is  hollow  beneath, 
the  walls  beinL;  ^U:■talned  by  cross-rifjs.  It  is  cast  in  lengths  from  four  Ic 
twent\-  picas    \'ar\'ing  b\    four  p'icas. 

Quotation  Marks  !"",i.--A  set  of  marks  used  to  enclose  quotations, 
tnus  indicating  that  the  words  so  enclosed  were  written  by  someone  other 
liiau  tile  author. 


,-yC2  l'RiX'JT\(; 

Railroad  Furniture.  — .Mfi;il  furniture  wliosc  two  side  wall.-  are  joined 
through  tiio  centLT  .vita  a  ^astainia^  welj. 

Railroading.—  \  terni  u,-e'!  to  lirs.Tiin'  tlie  mar];in,u-o\-er  of  words  at 
the  ends  of  su;rc>-iv  e  Huls. 

Reducer.— A  sah-tance  put  lata  jiria.tina'ank  to  reduce  it-  consistency. 

Register. — d'o  i;,-t  tia-  \-arii)as  par'-  if  diiTera-nt  forms  into  sucli  position 
that  v.:;c:i  t!ie_.-  are  all  [)rir.ted  nn  a  slart  e:aa  printira;  v.ill  be  in  lis  prope'- 
place. 

Reglet.  — W'lien  wooden  furniture  i-  cr.t  into  "trip^  tliinner  than  two 
pacas,  it  is  called  reulet.  'Ida'  nirtst  faaiiJiac  tiiicknesses  are  six  and  t\'.a-l\^e 
points 

Reprint. — d'o  paint  aeaia,  .\fter  a  io!)  h;is  heen  j)r:nted  once,  each 
-uhsequent  laintina  is  a  rcpiini. 

Reproductive  Processes. —  A.rp.-  [iro;  ess  of  p'rintini:  wliereby  a  number 
of  impressions  ipa\-  })e  talaai  from  :.  prep:. red  sarfaic.  t!a-  surface  bidnt; 
inked  ea^ii  lira-  iniorr  i:a-  impriS-ivai  is  taken. 


Revise.  -Tn  farac-ire  a  ma- 
.\fter  tile  pr<iof  is  ;c'.aa-d  it  i^  ka 
,are  not  a!!  made,  an^l  a  second  p 
se-'on  I  ,'■;.'<• ;    ata!  .-  .  (iia 


proof  witii  a  proof  I, f  a  corrected  Jib. 

;  as  t;a-_'.a-,'  '■■::   a      !f    tko    correctiiais 
is  no.  .ssar\a  that  one  i-  known  as  the 


Riding.— W'a  I! 

ridi:a-a 


t)ari   (a  .a  ;orr;i  v/oras  up  o! 


Roller  Composition.-  A  oombia:::  ioa  'd  a!' 
m;dted  a:ai  ca>;  in  na  ijd-  ■;  roan  i  ;.  >  -an  ia!  (-lar  o 
factufc!  i-:'-  hi- owu  ^v,  rr!  craida.  "!::■■  ^a"  ■ 
v,at!i  tlu'  siatson  cf  tia'  >^^^'.  a  sofaa  roiie:  !  -aa  ' 
sa,ni:r,er  use. 


IS  said  to  !)€ 


'  '!a.-r-e>.  t 

Ifacii  raa: 


Pu-ning  Ik-ad.  -  I  ka  i 
■a:  i;ii;''  1  a"  i-  '  >i.. 


aa^'c  tarouaacait 


f.LOSSARV 


303 


Saddle-stitched.— A  j>amphlct  iii  wliirli  all  ihc  lca\-e^  in~et  each  other, 
and  whlih  i~  ^tilih.ed  thrr.ii-h  imm  tlu"  (t-iitCT  \->  the  h.a.(k,  is  said  to  l)e 
saddlo-slitrlied. 

Scoring. — .Mal^ini:  a  cvc-a-c  in  !;ea\y  paiiei-  ^lo(i^,  so  tliat  it  mav'  be 
toldcil  \'>il!i()Ut  hreakin:r. 

Script.  —A  l\-i)e  fare  ii\  iniitation  oi"  haiMlw  -itiii.tj;. 

Serif.— A  >i^iali  proje-liou  at  the  i-<'.<]<  of  letter-.     See  lig.  20. 

Setwise.  - -A  t'rm  ti-ed  to  dilYeixTitiate  tiie  ',',-idth  of  a  letter  from  its 
ijod\-  tI/j\     Ih  dv-  ^h:e  is  i)(.d\".\-i:-e:  widili  is  ~v'l-.\-i,-e. 

Sheetwise. -AMirn  a  -h.eet  has  Ikc't  pi'inled  on  one  side  from  one  form 
and  then  haa"i;ed  tip  with  a;iotI;er  forir. ,  il  is  -aid  to  hu\x  been  jirinted  shcet- 
\'.i-r. 

Shooting-stick. — A  piece  of  iron  or  \'.-o!>d  so  slta{)ed  on  one  end  that 
wlien  jikicid  a.'ai;i~t  one  ed_\-  of  ;i  wo  »!c;^  fji;  .in  and  -truck  v.dtli  a  mallet 
t!ie  puoin  "in  be  dri\"en  a^rain  -t  i'  -  iiiate  and  The  f^rvni  lockerl  up.  Alcehan- 
ical  on   iri-  !":a  .  e  a  ini' ,-t  ■upoia.ned  '■'■"  <  dc!i  ',n   ins  f,  ,r  lock  in;:  u[)  forms. 

Side-head. --A  sub'.ea'i  ]")iaced  at  the  t'lp  of  the  text,  but  at  the  side 
in-!i  ad  ■  f  tile  center. 

Side-stick. — A  lo:!:,'.  taperine'.  '.'"ed.Lre-shafJed  piece  of  v.'ooden  furniture. 
i;-cd  al  in;.:d  ie  -'i  tvj  e  in  f  .r:n-  a: id  'Galley-,  and  lockefl  in  place  with  wooden 

Signature. —Small  Araddc  numeral-  printed,  on  i_he  lir-t  pa  ire  of  each 
f(n'm  of  pae'e-  tnron'i'io'ct  a  :mo!.;.  and  mniiberedi  con.-c\'uti\a-ly  to  show  in 
w'n;1   order  thic  section-  are  to  be  a--emb!ed.     biacli  ^ection  i-  al-o  called  a 

Sinkage  —  blank  ^pace  placed^  at  the  beLdnrnmr  of  a  cliapter  in  a  book. 

Size.  -W'iien  a  job  i-  t  )  be  bronzcl  it  '  -  ih'-t  urinted  wdth  size,  which  i-a 
-iicky  (  omnound  u-ed  like  j)'anter-'  ink.  and  to  '.'/hich  the  bronze  ])ci-,'.Tler 

Sized  and  Supercalendered. — I'e.per  i-  -aid  to  be  ^ized  anfl  super- 
calend  c-c  I  ■.'.'ken  ike  -'.::v/s  i-  t'tit  into  ik,e  bealer  vdth  all  the  other  itiLjre^ 
diLM  ~  li-od  in  n-:;.k':'  j;  i  ke  iJape",  and  afte^^^■al■d  -;  earned  a;";d  calendei'ed . 

Skeletonizing.  -Taid-cf  a  j  k)  apart  and  rebuiidiiiL^  it  -o  that  its  \-arion- 
par:  -  nw\-  ic-  ;>:-':io,-d  in  oihesent  cokn--. 

Slip-slieeitng.  -d'koi;;.:  j)ie  i-.,  ,,f  Ju-a '.■}-.  romzki  jiaper  between  jirinted 
shc-eis  -!  ikal  ike  [)di:;'nLr  0:1  one  -keet  \'.kll  not  olT-et  on  another. 

Siining. --(•-:■•.-  lin-  in  :-:ee^-  'y  the  akl  of  -n-el  cuttinii-rule.  Al^, 
CLiliinL;  -::crw  apart  a-  l;;e\^  enieri:e  from  the  prinlini:-pre-s,  In"  ihe  use  of 
cutlinLr-v,kK-,d-. 


304  rKi.\ii\(, 

Slugs. — Pieces  of  lead,  about  ,'-inch  liif,'h,  usually  six  or  twelve  points 
thick,  used  as  spat  iuu;  material  between  lines  of  t\pe.  The  bar  of  metal 
with  the  t_\-{)i'  cast  on  it  1)\-  the  l.inot_\i)e  or  Interty])e  is  called  a  slug. 

Small  Caps.- Capital  letters,  usually  made  for  book  fonts,  but  of  a 
smaller  si/e  than  the  regular  capitals.  They  are  generall_\'  made  about  the 
same  height  of  face  as  a  lower-case  m. 

Small  Pica. — 'I'he  name  of  a  t\;)e  size  under  the  old  s\-stem.  On  the 
point  system  small  jiica  became  ele\(n  j)oint. 

Solid  Matter. — Type  matter  that  has  been  set  without  using  leads 
between  the  lines. 

Sorts. — Type  of  various  sizes  and  kinds  held  in  reser\e  for  replenishing 
cases. 

Space-band. — .\  thin,  comjxjund  wedge,  made  of  steel,  and  used  on  the 
Linotyjie  and  Intcrtvpe  for  justifying  tlie  line  of  composed  matrices. 

Space-case. — .\  case  specially  arranged  for  the  accommodation  of  quads 
and  spaces  of  various  sizes. 

Spacing. — Putting  the  proj)er  amount  of  material  between  words,  lines, 
or  groui)s. 

Spotting-up. — Marking  out  and  putting  on  patches  on  a  make-ready 
sheet. 

Stereotype. — A  plate  cast  in  type  metal  from  a  jilaster-of-Paris  or 
papier-mache  matri.x. 

Stet. — .\  term  used  in  f)roof reading.  When  written  on  a  proof,  stet 
means,  "do  not  remo\e  the  part  marked  out;    let  il  stand." 

Stick.— .\  comp()sing-stic:k  is  usually  referred  to  as  a  "slick." 

Sticker. — .\dvertising  matter  prinled  on  gummed  jKiper. 

