,,typographic ,,technical ,,series ,,for ,,apprentices--,,part ,,ii4 ,no4 #af ,,typesetting ,a ,,primer ,,of ,,information ,,about ,,working ,,at ,,the ,,case1 ,,justifying1 ,,spacing1 ,,correcting1 ,,making-,,up1 ,,and ,,other ,,operations ,,employed ,,in ,,setting ,,type ,,by ,,hand ,,by ,a4 ,a4 ,,stewart ,,published ,,by ,,the ,,committee ,,on ,,education ,,united ,,typothetae ,,of ,,america #aiai ,,copyright1 #aiai ,,united ,,typothetae ,,of ,,america ,,chicago1 ,,ill4 ,composition and electrotypes contributed by ,the ,frank ,d4 ,jacobs ,company ,philadelphia ,,preface ,there is a prevalent notion that setting type by hand is not now as important a part of the printer's vocation as it was years ago4 ,ingenious composing machines now perform so much of the work of putting into printable shape the literature of the world that it is often assumed the hand compositor's occupation is fast disappearing and does not offer much inducement for an ambitious young man to follow seriously4 ,this is a mistaken notion entertained only by those who have a limited conception of printing craftsmanship and its possibilities for the exercise of individual skill4 ,it is true that the greater part of the composition for ordinary printing is now done by machines1 just as in other lines of industry machines are relieving human hands of the drudgery in large-scale production by multiplying products through mechanical operations4 ,but that the work of the hand compositor is any less important now than it ever has been is far from the fact4 ,behind the great volume of machine work1 and absolutely essential for any effective use of machine product1 there is greater need than ever before of the hand-work and head-work of trained compositors4 ,one of the great defects of machine composition is its lack of intelligent1 trained craftsmanship in typography4 ,too often it is the work of machine-thinking operators rather than of intelligent compositors trained to use the machine to increase their product and make it of better effect and worth4 ,training in hand composition should be a prerequisite for machine keyboard operation4 ,in no other way can the niceties of typography be so thoroughly or conveniently learned as with composing stick and type case4 ,while hand composition is the particular kind of work the author had in mind when writing the following pages1 many of the instructions and suggestions given apply directly to machine-set matter4 ,expertness and correctness are now demanded of all workmen2 correct composition is required from the machine operator even more insistently than from the hand compositor1 since the work of the former cannot be so readily rectified4 ,the first and second volumes of this series1 ,type and ,compositor's ,tools1 dealing more fully with the tools and materials used1 should be read in connection with this volume4 ,,contents ,,page ,,introductory #g ,,preliminary ,,suggestions #h ,,learning ,,the ,,case #aj ,,units ,,for ,,measuring #ad ,,spaces ,,and ,,quads #ae ,a ,,simple ,,spacing ,,table #ag ,,hair ,,spaces ,,and ,,justifiers #bj ,,leads ,,and ,,slugs #ba ,,setting ,,the ,,composing ,,stick #ba ,,use ,,of ,,the ,,composing ,,rule #bd ,,setting ,,type #be ,,justifying ,,the ,,lines #bg ,,emptying ,,the ,,stick #bh ,,tying ,,up ,,the ,,page #ca ,,taking ,,proofs #cd ,,making ,,corrections #cg ,,importance ,,of ,,uniform ,,spacing #db ,,rules ,,for ,,spacing #dc ,,spacing ,,of ,,italic #dh ,,spacing ,,capital ,,letters #di ,,wide ,,spacing #ea ,,paragraph ,,and ,,other ,,indentions #eb ,,setting ,,poetry #ee ,,headings #eh ,,initial ,,letters #ei ,,making ,,up ,,pages #fa ,,washing ,,type #fg ,,distributing #fi ,,supplementary ,,reading #gd ,,review ,,questions #ge ,,glossary #he ,,typesetting ,introductory ,the best and most useful printing is that which has been done by typography2 and the best typography has been1 and still is1 that done by type1 hand-set and prepared for the press by well-trained compositors4 ,good typesetting must be the product of an educated1 intelligent mind as well as a skillful hand4 ,it calls for close attention to practical details4 ,it demands the exercise of literary and artistic sense which perceives the requirements of legibility and coherence in thought and the orderly arrangement of words and lines necessary to make the printed page of the greatest usefulness4 ,a composition of movable types has many advantages over other methods of preparing forms for printing4 ,it offers the readiest means for securing a page of correct reading matter4 ,the mechanical operations are relatively simple4 ,no other process will produce so good a printing surface as quickly or as inexpensively as the typographic method4 ,serious faults of the original copy1 in spelling1 use of points1 words1 phrases1 in paragraphing1 in spacing of lines1 in arrangement of headings1 and other errors can be readily corrected in type4 ,the page can be made longer by leading1 or shorter by taking out leads4 ,any of these changes can be made with the utmost freedom1 in a manner that is not practicable in any other branch of the graphic arts4 ,the engraved plate1 whether produced by mechanical or by chemical means1 when once made1 can be changed only in minor details4 ,what is cut must stay2 any considerable variation from the first impression can be made only by great skill and by slow processes4 ,typography is peculiarly the vehicle for printing literature quickly and effectively4 ,considering the great influence it can wield1 nothing could be simpler than the tools it employs4 ,an intelligent boy of fifteen years1 after a little practice1 can set type and print it with a press1 and the product will be as acceptable as that done by a workman of long experience4 ,yet typesetting is not an occupation easily mastered4 ,to find profit and satisfaction in the work an apprentice must acquire a broad knowledge of language and literature and develop an interest in subjects relating to art and design4 ,although the mechanics of his work are given the chief consideration in the following pages1 he should remember that his principal working material is ,language and his real tools are alphabets and words4 ,preliminary ,suggestions ,there are several habits which the young compositor should begin to acquire at the outset if he hopes to make his work agreeable and successful4 ,the mention of these may seem like an unnecessary repetition of trite injunctions1 but in work of the kind upon which he is engaged their practice is particularly important4 ,the compositor's work is one of many details1 and careless habits quickly lead to unprofitable results and disappointment4 ,the chief of the good habits may be enumerated as3 #a4 ,the habit of silence while at work4 ,a chattering person in the composing room is a nuisance4 #b4 ,the habit of keeping materials cleared up4 ,a confusion of articles on the workstand will greatly retard his work4 ,keep items of the same kind grouped together as much as possible4 #c4 ,the habit of picking up at once type and other articles dropped on the floor4 ,a type stepped on is spoiled4 #d4 ,the habit of not putting anything in the mouth with soiled hands4 ,always wash the hands before eating4 #e4 ,the habit of standing on both feet and not leaning over the workstand4 #f4 ,the habit of dressing so as to be comfortable and reasonably clean4 ,illustration3 ,,fig4 #a ,standing at the case ,a compositor should stand comfortably on both feet in front of his case1 just a little to the left of the center1 and the case should be adjusted to allow free motion of his right arm over the front of the case4 ,this will enable him to shift his weight from one foot to the other occasionally as he reaches from one side of the case to the other4 ,this habit is one that will have to be learned with some effort1 but it will mean much to his health and comfort4 ,the coat should be removed before beginning work1 and the shirt sleeves should be rolled high enough to avoid interfering with the work on the galley4 ,a work apron or a loose-fitting coat with short sleeves is advised in order to protect the front of the usual clothing and to provide an extra pocket for small articles like tying-up strings1 composing rules1 etc4 ,the pocket should not1 however1 be a depository for types1 leads1 or brass rules that are usable2 these articles should be distributed where they belong4 ,learning the ,case ,there are thirty and more different styles of type cases shown in the catalogs of dealers in printers' supplies1 and some of these styles are made in different sizes4 ,this variety may seem bewildering to the beginner who sees the case plans and realizes that a compositor must become familiar with the location of the hundreds of characters in the many boxes of the various cases4 ,many of the case plans shown1 however1 are not in common use1 some of them never appearing in the average composing room4 ,a number of them are for special material and their box arrangement is readily understood when one becomes familiar with composing room work4 ,all unusual cases are 7or should be7 marked clearly1 with labels on individual boxes if necessary1 showing the name or shape of the character in each box4 ,the cases used for ordinary hand composition are commonly laid out according to one of two plans3 capital case and lower case4 ,some cases are a combination of both these plans4 ,when the apprentice becomes thoroughly familiar with these two plans and their minor variations he will have little difficulty1 if he is observing and careful1 in understanding the arrangement of any other special cases which he may have to use occasionally4 ,the plan of the common capital case is a simple alphabetical order of the letters1 with the exception of ,j and ,u4 ,the capital case is divided into two sections1 each having seven boxes across and seven boxes in vertical line--forty-nine in each half of the case4 ,of the seven horizontal rows1 only the lower four rows are used for the letters1 the upper boxes being used for miscellaneous characters2 or in some cases left vacant4 ,this arrangement brings the letters ,,ahpx in a vertical line1 then ,,biqy1 and so on1 as shown in the diagram4#a ,footnote #a3 ,,note4 ,when the early printers made their case plans ,i and ,j1 and also the ,v and ,u1 were treated as variants of the same symbols and no special boxes were provided for them in the capital case4 ,later1 when the ,j and ,u were used to express distinctive sounds they were added to the case in the twenty-fifth and twenty-sixth places1 which explains why they are out of the usual alphabetical order4 ,the young compositor is advised to read further information about the history of these letters under their special heads in any of the unabridged general dictionaries1 such as the ,standard1 ,century1 ,webster's1 etc4 ,illustration3 ,,fig4 #b 7a7 ,the capital case ,illustration3 ,,fig4 #b 7b7 ,the lower case ,in the lower-case plan there is an irregular arrangement of the alphabet and a difference in the size of the boxes4 ,some letters are used much more frequently than others1 and the extra quantities of these types need larger boxes4 ,these boxes are placed in the case near the compositor's hand1 while the types less frequently used are kept in boxes farther away4 ,the pair of upper and lower cases1 for many years in use as the standard cases for book composition and for large roman fonts1 is being abandoned to a great extent4 ,the increasing use of machines for book and periodical composition during the past few years is gradually eliminating the double cases which were necessary for large quantities of type when type was set solely by hand-work4 ,type cases in pairs are still generally used1 however1 and in many composing rooms they hold the chief working fonts of large as well as small sizes of type4 ,a thorough familiarity with the box plans of the upper and lower cases should be the first acquirement of every apprentice4 ,illustration3 ,,fig4 #c ,the ,california job case ,the style of case now commonly used in ,america is that known as the ,california job case1 which has boxes for alphabets of both capitals and small letters and for figures1 points1 spaces1 quads1 and a few other indispensable characters like 1 1 dashes1 etc4 ,this style of case is popular because it provides in a convenient single tray enough boxes for a complete font of types needed to compose ,english sentences4 ,the lay of the case may sometimes be learned in a few hours by an alert boy2 sometimes the learning may be a matter of days or even weeks1 according to the opportunity and the quickness of the learner4 ,it is a good test of the young compositor's mental quality to note the quickness and accuracy with which he learns this preliminary task4 ,it may be safely predicted that the boy who works around a composing room for months doing odd jobs1 even if he is not given special permission to set type1 and fails to learn something of the case plan1 through lack of interest or initiative on his part1 will not prove an alert1 intelligent compositor later on4 ,some foremen instruct the beginner to go to an old case with a composing stick and hunt for the letters until1 by picking and fumbling1 he manages to find those he needs for his first stickful4 ,another practice is to place types of a large size in the corners of the boxes of the principal letters as guides to the unfamiliar small types4 ,methods of this kind are slipshod and uncertain2 there is sure to be an imperfect knowledge of the contents of the case1 for a time at least1 and consequent mixing of the types4 ,the best method of learning the case is to draw a plan of it4 ,this can be done by a study of the case itself before beginning to set type4 ,let the apprentice first copy the plan of the boxes without trying to memorize the letters in them4 ,when the outline of the boxes is complete the letters can then be marked in place4 ,another way is to make a copy on a large scale from a print such as shown on page #aa4 ,when this is done the apprentice should ask the advice of his foreman or somebody familiar with the cases in his particular room1 to be sure that his plan corresponds with the cases he will use4 ,not all cases are laid exactly alike1 even if they appear to be the same at first glance4 ,many fonts have peculiar characters1 or there may be in the case types not ordinarily belonging to the font1 which are kept in some spare boxes1 or for some reason changes may be desirable in the positions of the regular characters4 ,in this1 as in other matters1 a safe rule for the apprentice will be3 ,when in doubt1 ask somebody who knows4 ,it will always be wiser to proceed carefully at first and know that one is right than to work along in an uncertain1 helter-skelter fashion4 ,the drawing of plans of the different styles of cases in the room is not only a good way to learn the cases accurately but is also a good exercise in the use of pencil and type-measure2 it is a simple problem in mechanical drawing which the young compositor should practice1 in preparation for more advanced layout work which he may do later4 ,units for ,measuring ,the unit of measurement for types1 leads1 rules1 and other small items used in composing a page is the point1 approximately #a_/gb of an inch1 shown by the thickness of this mark3 ,the most used type bodies are those of #f-point and others graduated by one point up to #ab-point4 ,the amount of type in a page is measured in ems of the size of type used4 ,an em is a square of the body ,illustration3 example of an em square1 and varies in size with each size of type4 ,thus1 an #h-point em is #h points deep and #h points wide2 a #ab-point em is #ab points deep and #ab points wide4 ,the common method of measuring the quantity of type on a page is by using the em as the unit1 the number of ems in the line being multiplied by the number of lines on the page4 ,the term em is applied in many ways to type2 the em dash is one cast on a square body1 the em fraction is a fraction cast on a square body1 and so with type borders and other characters4 ,before the adoption of the point system type sizes were designated by a variety of names which were meaningless so far as indicating their sizes was concerned4 ,in the point system the size of #ab-point corresponds to the old pica4 ,pica has been a standard type in many countries for a long time1 though it has not always been uniform in size4 ,all type founders made pica types1 but all picas were not the same size in this country until after the adoption of the point system in #ahhg4 ,the old names pica and nonpareil 7half pica1 or #f-point7 still survive as convenient terms to use in naming these sizes4 ,for convenience and economy in the composing room the leads1 slugs1 rules1 metal and wooden furniture1 wood type1 and other composing material are used in lengths graduated by #ab-point or pica4 ,when leads or rules are spoken of as being twenty picas1 or twenty ems1 it is understood that they are twenty #ab-points long4 ,pica gages are scales marked off in units of #ab-point 7and half1 or #f-point74 ,a graduated composing stick is made to set to measures of #ab-point and half4 ,it will be remembered that the point size was given as approximately #a_/gb of an inch4 ,actually a point is 4#jachcg of an inch1 but for convenience the simpler fraction of #a_/gb is sufficiently accurate for composing-room purposes4 ,this makes the #ab-point or pica #a_/f of an inch4 ,shop custom measures the items of a page in points1 and the page itself or its chief divisions by picas4 ,paper1 sizes and other large dimensions are measured in inches4 ,it is important for the apprentice to learn these units of measurements and their relation to each other in order to make quick calculations for line lengths1 page sizes1 margins1 etc4 ,spaces and ,quads ,trade custom gives the name spaces to the small type blanks and quads to the larger type blanks4 ,these are further specified according to their thickness or fractional part of the em1 or square1 as #c-to-em1 #d-to-em1 #e-to-em 7hereafter in this treatise1 for convenience1 termed respectively the #c-space1 #d-space1 #e-space74 ,very thin blanks are hair spaces or justifiers4 ,the en quad 7half the square7 is sometimes called the thick space4#b ,the large blanks are the em quad #b-;em quad1 and 7for types of #ab-point and smaller7 #c-;em quad4 ,footnote #b3 ,,note4 ,the #c-space is often miscalled the thick space2 but as it is commonly known as the normal space 7i4e4 neither thick nor thin7 it seems illogical to call it also a thick space4 ,the en quad or any space thicker than the #c-space is obviously a thick space4 ,to the beginner the difference between some spaces and quads is not always clear because of the frequent identity of size in different type bodies4 ,thus1 a #c-space of an #ah-point font is #ahx#f points1 which is the same as a #c-;em quad of #f-point4 ,the difference between the two is in the position of the nicks 7except where spaces and quads are cast without nicks74 ,on the #f-point quad the nick is along the #c-;em side1 while on the #ah-point space it is across the narrow #f-point edge4 ,the identity in size is often a convenience1 when quads or spaces of one size are exhausted1 by allowing the use of pieces from another font4 ,illustration3 ,,fig4 #d #aj-,,point ,,spaces ,,and ,,quads ,the apprentice should become familiar with these regular spaces of his case at the outset4 ,he may learn to distinguish them by putting one of each thickness side by side frequently for comparison4 ,by doing this with each size of type as he comes to use it he will soon learn to distinguish the spaces at a glance1 to select quickly the space he wants1 and to sort them properly in distributing4 ,these four regular thickness of spaces meet most of the requirements of type composition4 ,besides their own individual widths they may be combined into any other widths for spacing and justifying lines4 ,the following table1 showing twenty-four different widths less than the em which can be made with the four original spaces1 should be studied by the beginner who is in despair because he cannot find just the right thickness to fit his line4 ,a ,simple ,spacing ,table ,taking #fj as the common denominator of the five blanks1 including the em quad1 which would be #fj_/fj1 the en quad is #cj_/fj1 the #c-space is #bj_/fj1 the #d-space is #ae_/fj1 and the #e-space is #ab_/fj4 ,by combining the various spaces the following fractions of the em square may be obtained3 #e-space #ab-fjths #d-space #ae-fjths #c-space #bj-fjths #b #e-spaces #bd-fjths #d-space and #e-space #bg-fjths en quad #cj-fjths #c-space and #e-space #cb-fjths #c-space and #d-space #ce-fjths #c #e-spaces #cf-fjths #d-space and #b #e-spaces #ci-fjths #b #c-spaces #dj-fjths en and #e-space #db-fjths #c-space and #b #e-spaces #dd-fjths en and #d-space #de-fjths #c-d-e-spaces #dg-fjths #d #e-spaces #dh-fjths en and #c-spaces #ej-fjths #d-space and #c #e-spaces #ea-fjths #b #c-spaces and #e-space #eb-fjths en and #b #e-spaces #ed-fjths #b #c-spaces and #d-space #ee-fjths #c-space and #c #e-spaces #ef-fjths en1 #d- and #e-spaces #eg-fjths #c-space1 #d-space and #b #e-spaces #ei-fjths em quad #fj-fjths ,with a supply of the regular spaces at hand it will be seen that for average work there is ample opportunity for careful spacing and proper justification4 ,the trouble often comes1 however1 because of an insufficient supply of the thinner spaces4 ,unfortunately in many places these are not supplied in right quantities and the usual boxes for holding them are inadequate for a proper supply4 ,improper distribution of the thin spaces is also responsible for the lack of a proper supply1 as well as for great loss of time in sorting and hunting during composition4 ,the point system of widths has been applied to spaces1 the thickness being graduated by points and half-points1 instead of the fractional division of the em4 ,in a font of #aj-point1 for instance1 the four ordinary spaces #e-space1 #d-space1 #c-space1 and en quad1 are respectively #b1 #b-a_/b1 #c-a_/c1 and #e points thick4 ,in the point system there are five spaces within these limits1 namely3 #b1 #b-a_/b1 #c1 #d1 and #e points thick4 ,the extra space and two intermediate widths between the #d-space and the en quad give many advantages in spacing for good composition2 though as yet the use of these point-width spaces is not general in hand composition4 ,the lack of proper boxes to keep them in the ordinary type cases is a serious drawback to their economical use4 ,the following table shows the widths of point spaces in six common sizes of type3 ,,point ,,system ,,of ,,space ,,widths ---------------------------------------- -------------------------- #f-to- #e-to- #d-to- #c-to- ,patent en em em em em em space quad quad ---------------------------------------- ------------------- #f-point #a -- #a-a_/b #b #b-a_/b #c #f #h-point #a #a-a_/b #b #b-a_/b #c #d #h #aj-point #a-a_/b #b #b-a_/b #c #d #e #aj #ab-point #b #b-a_/b #c #d #e #f #ab #ad-point #b #c #d #e #f #g #ad #ah-point #b #c #d #f -- #i #ah ---------------------------------------- -------------------------- ,when type composition is to be used regularly for making moulds for electrotypes2 high spaces1 quads1 leads1 and slugs are employed instead of the ordinary low spaces and quads4 ,these reach nearly as high as the shoulder of the type and1 unlike low spaces1 do not leave small holes and crevices between the words and lines into which the moulding wax is forced when moulding4 ,although a great deal of miscellaneous job work is moulded for electrotyping with low spaces and other blanks1 the electrotyper finds it difficult to obtain the best results with forms made up in this manner4 ,the high blank spaces make a better moulding form and are used in composing rooms where the major part of the work is electrotyped4 ,large hollow quads1 known as quotation quads 7quotation furniture1 in the larger sizes71 are used in place of solid quads where there are many large blanks in the form4 ,these have the advantage of lightness in comparison with regular quads4 ,they should be set in the form with the hollow space down1 so as not to catch dirt and small particles that will be likely to come out later on the ink rollers when the form is on the press4 ,there are occasionally places where it will be an advantage to use them hollow-side up for ease in picking them out when changing the form2 but the form should never be sent to press or to the electrotype foundry with the hollow spaces up4 ,in a font of typewriter type all characters are cast on bodies of the same width4 ,only one kind of space is used 7or need be used7 for spacing the lines4 ,this space is the same width as the letters1 so that each line contains exactly the same number of pieces4 ,the usual size for this kind of type is #ab-point and the width of the letters and the space is a little more than the en4 ,the apprentice should notice that the #ab-point typewriter space and the #ab-point en quad are not the same4 ,script types usually need spaces and quads that are beveled on two sides near the top4 ,the bevels are to allow for the overhanging kern of the letters4 ,the spaces and quads are cast to fit the particular design of the face4 ,the general practice of slug-casting machine composition is to justify the lines by increasing the spaces1 which explains the customary wide-spaced appearance of machine-set matter4 ,as the same space-bands are used for all sizes on the machine1 a #f-point size is spaced relatively much wider than a #aj-point face4 ,,note4 ,the system of spaces here considered is that of regular foundry type fonts4 ,linotypes and ,monotypes have systems of spacing which differ considerably from this4 ,in ,monotype composition a special unit system is used4 ,there are #ah units in a quad1 which1 unlike the em quad of foundry type1 in the smaller sizes is not usually an exact square4 ,the space is #f units1 approximating the foundry #c-to-em space2 the #e-unit space equaling the #d-to-em space2 and the #d-unit usually a little less than the #e-to-em space4 ,these are cast from matrices and represent fixed widths4 ,but in the process of composition the expanding or justifying space is used to fill out the line4 ,when the keyboard operator sees that another word or syllable can not go into the line the keys indicating the width of the spaces to fill the line are struck1 the result being that all spaces are spread equally to fill the line4 ,the actual spaces cast may be any number of units in width4 ,on the ,linotype there are three fixed spaces3 the em quad1 the en quad 7or figure space71 and the thin space1 equal to a fourth of the em4 ,the regular space is made by space-bands which can be used to make any size between a #c-to-em and double this thickness4 ,if anything smaller than the thin space is needed1 it must be put in by hand4 ,hair ,spaces and ,justifiers ,the term justifying refers to the tightening of a line to make it correspond with other lines or parts of the page1 so that the whole form may be locked together compactly1 with no parts loose and none too tight4 ,the term spacing refers to the blanks between the words in the lines4 ,the term leading refers to the distance between the lines in a paragraph or page of plain matter4 ,a line of type may be well spaced but improperly justified4 ,on the other hand1 it may be badly spaced but nicely justified4 ,there are many places where spaces thinner than the #e-space are needed1 especially for letter-spacing and for careful word-spacing1 as well as for tabular pages and other work requiring accurate justification4 ,for such purposes hair spaces1 copper-thins1 and brass-thins are provided4 ,the thickness of hair spaces varies according to the size of the type2 the name is given generally to any cast space thinner than the #e-to-em4 ,copper spaces are #a_/b-point in thickness and brass spaces are #a-point thick1 the difference in the metal used being for easy distinction of the thicknesses4 ,copper and brass spaces1 because of greater durability1 are superior to cast metal hair spaces for hand composition4 ,when metal thin spaces are not at hand it may be necessary to resort to pieces of paper or thin card4 ,spaces of this kind should be used only in exceptional cases and not at all as a common practice4 ,there should be never more than a few pieces of paper used in justifying a line4 ,a safe rule for the apprentice1 when he thinks he cannot make his line come right without some such expedient1 is to ask an experienced compositor1 who will usually show him how to justify without the paper4 ,leads and ,slugs ,lines of type are separated by leads and slugs4 ,these are strips of metal lower than type-high and are furnished by dealers in labor-saving fonts and also in lengths of two feet4 ,leads are made #a-point1 #a-a_/b-point1 #b-point1 and #c-point thick4 ,the #a-point size is furnished in #af-;inch lengths4 ,the #b-point is the thickness mostly used4 ,slugs are made usually #f-point1 #ab-point1 #ah-point1 and #bd-point thick1 but other sizes are also made4 ,leads and slugs are made in two heights2 one slightly less than low spaces and quads1 for usual composition when the type is to be used for printing1 and the other high enough to reach the shoulder of the type1 for use with high spaces and quads in electrotype moulding4 ,leads and slugs are also made of brass1 in sizes1 lengths1 and heights similar to the soft metal varieties4 ,while the cost of brass material is much greater than ordinary metal strips1 in some cases its greater durability makes it more economical4 ,this is true of the #a-point and #a-a_/b-point thicknesses used in standard lengths1 as in newspaper and periodical pages4 ,for occasional use in job work the soft metal leads are usually satisfactory4 ,strips of wood1 called reglet1 are sometimes used as substitutes for leads and slugs in large sizes4 ,these are made in lengths of one yard and in sizes of #f-point 7nonpareil71 #ab-point 7pica71 and #ah-point4 ,larger sizes of the same material are known as wooden furniture4 ,all the material mentioned under this head is commonly used in lengths graduated by the pica 7#ab-point7 and is for the most part in labor-saving fonts or assortments4 ,each kind should be kept1 when not in use1 in racks or cases with compartments for the different lengths4 ,setting the ,composing ,stick ,the width of a type page is called its measure4 ,before commencing to set type the stick must be set to the measure required2 that is1 for the length of the type line4 ,if the stick is of the modern graduated pattern which sets to standard measures by changing the movable side-piece to a slot or notch where it is fixed1 the setting is a simpler matter4 ,these sticks will no doubt be in more common use later than they are now because of their many advantages2 but as there are many of the old style thumbscrew sticks 7especially the kind known as the ,yankee job stick7 in use in composing rooms throughout the country1 it is necessary to know how to adjust these correctly4 ,the old style sticks not only require care in setting but watchfulness afterward to see that they do not change while being used for a job4 ,the manner of setting a stick may depend upon the kind of work to be done4 ,for job work of a few lines only1 where the lines are to be locked by themselves in a chase1 the stick may be set by a bunch of leads of the required length4 ,these are placed in the stick and the movable knee setup to them loosely1 so that the leads do not bind at the ends4 ,if the job is to be enclosed in a border or rule panel the stick should be adjusted accurately to ems of #ab-point or #f-point4 ,illustration3 ,,fig4 #e ,the ,composing ,stick ,for ordinary measures a line of perfect #ab-point quads will be a good gage4 ,for very short measures1 as in tabular column heads1 #f-point quads should be used4 ,a gage that will be more uniformly accurate is a line of #ab-point letters 7for short measures7 or #bd-point letters 7for longer measures7 from a font of foundry-cast type4 ,these should be set in the stick with the nicks sideways1 not in front as for composition4 ,the body-size of cast type is the most accurate of any point-size material1 and as #ab-point and #bd-point fonts are at hand in every composing room they furnish a convenient and reliable standard at all times4 ,illustration3 ,a row of twenty sideways ems ,usually the knee should be set lightly against the gage when the thumbscrew is tightened4 ,a good plan is to put a slip of paper at one end of the line of quads or letters 7,see ,a1 ,fig4 #e71 and to push up the knee firmly4 ,a line of many separate types will not fit together as solidly as a line of a few quads2 to allow for a little compression in the line when it is locked up later the slight fullness is given in setting the stick4 ,in setting measures for tabular columns and for very short lines the slip of paper is not necessary4 ,illustration3 ,,fig4 #f ,the ,composing ,stick ,it is important that the outer end of the knee should be kept at a right angle to make the stick square1 in order that the first and last lines of the stickful should be of exactly the same length4 ,if there is any doubt about this1 test the front of the stick by moving the gage line forward when the measure is adjusted4 ,if the gage line is looser here than at the back1 the outer end of the knee may be closed in by inserting a piece of card between the knee and the back plate1 as is shown at ,a in ,fig4 #f4 ,when the measure is set1 make the thumbscrew as tight as possible with the fingers4 ,do not use a wrench1 as this is liable to give unnecessary force and break the small clamp4 ,make it a practice to try the thumbscrew occasionally while using the stick to prevent the knee from becoming loose1 as it may in case the lines are justified tightly4 ,use of the ,composing ,rule ,lines of type are easier handled by the aid of a composing rule4 ,it is not practicable to set small types in the stick without some support or to set a second line immediately next to another without a lead or rule to separate them4 ,the composing rule furnishes a smooth surface against which to place the types as they are assembled and to keep them in line while the respacing and justifying is done4 ,the rule is also convenient for lifting lines out into the galley and for handling them in later operations4 ,sets of these rules can be purchased from supply houses or they may be made from a discarded strip of brass rule 7#b-point or #c-point71 by trimming one end so as to leave a nib #aj points long4 ,composing rules are not used now as much as formerly1 owing to the fact that hand composition is largely in the nature of job work4 ,a compositor in a day sets a great variety of line-lengths1 many of them in large types1 and he dispenses with the composing rule as a needless tool1 using instead the ready-at-hand leads and slugs needed for the page4 ,in many cases this is advisable4 ,yet when there are many lines of one length to set and to correct and later to make up into pages1 the composing rule is recommended as a useful accessory4 ,setting ,type ,with a correct plan of the case before him the beginner at typesetting may go at his work with confidence that one part of his work is simplified and he can devote his attention to the next steps1 that is1 to learn to hold the stick comfortably and to pick up the types and put them in line4 ,illustration3 ,,fig4 #g ,holding the ,composing ,stick ,the accompanying illustration shows the manner of holding the stick4 ,notice that it is held in the left hand1 leaving the right hand free to pick up the letters4 ,type must be set right-handedly even by left-handed persons4 ,the types are placed in the left corner of the stick with the nicks outward1 and each type as it is placed is held gently by the thumb of the left hand4 ,the stick is always held with the open side slightly tilted up to allow the types to lie against the composing rule1 and the left thumb follows each type along the line to keep it from falling out of place4 ,the beginner will usually try to read his first words in type by turning the stick so that the bottom of the line is toward him4 ,this is not the way experienced compositors do1 however4 ,the printer reads his type lines up-side-down1 with the top of the line toward him4 ,in this way he reads the lines from left to right1 just as he would the printed page except that the top of the type page is nearest to him4 ,it must be remembered that any printing form is the reverse of the printed sheet4 ,the simplest way is to reverse the page from top to bottom rather than from right to left4 ,just turn this page face down on the table and you can readily imagine what the types that printed it would look like4 ,a compositor should always read his copy ahead of his setting and try to get the sense of the words4 ,this will make it easier for him to carry in his mind a number of words at a time in advance of picking up the types4 ,one who must constantly refer to his copy word for word will waste valuable time hunting for his place1 will have greater difficulty in keeping the sequence of words1 and will be far more liable to make mistakes4 ,concentration of mind is absolutely essential if he hopes to become a good compositor4 ,illustration3 ,,fig4 #h ,example3 ,the printer must learn to read letters and words up-side-down1 as they appear in this example4 7,text inverted7 ,the nicks on the type bodies are important in helping to pick them up in such a manner that they may be carried to the stick and put in place right side up quickly4 ,look for a particular type in the box and note the nick first4 ,select one that can be carried to the stick right side up with the fewest motions4 ,while it is going to its place look for the next type and have the left thumb in the stick do its share of the team work4 ,fumbling for a type1 picking it up and turning it over several times to find the nick before it can be put in the line is a habit that should be guarded against as a positive handicap4 ,study to avoid as much as possible all superfluous motions4 ,do not mistake nervous1 fussy1 trust-to-luck motions for speed2 they are usually the reverse4 ,be deliberate and accurate1 even if slow at the start4 ,learn first to do it right1 then strive to do it quickly4 ,speed is important1 but correctness is much more so4 ,justifying the ,lines ,each line of type must end with a completed word or a syllable4 ,when the line is first set1 however1 it rarely happens that the types fill the line snugly without more or less changing of the spaces4 ,if a little more room is needed to take in the last letter or two of a word1 the spaces are changed for thinner ones until the word is brought in4 ,on the other hand1 if there remains a little space after the last word or syllable1 the spaces are increased a little until the line is full4 ,just when to thin space and bring in a word or syllable or when to fill out the line with wider spaces depends upon whether the composition generally is to be thin spaced or is to be wide spaced4 ,changing the spaces is done by pushing the top of the space from between the words with the one that is to be inserted in its place4 ,the new space is dropped in and the old one picked out and put in the case where it belongs1 the thumb in the stick meanwhile keeping the line from falling4 ,changing the spaces in this manner should be done with care in order to avoid injuring the face of adjoining types4 ,another method of changing spaces is to lift up the wrong space by an upward pressure of the left thumb and pick it out with the right thumb and forefinger1 afterward inserting the new space4 ,a line of type is well justified when it will stand up in the stick without other support than its own tightness4 ,lines that will fall down when the composing stick is slightly tipped forward are too loosely justified4 ,on the other hand1 they should not be so tight that they will be difficult to lift out when the stickful is taken out on the galley4 ,unnecessary tightness is liable to injure small types at the end of the lines4 ,careless compositors will sometimes force a type into place so tightly that it will shave a slight film of metal from the adjoining types1 the metal remaining under the feet of the letters which will make them higher than the surrounding letters4 ,long lines require a little firmer justification than short ones1 because the greater number of pieces1 especially if the type is old1 will compress more than the fewer number in the short line when they are later locked up in the chase4 ,leads and brass rules should not be so long that they bind tightly when they are placed in the measure4 ,when this happens the type lines near them will rarely lock up tight without very great pressure in the chase4 ,the beginner at composition is not at first apt to realize the importance of careful justification4 ,it is not till later when he must lock up the types for printing that he learns why they must be exactly upright to give the proper impression and carefully fitted together to hold solidly in the form4 ,the first point to note is that the types should be squarely on their feet in the stick when the line is justified4 ,if they are leaning forward or backward and left this way the line will be short when the types are later straightened up on the galley or in the form4 ,it is wise1 therefore1 before going to the next line to make sure that all types are on their feet when the final letter or justifying space is inserted4 ,emptying the ,stick ,for the first few stickfuls1 until the apprentice learns how to handle the lines without pi-ing1 leads should be put between all the lines in the stick1 even if they