Stone-hand. ~  .\  workman  wliose  sole  duties  consist  of  imposing  and 
locking  u[)  forms. 

Stonework.      Imposing  and  locking  u()  forms. 

Straightedge.  A  long,  llat,  straight  piece  of  steel,  useful  in  lining  up 
pages  in  a  lorni. 

Straight  Matter.  - 'i'\pe  (omixisitiori  that  does  not  contain  disjiku' 
lines. 

Supercalendered."  Sec'  ".Si/cd  and  .-ujierudendered." 

Swash  Letters.  -   Letters   that   have  ornamental   i)rolongations   or  em 

tiflli^-lnncnts.      (  Sei.'  i)aL'e  S.-.') 


GLOSSARY  305 

Tack. — Adhesiveness  possessed  by  a  prtnting-ink,  due  to  the  use  of  a 
stiff  varnish. 

Tail-piece. — An  ornamental  design  used  at  the  conclusion  of  a  chapter 
or  a  piece  of  printing. 

Take. — When  copy  is  cut  up  into  sections  and  given  to  compositors  to 
be  put  into  type,  each  section  of  copy  is  known  as  a  take. 

Text. — The  straight  body  matter  of  a  book  is  known  as  the  te.xt. 

Text  Letter. — Text  letter  is  the  name  gi\en  to  a  type  face  whose  gen- 
eral characteristics  are  bold,  heavy,  body  strokes  with  sharp,  thin,  elon- 
gated serifs.  Historically  speaking,  it  should  have  been  called  (iothic. 
This  word  is  set  in  vLEXt. 

Tie-up  Material. — A  general  term,  embracing  everything  used  in  the 
tying-up  of  composed  type— string,  leads,  slugs,  corner  braces,  etc. 

Tilde  ('^). — Placed  over  the  letter  n  to  show  that  it  has  the  sound 
of  ny,  as  in  canon. 

Tin. — A  metallic  element,  used  in  type-metal  to  make  it  tough  and  in- 
crease its  resistance  to  wear. 

Title. — .\  name  given  to  a  t>'pe  face  possessing  modern  characteristics. 

Title-page. — Usually  the  first  page  of  a  book,  and  containing  the  title 
of  till'  book,  author's  and  publislier's  names,  etc. 

Tumbled.— When  a  printed  sheet  is  backed  up  by  turning  it  from  top 
to  bottom  instead  of  from  right  to  left,  it  is  said  to  l)e  tumbled.  This  should 
be  avoided,  if  possible. 

Turned  Letter. — A  letter  put  in  upside  down  to  call  attention  to  the  fact 
that  another  letter  b.as  been  substituted  for  the  right  one.  This  is  usually 
done  when  the  riglit  letter  is  not  a\-ailab!e. 

Tympan. — The  sheets  of  paper  drawn  tightly  across  the  platen  and 
held  in  place  by  the  tympan-bales.     Sometimes  called  the  packing. 

Tympan-bales. — Bands  of  metal  bent  to  conform  to  the  shape  of  the 
top  and  bottom  edges  of  tlie  platen,  and  hinged  to  the  sides  of  it.  They  are 
used  to  clamp  the  tympan  to  the  platen. 

Type-caster. — \  machine  for  casting  type. 

Type-gauge. — A  strip  of  wood  or  metal,  graduated  in  type  sizes,  and 
used  for  measuring  the  number  of  lines  contained  in  a  piece  of  matter. 

Type-metal. — .\n  allov.  ordinarily  composed  of  live  parts  of  lead,  two 
parts  of  aiitiiiKiny,  and  one  jiart  of  tin. 


3o6  PRINTING 

Type-high. — In  America,  .918  inch  high.  It  varies  in  other  countries 
from  .916  to  .923  inch  high. 

Typography. — The  art  of  printing  from  type.  More  pjarticularly, 
type  setting,  or  the  proper  assembhng  and  grouping  of  type  units  in  a  piece 
of  type  composition. 

Typotect. — .\  typographical  architect.  One  who  plans  a  job  and  desig- 
nates just  how  it  is  to  be  put  together. 

Underlay. — .\  spot-up  sheet  !)laced  beneath  a  j)late  or  type  page  in  an 
endeavor  to  make  it  le\'el  on  the  face. 

Unit. —  -V  standard  quantity  or  number  ''■  .■  which  other  things  are  gauged. 

The  Monotype  Unit  is  i;iS  ol  the  set  cm  of  the  body. 

The  Point  is   the  unit  of   the  point   system.     It  is  1/12   of  the 
.American  pica. 

The  unit  for  paper  is  the  weight  of  one  ream  of  paper  one  inch 
square,  expressed  in  thousandths  of  a  pound. 

Varnish. — The  \ehicle  or  medium  used  in  printing-ink  to  bind  the  pig- 
ment together. 

Vellum. — Name  gi\'cn  to  a  paper,  the  finish  of  which  is  similar  to  the 
finish  on  real  \-ellum,  which  is  a  dressed  animal  skin  from  which  the  hair 
has  been  remo\ed. 

Vignette. — .\  halftone  plate  whose  edges  gradually  fade  away  until 
they  become  lost  on  the  white  surface  of  the  paper. 

Wash-up. — The  act  of  washing  up  a  press. 

Watermark. — A  niark  left  in  paper  (.luring  its  manufacture,  and  which  is 
distinctly  seen  when  the  paper  is  held  to  the  light. 

Wax-engraving. — .\  method  of  obtaining  printing-plates  by  first  en- 
graving on  a  wax-coated  j)late  of  copper,  then  building  u])  the  background 
and  making  an  electrotype  from  the  plate. 

Woodcut. — -A  printing-plate  of  wood,  on  which  an  image  has  been  left 
in  relief  by  cutting  away  the  background. 

Wood-engraving. — That  branch  of  the  art  of  preparing  printing-plates 
in  which  the  plate  is  of  hard  wood.  Jt  is  really  the  precursor  of  all  print- 
ing processes. 

Wood  Type. — T\-pe  characters  cut  out  on  the  end  grain  of  wood,  usually 
1  i:trrv,  and  mostly  of  large  size.  Smaller  sizes  of  type  are  usually  of  metal 
and  cast  in  molds. 


GLOSSARY  307 

Work  and  Turn. — Printinj:^  a  full  form  on  one  side  of  a  sheet  and  then 
turning  it  over  and  working  the  same  form  on  the  other  side. 

Wove  Paper. — Paper   that   is   free   from   the   watermark  lines  which 
characterize  a  laid  paper. 

Wrong-  Font. — Any  letter  in  printed  matter  which  is  not  of  the  same  size 
or  face  as  the  balance  of  the  word  in  which  it  is  found. 

Zinc-engraving. — A  printing-plate  made  of  zinc,  the  background  of 
which  has  been  etched  away,  leaving  the  design  in  relief. 


INDEX 

The  numbers  given  are  page  numbers,  not  section  numbers. 
For  additional  list,  see  Glossary,  pages  283-307 


Abbreviated  titles,  70 
Abljreviation  for  pounds,  70 
Abbreviations,  57 

Ability    required    to   set    tables    and    other 
intricate  matter,  141 

to  analyze  and  plan  work,  84 
Absorptive  power  of  paper,  253 
Accidents  on  cylinder  presses,  248 
Accurate  and  uniform  spacing,  16 
Adapting  ink  to  stock,  254 
Adhering  to  one  type  family,  87 
Adjustable  gudgeons,  168 
Adjusting  platen  by  aid  of  the  impression- 
screws,  223 
Adoption  of  the  point  system,  s 
Adverbs  qualifying  adjectives,  66 
Advertising,  87 

campaigns,  87 
Aid  to  type  study,  pi  as  an,  81 
Alabastine,  use  of,  for  embossing,  242 
Algebra,  genealogies,  and  pedigrees,  i5l 
Aligning  rule  with  type,  105 
Allowance,  for  spoilage.  280 

for  squeeze,  112,  170 

for  squeeze  in  tables,  146 

of   distance    between    lines   when    setting 
tables,  144 

of  white  space  around  cuts.  156 
Allowing     for     movement,     in     blank-book 
headings.  154 
of  register  jobs.  168 
Altering  an  author's  style  of  writing,  50 
Always    hold   stick    in    hand   while   spacing 

lines,  so 
A.M.  and  P.M..  71 
Ambiguity  resulting  from  omission  of  comma, 

33 
American  Lead-  and  Rule-cutter,  199 
Amount  of  impression.  226 

of  space  around  an  initial.  99,  100 

of    space    between    words     with    sloping 
letters,  17 

of  space  between  words  with  tall,  straight 
letters,  17 

of  water  necessary  to   the  production   of 
a  pound  of  paper,  270 
Ampersand.  71 

origin  of,  71 

use  of.  71 
.Xnalysis  of  copy  for  letterhead.  116 
.-Vnalyzing  a  job  with  a  view  to  improving 

it.  102 
\ncient  Roman  stamps  and  coins,  74 
Antiijucs.  79 
.Vpostrophe,  uses  of   59 


Appropriateness,  85,  90 

Appro.ximation    of    material    by    measuring 

it  in  inches,  7 
Arrangement  of  type  in  cap  case,  i 

in  lower  case,  i 
Arranging  and  assembling  display  type,  84 
Arranging  the  tympan,  228 
Artistic  temperament,  opportunities  for  men 

of,  84 
Ascenders  of  Cheltenham,  80 
Assembling    and    arranging    display    type, 

84 
Assembling  device,  Linotype,  210 
Auto-Mat  Tabulator,  211 
Averaging  the  number  of  words  in    a  line, 

36 


B 

Back,  181 

Bad     typography     to     mix     old-style     and 

modern  type,  79 
Badly  battered  letter,  patching  a,  230 
Balance,  85 

Balancing  of  type  groups,  85 
Barber  Low  Slug  Trimmer,  199 
Bars,  shifting,  183 
Bastard  lengths,  alongside  of  initials,  113 

of  leads  and  slugs,  35 
Bastard  measure,  cutting  leads  to,  114 
Battering  rule  with  bodkin,  172 
Bearers.  167 

do  not  bear  off  form-rollers,  167 

roller-,  224 
Beater,  the,  264 
Bed  of  platen  press,  221 
Bending  leads  and  slugs  into  circular  form, 

159 
Benton.  L.  B..  80 
Benzine  for  cleaning  rollers,  246 

for  cleaning  type,  246 
Bewick  Roman.  79 
Black  ink  on  white  paper.  90 
Black-ink  troubles,  how  to  overcome,  255 
Black-letter,  73 
Blank-book  headings,  153 
Block  letter,  73 

liodkin,  battering  rule  with,  172 
Bodoni.  designer  of  modern  type  face,  77 

quotation  marks.  60 
Bonds.  273 

Book  forms,  proofs  of.  26 
Book  pajjers.  271 
Booklet  cover.  127 
Border  units,  how  to  make  up,  113 
cleaning  of,  32 


309 


INDEX 


Bordcrr;  and  ornaments,  98 

Hn\viii„'  a  iiit-et.  ;34 

Hrackfts,  usci  of,  62 

lira»  rule,  104 

Hraycr.  or  liand-roller,  23 

Hrt-ak-line  at  tcjp  of  paee,  30 

Hruw>tcr  theory  of  color,  259 

Hulk  of  straiL'ht  matter  set  on  machines,  50 

liullen,  Henry  Lewis.  78 

contribution  to  tlie  study  of  type  fates.  78 

suhdivi-ion  of  type  faces,  79 
Burr  on  rule.  202.  203 
Bu>ines<  card.  126 
Butted  rule,  IC7 

c 

Cabinets,  dustproof.  i 

C'alculatin.i,'  typewritten  copy.  36 

Calculations  lor  Monotyjie  matter,  37 

Calender,  271 

Calenderini:-rr,achine.  271 

California  Job  C  ase.  1 

Capital  ¥.'<  ami  Ts.  79 

Capital  R's  of  variou:^  type  faces,  8i 

Capitalization.  67 

Cancelled  fiL-ure.-.  182 

Carbon  tetrachloride,  247 

Care  of  cuttinij-tools.  206.  207 

Ca>e.  lay  of.  i 

Casc~  in  pairs,  i 

Cartint-'-machine.  Monotype    212 

Ca^tin:;  off    a  t^-.ble,  147 

in  column-,  i.:^ 

type.  '-'aUL'c  for.  r-,o 

type  into  pa,L'e~.  30 
Castini;  sort.-i  on  composin?-m:achines.   217, 

21S 
Cause  of  loss  of  time  when  lockin.L'  uji  jobs. 

Chalk-mark  as  a  .:;uide  for  rci-'isterinu'.  1C9 
Chamfered  or  side-face  rule.  ic6 
Chandler  &  Price  tiordon  Pre^s.  221 
Chan'-dn.L'  dimensions  to  jjoints.  37 
Characters  Used  in  Monotv])e  rule  work,  147 
Chase.  1S2.  194 

McGrea!  combination,  194 

top  of,  I  S3 
Chase-bar-,  loose.  1S4 
Cheltenham.  79 

latkinL'  old-style  char::cteristic5.  79 
Chemical  wood-j.ulp.  :o.: 
Circle,     determining-     the     exact     distance 
around,  i  -'...  100 

bendin_'  leads  and  .-lu--  to  f.t.  159 

lilacin:'  a  line  a.round.  159.  lOo 

settin_'  type  in.  i  -^ 
(da.nv-l.ell  type  >-i  platen  pre-.-.  221 
Cleaning-  border  urd.t.-.   52 

rule-.  32 

stone  lefnre  puilin;:  ;jro(if,  23 

t\pi',  ;2 

U-.v  v,ith  Ive.  :.;; 
Cleariace.   -o' 
Cloiin4,cnvr'.  p,-.  2;o 

whili;  ■,■,  i;  !:dra-.viii.;  from  [iress,  2.;; 
Cnate.l  lape.-,-,  .71 

Collatin2-mark«,   i'.; 

Colon,  ami  (l.:-i:  u-l-d  toL-et!;er,  ;; 

and  ouotati'iH  n.ark-  u-rd  p.jcil  .  r.  ;; 


Col(jr-nii.\int'.  2S7 

"Color  Notation."  257 

Colored  ink  on  colored  pjaper,  90 

Colton.  \\  .  K..  on  proportions,  96 

Columns,  ca.-tinj;  off  in,  143 

Comma,  uses  of.  ,^1-54 

Conimas    and    periods    inside   of    quotation 

marks,  59 
Com]. arisen  of  old-style  and  modern  serifs, 

of -erifs,  81 

of  t\pe  faces.  82 
Comi.le.x  senteiices.  56 
Comi'Osins,'-machines,  209 

economy  of.  209 
Comiiosin^-room   material   cut  to  standard 

len^-ths.  7 

ComjiosinL'-rules.  15 

in  sets,  i 5 

made  fr(jm  brass  rule.  15 
Com])Osinu'-sticks.  13 
Composition  of  i;rintin;:-ink,  252 
C<.imp<isition  rollers.  224 

running  dnwn  of.  224 
Compositor,  skill  re';uired.  84 
Compound,  adjecti\es,  65 

nouns.  6,; 

nouns  of  one  or  more  syllables,  65 

sentences.  ;(j 

Word,  omi-sion  of  part  of.  67 

\V(jrds  set  in  cajatals.  5.s 

words  without  the  hyid.en,  66 
Condensed  type,  use  of.  ici 
Consideration  (jf  stock  and  ink  wl.en  plan- 

niuL.'  job,  90 
Consi-lency  of  varnish.  233 
Constant,  or  multipIyin.L'  factor.  98 
Contractions.  ".  ,so 
(.'ontrast.  8s.  87.  90 

Copper  or  zinc  instead  of  [.resslioard.  2-6 
Cojjy  rjrepared  by  proofreader  before  setting. 

I  5^ 

Cord.  savinL'  for  future  Use.  30 
Cork  on  --rii^pers.  224 
I     Cork  to  eject  stock  from  cutouts,  243 
I     Corners,  gaping,  liow  to  li.x,  172 

mitered,  107 
!         trouble-ome.  170 
Corrected  i/p'of.  49 
(.'<.)rrectinL-  a  Jul...  29 

on  stone.  20 
Counter.  eml/'r--i:,:.--.  242 
Ti^ver  for  a:i  in\dtatiiin.  134 
Covering  jiower  nf  ink.  255 
Crov.def!  matter,  oo 
Curved  line,  h'  ld;n_-  ip.  ;.ositii>n.  i'': 

Use    of    2Ur!;:r.ed    ;,aper    for    I.oldir.g    in 
l;..<sition.  150,  I'O 
Cut.  1,^1 
( 'utout  for  enveli'i.e.  2vS.  259 

for  tally-,  ap'.,  100 
('uts.  running  t>"i  e  around.  155 
type  m.itter  ajainst,  1  "6 
!     Cuttin-'  :ind  :i2urin_'  stock,  283 


ittn 


:trot\ 


bh 


lea. 


stard  r.: 
.1  ine.i-i: 


'■C 


Applx. 


!.■,  r 


p.iltern  fur  runiji:i2  t\ 


brcctiii] 
aroun.: 


2. "50 

..ut.  156 


INDEX 


311 


Cuttin?;,  printing,  scorinc,  nnd  perforatin.i:  at    j 
onf  operation,  2  \s 
stct'l  rule.  I'jS 
to   multiples   of   a   iioiiit   on   a    niherini;- 

machine,  204 
very  small  pieces  of  rule,  20^ 
Cuttin-;-ruIe,    mounted    in    oM    clectrotvpc 
block,  24,5 
stocl.  244 
Cuttink'-tools,  care  of.  206,  207 

for  printers,  107 
Cylinder  prcs.ses,  accidents  on,  24S 


1) 
Dandy-roll,  270 

Danu'cr  of  tvpe  pulling'  out  on  press,  16 
Dash  and  colon  used  together,  55 
Dasli  as  freiiuently  used  by  advertising;  men, 

Daslu'uses  of.  ^4-^6 
Dead  line,  iS,; 
Dead-oil.  247 
Deckle,  2f,b 
ed,'o.  206 
Dele  mark,  45 

Deleterious  effect  of  electrotypes  on  red  ink, 
II I 
of  ink  on  rollers.  224 
Delia  Kobbia.  79 
De,->i  rnalinn  on  order-blank  wliich  way  type 

is  to  be  set.  1 1(3 
Designating'  paper  accordin.t;  to  a  substance 

number.  274 
Deterniinin.i;  amount  of  space  to  Till  line.  17 
amount  of  leads  to  jjaize.  41 
exact  distance  around  circle,  151,).  160 
how  many  lines  of  any  size  type  may  l)e 

^;otten  into  a  ,ui\en  space.  ,^.-! 
how  much  matter  a  certain  jjiece  of  copy 

will  make.  .,6 
lay  of  a  form.  178 
m.ari,'ins.  177 

mar.Ldns  for  paires  of  equal  si/.e.  177 
maru'ins  for  pa,'es  of  une(|ual  A/.v.  177 
number  of  ems  in  composed  matter.  ;8 
number    of    inches    of    matter    copy    will 

make.  ,^7 
value  of  composed  ty;je.  .59 
wei.Lrht  of  type  by  measurement,  .11 
Devices,  sal'ety.  2  j7 
Dia^omd  method  of  [iroportions.  n  i 
Di.i,L.'rams  showing  in-ide  and  outride  pa.ires 

comimr  together.  1S2 
T)ic.  emliossiii_'-,  242 

Difference  in  iiiodern  and  old-style  faces.  7*") 
DiiYerentiatint;   the   comma   fri;m   the   apos- 
trophe, 47 
Diu'cster.  264 
Dirty  ty[)e.  14 
Discordant  elements.  87 
]  )islnn4  of  rule.  I'lo 

Disk,    talkin:,'-mac"hinc,  use  of.  for  emboss- 
ing-counter, 24j 
Display  type.  79 

arrangement  of.  S4 
Distribulini;  disiilay  type.  ,34 
Distributiiii;-bar.  Linotype.  2n 
Distribution,  -.s 