are to be taken out later to print the type as solid matter4 ,a lead should be put at the top of the first line and after the last line in the stick4 ,if a composing rule is used1 this may or may not be kept with the lines4 ,many compositors insert the composing rule at the top of the first line while lifting the lines out of the stick1 as the rule gives a good surface by which to take hold of the matter4 ,it is a good plan not to fill the stick too full before emptying4 ,a few lines at first will be enough to practice with1 until the knack of grasping the matter all around and lifting out is acquired4 ,illustration3 ,,fig4 #i ,emptying the ,composing ,stick ,the galley should be placed on the case or on an adjoining stand or inclined support1 with the head turned toward the right4 ,if the lines have been properly justified1 there is no need to open the measure of the stick to extricate lines that seem very tight4 ,in this case take out the lines separately1 but keep the measure unchanged till the work is done4 ,illustration3 ,,fig4 #aj ,the galley on the case ,the stick is emptied in the following manner1 as illustrated in the accompanying diagram3 ,lay the stick near the bottom of the galley1 with the top line or back of the stick at the lower rim of the galley4 ,the two forefingers are then placed in the stick after the last line and the two thumbs beside the top line4 ,the second fingers1 doubled up1 are pressed against the ends of the lines at both sides4 ,thus holding the lines evenly all around1 the top lines are lifted slightly with a turning motion to bring the feet of the type upward4 ,this gives a chance for the thumbs to get a better hold down beside the top line4 ,the small fingers are meanwhile holding the stick down against the upward motion of the matter1 while the lines are taken out4 ,the types should then be held in a horizontal position1 while the compositor turns his right side to the galley4 ,still holding the lines firmly1 he next turns them feet down in the lower corner1 with the beginning of the lines at the lower rim4 7,do not release hold until the matter is close against the rim of the galley1 keeping the middle fingers at the ends of lines to prevent any types from dropping out of place4 ,if any types should drop1 take hold of the handful again and move it farther down the galley1 pick up the loose type and then slide the lines to the head of the galley and insert the missing type47 ,illustration3 ,,fig4 #aa ,holding the lines of types ,when first placed on the galley the type is liable to be a little off its feet4 ,have a piece of good metal furniture #h x #bj picas to place beside the lines1 first at the bottom and then at the ends of the lines1 and use this to square up the types on their feet4 ,an untrained compositor is prone to use more thin spaces than are necessary1 and he quickly finds that there are not enough in the case to meet his wants4 ,he puts in extra thin spaces to fill out the line instead of changing the spaces already in for thicker ones4 ,he inserts #e-spaces beside #c-spaces through the line because this appears the easiest way1 though in the end it is neither the quickest nor the best way4 ,when wide spacing is necessary it is usually better to change the #c-spaces for en quads1 and if the line does not then quite justify to put double spaces between long words or those having tall letters4 ,obviously it is not wise to put in two #d-spaces when there is a plentiful supply of en quads at hand4 ,by using two thin spaces where one thick space will suffice the supply of thin spaces is soon exhausted1 while there will be an over-supply of the thicker kinds left in the case4 ,it often happens that the same kind of composition is set by an experienced workman with half the number of thin spaces used by a novice and it will show greater uniformity in spacing and justification4 ,combinations of #c #e-spaces1 #c #d-spaces1 or #d #e-spaces should be used sparingly1 and only when they are needed to justify the line4 ,two #c-spaces together are better than an en quad and a #e-space4 ,there are usually more #c-spaces in the case1 and they are easier to distribute than the thinner spaces4 ,a good general rule is never to use two or more pieces of material where one piece will suffice4 ,tying ,up the ,page ,when the composed lines are on the galley ready for proving they must be fastened temporarily4 ,a column of type is placed on a long narrow galley in which a side-stick of wood is laid beside the lines4 ,this is held in place by pushing in a few wooden wedges or quoins4 ,the ,hempel style of metal quoins are well adapted for this purpose4 ,illustration3 ,,fig4 #ab ,starting to tie up the page ,when the composition is relatively small the lines are usually tied up with a cord4 ,this is done by winding the cord several times around the matter1 the number of turns depending upon the size of the page and the stoutness of the cord4 ,printers' supply houses call this string page cord4 ,there is no standard thickness or brand4 ,any good cotton cord can be used4 ,that which is known among twine dealers as ,seine ,no4 #ab is excellent for this purpose4 ,start the cord at the left top corner of the matter as it lies on the galley--that is1 usually at the end of the last line4 ,with the left hand hold an inch or less of the cord while the right hand winds it along the upper side1 around the head1 and down the lower side of the matter close to the rim of the galley1 then back to the starting point4 ,here the cord is crossed over the first end so as to bind it1 each turn of the cord at this point going below the preceding one4 ,at the end of the cord turn in a loop just around the corner1 pushing the cord between the types and the windings with the nib-end of the composing rule4 ,draw the loop up reasonably tight so that it will not slip out1 and leave a short end out1 to be found later when necessary to take the cord off4 ,hold the left hand on the page until the end of the cord is made fast1 to avoid any unexpected movement of the page during the operation4 ,when the page is fastened1 move it a little from the lower rim of the galley and push the cords down to the middle of the type-height1 especially if low leads1 spaces1 and quads are used in the matter4 ,when the cord is tight around the upper part of the type there is liability of the page doubling up when it is pushed off to the imposing table or the proof press4 ,illustration3 ,,fig4 #ac ,the fastened page ,if the galley has a high rim there may be some difficulty in getting the cord down over the lead at the top line and along the lower edge4 ,in this case1 when the first complete turn of the cord is made move the page carefully up on the galley so that the second and succeeding windings may come under the first one4 ,do not leave long ends of the cord hanging out1 as they are liable to get under the feet of the type and cause damage when the proof is made4 ,special care should be taken to keep the feet of the type free from dirt or lumps of any kind4 ,a good practice of many compositors1 after tying up pages that are not too large to allow it1 is to lift the page perpendicularly and hold it in the left hand while the bottom is brushed off with the right hand1 and then to wipe off the surface of the press or imposing table before laying the page down4 ,in composing rooms where a great deal of job composition is done the time spent in tying up pages is considerable1 and the work is often done carelessly4 ,each compositor should have at hand his own supply of page cords1 kept in orderly manner for instant use4 ,a ball of stout white twine every week or oftener costs much less than the time spent in a week to hunt for pieces of cords kept in no particular place4 ,an assortment of the lengths most used1 folded into little skeins and kept in the apron pocket1 will save time and trouble4 ,avoid the pieced-up1 knotted string around a page of type that is to be placed on the imposing table for locking up4 ,leave no long loose ends1 but make the fastening loop so that it can be readily found after the furniture is placed around the page4 ,stout new rubber bands of the right length may be used for tying up pages and jobs1 but they must be managed carefully1 especially in taking off1 to avoid squabbling the type4 ,they are suitable only for temporary tie-ups and should not be used if the pages are to be kept standing many days4 ,taking ,proofs ,first proofs from composed types are taken for the purpose of correcting any errors4 ,later proofs are for verifying corrections and to note whether instructions have been followed in make-up and in various other matters necessary to get the type ready for printing4 ,proofs are sometimes taken by using a proof planer and mallet1 but more commonly by means of a proof press4 ,in any of the usual methods employed it is first necessary to spread ink on the type face with an ink roller4 ,a small hand roller is used in combination with a smooth steel or stone surface on which to distribute the ink4 ,the composition of the roller should be well seasoned and the roller should be well cleaned4 ,a good grade of slow-drying black ink of the quality known as book ink is necessary for the usual work4 ,a very thin ink or a very stiff ink is not suitable4 ,the amount used should be just enough to give a clear impression of the type1 and no more4 ,this is graduated to the lightness or boldness of the face1 and also to the finish of the paper4 ,a glossy coated paper will need less ink than a machine-finish paper2 while an antique-finish paper will need much more ink than either4 ,as a general rule1 proofs are made on smooth-finish paper with a minimum quantity of moderately stiff ink4 ,illustration3 ,,fig4 #ad ,proof ,planer and ,round-head ,mallet ,illustration3 ,,fig4 #ae4 ,proof ,planer and ,mallet in use ,a proof planer is a block of wood about #h inches long by #c-a_/b inches wide and #b-a_/b inches high1 having its face covered with a piece of thick cloth or felt4 ,a planer proof must be made while the type is on the imposing stone or some other solid surface4 ,when ink has been rolled on the type a sheet of thin paper1 slightly damp1 is laid on the type and the planer is used for taking the impression4 ,the sheet should be dampened evenly all over with a sponge1 enough to be a little limp4 ,the unsponged side of the sheet is laid on the type very carefully to avoid slurring the impression4 ,the proof planer1 held in the left hand1 is placed steadily on top1 and a mallet in the right hand is used to tap the planer4 ,if the planer does not cover the whole page1 it must be lifted from one part to another until the whole surface is covered4 ,this requires some practice1 to avoid a shifting of the sheet on the type and making a double or smeared impression4 ,a firm foundation for the type and a steady blow1 graduated in force to the size of the printing surface1 are necessary for a clean impression4 ,the mallet should hit straight1 without glancing sidewise1 and the planer should be held level and steady4 ,illustration3 ,,fig4 #af ,a ,proof ,press ,the kind of type forms adapted for proving by this method are those with paragraphs of plain matter and strong faces which will not be easily battered4 ,those with large open spaces and small lines1 and those with delicate lines like scripts and kerned italic letters1 should not be proved with a planer if another method is available4 ,small groups of type standing alone1 like page numbers and small imprints1 require very careful treatment in proving1 to avoid unnecessary impression which may batter the face or break off the kerns4 ,when it becomes necessary to take proofs of fine or small types standing without surrounding support1 it is a good plan to place near the type1 on two sides if possible1 type-high blocks upon which the planer may rest while the impression is being tapped4 ,the proof planer is not the common method of taking proofs1 but is employed in places where there is no regular proof press1 and also under conditions where a proof press cannot readily be used4 ,the latter condition is in the case of a large form beyond the capacity of the proof press1 locked up on the imposing stone1 when a proof is required1 either of a part or of the whole1 for verification of some detail before sending the form to press for printing4 ,illustration3 ,,fig4 #ag ,a ,proof ,planer ,the other and more common method of taking proofs is on one or another of the several kinds of proof presses1 as described in text-book ,no4 #e of this series1 ,proof ,presses1 to which the reader is referred for a detailed consideration of the subject4 ,making ,corrections ,when a line of type has been set in the composing stick it should be read over with care1 compared with copy1 and any mistakes corrected before the line is justified4 ,a habit of doing this will make cleaner proofs and save a great deal of time and expense4 ,an error corrected at this time saves a second justification of the line4 ,if the error is an omitted word or syllable or a word inserted twice its detection will save the probable over-running of several lines or even of a whole paragraph later4 ,the lines should also be scanned before being taken from the stick to the galley4 ,a turned letter or a wrong type overlooked in the first examination may be changed by lifting the line a little until the type can be picked out and the right one put in its place4 ,illustration3 ,,fig4 #ah ,checking lines at the case ,do not try to correct a line in the stick when another line or part of a line is in front of it4 ,if a correction makes necessary a change of spaces or a re-justifying of the line1 take out all the lines in front1 then correct and justify again4 ,this allows the stick to be held in the hand and the types can be handled in the same manner as for the original setting4 ,this will be more convenient than to lay the stick on the case while re-spacing a line in the middle of a stickful4 ,the use of a bodkin or tweezers is seldom necessary for correcting in the stick or on the galley1 unless the type is very small and the measure is narrow4 ,a little care in revising the lines as they are set1 before the first proof is taken1 will result in cleaner proofs and will reduce the time for proofreading as well as for later corrections4 ,even though the lines have been carefully revised while being set1 errors of various kinds will probably be marked on the proof when it comes back from the proofreader4 ,if there are many lines and a number of serious errors the corrections are made at the case4 ,the galley is placed at one side of the case if possible1 rather than on top of the case1 with the head of the galley and the top of the lines toward the right4 ,when only one stand can be used it may be well to put the type case in the rack under the working shelf and to put the galley on the shelf4 ,this will permit free access to the case for the letters needed in correcting and will give a good resting place for the galley and composing stick4 ,the compositor stands with his right side to the galley and works with the tops of the lines toward him4 ,the composing rule with a nib is useful at this time4 ,lines in which corrections are to be made should have leads or rules beside them to help keep them from pi-ing during the operation4 ,if the lines are set solid1 leads or rules should be inserted temporarily and taken out when the correcting is finished4 ,simple errors like the exchanging of one type for another of the same width1 the turning of an inverted character1 or the transposition of letters or words1 are corrected by pressing the line at both ends to lift it up about one-third of its height and picking out the wrong types with the finger and thumb4 ,the line is then dropped in place and the right types put in4 ,a line in which there is a change of the spaces or of the justification should be lifted into a composing stick of the right measure for correction4 ,any important change in a line of type should always be made in a stick1 where accurate justification is most readily secured4 ,first place the composing stick conveniently at hand1 with its back toward the compositor4 ,insert the composing rule down at the top of the line in the galley1 press both ends of the line together1 and raise it up gently2 when it is clear of the other lines turn it so that the rule is under1 and then transfer to the stick4 ,as a rule1 lines of type should be carried in a position which keeps the types themselves horizontal1 not perpendicular4 ,in this manner they are supported by the lead or rule underneath4 ,if carried with the feet of the types down they are liable to drop out unless perfectly justified and firmly held4 ,many careless compositors persist in correcting lines on the galley in a puttering1 botchy manner which results in badly justified lines4 ,the beginner is usually inclined to do the same thing because he has not yet learned to perform with ease and safety the trick of transferring lines back and forth from the galley to the stick4 ,instead of shirking this operation because it looks difficult1 he should practice it until he can do it safely and quickly4 ,a compositor who does not justify his lines properly is rated as a careless workman4 ,if he has nothing to do with the later locking up of the forms for the foundry or the press he is prone to slight this part of his work and thus make additional duties for other workmen1 as well as increase the risk of subsequent error or accident4 ,corrections in type matter often call for the over-running of the lines2 that is1 the words must be taken from one line to another1 requiring changes in other lines beside the one in which the correction was marked4 ,this procedure takes time and is costly4 ,it means that the entire matter thus re-arranged must be revised to see that new errors have not crept in4 ,there are two ways of handling the lines for over-running4 ,when a few lines are to be thus changed lift them out one at a time and put them on an extra galley above the working galley1 standing them in sequence along the lower rim with the nicks up4 ,put the first line into the stick1 take out words or insert new ones as directed in the proof1 then take the words in order from the galley1 make any corrections called for1 re-space and justify to the end4 ,if the lines are long1 a brass rule or composing rule of the right length should be used to measure off the new lines1 and these may be taken into the stick a line at a time instead of a few words at a time4 ,another method of over-running does not require the extra galley if there is some spare room at the bottom of the matter on its own galley4 ,insert the rule at the top of the line where the over-run commences and move the matter down the galley a distance equal to the length of the lines and an inch farther4 ,take the first line into the stick4 ,then turn a half dozen or more of the following lines so that the nicks of the type are toward the lower rim of the galley1 keeping the ends of the lines against the matter farther down4 ,put a piece of #d-;em metal furniture at the other end of the turned lines to prevent letters from falling down4 ,correct the line in the stick and proceed by taking the words in order from the turned lines4 ,if more lines are to be over-run1 take them from their regular position in the galley and turn them nicks down in the same way as the first lot4 ,the spacing of over-run lines should be done as carefully as for the original setting4 ,sometimes lines too thinly or too widely spaced in the original may be improved in the re-spacing4 ,unfortunately1 much work of this kind is done in a rush and the second justification is neglected4 ,yet the difference in time taken to do good spacing and that spent on careless work is often very little4 ,hand compositors now do a great deal of correcting and page make-up on type set by machines4 ,this work is often in the nature of specialties1 yet the general rules of good spacing and justifying apply here also4 ,usually greater speed is required1 and this means more skill and oftentimes the employment of some special facilities adapted for the particular class of work in hand4 ,it is a rule that any lines of type pied during corrections and reset must have a mark around them on the revise proof to call attention to them for another reading to be sure that no new error has been made4 ,importance of ,uniform ,spacing ,the beginner will realize after he has set his first few stickfuls that the part of the operation which gives him the greatest trouble is not finding the types for the words of his copy1 but it is getting uniform spaces between the words to justify the lines4 ,to the uninitiated the words of a well-set page appear to be separated with spaces of equal thickness4 ,this is far from the fact2 it is only in rare instances that several lines in a page have spaces that are exactly alike4 ,a close examination of a page will show a great variety of white spaces between words1 although the difference may not be readily recognized by the ordinary reader4 ,in order to make the reading easy and legible the words should be spaced enough to make them quickly distinguishable at a glance4 ,in order to make it comfortable and pleasing the words should be spaced uniformly and the lines arranged orderly1 with neither undue huddling together nor unnecessary separation4 ,good typesetting means that the spacing must be approximately even and that the average space must be carefully proportioned to the style of the type face1 the distance between the lines1 and the size and shape of the page4 ,uniform spacing between the words in a line is always desirable4 ,a thin space on one side of a word and a wide space on the other is an inexcusable fault4 ,an exception is made of the space between sentences1 where the ending of one and the beginning of another occurs in the same line4 ,in this case it is customary to leave a wide space after the period4 ,lines should not be wide-spaced at one end and thin-spaced at the other4 ,absolute evenness may not be easily secured1 but an appearance of uniformity may be given by observing some of the methods described further on in these pages4 ,good spacing means also that all the lines of a composition should be spaced as nearly alike as is practicable4 ,the extremes of a wide-spaced line and a thin-spaced line in the same paragraph1 or of a wide-spaced paragraph and a thin-spaced paragraph of similar types on the same page1 should be avoided4 ,the last line of a paragraph should not be spaced wider than the average spacing in the paragraph itself4 ,many compositors have a habit of wide-spacing a line which happens to have a few words in it1 with the evident aim to make these few words fill the line as much as possible4 ,this often results in lines needlessly wide-spaced4 ,rules for ,spacing ,the standard space between words in ordinary roman lower-case type is the #c-space4 ,this thickness is commonly accepted as the average spacing required for legibility in a printed page to be held in the hand4 ,it gives comfortable legibility in sizes of type from #h-point to #ad-point4 ,smaller sizes may be spaced with an average slightly wider1 like the en quad1 while for large types to be read at close range the spacing may be less than the #c-space average4 ,wide measures1 as a rule1 require relatively wide spacing4 ,narrow measures are preferably thin-spaced1 whether the lines are leaded or solid4 ,an apparently equal spacing between all words in a line means that in some cases there must be a slight variation in the width of the actual spaces used4 ,the size and shape of the letters at the ends of words will often affect the amount of white space1 especially in the larger faces of type4 ,there are several combinations of word endings which call for spaces thinner or thicker than the average in the line in order to make all the spaces appear equal4 ,these little variations can be made while changing the spaces to justify the line4 ,they need not1 for the most part1 take any extra time1 while the resulting evenness in the spacing of the page will be noticeable4 ,good spacing without spending unnecessary time is usually a matter of following a few simple rules4 ,when necessary to use thinner spaces to get a complete word or syllable in the line1 put these thin spaces after a comma1 or between word endings like ----e w----1 ----y a----4 ,word endings like ----y ,a----1 ----w v----1 ----y u---- can be very thinly spaced if necessary4 ,on the other hand1 if a little extra space is needed to fill the line1 increase the spaces between words ending with tall letters1----d l----1 ----f b----1 etc4 ,abbreviated words and initials with the period 7,mrs4 ,rev4 ,m4,d4 ,ph4,d4 etc47 are places where thin spaces are properly used4 ,a thin space is required before colons1 semicolons1 question marks1 and exclamation marks1 when these are cast on thin bodies4 ,these points should be followed by an extra-wide space4 ,that is1 if the line is spaced with a #c-space as the average1 a semicolon should have a #e-space before it and an en quad after4 ,if the line is thin-spaced1 the spaces before and after the semicolon are reduced also4 ,in some fonts of type these punctuation marks are cast on thick bodies which furnish a slight shoulder on each side of the face of the mark4 ,in such cases the extra spaces may not be required in ordinary composition4 ,when a question mark or an exclamation mark finishes a sentence1 it should be followed by a space equal to that used after periods in other parts of the same matter4 ,the em dash usually should have a little space on each side of it1 especially if the line is spaced with #c-spaces or wider4 ,if the line is thin-spaced1 the dash also may be set close to the adjoining words4 ,whenever possible avoid putting the dash at the end of the line in paragraphs2 try to keep it within the line4 ,a short line1 consisting of a word or syllable of two or three letters only1 should be avoided at the end of a paragraph1 especially in a measure of ordinary width4 ,in a very narrow measure it may not be avoided4 ,where the other lines of the page are fairly well filled this short line will make an objectionable break in the matter4 ,if it cannot be taken back to the preceding line1 a little wider spacing of these lines will allow an additional word or syllable to be brought over to lengthen the objectionable short line4 ,it is desirable to end a paragraph with an em quad1 if this is practicable1 rather than fill the last line flush4 ,do not leave an ordinary space after the period4 ,when justifying the last line of a paragraph or a headline in which quads are used1 keep the justifying spaces next to the types4 ,do not put small pieces at the end of a quad line or scatter them between the large quads4 ,they will be easier to distribute if placed after the period4 ,hyphenated words in a widely spaced line should have a hair space on each side of a thin hyphen2 but this may not be necessary if the hyphen is cast on a thick body1 as it is in some fonts4 ,the dollar sign is set close to the whole numbers in printing amounts of money3 #be4 ,when specifying fractions of a dollar 7in tabular columns only7 put a space between the sign and the decimal3 4#be4 ,the symbols for ,english money are also placed close to the figures1 thus ,l#aj #es #b;d4 ,when justifying lines some compositors commence respacing at one end of the line and increase the spaces in order till the line is full1 regardless of the length of the words or the word endings1 repeating this line after line4 ,the result is that one side of the matter is spaced wider than the other--a most inexcusable fault4 ,if a few spaces wider than the average must be used in the line1 put these between long words or words with tall letters2 and vice versa1 if thin spaces are necessary1 put them between short words or words with small letters4 ,do not wide-space short words and leave long words in the same line with thin spaces4 ,do not1 however1 if it can be avoided1 allow wide spaces to be repeated nearly under each other1 to produce noticeable straggling white spaces or rivers up and down the page4 ,spacing of this sort is particularly objectionable for good printing4 ,an old-time rule required an em quad after a period before beginning another sentence in the line4 ,this is the practice in many places now1 but there is an objection to the unnecessary large white spot which it makes in the ordinary page of reading matter4 ,as a distinction between sentences it seems too conspicuous except in matter that is wide-leaded and wide-spaced4 ,the modern practice in good work is to reduce this space to the double #c-space or the en quad1 or even to the #c-space in small pages4 ,another unnecessarily large space in narrow measure of solid or single-leaded lines is an em quad after the period or ,roman numeral in numbered paragraphs4 ,where the period is used an en quad following it is sufficient4 ,in good composition quotation marks should not be crowded close against the words which they enclose1 unless the lines are close-spaced4 ,commas and apostrophes cast on very thin types usually need a little space between the quote-marks they form and the words they enclose1 especially if they are next to tall letters4 ,a large capital ,a or a sloping italic capital at the beginning may not need the separating space after the inverted commas1 and a period or a comma between the last word and the final quote-mark will furnish the needed separation4 ,quote-marks properly spaced4 ,these are not well spaced4 ',quotes' within 'quotes' are like this4 ,in open-spaced matter there should be a thin space between an exclamation or question mark and the final quote-mark1 thus3 ,do you wish to become a good compositor8 ,letter-spacing1 or inter-spacing1 is frequently employed in headings and in job and display composition4 ,it is rarely a good practice in ordinary lower-case composition in paragraph form4 ,in very narrow measures1 where word length or word divisions do not come right to make the lines the desired length1 the letter-spacing of a few words is sometimes resorted to in order to extend the words4 ,this should be done with care to avoid making such words conspicuous in the general appearance of the page4 ,it is better to letter-space the whole line a little rather than to put excess spacing in one unimportant word4 ,black-letter1 ,old ,english1 ,priory ,text1 ,cloister ,black1 and similar varieties should not be wide-spaced1 nor should they ever be letter-spaced4 ,the beauty of such letters1 which are now used for their decorative rather than utilitarian qualities1 depends upon the consistent1 well-balanced relation between the white and black spaces of the composition4 ,the compactness of the letter shapes makes words that are compact and unified4 ,as there are relatively close spaces between the strokes of the letters1 so there should be thin spaces between the words of the lines and between the lines4 ,wide spaces between words do not necessarily make them more legible4 ,a comparison of the two groups of lines following will show one as easy to read as the other1 while the close-spaced example is less confusing in its detail4 ,illustration3 ,example 7,black-letter73 ,these ,two ,lines ,are ,spaced ,about ,right ,these ,two ,lines ,are ,wide ,spaced ,spacing of ,italic ,a paragraph of italic type is more difficult to space evenly than the same lines in roman letters4 ,usually the average spacing may be about the same as the companion face of roman2 but more frequently than in roman types the spaces in a line may need to be of unequal thickness in order to give a uniform appearance to the spacing4 ,overhanging letters are frequent and when these come at the beginning or end of words they require a little more space than is used for words ending or beginning with small letters4 ,word pairs with letters like --f p-- and --l h-- will in most cases need wider spaces than are used between pairs like --e w-- and --s ,a--4 ,some italic capitals have extra shoulder-space on the left of the face1 like ,t1 ,w1 ,v1 which should be allowed for by thin spacing when they follow small lower-case letters4 ,this extra shoulder is made on letters of this kind to protect the overhanging kern of an adjoining letter when words are set in capitals4 ,where an italic f1 j1 or other kerned letter comes at the beginning or end of a line a thin space should be placed outside of it to keep it from projecting beyond the side of the page1 where it is easily broken off4 ,this is important if the matter is to be moulded for electrotyping4 ,on account of the frequency of overhanging letters italic types require very careful handling during composition1 correcting1 and locking up4 ,if the kerns over-ride an adjoining type or are subjected to a slight blow of any kind they are easily broken off4 ,spacing ,capital ,letters ,words in capitals need wider spacing than those in lower-case of the same size4 ,capitals occupy more space on the type body than small letters and consequently they need a little more openness between the words and between the lines to give them a proportionate relief of white space for legibility4 ,roman capitals of the standard faces are often sufficiently spaced with the en quad if the words are short4 ,long words in a headline may need double #c-spaces1 while lines of round open capitals in an open area may need the em quad4 ,a simple rule to follow is to space wide letters with wide spaces1 and thin or condensed letters with narrow spaces4 ,this may be put another way by saying that the spacing should approximate the average width of the letters used1 taking an entire alphabet as the basis4 ,thus1 if the alphabet of capitals measures #ah ems1 the average width of the letters would be #ah_/bfths1 or approximately #b_/c of the em4 ,like all rules1 this is subject to modifications in special cases4 ,the shapes of the letters which end and begin the words may make it desirable to increase or decrease the spaces in some places4 ,word endings like --,l ,t-- and --,y ,a-- should have a little thinner space than is used between those ending and beginning with full-bodied upright letters like --,m ,r--4 ,illustration3 ,example3 ,,very ,,aged ,,bottom ,,rim ,in small types the inequalities in white space around letters of different shapes may not be readily seen1 but in large sizes these differences increase in noticeable degree4 ,a careful compositor will select his spaces to equalize these little differences and thus avoid the numerous inconsistent defects sure to result from mere mechanical justification of the lines4 ,combinations of capitals like the following example show distinctly uneven white spaces between the letters of the word4 ,these should be equalized wherever possible by the use of thin leads or cards between the close-fitted letters4 ,illustration3 ,example 7before and after spacing73 ,,vainly ,,attempted ,,vainly ,,attempted ,this differential spacing will also be desirable in a line having abbreviations or initials4 ,the following example spaced with en quads in every place shows an excess of white between the initials because of the presence of the periods4 ,illustration3 ,example 7before and after spacing73 ,,hon4 ,,john ,l4 ,,smith ,,mark ,,harris1 ,d4 ,d4 ,s4 ,,hon4 ,,john ,l4 ,,smith ,,mark ,,harris1 ,d4 ,d4 ,s4 ,a thinner space between the initials gives uniform spacing through the line4 ,large initials used in groups1 as in college degrees and military titles1 are often set close together with simply the period for separation4 ,this style is preferred in any close-spaced matter2 though for more open matter a thin space may be used after the periods4 ,two or more lines of capitals of the same size should be spaced as nearly alike as possible4 ,the disproportionate spacing of the following three lines is sometimes seen1 but is not pleasing3 ,illustration3 ,example3 ,a ,,primer ,,of ,,information ,,about ,,working ,,at ,,the ,,case ,,and ,,setting ,,type ,,by ,,hand ,lines of small capitals of normal size are often sufficiently spaced with the #c-space and slightly wider when in paragraph form4 ,when used in headings and open-leaded matter en-quad spacing is required4 ,illustration3 ,examples3 ,,lines ,,of ,,small ,,capitals ,,of ,,normal ,,size ,,are ,,often ,,properly ,,spaced ,,with ,,one ,,three-,,to-,,em ,,space ,,when ,,in ,,paragraph ,,form4 ,,in ,,headings ,,and ,,open ,,matter1 ,,en-,,quad ,,spacing ,,is ,,required4 ,,extended ,,or ,,wide-,,faced ,,letters ,,need ,,wider ,,spaces ,,than ,,condensed ,,or ,,thin- ,,faced ,,letters1 ,,as ,,shown ,,in ,,these ,,lines ,type of ,condensed ,shape should1 in all ordinary conditions1 be thin spaced4 ,to select thin letters and then to wide space them is hardly logical4 ,,spacing ,,of ,,this ,,kind ,,is ,,objectionable4 ,wide ,spacing ,letters and words huddled together so that they are not readily recognized at a glance do not make easy reading4 ,on the other hand1 very wide spacing does not necessarily result in a proportionate increase of legibility2 it may even produce results as confusing as very thin spacing4 ,illustration3 ,example3 ,,light-,,faced ,,gothic ,,thin-,,spaced ,,is ,,confusing ,,to ,,the ,,eye ,,of ,,the ,,average ,,man ,,or ,,woman ,a general rule affecting wide spacing is that the average distance between the words in the line should be less than the distance between the lines themselves4 ,notice in the above example how the words group themselves up and down the page rather than in order along the line for the eye to follow4 ,note also how wide spaces between the words form distinct1 irregular streaks up and down the page to lead the eye away from its course along a single line at a time4 ,illustration3 ,example3 ,,wide ,,spacing ,,for ,,easy ,,reading ,,has ,,little ,,advantage ,,unless ,,the ,,lines ,,are ,,leaded ,,out ,wide spacing for easy reading has little advantage unless the lines are leaded out in equal proportion4 ,double-leaded lines are well spaced with an average of an en quad4 ,when this is used the limit of space would be the double #c-space1 while the thin space would be the single #c-space4 ,an average spacing wider than the en quad is rarely ever necessary in roman lower-case matter even if the lines are separated with more than the double leads4 ,the only excuse for the wider spacing is the necessity for making words and syllables fill the line4 ,in some kinds of composition wide spacing and wide leading are desirable4 ,wide measures and ample white space up and down the page naturally call for open spacing of type lines4 ,large advertisements1 wall cards1 placards1 and other forms intended to be read at a distance farther away than the book or magazine in the hand1 are properly wide-spaced and wide-leaded4 ,extremes in openness1 however1 are not safe to follow4 ,a study of the work of the leading designers in typography will show a compact grouping of both words and lines which gives unity and orderliness with ample readability4 ,in contrast with this the disconnected1 patchy1 scattered effects shown in commonplace type composition will prove that habitual wide-spacing is often unnecessary4 ,paragraph and ,other ,indentions ,there are several styles of indention employed in type composition4 ,these are known as 7#a7 regular paragraph1 7#b7 hanging indention1 7#c7 half-diamond indention or inverted pyramid indention1 with its variation of lozenge-shape formation1 7#d7 squared indention1 and 7#e7 diagonal indention4 ,hanging indention is where the first line of a paragraph begins flush and the second and succeeding lines are indented1 as in this paragraph4 ,it is a common form in catalogs1 tabular work1 and also in poetry4 ,half-diamond indention is when successive lines are indented at both ends1 each one being shorter than the preceding line1 as shown in this paragraph4 ,it is commonly used for title pages and display matter4 ,,indentions ,,which ,,make ,,the ,,lozenge-,,shaped ,,panel ,,are ,,often ,,used ,,for ,,titles ,,and ,,bits ,,of ,,dis- ,,play ,it is often advisable to indent lines at both ends1 to make several short lines instead of one or two long lines4 ,in cases of this kind the first line is not indented more than the others1 as shown in this paragraph4 ,squared indention is used for short paragraphs in advertising matter1 bits of minor display1 and miscellaneous composition4 ,diagonal indention is when the lines of type are so arranged that they follow after each other diagonally in this style4 ,another manner of indenting lines1 somewhat rare in this country but common in ,europe1 is termed ,french motto indention4 ,this is usually made with small types1 the paragraph being set in squared-up fashion at the right side of the page1 within the measure4 ,an indention should be enough to indicate the paragraph clearly1 yet not be so wide as to make it a conspicuous white spot on the page4 ,its purpose is to show the reader a change of subject or a minor subdivision of the matter4 ,the amount of indention necessary to attain this will vary in different forms of composition1 and therefore only general rules can be given4 ,the usual indention of paragraphs in plain reading matter is an em quad at the beginning of the first line4 ,if the lines are more than average length the indention may be increased to one and a half ems1 two ems1 or more4 ,indentions of over two ems1 however1 are seldom allowable in ordinary reading matter like books and periodicals4 ,wide indentions should not be made in narrow measures2 nor should indistinct1 insignificant indentions be made in broad measures4 ,paragraphs set in #aj-point or #ab-point type in measures from #ae to #bj picas wide are sufficiently indented by the em