Diversity   of   opinioTi    re-.'ardin,4   amount    of 
i]iipre~-ion.  226 
di\4sioii  of  v.'ords.  6.^ 


1  )ivcrsity  of  opinion  rc.:;arding  punctuation, 
so 
use  of  hyi)hens  in  comp>ound  words, 
65 
I  )ivi(linf,'  a  word,  16 

according  to  pronunciation,  65 

of  compound  words,  64 

of  verbs  in  the  i)ast  tense,  64 

of  words,  6,5  65 
Dollar  mark,  when  and  how  to  use,  71 
Dominatin;;  feature  of  a  letter,  78 
1  )o  not  sacrifice  the  appearance  of  spacing,  18 
I  )opcs,  256 

Double  ciuotations,  s9,  fio 
Doublin;,'  up  leads,  11 

rule,  106 
Drai;,i;inf;  of  proof-paper  over  form,  23 
Draw-sheet,  22,5 

\'-shapefl  slit  in,  233 
Drawing  lines  from  errors  to  corrections  on 

proof,  47 
Drier  for  printin.a-ink,  2,^,5 
Driers,  paste  and  licjuid,  2,^,.; 
Dropijinfi  or  throwing  type  into  cases,  35 
Dry  proof  as  a  guide  for  skeletonizing,  no 
Drj'  proof  paper,  23 
Drying  of  printing-ink,  253 

the  sheets,  236 
T)rying-racks,  use  of,  237 
Dummy,  making  a,  to  get  lay  of  form,  179 
I  )uotone  inks.  257 
Dustproof  cabinets,  i 


Each  author  has  his  own  style  of  writing,  45 
Karly  tyjjes  of  composing-machines,  209 
Ixclesiastical  purposes,  tyjie  for,  91 
Economy  of  composing-machines.  209 
Edge,  deckle,  266 
Eilitions  de  Luxe,  qo 
Eight,  lay  of  the.  1S7,  188 
Eight-point    figures    self  justifying    to    pica 
wddths,  9 

three-jjoint  spaces  of.  i.^o 

type  self-spacing  to  pica  measures.  15c 
Electrotyp^e  block,  cut  to  shapie  for  making 

cutouts.    24.T 

cutting  circle  in.  161 
Electrotype  plate,  inserting  cut  in,  157 
Electrotyped  job.  use  of  rule  in.  107 
Electrotypes,  deleterious  effect   on  red  ink, 
III 
to  be  nickel-plated,  in 
Electrotyi)ing  job   for   two   colors,   no   need 
to  skeletonize,  in 
when  printing  more  than  one  at  a  time.  141 
Elements,  discordant.  87 
of  success  in  a  job.  102 
that    give    distinctive    characteristics    to 
ty[)e.  82 
Em  of  the  body,  the,  6 
Ifm,  picti.  6 
Embo.-siiu'.  242 
counter.  242 
die.  242 

explanation  of  term,  242 
Emi]tvini:  a  stick,  18 
En  qu'arl.  7 

Enamelled  jiaper  for  halftones,  254 
inability  to  get  rcLrister  on,  234 
Enamelled  jiapers,  271 


312 


IXDEX 


Encasing  of  gear-wheels  on  printing-presses, 

247 
Envelope  corners,  124,  12S,  129 

locking  up,  165 
Envelope,  cutout  for,  237.  239 

cutout,  placing  in  jxisition,  239 

sizes,  27S 
Envelopes,  237 

closing,  240 

closing  while  withdrawing  from  press,  241 

opening  and  closing,  240 
Equal  space  each  side  of  small  words,  18 
Exclamation  mark,  origin  of,  61 

uses  of,  61 
Expansion  of  paper,  254 
Experiments  to  ascertain  legibility,  80 


Face-rule,  how  to  use,  104 
Fanning  a  pile  of  paper,  234 
Fascination  about  typesetting,  84 
Feeding  a  press,  234 
Fenders.  223,  234 
Fiber  used  in  paper,  262 
Figures,  cancelled,  182 

line-up  of,  151 
Figuring  and  cutting  stock,  280 
File,  mitering  with,  206 
Filigree  work  on  initial.  loi 
First  step  in  setting  a  ruled  blank,  143 
Fish  glue,  use  of,  for  embossing,  243 
Fitting  letters.  103 
Five-em  space,  7 
Flat  papers,  273 
Flying  a  sheet,  234,  235 
Fold,  181 
P'olding,  by  machine.  193 

hand-  and  machine-,  177 

heavy  paper,  194 

of  sheet  to  obtain  hypotenuse  oblong,  97 

proofs  into  book  form,  26 
Folios,  32,  181 

enclosed  in  brackets,  62 

to  go  into  margins,  185 
Forms,  containing  rules,  locking  up,  165 

imjiosing,  182 

inserting,  in  press,  227 

lay  of,  determining  the.  178 

locked  uj)  head  down,  165 

locked  up  head  to  the  left,  1C5 

locking  up.  163 

making  a  dummy  to  get  lay  of,  179 

planing  a,  1C6 

riding  of,  172.  173,  184 

springiness  or  ''give''  in,  167 

scjuaring,  172 

testing,  167 

various  jjarts  of,  iSi 

work-and-turn.  176.  181 
Form-planer,  23 

Form-rollers  not  borne  off  by  bearers,  167 
Four,  lay  of.  187.  188 
J'our-em  s[jacc,  7 
Four-em  wcjoden  furniture,  groove  on,  172 

not  s(]uare,  172,  184 
Fournier.  inventor  of  point  S3'stem.  4 
I'rench  folio,  23 

folio  for  spotting  up,  22S 

chalk,  use  of,  for  embossing-die,  243 
Frisket,  use  of,  2.11.  244 

Use  (jf,  in  printing  a  regiitcr  job.  ^46 


I'uU  body  of  letter  occupied  by  initial,  101 
Fundamental  ijrincijjles  of  job  composition, 

Turniture,  metal,  184 
placing  in  form.  184 
reversing  of,  to  prevent  riding  of  forms,  173 

shrinking  of,  225 
wooden,  172,  184 


(Jallcy-press,  2$ 

daping  corners,  how  to  fix,  172 

C.auge   for  casting  off  type,  30 

tymiian-,  231 
Ciaugc-pins,  2,51 

(ienealogies.  algebra,  and  pedigrees,  161 
(leneral  classification  of  type  faces,  73 

jirinciiiles  of  locking  up  forms,  163 

rules  for  layouts.  124 

survey  of  the  field  of  job  composition,  84 
"(jive''  or  springiness  in  a  form,  167 
(ilass-encased  pressroom.  254 
Cjlass  slab  for  mixing  ink,  257 
Glossary,  283-307 

(iluing  cardboard  to  roller-track.  168 
Glycerine  as  an  aid  in  withdrawing  sheets 

from  yjress.  236 
Golden  oblong.  97,  98 

ratio  of  Greek  art.  94 
Golding  Jobber,  220 
(jordon  Press.  221 
Gothic  and  text,  use  of  together,  87 
(iothic  ty()e,  74 
Cjoudy,  tyi)e  designer,  75 
Grain  of  paper.  244.  270 
(iraphic  rejiresentation  of  proportions,  96 
(Jray  tone,  87 

Greek  art,  golden  ratio  of,  94 
(iress  on  optical  center,  85 
Gripper-edge,  181 
(irijjper-gauge,  183 
Griiipers,  i8i,  223,  234 

cork  on.  224 

skeleton.  223 
(Irit  beneath  type.  23 
Groove  <m  four-em  wooden  furniture,  172, 

184 
Grouping,  85,  91 

of  word  "  bonks"  for  letterhead,  120 
GroU])ings  for  letterhead,  118,  119 
Gu'k'eons.  167.  224 

adju-table.  168 

and  roller:,  not  of  same  diameter,  168 
Guide  for  re..,'isterin-;.  chalk-mark  as  a,  169 
Guides,  223,  231 

holding  in  por^ition  on  tlraw-.-heet,  233 

how  to  set,  231,  232 

(|uad,  2,u 
Cjulenberg's  invention.  4 


Iair-1 
lair-s 
lallt( 
lah't( 
ena 
land 
land 
land 
land 


ni  s,  76 

[lace.  7 

ne  screen,  258 

lies,  258 

nelled  pajier  for,  2-.\ 
-  and  m.'ichine-fokling, 
ut  o\'erlay,  2  u 
iKide  i)aper,  270 
oiler,  .ir  braver,  25 


INDEX 


3^3 


Hand-set  rule  job,  142 
ruled  blanks,  143 
table,  108 
Hand-written  books  of  the  early  scribes,  98 
Hard  ink,  removal  of,  247 
Hard  packing,  226 
Harmony,  85,  87 

Century  Dictionary's  definition  of,  87 
Hash,  typographical,  80 
Headings,  near  bottom  of  pages,  32 

blank-book,  153 
Heavy-faced  type  for  iron  and  steel  ads,  go 
Heavy  paper,  folding,  194 
Heavy  tone,  87 

Holding  curved  line  in  position,  161 
guides  in  position  on  draw-sheet,  232 
proof-paper  against  roller  on  galley-press, 
25 
How  different  thicknesses  of  paper  arc  made, 
266 
much  will  it  make?  36 
printing-ink  dries,  253,  254 
type  should   be   held   in   tlie  hand   while 
distributing,  33 
How  to  acquire  speed  as  a  typesetter.  15 

approximate   the    number   of   words   in 

copy,  36 
distinguish   the   letters   b,   d,   q,   and   p, 

^'  4         . 