quad1 while #f-point type in the same measure should be indented with a two-em quad4 ,wide-leaded1 open matter will call for a little more paragraph indention1 as a rule1 than is given to thin-spaced solid-line paragraphs4 ,in pamphlets1 circulars1 advertisements1 and job work1 where wide leading and broken lines of a miscellaneous character are frequent1 paragraph indentions may be wider than in book pages4 ,on the other hand1 in composition of this kind where other means of showing the commencement of a subject are used1 indentions are omitted and the paragraphs begun flush at the margin4 ,the indention of paragraphs should be uniform throughout any single book or job4 ,it is rare that more than two different widths of indention are needed to give a clear idea of the classification of any group of subjects4 ,a variety of indentions on the same page is confusing and often spoils the orderly arrangement of the matter which the copy writer sought to obtain4 ,even where there are several sizes of type on the page1 if the paragraphs are the same width1 the indentions should be alike4 ,a common defect that is made conspicuous when wide indentions are made in paragraphs following each other is the occurrence of a single short word or syllable in the last line of a paragraph1 as shown in this example3 ,every printer's apprentice should carefully read and study these simple rules for the indention and spacing of type4 ,he should study all the books of this series4 ,this constitutes a bad break and should be avoided either by thin-spacing the last two or three lines of the paragraph to take the short word back and save the line1 or by over-running the lines with wider spaces to bring more words to the last line4 ,the choice of these expedients will depend upon the openness or closeness of the composition1 in many cases upon the make-up of the page4 ,if a line can be saved1 take the solitary word back2 if the line is needed1 space out the preceding lines1 provided it may be done without making bad spacing4 ,setting ,poetry ,the indention of lines of poetry is sometimes a puzzling matter for the inexperienced compositor1 unless he is given printed copy or carefully prepared manuscript in which the line indentions are clearly indicated4 ,there are few rules which govern the subject and these few are sometimes ignored in practice4 ,if the composing stick will accommodate each line of verse in a line of type the composition will be much simplified4 ,the first consideration will be to indent the lines so that the general body of the poem is approximately near the middle of the page or column4 ,when the lines vary in length a great deal some calculation is needed to get the right indention without going over them the second time4 ,the longest line should be set first and the indention of the others made to accord with this4 ,in this case some lines will be set a little at the left of the page4 ,indention of poetry is made with even em quads of the type used4 ,the variations in indention are also graduated by ems2 usually one em1 but sometimes two1 three1 or more1 according to the relative length of lines4 ,the odd spaces needed for justifying are put after the last word in the line4 ,as a rule1 lines which rhyme with each other are indented alike4 ,pick and click ,goes the type in the stick1 ,as the printer stands at his case2 ,his eyes glance quick and his fingers pick ,the type at a rapid pace4 ,one of the commonest forms of verse is that in which the alternating lines or the second and fourth lines rhyme4 ,in this case the second line of each pair is indented one em beyond the first4 ,if the lines are long and the type small the indention may be two ems4 7,rhyme of first and third1 second and fourth lines47 ,when ,freedom from her mountain height ,unfurled her standard to the air1 ,she tore the azure robe of night ,and set the stars of glory there4 7,rhyme of second and fourth lines47 ,there is no wrath in the stars1 ,they do not rage in the sky2 ,i look from the ,evil ,wood ,and find myself wondering why4 ,in many cases1 however1 rhymes like those above are set without varying the indention4 ,when the rhyme follows at certain intervals1 the rhyming lines are indented alike3 ,my country1 'tis of thee1 ,sweet land of liberty1 ,of thee ,i sing2 ,land where my fathers died1 ,land of the ,pilgrims' pride1 ,from ev'ry mountain side ,let freedom ring4 ,in blank verse the indention of lines is uniform1 the only consideration being to indent the lines so that the general group will be somewhere near the middle of the page4 ,who draws a line and satisfies his soul1 ,making it crooked where it should be straight8 ,an idiot with an oyster shell may draw ,his lines along the sand1 all wavering1 ,fixing no point1 or pathway to a point4 ,an idiot once removed may choose his line1 ,struggle1 and be content2 but1 ,god be praised6 ,antonio ,stradivari has an eye ,that winces at false work and loves the true1 ,with hand and arm that play upon the tool1 ,as willingly as any singing bird ,sets him to sing his morning roundelay1 ,because he likes to sing and likes the song4 ,a uniform indention is also given to poems in which the rhyme is in two adjoining lines4 ,he spoke of the grass and flowers and trees1 ,of the singing birds and the humming bees2 ,then talked of the haying1 and wondered whether ,the cloud in the ,west would bring foul weather4 ,when a line is too long to come into the page width the surplus words are turned over to the next line2 to avoid confusion this turn-over is indented differently from the beginning of a regular line commencing with a capital4 ,gallop and sing1 gallop and sing6 ,with the open road before1 ,and my good horse laying his hoofs to the ground ,as ,i ride by the shouting shore4 ,if the compositor is given any discretion in setting poetry1 care should be taken to regulate the length of line and the indentions so that lines will not turn over into extra lines unnecessarily2 yet1 when the measure is narrow it is better to turn over an occasional long line rather than to place the whole poem out of the center4 ,headings ,the usual heading1 termed a center head1 is set in the middle of the line4 ,it may be in capitals of the text or in a larger size4 ,if capitals and lower-case are used the size should be several sizes larger1 or the face should be bolder4 ,in any case a main heading should be a little more prominent than a line of the text4 ,illustration3 ,,typesetting ,a sub-heading is a secondary heading and may be in the center of the measure or a side heading at the beginning of the line4 ,in the latter place it may be in a line by itself1 set flush1 in italic1 in caps4 and small caps41 or in small bold face2 or it may be set in the first line of the paragraph1 with the regular indention4 ,illustration3 ,a ,,primer ,,of ,,information ,a cut-in head is set in a panel1 with or without rule1 after the second or third line of the first paragraph4 ,a running head is at the top of each page of a book or other work of a number of pages4 ,in books and pamphlets the page number is usually at the outside end of the running-head line4 ,box headings are enclosed in rules at the top of columns in tabular matter4 ,in modern practice no punctuation is placed at the end of headings1 except the question and quotation marks when these are required4 ,in a heading of two or more lines where a comma or semicolon comes naturally at the end of the first or second line1 its omission may change or confuse the sense of the phrase4 ,in such cases it should be used1 even if the period is left off the end of the heading4 ,for additional comment on headings and punctuation see other title of this series3 ,book ,composition 7,no4 #bj72 also ,punctuation 7,no4 #cc7 and ,capitals 7,no4 #cd71 etc4 ,initial ,letters ,an initial at the beginning of a chapter or other text requires nicety of spacing and justification4 ,in modern practice the use of initials is often overdone1 being used in many cases where they might better be omitted4 ,before the invention of typography1 and since1 the initial letter has been considered the feature of a page that could be used for decorative purposes4 ,early manuscripts show many elaborate1 beautifully colored initials done by artists and illuminators4 ,it was the custom of early printers to leave blank spaces in their printed pages for initials to be drawn in later4 ,in some cases a small letter was printed in the middle of a large space as a guide to the artist4 ,these small letters would be covered by the larger letter1 but sometimes they were left as printed and the decoration drawn around them to fill the space4 ,later the ornamental initials were cut on wood or cast in metal and printed with the text4 ,as an initial is usually a prominent spot on a page its selection should be a matter of care4 ,a plain letter of a style of face similar to the text is always a safe choice2 an old-style letter for a text set in oldstyle roman1 or a modern-cut ,bodoni for ,bodoni text4 ,if the text is in italic an italic initial is more suitable than an upright letter4 ,extremely bold initials are not suitable for small types or light-faced text matter4 ,the size of an initial should be considered in relation to the size of the page and the size of the type used4 ,in small pages of type of #aj-point or smaller1 a two-line letter will often be large enough2 while a large page will require a large initial4 ,if the initial is an ornamental letter it should be of a similar style of ornament to a head-piece or other decoration that may be on the page4 ,two different styles of initials or other decorative features of a page should be avoided4 ,in setting an initial into the beginning of a paragraph the letter is placed in the stick and the first line of text set after it4 ,the letters of the first word are set in capitals usually1 unless the first word is very long and the line of capitals is too prominent1 when small capitals may be used4 ,if the first word contains two or three letters only the next word is also set in capitals4 ,the top of the initial should be even with the top of the first line of the text4 ,if the initial has more shoulder than the body type1 which is usually the case1 a lead or more may be needed at the top of the first line4 ,this should be properly lined up in the stick4 ,the spacing between the initial and the text depends upon the particular letter of the alphabet used1 if a plain letter1 or upon the decoration around the initial4 ,the other letters of the first word are kept close to the initial1 but the beginning of the second and succeeding lines are separated from it a little4 ,in this way the initial has a closer relation to the word to which it belongs4 ,the space at the right of the initial1 between it and the text1 should be apparently equal to that below it4 ,it should not be extra wide in either place1 or it will give the initial a detached appearance4 ,to avoid this extra wide space it may be necessary to trim off some of the shoulder from the type1 especially below the face4 ,the proper size for an initial-letter should be equal to the number of text lines which it covers4 ,this is not always practicable when miscellaneous types are selected from other fonts4 ,if they are to be put back in their fonts after use as initials they may not be trimmed to odd sizes of body2 nor should they ever be trimmed so without express permission of the foreman4 ,for the usual work it is possible to use an initial that is a multiple of the text size with or without leads4 ,an #ah-point letter may be used for two-line initial in an #h-point text with #b-point leads2 or a #bd-point letter in leaded #aj-point text4 ,the width of initials is very likely to make text lines after them of odd length rather than even picas or nonpareils4 ,if the text is solid1 this odd length of line is easily justified to the measure2 but in case leads are used and even-pica leads do not fit it may be necessary to cut a few special odd-length leads to fit the lines4 ,first1 however1 after the top line has been justified1 put a few leads of even picas in the stick and try a short lead or two up and down beside the initial to fill in to the even-pica leads4 ,if these extra vertical leads do not leave too much space around the initial they will do to take up the odd measure4 ,sometimes a thin space of a size two points larger than the text may be used4 ,making ,up ,pages ,make-up is the term describing the various operations of dividing composed matter into pages of uniform length1 adding the headings1 page numbers 7folios71 inserting small engravings1 and otherwise preparing the pages for locking up in a chase for the press or the electrotype foundry4 ,newspaper pages and other large page forms of two or more columns are customarily made up on the stone or a similar flat surface in a special chase1 with side-sticks and lock-up fitted for the form4 ,pages for books1 catalogs1 and other small and medium sizes are made up on a broad galley placed on the inclined top of the compositor's stand or cabinet4 ,the compositor who does this work regularly has the working top of his stand fitted with material and conveniences which should help him to do the work without waste of time4 ,there are several styles of make-up cabinets furnished by dealers in printers' goods4 ,these are designed with the object of keeping near the workman a supply of leads1 rules1 furniture1 and other articles frequently used1 so that he may save steps and minutes in doing his work4 ,it is important that the make-up galley should set firmly and that the bottom should not sag4 ,if it is liable to move at a slight touch1 or the bottom is uneven1 the type lines will fall down easily1 thereby adding to the care and time needed for the work4 ,illustration3 ,,fig4 #ai ,the ,make-up ,galley ,the galley is laid with its closed end or head at the right hand4 ,a strip should be nailed on the shelf at the right to act as a stop to hold the galley in place while working on it1 especially to prevent it from moving when the lines are pushed up to test the length of the page4 ,the make-up compositor works with his right side inclined toward the stand1 as when making corrections on the galley4 ,the galley should not be so high as to be uncomfortable for the right arm1 which must be held over it while working on the pages4 ,the common practice in making up is to handle the pages sideways1 with the top toward the right hand1 so that the sequence of lines follows to the left down the galley4 ,in this way the beginning of each line rests against the lower galley rim1 and by the use of leads or rules one or any number of lines can be taken out or moved back and forth on the galley with safety4 ,some job compositors handle small forms with the top line along the lower rim of the galley4 ,this method may suffice with a few lines of large type1 but it is not recommended4 ,it is not practicable for pages of many lines or for lines without leads4 ,the galley matter should be corrected and revised before making up begins4 ,this is important in a work of a number of pages1 as any considerable changes after the pages are tied up usually require extra labor4 ,if the revise proofs show only a few corrections1 these may be made in advance1 a galley or more at a time1 by the make-up hand4 ,the justification of the lines requires particular attention1 and all faulty lines should be re-justified4 ,if there are many lines requiring extra time for rectifying the fact should be reported to the foreman or the compositor at fault4 ,badly justified lines should not be passed over and allowed to go to the imposing stone1 in the expectation that they may be rectified when the locking up is done4 ,all justifying should be done and all corrections made as far as possible while the matter is on the galley4 ,when there is enough composition for a number of pages a gage should be made to measure the exact length of the pages4 ,for a few pages1 like a circular or a program1 an ordinary pica measure may be used1 the length being defined as a given number of picas or lines4 ,if there are to be a number of pages1 a page gage should be made from a strip of reglet or brass rule4 ,the gage should include the length of a full page1 over all1 from the top of the running head down to the foot slug4 ,it may be marked on its upper edge to show the depth of the running head and any other uniform division to be repeated on several pages4 ,for book pages set in one size of type the length should be determined by even lines of the type used and the running head4 ,no extra leads should be put here and there between the lines or paragraphs of a regular text page2 these are used only in broken pages1 above and below headings1 engravings1 or in separating extracts1 foot notes1 etc4 ,if the pages contain several sizes of type the gage should indicate the exact length of the printed face1 as different sizes of type have different amounts of shoulder below the face4 ,for example1 a page set in #ab-point type would have a pica slug below the last line2 if the next page contained a foot note set in #h-point1 with the pica slug below1 and both pages were exactly the same length1 the face of the #h-point note would be a point below the face of the #ab-point line on the first page4 ,in this case a #a-point lead should be taken from above the #h-point note and put between the note and the foot slug4 ,for a book1 periodical1 or other work that is to be made up frequently from time to time there should be a durable steel or brass page gage1 carefully marked for depth of running head1 chapter sinkage1 drop folio1 or any other feature to be kept in uniform position4 ,galley matter to be made up into pages of a uniform number of lines should be first marked off with slips of card or slugs at the places where the matter breaks into pages4 ,this is done with the page gage1 making allowance for running heads and other features not yet in the matter4 ,if the division comes badly at some places a change of a line more or less at some preceding page and a shifting of the dividing place will eliminate the awkward break4 ,it may happen in the first casting off that a sub-head comes at the bottom of a page1 or the last short line of a paragraph comes at the top of a page1 or the pages divide in the middle of a short table4 ,these objectionable divisions may usually be overcome by a change in the starting at the first page1 taking a line or two from the second page1 and so on to the third and succeeding pages2 or1 on the other hand1 adding a line or two to the succeeding page4 ,sometimes an extra line may be made by over-running two or three lines at the end of a paragraph2 or1 if a line less is desirable1 a short line at the end of a paragraph may be saved by a little thinner spacing of a few preceding lines4 ,a few moments spent in casting off the matter on two or three galleys ahead of the actual making up will save a great deal of time later in case a bad division makes necessary a little change in pages already completed4 ,rules regarding the make-up of book pages must be general for the most part1 as many things depend upon the character of the work and the conditions under which it is done4 ,in certain kinds of fine work there are some careful details which can be overlooked in ordinary work that must be done hurriedly and economically4 ,yet many desirable details of good workmanship may be followed without extra expenditure of time or material if the compositor and make-up hand understand how to do them properly in the first place4 ,a great part of the time and expense devoted to preparing composed type for printing is due to the necessity for going over the pages to correct important matters which could as well have been done right in the first place if it were not for carelessness or lack of knowledge4 ,the desirable division in a chapter or other composition of plain matter is in the middle of a paragraph of four or preferably more than four lines4 ,there should be at least two lines of a paragraph together on a page4 ,there will thus be a full line at the bottom of one page and another full line at the top of the next4 ,there are many cases1 of course1 where the natural division of pages will come between paragraphs4 ,an old-time rule tried to avoid this because of the liability of losing the connection in reading from page to page2 but with pages plainly numbered and with consistent running heads this rule has little value4 ,the objection to ending a page with the end of a paragraph may often be caused by the presence of a very short line which gives a broken outline to an otherwise symmetrical page4 ,the last line of a paragraph should not be put at the top of a page or a column4 ,this rule may be modified in ordinary work if the last line is full length and its presence at the top of the page will avoid some other objectionable feature4 ,the first line of a paragraph should not be left at the bottom of a page1 especially if there is a short line ending the paragraph immediately above4 ,if there is no other way of following the two preceding rules1 make two facing pages a line shorter than the regular length by carrying the lines backward or forward4 ,a short word divided by a hyphen at the end of a line should not be divided between two pages4 ,a little respacing of the bottom line of one page and the top line of the next will usually overcome a division of this sort4 ,in book work1 the first page of the preface1 introduction1 table of contents1 and of each chapter should be sunk uniformly about one-sixth of the distance down from the top of a full-length page4 ,this space may be varied in different books according to choice1 but the sinkage should be the same throughout any one book4 ,these pages are always on the first side of a leaf4 ,if they make only one page each1 the back of the leaf is left blank4 ,the style of the running head is usually specified in instructions for the work4 ,the wording may be either 7a7 the title of the book on all full pages1 7b7 the title of the book on the left-hand pages and the chapter subject on the right-hand pages1 7c7 the title of a new subject which begins1 with or without a sub-head1 in the text below4 ,the latter style is desirable in a book of many pages because the running heads1 carefully phrased1 serve as a running index of the contents of a book4 ,first pages of chapters with sunken heads do not have running heads4 ,the page number or folio is in the end of the running head line1 the odd numbers at the right and the even numbers at the left4 ,the folio of the first page of a chapter 7which has no running head7 is put at the bottom of the page in the center1 where it is termed a drop folio4 ,this drop folio should not be included in the regular length of the page1 but put in the lower margin a lead or two below the text1 and set in figures of a type smaller than the text of the page4 ,the space between the running head and the text matter should be equal to a full line of quads4 ,this is an average for plain book pages which may be varied according to the leading of the page4 ,the running head should not appear disconnected from the page itself1 nor on the other hand should it be crowded on the top line of the text1 especially if there are likely to be wide gaps between paragraphs or around sub-heads4 ,a headline or sub-head and one line of text should not be left at the bottom of a page4 ,if it is not possible to get three lines of the paragraph at the bottom of the page1 let the page go short and call attention to the irregularity4 ,a sub-head immediately under the running head is a combination to be avoided if possible1 especially if the same kind of type is used for both1 as is often the case4 ,two or three lone lines should not be left for the last page of a chapter4 ,try to allow enough for a quarter of a page or more4 ,washing ,type ,clean printing can not be done from dirty type4 ,for this reason1 as well as for greater ease and cleanliness in handling1 it is important that type 7which has to be used over and over again7 should be washed as clean as possible after use4 ,ink should not be allowed to dry hard on a form1 as it will if left over night or over an idle day4 ,the type face should be cleaned after taking proofs4 ,it should show a clean face while corrections are being made1 and also when it goes to press or to the moulding room4 ,type should not be distributed back into the case until it is well cleaned after use4 ,benzine is now very generally used to wash ink from type1 electrotypes1 and other printing plates4 ,when it can be obtained in good quality it is a convenient washing fluid for printers' use4 ,it loosens up dry ink quickly1 evaporates in a few moments1 and leaves the surface dry4 ,benzine and other type washes are often used with a brush1 but this is not a good practice4 ,the brush cleans the ink off the face of the type1 but does not carry off the ink1 which is left to dry again down in the hollow parts of the form and around the shoulder of the types where the fluid has washed it4 ,a brush soon becomes foul after repeated use2 it cannot be easily cleaned2 it is usually retained in this condition and while it rubs off the face it leaves greater foulness than it can take away4 ,a soft rag rolled into a pad with a little benzine poured on its surface will loosen the ink and take it off the type clean4 ,when the pad gets inky turn another part of the rag out to give a clean wiping surface4 ,when the rag gets dirty enough to soil the hands throw it in the waste can and get a clean one4 ,quite often1 after the ink has been wiped off with a rag1 a fairly stiff1 fine brush is needed to clean out dried ink and dirt that has accumulated in small places like the counters of the letters and the screens of halftone plates4 ,gasoline is a tolerable substitute for benzine when the latter cannot be obtained4 ,it is not so satisfactory1 however1 because of the greasiness which it leaves on the surface after evaporation4 ,if the form is to be re-inked immediately after cleaning this greasiness must be removed in order to ink up again for a sharp1 clear impression4 ,kerosene may be used for washing off ink1 but it also leaves a disagreeable greasy surface1 even more than gasoline does4 ,for this reason it is not satisfactory for frequent washing of type or printing forms1 though it is a good wash for inking rollers4 ,a weak lye1 made from dissolved potash1 was formerly used extensively for washing type forms and inking rollers1 but its use has been superseded by the safer1 cleaner1 more convenient benzine or gasoline4 ,it is excellent1 however1 for washing type forms occasionally1 as after a long run on the press or after electrotype moulding1 to clean off the accumulation of dried ink or of moulder's wax and blacklead4 ,for cleaning with lye the form should be stripped of all wooden material like reglets1 wood-base plates1 and anything that is liable to be injured by the washing4 ,the type should be placed on a board and set in the sink4 ,the washing is done with a medium stiff brush1 care being taken not to allow the hands to get wet with the lye1 as the solution will burn and discolor the skin4 ,after a thorough but not hard rubbing1 the lye is rinsed off with running water until it has all disappeared4 ,if the type is still a little greasy to the touch after rinsing there is still some lye to be cleared off by further rinsing4 ,caustic soda may be dissolved and diluted to the right strength and used in the same manner as potash lye4 ,distributing ,type ,the distribution of type and other material into the proper cases after use is too often improperly done4 ,it is important1 if work is to be done without waste of time1 that the necessary materials should be where they can be found quickly4 ,a cleanly distributed case of type is necessary to good typesetting4 ,a beginner should go at the work carefully4 ,there are several matters1 as well as the lay of the case1 with which he should become familiar4 ,if he is not perfectly familiar with every box he should have a diagram of the case before him as a guide4 ,he should take only one line at a time in his hand1 at the start1 and only two or three types at a time between his thumb and forefinger to drop in the boxes4 ,later1 when he acquires facility1 he can take up a number of lines and take off complete words to distribute4 ,illustration3 ,,fig4 #bj ,holding type in the hand for distributing ,the type line is placed in the left hand1 well down in the palm--not upon the ends of the thumb and finger4 ,the nicks of the type should be upwards and the face toward him4 ,all words should be carefully spelled1 especially unfamiliar ones1 before taking them from the line4 ,in this way the learner will note the b's and d's1 p's and q's1 u's and n's1 ,a's and ,v's4 ,these letters are liable to be confusing at first1 until one gets used to the inverted appearance of the types4 ,the distributer must also note the slight difference in the capital ,i and lower-case l1 in the size of small capitals and lower-case letters1 and to distinguish between the o1 s1 w1 v1 x1 z of the two sets of alphabets4 ,in some fonts the difference is so slight that experienced compositors may not always be sure to distinguish them1 while other fonts have these six small capitals marked with an extra nick4 ,as a rule1 the small capitals are larger and slightly thicker than the round lower-case letters4 ,fonts of old style figures have the figure #a so near like the small capital ,i that the difference can only be noted by the thickness of the body2 the figure is on an en set and the small capital a little thinner4 ,the lower-case o and the old style cypher #j are also easily confused4 ,the cypher is usually rounder than the lower-case letter4 ,the types should be dropped sidewise1 with the face slightly upward1 the forefinger and second finger gently pushing the types apart as each is dropped from the thumb and forefinger4 ,drop the type in its place lightly1 spelling the letters as they are dropped4 ,if the type is large1 lay it in2 do not throw it in face down4 ,the eye should follow the hand until it drops in the right box4 ,special characters in the matter should be saved aside until the matter is all distributed and then put where they belong4 ,but do not put them in the corner of a box and promise to care for them later4 ,types put out of sight this way are usually forgotten4 ,a small wooden galley or shallow box kept in plain sight above the case is the best way to care temporarily for extra characters1 italics1 and types that belong in another case4 ,one of the most annoying things in a composing room is the distribution of type into a case where it does not belong4 ,this happens through carelessness which should not be tolerated4 ,to the beginner a constant warning should be held up3 ,look sharp6 ,do not guess6 ,examine the nick as well as the face4 ,do not be misled by a general appearance of similarity4 ,if there is any doubt about the types being returned to the case where they belong1 take a letter or two from the case and place it beside a similar letter in the hand for close comparison4 ,the distribution of advertisements and job work in which there are several sizes and faces of type calls for extra care and a little system in sorting out the lines before distribution4 ,first select all the lines of each kind on the galley1 beginning with the large sizes1 bringing all the lines of one kind together for distribution at one time4 ,this will save extra steps1 save time1 and give fewer chances for distributing into the wrong case4 ,if there is much type to distribute1 take it to the case in a small galley1 such as a distributing galley or a typefoundry paging galley2 or bring the case to the stand where the work can be done conveniently and correctly4 ,do not stoop down in a dark corner1 or reach up to a case above the level of the eyes1 and distribute at a guess4 ,distribute the different thicknesses of spaces in the boxes where they belong4 ,this should be the rule in all sizes under #bd-point4 ,the #c-spaces1 #d-spaces1 #e-spaces1 and hair spaces should be kept separate1 so that they will not have to be sorted out when composition is done4 ,pied type in any amount should not be distributed from the hand4 ,set the letters in line in a composing stick1 with nicks all one way1 and then distribute them in the usual way4 ,if there are several sizes1 pick out the large ones first4 ,if there is only a little type in the case before beginning distribution1 this is a good time to clean out the boxes4 ,clean out the space and quad boxes1 sort out the few spaces there may be1 pick out any bits of card1 paper1 string1 leads1 broken type1 etc4 ,if the boxes are dusty1 blow them out with bellows or air pump1 taking the case to a place where the dust will be carried off and not go into the air to be inhaled4 ,neither before nor after distributing is it necessary to shake the type case violently4 ,rattling the type around in the case usually injures the face4 ,a gentle shake or two will be sufficient to spread out the few remaining types in a nearly empty case or to settle down the types in a full case4 ,thin leads and pieces of card or paper used in letter-spacing and justification should not as a rule be left in the cases4 ,if they are worth saving and are likely to be used again they may be kept in a spare box by themselves1 not with some other spaces4 ,small types in solid or leaded paragraphs are easier distributed if they have been sponged with water a little time beforehand4 ,if the types are loose and dry1 the water will hold them together slightly when handled4 ,if the matter has been standing for some time after washing and has become caked or stuck together1 it may have to be loosened up by a thorough dampening which will get in between the types4 ,new type is liable to become caked together after standing and will need some soapy water to make it distributable4 ,,supplementary ,,reading ,,correct ,,composition4 ,by ,theodore ,l4 ,de,vinne4 ,published by ,oswald ,publishing ,co41 ,new ,york4 ,,printing ,,for ,,school ,,and ,,shop4 ,by ,f4 ,s4 ,henry4 ,published by ,john ,wiley ,sons1 ,inc41 ,new ,york4 ,,type ,,spacing4 ,by ,e4 ,r4 ,currier4 ,published by ,bowles1 ,new ,york4 ,,suggestions ,,to ,,students ,,and ,,instructors ,the following questions1 based on the contents of this pamphlet1 are intended to serve 7#a7 as a guide to the study of the text1 7#b7 as an aid to the student in putting the information contained into definite statements without actually memorizing the text1 7#c7 as a means of securing from the student a reproduction of the information in his own words4 ,a careful following of the questions by the reader will insure full acquaintance with every part of the text1 avoiding the accidental omission of what might be of value4 ,these primers are so condensed that nothing should be omitted4 ,in teaching from these books it is very important that these questions and such others as may occur to the teacher should be made the basis of frequent written work1 and of final examinations4 ,the importance of written work cannot be overstated4 ,it not only assures knowledge of material1 but the power to express that knowledge correctly and in good from4 ,if this written work can be submitted to the teacher in printed form it will be doubly useful4 ,,questions #a4 ,what does good typography demand on the part of the craftsman8 #b4 ,what advantages have movable types over other methods of preparing a page for printing8 #c4 ,wherein is typesetting easy and wherein difficult8 #d4 ,what is really the principal working material of the compositor8 #e4 ,what habits should be formed at the beginning of the young compositor's work8 #f4 ,how should the compositor stand8 #g4 ,how should the compositor dress for his work8 #h4 ,why is it unnecessary to learn all the cases in the market8 #i4 ,what case plans is it necessary to learn8 #aj4 ,what is the plan of the common capital case8 #aa4 ,what is the common lower-case plan8 #ab4 ,describe the ,california job case4 #ac4 ,what are some wrong methods of learning the case8 #ad4 ,describe a good way of learning the case4 #ae4 ,what incidental advantage has this method8 #af4 ,what is the unit of measurement for type8 #ag4 ,how are type bodies graduated in size1 and what are the most used sizes8 #ah4 ,what is an em1 and how is the term applied to type8 #ai4 ,how do we find the quantity of type on a page8 #bj4 ,how were type sizes formerly designated8 #ba4 ,what is a pica1 and how is the term now used8 #bb4 ,how are leads1 slugs1 and the like graduated in length8 #bc4 ,how are point-system calculations converted into inches8 #bd4 ,what are spaces and quads1 and how are they commonly designated8 #be4 ,how may the apprentice learn to tell the difference in the regular spaces in his case8 #bf4 ,how many regular spaces are usually found1 and how may they be combined to meet most of the requirements of composition8 7,the instructor should exercise the apprentice in making the combinations shown in the table by asking him how he could get specified spaces47 #bg4 ,how has the system of width been applied to spaces8 #bh4 ,what are high spaces and quads1 and when and why used8 #bi4 ,what are quotation quads1 and how are they used8 #cj4 ,what is the peculiarity of typewriter types and spaces8 #ca4 ,what is the difference between spaces for script types and the spaces for ordinary roman types8 #cb4 ,what is the meaning of the terms spacing1 justifying1 and leading8 #cc4 ,what devices are used for spaces thinner than #e-space8 ,describe them fully4 #cd4 ,what may be used when thin spaces are lacking1 and what caution should be observed8 #ce4 ,what is the first step before beginning to set type1 and how is it done8 #cf4 ,what may you use for a gage to set the composing stick8 #cg4 ,how may you provide for compression of types in locking up8 #ch4 ,how may you be sure the stick is properly squared up8 #ci4 ,how do you set the knee in place and keep it there8 #dj4 ,what is a composing rule1 what is its use1 and why is it not more frequently used8 #da4 ,how is the composing stick held8 #db4 ,in what position is the type in the stick read8 #dc4 ,what should the compositor first do to his copy8 #dd4 ,how is the type selected1 picked up1 and put in the stick8 #de4 ,how should every line of type end1 and how can you make it do so8 #df4 ,describe two methods of changing spaces4 #dg4 ,when is a line well justified1 and what faults are to be guarded against1 and why8 #dh4 ,what care should be taken with long lines1 and why8 #di4 ,what care should be taken regarding leads and rules1 and why8 #ej4 ,why is careful justification important8 #ea4 ,what common mistakes do beginners make in the use of spaces8 #eb4 ,what simple rule should be observed in this connection8 #ec4 ,why should the beginner use leads and a composing rule in setting his first stickful8 #ed4 ,what care should the beginner use in filling his stick8 #ee4 ,describe fully the operation of emptying the stick8 #ef4 ,what should be looked for when the type is first placed in the galley8 #eg4 ,what must be done when the galley is full1 and why8 #eh4 ,describe the operation fully4 #ei4 ,what care should be given the feet of the type8 #fj4 ,how can time be wasted in these operations and how saved8 #fa4 ,for what purposes are proofs taken8 #fb4 ,how is the type prepared for taking proofs8 #fc4 ,how are proofs taken with a planer and mallet8 #fd4 ,what kind of matter may be proved in this manner and what should not1 and why8 #fe4 ,what should be done to insure correctness before the stick is emptied8 #ff4 ,what should be done if the correction requires change of space or re-justification8 #fg4 ,describe the process of correcting from revised proof4 #fh4 ,how may simple errors1 such as a wrong letter1 be corrected8 #fi4 ,how should important changes requiring re-justification be made8 #gj4 ,how should lines of type be carried when taken out for correction8 #ga4 ,what careless habit is sometimes indulged in1 and what is the result8 #gb4 ,what happens when the changes are extensive1 such as the insertion of a new phrase or sentence8 #gc4 ,describe two ways of handling this problem4 #gd4 ,what care should be taken when this kind of work is done8 #ge4 ,what should be done if a line of type is pied in correcting8 #gf4 ,what will the beginner find to be his greatest difficulty in setting type8 #gg4 ,are the words in a page separated by absolutely uniform spaces1 and why8 #gh4 ,what is necessary to make reading easy8 #gi4 ,what does good typesetting require to secure this8 #hj4 ,what constitutes a well-spaced line8 #ha4 ,what constitutes a well-spaced paragraph8 #hb4 ,what special care should be taken in spacing the last line of a paragraph8 #hc4 ,what is the standard spacing between words1 and how may it be varied8 #hd4 ,what has the length of line to do with spacing8 #he4 ,does even spacing always look even1 and why8 #hf4 ,where may you put thin spaces in order to get a word or syllable into the line8 #hg4 ,where may you use thicker spaces to lengthen the line a little8 #hh4 ,in what special places are thin spaces properly used8 #hi4 ,how are punctuation marks spaced8 #ij4 ,how are spaces used with the em dash8 #ia4 ,what should be done when you come to the end of a paragraph1 with only a few letters for the last line8 #ib4 ,how should you treat the last line of a paragraph when the matter nearly or quite fills the line8 #ic4 ,what care should be taken in justifying lines1 such as head-lines and paragraph ends1 in which quads are used8 #id4 ,do you need spaces with hyphens8 #ie4 ,how are the dollar mark and ,english monetary signs used8 #if4 ,what should and should not be done in re-spacing