fill  a  certain  space  with  a  certain  piece 
of  copy,  38 

handle  a  planer,  166 

make  a  layout  for  a  letterhead,  120 

make  up  border  units,  113 

obtain  perfect  joints  in  tables,  108 

place  proof-planer  on  form,  24 

read,type  in  the  stick,  4 

remedy  ink  troubles,  255 

set  lines  straight  across,  151 

stand  at  case,  19 

tell  a  roller  in  good  condition,  224 

use  a  galley,  ig 
Humidity,  action  on  rollers  and  ink,  254 

pressroom,  254 
Hyphen,  uses  of,  58 

with  a  double  stroke,  47 
Hypotenuse  oblong,  97,98,  278 

not  changed  by  folding,  97 


Imposing  the  form,  182 
Imposing-stone,  placing  pages  on,  176 
Imposition,  176 
Impression,  amount  of,  226 

trial   the.  228 
Improper  division  of  words  to  conserve  cijual 
spacing,  104 
to  obtain  uniform  spacing,  iS 
Improper  way  to  lock  up  a  form,  163 
Improperly  punctuated  sentence,  51 
Improving  a  job,  102 

by  the  use  of  colored  ink  and  paper, 
102 
Inability  to  get  register  on  enamelled  pajn'r, 

254 
Incorrect  method  of  feeding  a  press,  235 
Indention  of  paragraphs,  71,  72 

of  poetr}',  72 
Initial  A,  as  part  of  the  word,  100 

standing  alone.  100 
Initial,  amount  of  space  around,  yy 


Initial  and  text  in  harmony,  99 

in  a  different  color,  99 

lined  up  at  the  top,  100 

occupying  full  body  of  letter,  101 

when  word  is  all  caps,  99 

with  filigree  work,  loi 
Initials,  99 

bastard  lengths  alongside  of,  113 

mortised,  99 

with  plenty  of  white  space  on  them,  100 

without  wdiite  space  on  them,  100 
Ink,  deleterious  effect  of,  on  rollers,  224 

hard,  removal  of,  247 

soft,  use  of,  226 

stiff,  use  of.  226 

suited  to  the  paper,  253 

troubles,  how  to  remedy,  2SS 
Inserting  cut  in  electrotype  plate,  157 
Inserting  form  in  press,  227 
Inserts,  177 
Insetting,  193 

Inter-relation  of  spaces  of  different  sizes,  151 
Interrogation  mark,  origin  of,  60 

uses  of,  60,  61 
Intertype,  the,  218 
Ionics,  79 

Iron  and  steel  ads,  type  for,  90 
Iron  quoins,  164 
Irregularly  shaped  cut,  justifying  type  to,  rsS 

running  matter  around,  156 
Italic  type,  75 


Jenson,  Nicolas,  74 
Job  composition,  84 

Job,  not  in  harmony  with  shape  of  the  page, 
136 
same  shape  as  type,  loi 
setting,  116 
Jobs  containing  rules.  141 

locking  up,  170 
Joints  in  tables,  how  to  obtain  perfect,  loS 
Jordan,  or  refining-engine,  264 
Judging    proof    by    the    impression    in    tlie 

paper,  23 
Judicious  ornamentation,  98 
Justification  by  the  use  of  point  material, 

112 
Justifying  a  line,  16 
on  the  Monotype.  214 
one  size  of  type  with  another,  9 
type    by   the    use   of  point-thick  spaces, 

9 
type  to  irregularly  shaped  cut,  158 
Justifying-scale,  Monotype,  214 


K 

Kerned  letters,  4 

Kerosene,  best  material  for  washing  rollers, 

246 
Keyboard,  Linotype,  209 

Monotype,  212 
Key-form  for  registering,  241 
Kind  of  twine  for  tying  up  type,  19 
Knowledge  required  of  a  proofreader,  44 


Label,  126 
Labor-saving  material,  7 


3M 


lXi)i:x 


Laf)<)r-savinu'  rule  not  to  be  cut,  107 

Laid  paper,  270 

Lapijcd  corner,  107,  io8 

Last  line  of  a  jarau'raijh,  17 

Last  pa;,'e  of  a  chapter,  32 

Latins.  7y 

Lay  of  case,  i 

form,  determining  the.  178 
forms.  1S7 
the  ei.^'ht.  187.  i.SS 
the  four.  1S7,  18S 
the  si.xteen,  H)2 
the  twelve,  1S8,  189 
Layout  for  an  outlook  billhead.  125 

for  a  statement  for  outlook   envelope  on 

U!,rule.l  .-totk.  122 
for  a  -tatenn-nt  nn  ruled  >toek,  122 
.ayout  man.  «  ; 

-ayout-.  L'eneral  rules  for.  124 
-aw  of  levers.  .S5.  i_. i 

\vs,  unwritten,  of  typcjgrapr.y,  00 
Leail-cutter.  r.17-  I'j'j 
~-ead  rule.  104 
-eadeii  matter,  10,  ,yj 
eiders    I'O 

L  I  hn^  ri  ttcr  \  1  lie    ett  n 

e  I  1     cuttii      (It)        lie        re      I    j 

1  1  lai  ti  1    1    iij 
el  cr 
e     1  re  I 
I   il  il  t\    I J 

t    la   t\l    r         -3 
en_th  t J         I      r  '   I     1     t 
ei  _th    1  t  t   rn      ]  r  j  er  1  \         14 
etter  s    h      n     <  j  tie   1  ill  i  1  i     ^^ 
Lette  I  c  I  1      n  1>     3  01  co;  J  f  ir   116 
le  er  1  ti    1     t    lib 
r   U(  II  ^T    1 1  i    II 
1         t  I  m  lie  1 1    \       t  1    r    I    o 
1    \  11   t      lr\ 

1  eL        u      I         I 
m  I  r  1    3 1    ■"   I    I 
I       t     n  f  1   f  n    1    et   I    1 
(tter     riiterir-      ^-, 

m  jrtiiin„    20 
ettcr    I    el        10      ic 
t     m   ^  e    H  e      t  e    I    1  len   t       IC4 
e\er     1    \     I    S^ 

tire 
1   1  t  I   L    i  t\i  c  1   r  iiilhi  (r\  o 

ne     r      i    t   r  i    n   i  e  1  1     1  let     r  m      -py, 

e    t   n   1  r         o 

t  e  t  I  I 

1  I       r  \  I  I 


1   It 


I     t 

1   t 


Locking  two  sectior,_s  of  a  rule  job  in  one 
form,  170 
u\>  a  form,  165 

impr()]jer  way,  163 
jjroper  wav',  164 
uj)  envelojje  corners,  165 
uj)  forms.  163 

containing  rules.  165 
general  jirineii  le-.  163 
liead  down.  iC', 
head  to  the  left,  ihs 
so   that    pre~-r!,;'n    can    read   printed 
matter,  ih- 
jobs  containing  ruli'.  170 
ietterlieads.  165.  i'>'i 
])erforatin-2-rule.  170 
re.-i.-ter  job^.  it'8 
r.oLkin_'-quoin-.  I'Vi 
i.n_.,type-.  4 
Loo-e  cha-e-bars.  1S4 
i.\u  for  cleanin^'  tyj/e,  247 


M 
Maer.inc-  and  hand-folding.  177 
,Maehiiie-lini.-hed  [japer-.  271 
.Maci.ine-fold.  103 
.Mau'azine.  Linotype.  209 
.Main  item  l(jr  di.-i;lay.  00 
Ma.'or  and  minor  elements,  82 

markin_'  a  .-lieet  for.  :z'j 
patehin-  a  .-lu-et  of.  229 
placing  in  iiorvition.  22'j 
^poiling,  220 
Making  a  dummy  to  get  la,}'  of  pages,  170 
Lolumns  eijual  full  width  (if  job.  144 
coiumn>  to  some  nnilti;i!e  of  the  en.  i.;o 
I.a:;es  a  line  long  to  avoid  .-liort  pages,  ,;: 
rea<!\',  227 


o  narr(jw  measure.  i,;S 
lenu-ths  of  lead-,  113 


U]i  to  the  paper.  1S7 
I     Mallet.  2-, 

Manu-cri-.t  eopv.  ici 
I    .Mar-'in-.  177 


jterr 


ett( 


I  21 

how  to  deli-rniine.  v,  h.en  setting  g 
Marked  pro-  f,  .'.S 
Markin.  a  -I  eet  f' T  n\al.::ig  ready. 

cop\-  for  biildfiiLe.  ^5 


11 

adU^4  itab. 

p;.-e- 

-n  dunimy.  i 

M.irk-.  . 

I  i.ujaUailii,. 

priH.fr 
AP:rri::2 

.?';'er:-  wki 

.Ma-  .T. 

'Upina.  '..I 

M.,-,-, 

.•I 

Ma--w. 

;.::.!.  s; 

M.iteri.i 

tr, ,;.;  ;,-,,  ,j-,,, 

.Malri.  e- 

l.i;,-  '",■■  .■ 

.Matri\  ( 

::-i-.   .M'i:,'.:\- 

.\  i  ', '  t : ; ;  L- 

1  'I   l.i'iT  in  ;"  : 

\'.  <,r.-.-. 

( "<,:■  i  ■■.  •!■'(  ■ 

Mr.oiiai 

01  the  w.ad 

Mea.„r; 

,.■  t\  i  e  -.viti. 

INDEX 


315 


Mechanical  overlay,  231 

wood-pulp,  263 
Mediocre  ability,  84 
Menu,  treatment  of,  133 
Metal  furniture,  184 
Metiiod  of  holding  and  tapping  form-planer, 

24 
Miller  Saw-Trimmer,  197 
Millinery  ads,  type  for,  90 
Minor  and  major  elements,  82 

elements,  76 
Mitchell  Miterins-macliine.  200 
Miter,  explanation  of  term,  200 
Mitered  corners,  107 
Mitering  letters.  205 
MiterinK-machine,  200 

cuttin,^  to  multiples  of  a  point  on,  204 

Mitchell,  200 

resetting  knife  on.  202 

set  of  knife  on,  201 

trimming  material  on,  202 

trimming  to  gauge  on,  20,;,  204 

type  fitting  on,  205 

upright,  descrij-jtion  of,  200,  201 
Mitering  \vith  a  file,  206 
Miters,  inside  and  outside,  willi  chamfered 

rule,  106 
Mixing  ink,  2i6 

tints  and  shades,  257 
Modern  and  old-style  faces,  difference  in,  76 
Modern  type,  77 

for  newsi)apers.  dictionaries,  etc.,  77 
Mold-disk,  Linotype.  210 
Monotype,    method    of    mounting    illustra- 
tions, 216 

method  of  running  type  around  cuts,  iss 

method  of  setting  rule  work,  147 

rule,  104 

rule  job,  142 

system  a  unit  system,  10 

the,  212 

unit,  213 
Mortised  initials,  99 
Mortised  letters,  103 
Mortising  letter,  205 
Mottling,  255 
Aiotto  card,  133 
Mounting  embossing-die.  2.;2 

illustrations   in    machine-set   composition, 
215 
Multio-Hexset  Quadrats,  Stephens's,  144 
Multiiilying  factor,  or  constant.  98 


N 
Xarrow  measure,  setting  tj'pc  in.  i.to 
Xeedi  for  skill  in  setting  tabular  niatier.  i.ji 
Xicknames.  omission  of  period  in.  5S 
No  change  in  the  cap  case  since  the  days  of 

Jenson.  74 
Xon-distribution,  216 
Xonpareil.  4 
Xuniber  of  divisions  permissible,  65 


o 

Oblique  or  sloping  serifs,  7Q 

Oblongs.  97 

Odd  lengths  of  leads,  making  up.  113 

OtTicc  stationery,  loi 

Oil-cuiis.  need  for  constant  attention,  22 

Oiled  sheet  for  registering,  2.11 


Oil-holes,  care  of,  225 
Oiling  the  jiress,  225 
(Jld-face,  76 
Old-style,  75 

and  modern  not  to  be  used  together,  87 

faces,  legibility  of,  76 

for  dis[)lay  work,  77 
Omission  of  part  of  compound  word,  67 

of  period  after  Roman  numerals,  70 

of  period  in  nicknames,  58 

of    i)eriods    from    headings    and    display 
lines,  70 

of  words  in  an  extract,  58 
One  line  longer  than  the  rest,  16 
Ol>ening  and  closing  enveloi'cs,  240 
Opening  up  of  letters  a  and  s   to  improve 

legibility,  80 
Opportunities     for     men     of     artistic     tem- 
perament, 84 
Optical  center,  83 
Gress  on,  85 
Trezise  on,  85 
Optical  illusion,  85 
Order-blank,  116 

a  typical,  117 
Order  of  procedure  in  proofreading,  50 

of  secjuence  in  printing  process  inks,  260 
Ordering  stock  in  even  quires.  280 
Origin  of  exclamation  mark,  61 

of  interrogation  mark,  60 

of  paper,  262 

of  the  Roman  alphabet,  74 
Ornamentation,    in    harmony    with    balance 
of  job,  99 

of  early  hand-written  books,  98 

shape  of,  99 
Ornaments  and  borders,  98 
Other  groups  of  type  faces.  79 
Outlook  cnvcloiie.  [danning  for,  124 
Oval  serifs.  79 
Overlay,  hand-cut.  231 

mechanical.  231 
Overlaying,  230,  2,51 
Overrunning  type,  29 


Pabst  Oldstyle.  79 
Packing.  22; 

hard.  226 

soft.  226 
Pages,  in  reverse  of  the  printed  sheet,  179 

making  up,  30 

of   equal   size,   determining    margins    for, 

of  unequal  size,  determining  margins  for, 
177 

on  stone  not  in  regular  sequence,  176 

out  of  center,  186 

that  back  each  other,  176 
Panel  grouping,  91 
Trezise  on,  91 
Paper,  262 

coated,  271 

cutting  in  more  than  one  direction.  280 

different  thicknesses  of,  how  made,  266 

enamelled,  271 

expansion  of,  254 

flat,  273 

grain  of,  244 

hand-made,  270 

ink  suited  to.  253 


3i6 


INDEX 


19 


Paper,  laid,  270 

machine-finished,  271 

making  up  to  the,  187 

origin  of,  262 

picking  of,  254 

sized-and-supercalendered,  271 

sizes  of,  27?,  274 

weights  of,  274 

wire  side  of,  236 
Paper-cutter,  a  dangerous  macliine 
Pajier-making  macliine.  tlic,  266 
Paragraph  with  side  iieadiiig,  30 
I'aragraphs,  indention  of,  71,  72 
Parentheses,  use  of,  62 
Parts  of  a  form,  181 
Paste  drier,  253 
Patching  a  badly  battered  letter,  230 

a  sheet  of  make-ready.  229 
I'edigrees,  algebra,  and  genealogies,  iGi 
Pencil  sketches,  120 
Per  cent,  71 

Percentages  for  oblongs,  97 
Perfect  joints  in  tables,  how  to  obtain. 
Perforating,  243 

printing,     scoring,    and    cutting    at 

operation,  245 

Perforating-rule,  243 

cutting  rollers.  244 

locking  up  jobs  containing.  170 

lower  than  type-high,  244 

preventing  from  cutting  rollers,  170 
Period  of  old-style  faces.  75 
Period,  uses  of,  57.  58 

with    Roman    numerals    and    A 
figures,  57 
Periods    and    commas    injide    of    quot; 

marks,  59 
Pi,  Si 

as  an  aid  to  tyjie  study,  8r 
Pica,  a  standard  size,  4 

actual  size  of,  5 

actual  thickness  of,  5 

em,  6 

size,  lack  of  uniformity  of,  5 
Picking  of  paper,  254 
I'icce-workers.  39 

Pigments  used  in  printing-ink    252 
Placing  a  job  on  the  stune.  23 

a  line  around  a  circle.  159,  160 

envelope  cutout  in  position.  239 

furniture  in  form,  1S4 

make-ready  in  position,  229 

of  iiroofreadcrs'  marks  on  proof.  .;7 

pages  on  the  imposing  sto;ie,  176 
"Plane."'  meaning  of  the  word,  166 
Pl.aner.  form-.  2,j 

how  to  handle.  iCb 

proof-.  23 
Planing  a  form.  166 

form  after  it  is  locked  uji.  iSC 
Pl.'inning  a  job,  91 

tilings  lu  ijc  kepi  in  mind  when,  i 

a  ruled  jol),  14  ^ 

for  an  mitlook  envclupc.  124 
Platen,  adju.-ting  by  aid  of  imjiression-sc 

definition  of.  221 

presses.  221 

the.  222 
PluL'L'ing  (|ui.ins  with  a  wad  of  paper,  i 
P.M.  and  A.M..  71 
Poco  proof-i'res>,  27 


icS 
one 


•al>ic 
iti.n 


pertorating   at   one 
105,  106 


}'oetry,  indention  of,  72 
Point,  actual  thickness  of,  5 
Point  system,  4 

invention  of,  by  Fournier,  4 
Point-line,  9 
Point-set,  lo 

Point-thick  spaces,  g,  113,  150 
I'oints,  press-,  194 
Poorly  balanced  page,  136.  138 
Position  of  letterhead  on  sheet,  121 
Possessive  case,  59,  70 
I'otter  proof-press,  27 
I'ounds,  abbreviation  for,  70 
Press,  feeding  a,  234 

oiling  the,  225 
Pressboard  on  tympan,  22G 
Presses,  platen,  221 
Press-points,  194 
I'ress-proofs,  26 
Pressroom,  temperature  and  humidity,  234 

up-to-date,  glass-encased,  25.^ 
Presswork,  220 
Preventing     perforating-rule     from     cutting 

the  rollers.  170 
Printed  sheet   i)ages  in  reverse  of.  179 
Printers'  oblong.  97,  98 

Printing   a   job   in    two   sections    to   obtain 
perfect  joints.  109 
a    two-color   register   job    by    the    aid    of 

a  frisket.  246 
cutting,   scoring,   ar 

operation.  243 
type  above  rule  line: 
Printing-ink.  252 
composition  of    252 
dopes,  236 
drier  for,  233 
duotone,  257 
how  it  dries,  253 

knowledge  of  chemistry  required,  252 
mixing,  256 
Iiigments  used  in,  232 
process,  259 
tack  of,  255 

unwise  to  make  additions  to,  232 
vehicle  for  carrying  pigment  in,  252 
Printing-office  style,  69 
Probable  origin  of  the  serif,  77 
I'roblem  in  proportion.  91 
Process  inks,  259 

order  of  sequence  in  printing.  260 
Process  work,  three-color.  259 
Professional  removal  notices,  131 

statement.  130 
Proof-iiapcr,  23 
Proof-])laner.  23 

Proofreader,  knowledge  required  of,  44 
Proofreader's  duty.  51 

to  suggest  change,  45 
marks.  .J5 
privileu'e.  51 
Proofreading.  4.1. 

requirenients  for.  44 
Proofs  in  colors.  24 

Pro])er  and  imiirojier  way  of  using  rule  witf 
type.  105 
lay  of  lengthwise  forms.  194 
spacing  for  leaded  matter.  10 
spacing  for  solid  matter.  10 
way  to  lock  up  a  form.  itV; 
Projicrly  punctuated  sentence.  51 
P.roiiortion,  85,  91.  94 


INDEX 


317 


Proportion,  diagonal  method,  94 

in  relation  to  type  faces,  76 
Proportions,  table  of,  95 
Proving  book  forms,  26 

pages  in  pairs,  26 
Publicity  type,  79,  90 
Pulling  a  proof,  23 

a  revise,  30 

proof  of  cylinder  form,  i85 

proofs  when  jobs  are  too  large  for  proof- 
press,  26 
Punctuation,  50 

marks,  51 
Putting  away  leads  and  furniture.  35 
Pyramid  ornament,  99^ 

style  of  placing  furniture  in  forms,  163 


Quad  "guides,  231 

Quads,  7 

Query,  51 

Quire,  number  of  sheets  to,  274 

Quoins,  164 

iron,  164 

locking;,  169 

tightening,  167 

wooden,  164 
Quotation  marks  and  colon  used  together,  37 

and  semicolon  used  together,  56 

uses  of,  59,  60 
Quotations,  double,  59,  5o 

single,  59,  60 


Rag  stock  for  paper-making,  263 
Ratio,  91 

of  three  to  five,  91 
Reading  type  line  for  errors.  16 
Ream,  number  of  sheets  to,  274 

the,  274 
Reclamation  of  soda-ash.  264 
Red  ink,   deleterious   ellect   of   electrotypes 

on.  III 
Refining-engine,  the,  264 
Register   on   enamelled   paper,   inability    to 

.get,  254 
Register  jobs,  allowance  for  moving  when 
setting,  112 

allowing  for  movement  of,  168 

locking  up,  168 
Registering,  241 

used  ot  oiled  sheet,  241 

use  of  pin  in,  242 
Reglet,  use  of,  183 
Regular  oblong,  97,  98 

Relation   between  characters   of  same   font 
on  Monotype,  21."; 

of  margins  for  pages  out  of  center,  187 

of  type  sizes,  90 

of  width  to  length,  94,  93 
Relative  strength  of  hand-made  and  machine- 
made  papers,  271 
Relative  weights  of  paper,  278 

how  to  determine,  279 
Removal  notices,  profesfional.  131 
Removing  hard  ink  from  r  jller?  and  press, 

247 
Removing   rollers  when  pre—  is  left  stand- 
ing, 223 
Requirements  for  proofreading,  44 


Reset  specimens  in  "The  Inland  Printer," 

12,1. 
Resetting  of  a  poorly  balanced  page,  137,  139 

knife  on  mitering-machine,  202 
Reversing    furniture    to    prevent    riding    of 

form,  173 
Revise,  pulling  a,  30 
Ribs  on  linotype  slugs,  11 
Riding  of  forms,  172,  173,  184 
Ring   drawn   around   a   contraction,   abbre- 
viation, or  an  ampersand,  47 
Rio  Grande,  70 
Rollers,  224 

and  gudgeons,  not  of  same  diameter,  i58 

composition  of,  224 

cut  by  perforaling-rule,  244 

deleterious  effect  of  ink  on,  224 

for  ditlerent  seasons,  224 

in  good  conditions,  how  to  tell,  224 

marking  of,  225 

shrinking  of,  224 

sliding  contact  of,  168 
Roller-bearers,  224 
Roller-pins,  wearing  of,  168 
Roller-stock  keyed  to  gudgeons,  167 
Roller-track,  gluing  cardboard  to,  168 
Roman  type,  74 
Rosin-oil,  233 
Round  serifs,  79 

Rounding  of  type  from  soft  packing,  227 
Rouse  or  American  Slug-cutter,  199 
Rubbing  rules  on  the  stone,  ^2 
Rule,  104 

burr  on,  202,  203 

dishing  of,  199 

doubling-up,  106 

in  a  job  part  of  the  ornamentation,  104 

job  by  four  different  methods,  142 

job,  slurring  of,  242 

job,  two  sections  locked  in  one  form,  170 

Linotype,  104 

Monotype,  104 
Ruled  blank,  first  step  in  setting,  143 

blanks,  hand-set,  143 

job,  planning  a,  143 

job,  setting  a,  143,  146 
Rules  aligned  with  type,  103 

and  type  to  align  at  bottom,  103 

butted,  107 

for  spacing,  17 
Running  down  of  composition  rollers,  224 

matter  around  irregularly  shaped  cuts,  136 

type  around  cuts,  153 

type  around  cut,  cutting  pattern  for,  136 


S  as  an  illustration  of  optical  illusion,  83 

Saddle-stitched.  176 

Safety  device  for  job  press,  Sylvester,  248 

devices,  247 

first,  223 
Salient  features  of  a  job.  selecting  the,  tot 
Sandpaper  as  an  aid  in  \dthdrawing  sheets 

from  press,  236 
Sans-serif,  73 

Saving  cord  for  future  use,  30 
Saviour  with  a  u.  70 
Saw-Trimmer,  Miller.  157 
Scoring,  e.xplanation  of  term,  244 

printing,  cuttins,  and  perforating  at  one 
operation,  24s 


3i8 


INDEX 


Screen,  halftone,  258 
Script  type,  75  _ 

Secret  (if  (ihtainiiiK  tiood  jiroofs,  24 
Selectiii.i;  the  s:iHent  features  i)f  a  j(il),  loi 
Selettii)n  of  rule  for  a  job,  lo.) 
Self-spacing  table,  siiecinieii  of.  148 
Sellini;  composition  o]i  a  s(|uare~incli  basis.  ,sy 
Semicolon    and    (juolatioii    marks    used    to- 
gether, 56 
Semicolon,  uses  of,  56 
Sentence  improperly  iiunctuated,  51 

I>roperly  puncluatecl.  51 
Separatin;^;  letters  wliile  (Hstributing  t3'pe,  55 
Serif,  77 

probable  orif,'in  of,  77 

the  dominalini,'  feature  of  a  letter,  78 
Serifs,  olibslyle  and  modern  com]jared.  78 
Serviceability  of  brass  rule,  104 

of  lead  rule,  104 
''Set"  of  knife  on  miterin.u'-machine,  201 
Scttinf;  a  blank-book   headin;,',  use  of  ruled 
sheet  in,  154 

a  job,  116 

a  job   in   two  sections   to  obtain    ]jerfect 
joints,  109 

a  register  job,  112 

a  ruled  job,  i.}5,  146 

and  registering  ty[)e  to  horizontal  lines,  154 

more  than  one  column  in  a  single  measure, 
1.52 

rule  work.  Monotype  method,  1.^7 

tables  and  other  intricate  matter,  141 

tables  to  even  multiples,  146 

tyi>e,_i5  . 

tyi)e  in  circles,  158 

type  in  narrow  measure,  149 
Shades,  mi.Nini;,  257 
Shape  harmony,  loi 

job  lackini;  in,  is6 
Shape  of  ornamental  ion,  99 
Shaving  letter-,  10,5 
Sheet,  bowing  a,  2,54 

Hying  a,  2,, ;,  2  i,^ 
Sheet  wise.  17').  iSi 
Shifting  bars.  18^ 
Short  '/■"I'l",  TT. 
Shrinking  of  furniture.  225 

of  rollers.  224 
Side-face  or  clwnr.fered  rule,  loG 
Sierra  .Vevada,  70 
Siu'iiatures.  19,; 

Simplicity  of  modern  composition,  99 
Single     measure,     setting     more     than     one 

column  in,  i:;2 
Single  quotatioiK.  59,  fio 
Si.xteen,  lay  of  the,  192 
Size  type  to  be  used,  i2r 
Sized-and-supercalendered  pajiers,  271 
Sizes  of  envelofies,  279 

of  papers.  27,i,  274 

01  ^pac:-.  7 
Skeleton  grippers.  22^ 
Skclrloni/inL;.  109    1 1  i 

for  two  cohirs.  i  lo 

no  need  to.  when   i(.b  is  to  lie  elect  rot\]i<Ml. 
I  I  [ 
^li'lin:,'  contart  of  rollerh.   iCS 
--liding  l\pe  of  platen  pri'-s.  .'  _•  i 
--liliping  of  paper  o\(t  fai  e  of  type  on  g.dley- 

press.  25 
"■lipsheetinu'.  •:;7 
>littint;,  2.i4 


Sloping  or  oblique  serifs,  79 

Slug,  Linotyi>c,  209 

Slug-cutter,  Rouse  or  American,  199 

Slugs,  tie-up,  186 

Slurring,  242 

of  rule  jobs,  242 
Soaking  type  in  lye-water.  .52 
Soda  iirocess,  264 

Sodium  silicate,  use  of,  for  embossing,  243 
Soft  ink,  use  of,  226 
Soft  liacking,  226 
Solid  matter.  10.   ^9 
Soluble  water-gla.ss,  2J  5 
Sort,  8r 

Sorting  leads  .and  slugs,  35 
Source  of  dirty  quad-boxes,  18 
Space,  white,  use  of,  yo 
Space-bands,  Linoty[)e,  210 
Spaces  alongside  of  tyjje,  18 

of  dilTerent  sizes,  inter-relation  of,  151 
point-thick,  iij,  150 
sizes  of,  7 
thickness  of,  8 
Spacing  before  colon,  semicolon,  interroga- 
tion mark,  and  exclamation  mark,  18 
condensed  type,  102 
extended  type,  102 
job  type,  102 
letters.  102,  10.5 
of  lines,  10 

of  words  when  lines  stand  alone,  102 
words  in  cajiitals,  102 
words  with  sloping  letters,  102 
words  with  straiglit  letters,  102 
Specimen  of  Hodoni  Alodern,  79 
Caslon  Old-style,  79 
('heltei\ham,  80 
Clearface,  80 
I'Orum  Title.  76 
gothic  ty]ie.  74 

harmony  and  ajiiiropriatcness,  88 
Kennerley,  7(1 
old-style  italic  type,  7.5 
old-style  tyjie.  74 
panel  groujiing.  9,5 
poorly  balanced  job,  8t) 
poorly  Ijalanced  iiagc,  92 
Scotch-face  Roman,  77 
script  ty|)e,  75 
self-spacing  table,  148 
text  type,  7,s 
well-balanced  job,  86 
well-balanced  page.  92 
Specimen  showing  use  of  three-point  bevel 

rule,  9,^ 
Specimens  of  Hodoni  type,  75.  77 
br.ass  rule.  105 
inharmonious  groupings.  8g 
statement  headin.gs,  123 
swash  letters.  82 
Spri.-imens.  reset,  in  "'I'lic  Inland  Printer," 

124 
Spelling  out  of  numbers,  71 
Spoilage,  allowance  for.  2S0 
Spoiling   job    by   jirinting   on   wrong   side   of 
paper.  2S''> 
make-ready.  2  2f') 

proof  by  improper  use  of  proof-jilaner.  24 
Spotting  U]i.  227 

use  of  I'Vench  folio.  228 
Siiot-up,  227 
Springiness  or  ''give."  112,  i()7 


TXDKX 


319 


S(]uarc  effect,  loj 

ornament,  99 
S<)u;iring  the  form.  172 
S<iueeze.  allowance  for,  112.  146,  170 
Standardizing  i)r()])ortions.  96.  97 
Slaleniont,  iirofessional,  130 
Stationery,  olTice,  loi 
Steel  cuttinK-rnle.  .'44 

rule,  how  to  cut,  njcS 
Stephens's  Multio-Hcxset  Quadrats,  144 
>-tet  marie,  47 
Still  ink,  use  of.  226 
Stock,  adai)tin,L;  ink  to,  254 
Straifiht  matter.  ,vS 
Slrawhoanl  ior  cleaning  rules.  3; 
Stult,  .'64 

Style  of  the  oft'ice.  44,  69 
Substance  numlx;r  for_ paper.  274 
Success,  elements  of,  in  a  job,  102 
Succession  of  the   same  word  on  more  than 

two  lines,  70 
Sulphite  process,  264 
Swash  letters,  82 

Sylvester  safety  device  for  job  press,  24S 
Symbols  employed  in  proofreading,  46 
System,  lyiiotabular.  141 

T 

Table,  castinj;  of  a,  147 

liand-set,  108 

of  projtortions,  95 

of   rates  per  scjuare   inch   for   computing 
value  of  composed  type,  40 

of  symbols  employed  in  proofreadin;:,  46 

showint;  thickness  of  spaces.  ,S 

showini;  wei.s-'hts  of  book  p,ijx;rs.  277 

showin,;;  weights  of  flat  papers,  276 
Tabular  matter,  need  for  skill  in  setting,  141 

work.  Linotype,  211 
Tack  t)f  ink,  255 
'I'alking-niachine  disk,  use  of.  for  emljossing- 

counler.  243 
Tally -card,  cutout  for,  160 
Temi)erature.  pressroom.  254 
Testing  a  form,  167 
Text  and  gothic,  use  of,  together,  87 

and  initial  in  harmony.  99 

from  ecclesiastical  sources.  7,5 

letter  as  the  main  feature  of  job,  87 

type,  73 

type  for  ecclesiastical  purposes,  91 
Thickness  of  spaces,  8 
Thick-sjiace,  7 

Thin  space  before  colon,  semicolon,   interro- 

.gation  mark,  and  exclamation   mark.  18 

Things  to  be  kept  in   miiul   when  planning 

a  jol),  loi 
Three-color  process  work.  259 
Three-em  space,  7 

Three-point  rule  a  multiple  of  pica.  106 
Three-point  space  of  eight -pi>i:it,  9.  150 
Throwing  or  dropi)ing  ty[)c  into  case.  .S5 
Tie-up  slugs.  186 
Tightening  (juoiris.  167 
Tilting  i)rool-planer.  24 
Pints,  mixing.  257 
Titles,  abbreviated,  70 
To  detect  inequality  of  indention  on  proof,  50 

determine  charging  rate  per  square  inch.  40 

imd  co>l  of  cue  xjuare  mcti  of  any  size 
type.  40 


Tone.  8i,  87 
grav,  87 
heavy,  87 

uniformity  of.  throughout  job,  87 
Top  of  chase.  18,5 
Treatment  of  a  menu.  132 
Tre/.ise  on  o|)tical  center,  85 

on  panel  grouping.  91 
Trial  im[)ression,  the,  22S 
Trim,  i8i 
Trimming  m.'iterial  on  milering-machine,  202 

to  gauge  on  mitering-machine.  203.  204 
'Troubles  with  black  ink,  how  to  overcome, 

Troublesome  corners.  170 

material,  112 
True  art  not  based  on  mathematics,  94 
Tumbling.  193 

Turning  one  type  face  into  another.  78 
'Twelve,  lay  of  the.  x88,  1S9 
Twisting  i)lates  into  register.  168 
Two-color  job  with  type  all  in  one  form,  246 
Two  colors,  skeletonizing  for,  1 10 
'Two-letter  division,  63 
Two-on,  194 
'Tying  up  a  job,  19,  21 
Tympan,  223 

arranging  the,  228 

hard,  226 

soft,  226 

the,  226 
Tympan-bale,  which  one  to  open,  230 
'Tymiian-gauge,  231 
'Type  adapted  to  i)aper.  75 

and  rules  to  align  at  bottom,  105 

calculations,  36 

distribution  of,  :ii 

faces,  73 

faces,  general  classification.  73 

families,  80 

family,  adhering  to  one.  87 

fitting  on  a  mitering-machine,  205 

for  ecclesiastical  purposes,  91 

for  narrow  measures,  loi 

for  wide  measures,  loi 

groups,  balancing  of.  85 

matter  against  cuts.  156 

of  maximum  legibility.  80 

olT  its  feet,  21 

punching    through    i)aper    when     pulling 
proof,  23 

rounding  of,  from  soft  packing,  227 

same  shape  as  job.  loi 

size  to  be  used,  121 

sizes,  new  and  old  systems  compared,  5,  6 

sizes,  relation  of.  90 

stuily,  pi  as  an  aid  to.  81 

systems,  6 

to  be  set  nick  up.  15 
Type-casting  machines.  218 
Type-high,  1G7 

machines.  206 
Tyijical  order-blank.  117 
'Typographical  hash,  »o 
Typography,     bad.     to    mix     old-style    ami 

modern  tyi)e,  79 
Typotabular    method    of    securing    definite 

number  of  iioints  between  lines,  143 
'Typotabular  rule  job,  142 
Typotabular  squares.  141 
'Tvpotabular  svstcm.  i.ii 
Tyiiotect.  84 


320 


IXJJKX 


V 
Underlay,  jj>s 

UndcrliiiiriL:  of  uoriU  in  copy.  45 
Uniform  sjiai  inu',  17 
Uniformity  of  tone  tlirouLihont  jolj.  87 
Unit,  casting'  type  to.  .) 

Monotype,  213 
Units.  Iionler,  how  to  make  u[).  in, 
Unwritten  laws  of  ty|)ot,'raphy.  90 
Uprif^lit  mitcrin^'-machine,  (ieMTiiiti<m  of,  200 

201 
Use  of  comma  before  conjuncti<>n.  ;  ;,  ;.i 
comma  in  amounts  of  five  tiLjiire.-,  71 

four  fixtures,  71 
condensed  type.  loi 
figures  for  number>.  7  i 
frisket,  241,  244 
gummed  paper  for  hohlinu'  cur\ed  lii.e 

in  position,  151J,  160 
leads  to  make  type  lit  space.  ;S 
period      with      Roman      numeral-      and 

Aral)ic  liuures.  57 
pin  in  resist erinu',  242 
rejilet.  iSq 

rule  in  electrotvped  iob,  107 
ruled    sheet     in    settin-    a     bl 

headln.;.  1 1  1 
tliin    paper    when    makim:    up 


II    .        . 

two-em  furniture  whi'n  t\-in. 
job,  2, 

wliitc  sp.'icc,  i)o 
Uses  of  the  a[)(istrop!ie,  59 

brackets.  ('12 

caret,  47 

colon,  it).  57 

comma.  =;i    ^4 

dasli,  5  1   .^G 

exclam.ation  mark,  Ctx 

hyphen,  ^S 

interro},'ation  marlc.  Go.  61 

parentheses,  Ct: 

period.  ".  ^S 

quota!  ion  mark-,   vj.  ''>t 

semicolon,   ;(') 
Usinu'  rule  with   type,   iir^ner  at 

wav,-.  iQ^. 


\'.  the  old  lor;n  of  t!i.-  eapital   U 
\anilercook  proof-jire--.  2S 
\'arious  parts  of  a  form,  iSl 


;-bo.,k 
-tick, 
bulky 


\'arnish.  25,s 

\'arnishes  of  ditTerent  consistencies.  25,5 

\ehicle  for  carrying  pigment  iu  i)rinting-ijlk, 

X'erify  divisions  of  words.  50 
X'ictoria  I'ress.  168 
\'iscosity,  25,^ 
\'  sha[)ed  slit  in  draw-sheet.  2s,i 


W 

Wad  of  ixiper  for  plu^gin;,'  ([uoins,  170 
Warped  wooden  furniture,  172,  174 
Washing;  rollers,  kerosene  best  material  for, 

24  0 
W  asliin^'  up,  246 
\\'ashinf;ton  hand-press,  27 
Water  on  wooden  furniture.  172 
Watermark,  270 
\\'a.\-en;rr.avin^'  effect.  loij 

method  of  obtaining  a  ruled  job,  146 
rule  job.  142 
W'eariiiL;  of  roller-pins,  168 
Weights  of  [lapor,  274 
Well-lxdanced  j.a.u'e,  1,55 
W  ell-jiroportioned  i)ages,  97 
Wettin,'  tvpe  [irior  to  distribution,  33 
W  hat  size  type  shall  1  use  ?  37 
Which   way   type  is  to  Ije  set,  designating. 

Ill) 
White  paper,  black  ink  on,  ijo 
White  s])aee,  90 

around  cuts,  allowance  of,  156 

use  of,  90 
Widtli  to  length,  relation  of.  94.  95 
Wii)iiig  around  presses    249 
Wire  side  of  [)a|)er.  246 
Wiring  through  tin-  side,  176 
Wooden  furniture.  172.  i.Sj 

tour-em,  not  S(|\iare.   172,  1,84 

warped.  172.   17.; 

water  on.   1 72 
Wooden  (|Uoins.  in  ; 
Wood-pul|).  chemicid,  264 

tnechanie.d.  2IM 
Words,  divi-ion  of.  u  ^   h^ 

of  one  syllable  cannot  be  divide.!.  C,  . 
Work  ■aiid-t\irn  form.  1711.  1  s  1 
Workin-  by  the  piece.  4S 
Workinen  of  mediocre  ability.  84 
Writing-.  274 
Wrong  font.  81 


Cor 

i;ie 

I'rii 


by    b|.:  u  \uoxiii   ,v  Co..   .\cw  ^  >.rk 

g  by  (ooio.i;  J.  JoHNsrox.  .\c\v  \'ork 

iii  R«    I'ki.niim;   Ibus!,,   .\ew   York 

I  M  1;    M  1: 1  II'  11)1  -1     !!■  J'    1.    ( '  i  s  ,  ]■-  :  -. 

\c^\     \'..ik 


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