a line in order to get a good result8 #ig4 ,what is the proper space between sentences8 #ih4 ,what should follow the period or ,roman numeral in numbered paragraphs1 and why8 #ii4 ,how are quote marks spaced8 #ajj4 ,when may spaces be used between the letters of a word8 #aja4 ,give a general rule for spacing ,old ,english or other black letter4 #ajb4 ,what general rules should be followed in spacing italics8 #ajc4 ,what peculiarity is there in the casting of some italic capitals and what does it call for8 #ajd4 ,what special precautions should be used in handling kerned italics8 #aje4 ,what kind of spaces do words in capitals need1 and why8 #ajf4 ,how should you space roman capitals of standard faces8 #ajg4 ,what is a simple general rule for spacing1 and how may it be modified8 #ajh4 ,how do the shapes of the several letters affect the spacing of capitals8 #aji4 ,what can be done to improve the spacing of lines having abbreviations or initials8 #aaj4 ,how are initials in groups1 such as college degrees1 treated8 #aaa4 ,what care should be taken when there are two or more lines of capitals of the same size8 #aab4 ,how are lines of small capitals spaced8 #aac4 ,what relation has spacing to legibility8 #aad4 ,what is the general rule about wide spacing8 #aae4 ,what relation has spacing to leading8 #aaf4 ,what is the widest spacing ordinarily allowable in roman lower-case matter1 and what permits occasional use of wider space8 #aag4 ,where are wide spacing and wide leading desirable1 and what caution should be observed in using them8 #aah4 ,name and describe the several kinds of indention8 #aai4 ,what is the use of indention and what excess should be avoided8 #abj4 ,what is the usual paragraph indention8 #aba4 ,what is the relation between indention and measure8 #abb4 ,what is the relation between indention and kind of matter8 #abc4 ,should the indention of paragraphs be varied in a single book or job to suit varying matter or type1 and why8 #abd4 ,what common defect occurs in widely indented paragraphs1 and how may it be avoided8 #abe4 ,what is the first consideration in indenting poetry1 and how is it secured8 #abf4 ,what material is used in indenting poetry8 #abg4 ,what is the relation between indention and rhyme8 #abh4 ,how is blank verse indented8 #abi4 ,what is the indention when the rhyme is in two adjoining lines8 #acj4 ,what can you do when a line is longer than the measure8 #aca4 ,describe the setting of center heads1 sub-heads1 cut-in heads1 running heads1 and box heads4 #acb4 ,how are headings punctuated in modern practice8 #acc4 ,what is the purpose of the initial letter1 and how has it been used8 #acd4 ,what considerations govern the choice of an initial8 #ace4 ,how are initials set8 #acf4 ,what follows the initial8 #acg4 ,how should the initial line8 #ach4 ,how should the space around the initial be treated8 #aci4 ,what is the relation between the size of the initial and the text lines8 #adj4 ,what may be done to secure this relation1 but under what restrictions8 #ada4 ,what is the effect of the initial on the length of the text lines after it1 and how may it be handled8 #adb4 ,what is make-up8 #adc4 ,how are newspaper pages and the like made up8 #add4 ,what appliances are needed for make-up8 #ade4 ,how is the galley placed1 and where does the make-up man stand8 #adf4 ,how are the pages handled1 and why8 #adg4 ,what should be done before make-up begins1 and why8 #adh4 ,what has the make-up man to do with justification8 #adi4 ,how is the length of the page measured8 #aej4 ,how is the length of book pages set in one size of type determined8 #aea4 ,where may extra leads be used1 and where not8 #aeb4 ,what should the gage indicate when the page contains several sizes of type1 and why8 #aec4 ,what should be used for book1 periodical1 or other work that is to be made up frequently from time to time8 #aed4 ,what is the first step in making the galley matter into pages8 #aee4 ,what difficulties are likely to occur1 and how may they be met8 #aef4 ,what precaution may be taken to forestall difficulties8 #aeg4 ,how may inexpensive work be made good work8 #aeh4 ,what is desirable in the division of a paragraph which runs from one page to another8 #aei4 ,is there any objection to ending paragraph and page together8 #afj4 ,what should be done if the last line of a paragraph comes at the top of a page or the first line at the bottom8 #afa4 ,what should be done when the last line of a page ends with a short word divided by a hyphen and finished on the next page8 #afb4 ,what is the rule in book work as to the sinking of the first page of preface1 chapters1 and the like8 #afc4 ,what styles of running head are used1 and what determines the choice8 #afd4 ,when is the running head omitted8 #afe4 ,where are numbers placed8 #aff4 ,what is the usual space between the running head and the text1 and why8 #afg4 ,what positions should be avoided if possible for sub-heads8 #afh4 ,what should be avoided in chapter endings8 #afi4 ,why should type be kept clean8 #agj4 ,what is the best substance for cleaning type8 #aga4 ,what bad method of application is often used8 #agb4 ,how should the cleaning substance be applied8 #agc4 ,what is sometimes needed to complete the cleaning8 #agd4 ,what other substances are sometimes used for cleaning type8 #age4 ,what is the process of cleaning type with lye8 #agf4 ,how should the beginner prepare himself to distribute type8 #agg4 ,what is the process of distribution for a beginner8 for a more experienced apprentice8 #agh4 ,what matters should be especially watched in distribution8 #agi4 ,how should the types be put in the boxes8 #ahj4 ,how should special characters be handled8 #aha4 ,what particular annoyance is often caused by the distributor1 and how may it be avoided8 #ahb4 ,how are advertisements and similar matter distributed8 #ahc4 ,what should be done if there is much type to distribute8 #ahd4 ,how should spaces be distributed8 #ahe4 ,how should pied type be distributed8 #ahf4 ,when and how should boxes be cleaned8 #ahg4 ,how should type be handled to prevent injury8 #ahh4 ,what should be done with thin leads and pieces of card or paper8 #ahi4 ,what may be done to make it easier to distribute small types in solid or leaded paragraphs8 ,,glossary ,,of ,,technical ,,terms 7,for additional terms pertaining to type and type composition see page #cb1 ,no4 #a1 of this series of books entitled ,type47 ,,ad-,,man--,a compositor who sets advertisements on a newspaper or other publication4 ,,antique ,,face--,a style of type having all parts of the letters thickened1 making a heavy appearance4 ,sample3 ,illustration3 ,example3 ,,modern ,,presswork ,,arabic ,,numbers--,the ten figures in common use1 in distinction from ,roman numbers or those made with letters4 ,,asterisk--,another name for the star 991 commonly used as a reference mark4 ,,author',s ,,proof--,a proof sent to the author after compositor's errors have been corrected4 ,author's corrections are those made on such a proof when returned1 usually changes from the original copy4 ,,bad ,,break--,an objectionable division of a word at the end of a line or between two paragraphs or between two pages4 ,,batter--,bruised letters or other faces in a type form or electrotype4 ,,begin ,,even--,to start the paragraph or the line without indention4 ,,beveled ,,sidestick--,strips of wood or metal the height of furniture1 wider at one end than the other1 used with wedges or quoins to tighten forms together4 ,,black ,,letter--,a style of letter used for the first printing types1 made in imitation of the hand lettering in early manuscripts2 made in many variations called by different names3 ,old ,english1 ,caxton ,black1 ,priory ,text1 ,cloister ,black1 etc4 ,sample3 ,illustration3 ,example 7,black ,letter73 ,ye ,quality ,book ,papers ,,bodkin--,a long slender awl sometimes used in correcting type4 ,,body ,,size--,the depth of the type from the top to the bottom of the line4 ,,book ,,font--,a large quantity sufficient to set a number of pages1 with a complete set of characters1 as distinguished from a small or job font4 ,,border--,a set of characters of plain or ornamental design used for panels or frames around pages or sections of pages4 ,,boxed1 ,,or ,,boxed-,,in--,lines of type or other matter enclosed in a small panel or border4 ,,braces--,a set of characters used for connecting two or more lines or items4 ,sample3 ,illustration3 three different size horizontal braces ,,brackets--,signs of punctuation for enclosing words1 letters1 figures1 4 ,,brass ,,thins--,justifying spaces #a-point thick1 made of brass4 ,,brasses--,strips of brass to be used as leads1 where more durable metal than lead is desirable4 ,,break-,,line--,the last line of a paragraph where quads are needed to fill out the measure4 ,,broken ,,matter--,type lines that have been taken apart but not distributed2 pi4 ,,california ,,job ,,case--,a type case holding a complete font of capitals1 lower-case letters1 figures1 points1 etc4 ,see page #ab4 ,,case--,in a composing room1 the tray with compartments in which type is kept for composing4 ,,cast ,,off--,estimating the number of lines or pages of type a manuscript or other lot of copy will make4 ,,cast ,,up--,measuring the amount of type set1 usually by ems2 measuring up4 ,,clean ,,proof--,a first proof without errors or with very few unimportant errors4 ,,clearing ,,away--,putting surplus leads1 rules1 furniture1 and other materials back in their places when the make-up or lock-up is completed4 ,,close ,,spacing--,thin spacing4 ,,close ,,quote--,the final marks enclosing a quotation1 usually two apostrophes34 ,,come ,,in--,when the letters of a line or the words of copy are set so that they occupy a given space they are said to come in4 ,,comp4--,abbreviation for compositor or composition4 ,,composing--,setting type and other material to make a printing form4 ,,composing ,,room--,that part of a printing establishment in which the type is set and the forms locked up for the press4 ,,composing ,,rule--,a strip of brass or steel used in the composing stick while setting type and for handling lines4 ,,compositor--,one who sets type2 according to the class of work done1 he is termed a book1 newspaper1 ad1 or job compositor4 ,,condensed ,,face--,a type face thinner in shape than the normal2 it may be light or heavy as to blackness4 ,sample3 ,illustration3 ,example3 ,,caslon ,,bold ,,condensed ,,copper ,,thin--,a very thin justifying space1 #a_/b-point1 made from copper4 ,,copy--,handwritten1 typewritten1 or printed words or designs given to the printer or engraver for reproduction4 ,,copy ,,cutter--,in daily newspaper rooms1 the foreman's assistant whose duty it is to arrange the copy for the compositors4 ,he receives it from the editorial room1 marks the size of type1 the style of headings1 etc41 according to the custom of the publication1 and cuts the copy into portions1 or takes1 so that it may be in the hands of several compositors or machine operators for composing in the quickest time4 ,,copyholder--,one who holds copy and reads it aloud to the proofreader4 ,,cut-,,in ,,letter--,a large letter set into the beginning of a paragraph2 an initial4 ,,dash--,a horizontal stroke cast on a type body of en1 em1 two-em1 or three-em width1 thus - -- ---- ------4 ,the common dash is one em1 used as a punctuation mark and for many other purposes4 ,the apprentice should not confuse the en dash ,illustration3 an en-dash1 a little longer than a hyphen but shorter than the em-dash with the hyphen -4 ,,dead--,said of type or other printing matter that has been used or is not to be used4 ,dead type is ready for distribution4 ,,diagonal ,,indention--,see page #ec4 ,,dis4--,abbreviation for distributing4 ,,display--,type composition in which various sizes and faces are used1 like advertisements1 title pages1 etc41 in distinction from plain reading matter4 ,,distributing--,putting type back in the cases after use4 ,,dot ,,leaders--,high metal quads with dots cast on their end1 in distinction from hyphen or dash leaders4 ,,dotted ,,rule--,brass rule with dotted faces1 for blank forms1 to serve as a line upon which writing is to be done3444444444444444444444444444444444 ,,double--,words repeated by mistake in setting2 a doublet4 ,the term double is used in many cases before other words to indicate double quantity1 size1 or quality4 ,,drive ,,out--,to thick space and put the whole of the next word in the following line4 ,,dupe--,abbreviation of duplicate2 an extra first-proof of type composition which is to be paid for by the piece1 or to measure up the amount of work done by a compositor or machine operator4 ,,dutchman--,a joke-name for a piece of wood or toothpick driven into a line that has not been properly justified2 the mark of a careless compositor4 ,,em--,the square of a type body ,illustration3 em-square4 ,,en1 one half the square1 ,illustration3 a rectangle one em tall but one half em 7one en7 wide4 ,,empty ,,case--,a case without sorts or letters that are needed to compose the line2 it may have other letters but is empty of those required4 ,,end ,,even--,to make the words fill out the line4 ,,extended ,,face--,said of faces of type made extra broad2 the term expanded is sometimes used4 ,see type founders' specimen books4 ,,extra ,,condensed--,a type face which has been compressed very narrow4 ,sample3 ,illustration3 ,example3 ,gothic ,,extra ,condensed ,,extract--,a passage taken from another book or another author's writings2 a quotation4 ,,fac-,,simile--,an exact reproduction of an original2 often abbreviated to fac-sim4 ,,fat--,composition which has many broken lines and open spaces2 matter with many quads and leads1 which can be set profitably by piece-work4 ,sometimes spelled phat in printers' literature4 ,,fat-,,face--,a style of type face with very much thickened heavy lines2 sometimes full-face4 ,,first ,,proof--,the proof taken for correcting compositor's errors1 in distinction from revise1 author's proof1 or subsequent proofs4 ,,floor ,,pi--,type dropped on the floor and allowed to remain until swept up4 ,,folio--,a page number4 ,also1 a sheet folded once1 a size of paper1 a sheet containing a certain number of words4 ,,follow ,,copy--,an instruction to follow the copy in matters of spelling1 punctuation1 use of capitals1 italics1 and other particulars1 disregarding the style of the shop to a more or less degree according to necessities4 ,,font--,a complete assortment of types of one size and face or of one class of characters1 as a cap font1 a small-cap font1 italic font4 ,,form--,a page or number of pages or other printing surfaces assembled for printing4 ,,foundry ,,type--,type designed and cast by regular foundries which make their chief business supplying printers2 in distinction from type cast by ,monotype1 ,linotype1 and other machines in private establishments4 ,,full ,,measure--,type lines set the full width of the column of page in distinction from short lines or half measure4 ,,galley--,a shallow tray for holding type after it is set4 ,,get ,,in--,to thin space a line in order to make room for the last few letters of a word2 to take in2 opposite of drive out4 ,,gothic--,type founders and printers in ,america use this word to name a type face of the simplest style1 without serifs and with strokes of one thickness throughout ,illustration3 ,example3 ,,gothic ,,types4 ,bibliographers and scholars name certain old style forms of black letter ,gothic1 as representing the true ,gothic character4 ,our so-called gothics are made in many variations and are chiefly used for newspaper and job work1 but are not acceptable for book work4 ,,hair ,,line--,said of a very delicate face1 as of a brass rule or the fine connecting strokes of a letter4 ,,hair ,,space--,a type space thinner than the #e-space4 ,,half-,,diamond ,,indention--,an arrangement of lines in which the second and succeeding line are indented at each end shorter than the line above2 inverted pyramid style4 ,,hanging ,,indention--,when the first line is set flush at the beginning and succeeding lines indented an em or more1 as in this paragraph4 ,,high ,,spaces ,,and ,,quads--,these are used when the type is to be regularly used for moulding for electrotyping4 ,see page #ah4 ,,head ,,and ,,tail--,the top and bottom margins of a book page4 ,,hell1 ,,or ,,hell-,,box--,old name for the receptacle for old or damaged type2 a dumping place for discarded type4 ,,high-,,to-,,line--,when a letter or a word is above the alignment of the rest of the line2 when it is below it is low-to-line4 ,,hollow ,,quads--,see ,quotation4 ,,hyphen--,used at the ends of lines when words are divided2 also for compounding words1 and sometimes for leaders4 ,see ,dash4 ,,imposition--,the arrangement and locking up of pages so that they will come in proper order when the sheet is folded after printing4 ,,imprint--,the name1 with or without address1 of the printer1 publisher1 or dealer placed on a book or other work4 ,,in ,,the ,,metal--,in type1 as to correct in the metal or to revise in the metal without taking proof4 ,,indention--,the setting in of a line or body of type by a blank space at the beginning or left hand1 as in the first line of a paragraph2 also the space thus left blank4 ,the printer's indention is not 7as it is often said to be7 a shortened form of indentation1 but an original word from dent 7dint71 a denting in1 a depression1 and hence is the proper word1 rather than indentation1 to express the idea4 --,standard ,dictionary4 ,,initial--,the first letter of a word2 in typesetting1 a large letter set into the beginning of a paragraph4 ,,inverted ,,commas--,the quotation marks used at the beginning of a quotation3 4 ,,job ,,case--,a type case holding a complete font of capitals and lower-case letters1 figures1 points1 and spaces2 in distinction from a pair of cases4 ,,job ,,compositor--,one who sets a variety of miscellaneous work in distinction from a book or newspaper hand4 ,,job ,,galley--,a short1 wide galley1 made in sizes from #f x #aj to #ae x #bb inches4 ,,job ,,type--,those miscellaneous faces1 usually in small fonts1 used for small work2 in distinction from roman and italic faces used for books1 periodicals1 etc4 ,,justify--,to make a line or other type composition of the proper tightness to fit the space4 ,see page #bg4 ,,keep ,,up--,to capitalize words which might ordinarily begin with small letters4 ,keep down1 to begin a word with a small letter4 ,,keep ,,standing--,to save type pages or forms after printing1 in case of further use4 ,,keep ,,up ,,style--,to follow the prescribed rules of the shop or publication regarding spelling1 abbreviations1 headings1 capitals1 punctuation1 etc4 ,see ,style4 ,,kerned ,,letter--,a type on which part of the face overhangs the body4 ,,labor-,,saving--,said of leads1 rules1 furniture1 and other material made in sizes based on a common multiple1 usually the pica4 ,they save labor because two or more may be combined to make larger sizes1 instead of cutting new material for each particular work4 ,,lay ,,of ,,the ,,case--,the plan of the boxes for holding the different characters of a font4 ,,laying ,,type--,putting new type into the case1 in distinction from distributing used type back into the case4 ,,lead 7pronounced led1 not leed7--,a strip of thin metal to place between lines of type4 ,,leaded--,type composition having leads between the lines1 in distinction from solid matter1 or lines without leads4 ,,leaders 7leeders7--,periods or dots placed at intervals in open lines to guide the eye across to figures or words at the end1 as in tables of contents1 price lists1 etc4 ,type founders cast high quads in sizes from #e-point to #ah-point in several styles1 like fine-dot4444444444441 two dots to an em 441 hyphen - - - -1 and also make leaders in brass4 ,for occasional use a few lines of leaders may be made of periods spaced apart with spaces or quads4 ,,lean ,,setting--,type composition that is solid and with few or no blank lines4 ,see ,fat4 ,,letter--,old-fashioned term for type in quantity4 ,letter board1 a board or shelf for holding composed type4 ,,lift--,when type is justified and fastened together so that it may be taken up without any pieces falling out1 it is said to lift4 ,,lining--,said of type faces which are made to align exactly along the bottom of the letters4 ,,lining ,,figures--,modern-cut figures made in uniform size and of equal height2 in distinction from the irregular old-style figures4 ,illustration3 ,old style numbers #abcdefghij3 #abcdefghij4 ,,live ,,matter--,type composition or pages that are to be printed2 after being printed or moulded it is dead and ready for distribution4 ,,logotype--,two or more letters cast on one body4 ,ligature1 two letters joined and cast together1 like ,illustration3 ct-ligature4 ,,low ,,spaces ,,and ,,quads--,those used for composition to be printed directly from the type4 ,see page #ah4 ,,lower ,,case--,the type case holding the small letters1 figures1 points1 spaces1 etc4 ,the part of a job case holding the lower-case font4 ,,lye--,used for washing type4 ,see page #fi4 ,,making ,,up--,to divide composed matter into pages of equal length1 add headings1 notes1 and other parts to prepare them for imposing and locking up4 ,,marginal ,,note--,a side note4 ,,matter--,composed type or linotype slugs4 ,,measure--,the width of a page1 the full length of a line4 ,,measuring ,,up--,finding the amount of type set4 ,this is done by multiplying the number of ems in one line by the total number of lines set1 based in ems of the size of type used4 ,in measuring up to find the amount of composition for making a charge therefor1 headings1 leads1 slugs1 small blocks1 and other items in the matter are counted as solid lines4 ,,motto ,,indention--,a note or other small block of type set at one side of the page but within the measure4 ,,mutton ,,fist--,a name sometimes given to the index or fist ,illustration3 pointing hand1 or fist4 ,,mutton ,,quad--,the em quad4 ,for clearer distinction in speaking the term mutton is applied to the em1 and the term nut to the en1 as mutton dash --1 nut dash -4 ,,nib--,the small projection on the end of a composing rule4 ,,nick--,a notch on the side of a type1 usually indicating the lower side of the letter4 ,,nippers--,another name for tweezers4 ,,off ,,its ,,feet--,when type does not stand up squarely1 but leans slightly one way4 ,,out--,an omission of one or more words from the composition4 ,,out ,,of ,,sorts--,when the supply of any needed character is gone the case1 or the compositor1 is out of sorts4 ,see ,sort4 ,,over-,,running--,taking words backward or forward from one line to another in correcting4 ,,page ,,cord--,the string used to tie up pages or small jobs of type4 ,,page ,,papers--,pieces of heavy paper or card upon which tied-up pages are placed for storage when there is not enough galley space2 also called page shoes4 ,,pagination--,the page numbering of a book or other work4 ,,paragraph ,,mark--,one of the old-style reference marks furnished for book fonts ,illustration3 paragraph symbol1 being the capital ,p reversed4 ,paragraph marks are made in various forms for different kinds of type4 ,,patent ,,space--,a special type space equal to the thickness of two #e-spaces4 ,this space is common in #ab-point and larger sizes1 but not furnished with regular fonts in smaller sizes unless ordered4 ,,pi--,type thrown down1 mixed1 or in confusion4 ,,pica--,a size of type equal to #ab-point4 ,the common standard of measurement for leads1 rules1 furniture1 and for width and length of pages4 ,six picas in length equal1 approximately1 a linear inch4 ,,pick ,,for ,,sorts--,to take letters from standing matter1 live or dead1 when the case is empty and types are needed for work in hand4 ,,pick ,,up--,a heading1 line1 or other matter taken from a dead form and used over again4 ,,pieced ,,leads--,two or more leads placed end to end to equal a longer strip2 similarly1 pieced rule1 pieced furniture1 pieced brace1 etc4 ,,planer--,a smooth-faced block used to level the surface of a printing form on the imposing stone4 ,,point--,the unit for measuring type bodies2 a mark of punctuation4 ,,printer',s ,,devil--,the old-time name for the errand boy in a printing house4 ,,proof--,a trial impression4 ,,pull ,a ,,proof--,to take a proof on a hand press by pulling over the impression bar2 hence to take a proof by any means4 ,,quad--,a blank type larger than a space2 from the word quadrat1 a square1 originally the em quadrat4 ,,quotation--,a large hollow quad4 ,,reference ,,mark--,the old-style characters 99 ,illustration3 dagger1 double dagger used in book work4 ,the modern practice is to use superior figures #abc 7sometimes letters abc7 in the text to refer to foot notes or notes in the appendix4 ,,reglet--,strips of wood1 #f-point1 #ab-point1 and thicker used in making up forms for the press2 not desirable in type pages except in large forms4 ,,reprint--,to set over again or to print over again4 ,,revise--,to examine a second proof to see that corrections have been made2 a proof taken for this purpose4 ,,ring ,,mark--,a circle around a marked error to signify a special correction ordered by the proofreader or author4 ,,roman ,,type--,the common upright characters1 in distinction from italics or black-letter4 ,,rule--,a strip of metal for printing straight lines4 ,,rule ,,work--,composition in which brass rules are largely used1 as in tabular matter1 box panels1 etc4 ,,run-,,arounds--,lines of type justified around small engravings or blocks in a page or advertisement1 especially when the shape of the block requires irregular lengths of the adjoining matter4 ,,run ,,in--,to avoid making a paragraph1 running the sentences into one paragraph4 ,,run ,,out ,,and ,,indent--,to begin the paragraph without indention4 ,,setting ,,rule--,a composing rule4 ,,shank--,the body part of a type1 as distinguished from the face1 shoulder1 or feet4 ,,side ,,sorts--,the infrequently used characters of a font1 q x z1 etc4 ,also any special characters kept in an auxiliary box or sort case1 like figures1 fractions1 or other types not provided for in the regular assortment4 ,,sizes ,,of ,,type--,see ,no4 #a1 of this series for additional information about type4 ,,slug--,a thick lead1 the usual sizes being #f-point and #ab-point2 used in making up pages4 ,,solid--,type lines set close together without leads4 ,,sort--,a type or character considered as a part of a font1 usually a quantity of one kind4 ,when all the letters of one kind are missing the case is out of sorts4 ,when the copy calls for more than the usual number of a particular character it runs on sorts4 ,,space ,,out--,to increase the spaces to fill the line4 ,quad out1 to fill the line with quads after the words4 ,,squabble--,a doubling up or crumbling of lines of type2 a pi4 ,,stand--,a frame for holding type cases2 a workstand4 ,,standing ,,matter--,composed type in galley form or made up in pages4 ,,stickful--,a number of composed lines equal to that contained in a composing stick4 ,,stone--,the imposing table1 usually of marble or similar fine grain1 but nowadays often of polished steel4 ,,stoneman--,one who works specially at the imposing and lock-up table4 ,,straight ,,matter--,plain paragraph composition in one kind of type2 in distinction from display or job work4 ,,style ,,of ,,the ,,office--,in order to maintain some consistency in practice in details of composition many composing rooms have rules1 more or less variable1 about spelling1 division of words1 compounding1 use of italic1 capitals1 headings1 paragraph indentions1 and similar matters4 ,a style card or style book may be prepared for the purpose by the proofreader or foreman4 ,frequently a publication set in a composing room may have a style 7ordered by the editor or manager7 somewhat different from the style of other work done in the same room4 ,,superiors--,small figures or letters set above the general alignment of the main line1 as for references4 ,inferiors are small figures below the alignment4 ,,take--,a portion of copy of one article or job that has been divided between several compositors to hasten its composition4 ,,take ,,in--,to thin space2 to get in4 ,,text--,the body of matter on a written or printed page1 as distinguished from notes1 headings1 engravings1 or auxiliary features4 ,text type1 the type in which such matter is set4 ,the term is also applied to note one of several styles of early black-letter1 as ,old ,english ,text1 ,priory ,text1 etc4 ,,thick ,,space--,the en quad is sometimes so called4 ,some compositors call the #c-space a thick space1 ignoring the fact that the #c-space is normal1 neither thick nor thin4 ,,turn ,,for ,,sorts--,when the types in a case run short and they will be supplied later1 the compositor puts in another type of the same thickness1 turned bottom up1 the proper letter to be inserted before printing or moulding4 ,it is the rule1 when a letter has been taken from a live page to be used immediately in another place1 that a turned letter should be put in place of the one taken out to show the absence of the proper letter when an impression is taken4 ,,turned ,,commas--,inverted commas 77 at the beginning of a quotation4 ,,two-,,line ,,letter--,a capital letter of the depth of two lines of text used as an initial at the beginning of a subject4 ,,type ,,measure--,a strip of strong card1 wood1 or steel having its edges marked with scales indicating ems of type sizes2 for measuring composed matter2 usually only sizes up to pica or #ab-point are given4 ,,typography--,the art and process of printing from movable types4 ,it includes printing from engraved relief blocks which can be made up and printed with composed types4 ,also called letterpress printing4 ,,underscore--,to draw or print a line under a word or sentence4 ,,unit--,an accepted standard of measurement2 thus the point is the unit for type sizes1 the pica 7#ab-point7 is the unit for widths of pages1 lengths of leads1 rules1 furniture1 etc4 ,,upper ,,case--,the capital case4 ,,white ,,out--,to blank out a page or other space with quads or furniture4 ,,wide ,,measure--,lines of type that are longer than normal in relation to the size of type used2 a length that would be normal for #ab-point would be wide for #f-point1 ,generally1 lines averaging over twelve words or fifty letters would be termed wide measure4 ,,wrong-,,font--,a letter or character in the line from another kind of type1 due to mixing of fonts4 ,usually written in proof wf4 ,,typographic ,,technical ,,series ,,for ,,apprentices ,the following list of publications1 comprising the ,,typographic ,,technical ,,series ,,for ,,apprentices1 has been prepared under the supervision of the ,committee on ,education of the ,united ,typothetae of ,america for use in trade classes1 in course of printing instruction1 and by individuals4 ,each publication has been compiled by a competent author or group of authors1 and carefully edited1 the purpose being to provide the printers of the ,united ,states--employers1 journeymen1 and apprentices--with a comprehensive series of handy and inexpensive compendiums of reliable1 up-to-date information upon the various branches and specialties of the printing craft1 all arranged in orderly fashion for progressive study4 ,the publications of the series are of uniform size1 #e x #h inches4 ,their general make-up1 in typography1 illustrations1 etc41 has been1 as far as practicable1 kept in harmony throughout4 ,a brief synopsis of the particular contents and other chief features of each volume will be found under each title in the following list4 ,each topic is treated in a concise manner1 the aim being to embody in each publication as completely as possible all the rudimentary information and essential facts necessary to an understanding of the subject4 ,care has been taken to make all statements accurate and clear1 with the purpose of bringing essential information within the understanding of beginners in the different fields of study4 ,wherever practicable1 simple and well-defined drawings and illustrations have been used to assist in giving additional clearness to the text4 ,in order that the pamphlets may be of the greatest possible help for use in trade-school classes and for self-instruction1 each title is accompanied by a list of ,review ,questions covering essential items of the subject matter4 ,a short ,glossary of technical terms belonging to the subject or department treated is also added to many of the books4 ,these are the ,official ,text-books of the ,united ,typothetae of ,america4 ,address all orders and inquiries to ,,committee ,,on ,,education1 ,,united ,,typothetae ,,of ,,america1 ,,chicago1 ,,illinois1 ,u4 ,s4 ,a4 ,,part ,i--,types1 ,tools1 ,machines1 and ,materials #a4 ,type3 a ,primer of ,information ,by ,a4 ,a4 ,stewart ,relating to the mechanical features of printing types2 their sizes1 font schemes1 etc41 with a brief description of their manufacture4 #dd pp42 illustrated2 #gd review questions2 glossary4 #b4 ,compositors' ,tools and ,materials ,by ,a4 ,a4 ,stewart ,a primer of information about composing sticks1 galleys1 leads1 brass rules1 cutting and mitering machines1 etc4 #dg pp42 illustrated2 #ej review questions2 glossary4 #c4 ,type ,cases1 ,composing ,room ,furniture ,by ,a4 ,a4 ,stewart ,a primer of information about type cases1 work stands1 cabinets1 case racks1 galley racks1 standing galleys1 etc4 #dc pp42 illustrated2 #cc review questions2 glossary4 #d4 ,imposing ,tables and ,lock-up ,appliances ,by ,a4 ,a4 ,stewart ,describing the tools and materials used in locking up forms for the press1 including some modern utilities for special purposes4 #ei pp42 illustrated2 #gj review questions2 glossary4 #e4 ,proof ,presses ,by ,a4 ,a4 ,stewart ,a primer of information about the customary methods and machines for taking printers' proofs4 #dj pp42 illustrated2 #da review questions2 glossary4 #f4 ,platen ,printing ,presses ,by ,daniel ,baker ,a primer of information regarding the history and mechanical construction of platen printing presses1 from the original hand press to the modern job press1 to which is added a chapter on automatic presses of small size4 #ea pp42 illustrated2 #di review questions2 glossary4 #g4 ,cylinder ,printing ,presses ,by ,herbert ,l4 ,baker ,being a study of the mechanism and operation of the principal types of cylinder printing machines4 #fd pp42 illustrated2 #dg review questions2 glossary4 #h4 ,mechanical ,feeders and ,folders ,by ,william ,e4 ,spurrier ,the history and operation of modern feeding and folding machines2 with hints on their care and adjustments4 ,illustrated2 review questions2 glossary4 #i4 ,power for ,machinery in ,printing ,houses ,by ,carl ,f4 ,scott ,a treatise on the methods of applying power to printing presses and allied machinery with particular reference to electric drive4 #ec pp42 illustrated2 #fi review questions2 glossary4 #aj4 ,paper ,cutting ,machines ,by ,niel ,gray1 ,jr4 ,a primer of information about paper and card trimmers1 hand-lever cutters1 power cutters1 and other automatic machines for cutting paper1 #gj pp42 illustrated2 #aae review questions2 glossary4 #aa4 ,printers' ,rollers ,by ,a4 ,a4 ,stewart ,a primer of information about the composition1 manufacture1 and care of inking rollers4 #df pp42 illustrated2 #fa review questions2 glossary4 #ab4 ,printing ,inks ,by ,philip ,ruxton ,their composition1 properties and manufacture 7reprinted by permission from ,circular ,no4 #ec1 ,united ,states ,bureau of ,standards73 together with some helpful suggestions about the everyday use of printing inks by ,philip ,ruxton4 #hjpp42 #ajj review questions2 glossary4 #ac4 ,how ,paper is ,made ,by ,william ,bond ,wheelwright ,a primer of information about the materials and processes of manufacturing paper for printing and writing4 #fh pp42 illustrated2 #fb review questions2 glossary4 #ad4 ,relief ,engravings ,by ,joseph ,p4 ,donovan ,brief history and non-technical description of modern methods of engraving2 woodcut1 zinc plate1 halftone2 kind of copy for reproduction2 things to remember when ordering engravings4 ,illustrated2 review questions2 glossary4 #ae4 ,electrotyping and ,stereotyping ,by ,harris ,b4 ,hatch and ,a4 ,a4 ,stewart ,a primer of information about the processes of electrotyping and stereotyping4 #id pp42 illustrated2 #abi review questions2 glossaries4 ,,part ,,ii--,hand and ,machine ,composition #af4 ,typesetting ,by ,a4 ,a4 ,stewart ,a handbook for beginners1 giving information about justifying1 spacing1 correcting1 and other matters relating to typesetting4 ,illustrated2 review questions2 glossary4 #ag4 ,printers' ,proofs ,by ,a4 ,a4 ,stewart ,the methods by which they are made1 marked1 and corrected1 with observations on proofreading4 ,illustrated2 review questions2 glossary4 #ah4 ,first ,steps in ,job ,composition ,by ,camille ,de,veze ,suggestions for the apprentice compositor in setting his first jobs1 especially about the important little things which go to make good display in typography4 #fc pp42 examples2 #ee review questions2 glossary4 #ai4 ,general ,job ,composition ,how the job compositor handles business stationery1 programs and miscellaneous work4 ,illustrated2 review questions2 glossary4 #bj4 ,book ,composition ,by ,j4 ,w4 ,bothwell ,chapters from ,de,vinne's ,modern ,methods of ,book ,composition1 revised and arranged for this series of text-books by ,j4 ,w4 ,bothwell of ,the ,de,vinne ,press1 ,new ,york4 ,part ,i3 ,composition of pages4 ,part ,,ii3 ,imposition of pages4 #bbi pp42 illustrated2 #ebe review questions2 glossary4 #ba4 ,tabular ,composition ,by ,robert ,seaver ,a study of the elementary forms of table composition1 with examples of more difficult composition4 #cf pp42 examples2 #de review questions4 #bb4 ,applied ,arithmetic ,by ,e4 ,e4 ,sheldon ,elementary arithmetic applied to problems of the printing trade1 calculation of materials1 paper weights and sizes1 with standard tables and rules for computation1 each subject amplified with examples and exercises4 #aei pp4 #bc4 ,typecasting and ,composing ,machines ,a4 ,w4 ,finlay1 ,editor ,section ,i--,the ,linotype ,by ,l4 ,a4 ,hornstein ,section ,,ii--,the ,monotype ,by ,joseph ,hays ,section ,,iii--,the ,intertype ,by ,henry ,w4 ,cozzens ,section ,,iv--,other ,typecasting and ,typesetting ,machines ,by ,frank ,h4 ,smith ,a brief history of typesetting machines1 with descriptions of their mechanical principles and operations4 ,illustrated2 review questions2 glossary4 ,,part ,,iii--,imposition and ,stonework #bd4 ,locking ,forms for the ,job ,press ,by ,frank ,s4 ,henry ,things the apprentice should know about locking up small forms1 and about general work on the stone4 ,illustrated2 review questions2 glossary4 #be4 ,preparing ,forms for the ,cylinder ,press ,by ,frank ,s4 ,henry ,pamphlet and catalog imposition2 margins2 fold marks1 etc4 ,methods of handling type forms and electrotype forms4 ,illustrated2 review questions2 glossary4 ,,part ,,iv--,presswork #bf4 ,making ,ready on ,platen ,presses ,by ,t4 ,g4 ,mc,grew ,the essential parts of a press and their functions2 distinctive features of commonly used machines4 ,preparing the tympan1 regulating the impression1 underlaying and overlaying1 setting gauges1 and other details explained4 ,illustrated2 review questions2 glossary4 #bg4 ,cylinder ,presswork ,by ,t4 ,g4 ,mc,grew ,preparing the press2 adjustment of bed and cylinder1 form rollers1 ink fountain1 grippers and delivery systems4 ,underlaying and overlaying2 modern overlay methods4 ,illustrated2 review questions2 glossary4 #bh4 ,pressroom ,hints and ,helps ,by ,charles ,l4 ,dunton ,describing some practical methods of pressroom work1 with directions and useful information relating to a variety of printing-press problems4 #hg pp42 #agf review questions4 #bi4 ,reproductive ,processes of the ,graphic ,arts ,by ,a4 ,w4 ,elson ,a primer of information about the distinctive features of the relief1 the intaglio1 and the planographic processes of printing4 #hd pp42 illustrated2 #ajj review questions2 glossary4 ,,part ,v--,pamphlet and ,book ,binding #cj4 ,pamphlet ,binding ,by ,bancroft ,l4 ,goodwin ,a primer of information about the various operations employed in binding pamphlets and other work in the bindery4 ,illustrated2 review questions2 glossary4 #ca4 ,book ,binding ,by ,john ,j4 ,pleger ,practical information about the usual operations in binding books2 folding2 gathering1 collating1 sewing1 forwarding1 finishing4 ,case making and cased-in books4 ,hand work and machine work4 ,job and blank-book binding4 ,illustrated2 review questions2 glossary4 ,,part ,,vi--,correct ,literary ,composition #cb4 ,word ,study and ,english ,grammar ,by ,f4 ,w4 ,hamilton ,a primer of information about words1 their relations1 and their uses4 #fh pp42 #hd review questions2 glossary4 #cc4 ,punctuation ,by ,f4 ,w4 ,hamilton ,a primer of information about the marks of punctuation and their use1 both grammatically and typographically4 #ef pp42 #ei review questions2 glossary4 #cd4 ,capitals ,by ,f4 ,w4 ,hamilton ,a primer of information about capitalization1 with some practical typographic hints as to the use of capitals4 #dh pp42 #ib review questions2 glossary4 #ce4 ,division of ,words ,by ,f4 ,w4 ,hamilton ,rules for the division of words at the ends of lines1 with remarks on spelling1 syllabication and pronunciation4 #db pp42 #gj review questions4 #cf4 ,compound ,words ,by ,f4 ,w4 ,hamilton ,a study of the principles of compounding1 the components of compounds1 and the use of the hyphen4 #cd pp42 #fb review questions4 #cg4 ,abbreviations and ,signs ,by ,f4 ,w4 ,hamilton ,a primer of information about abbreviations and signs1 with classified lists of those in most common use4 #eh pp42 #cb review questions4 #ch4 ,the ,uses of ,italic ,by ,f4 ,w4 ,hamilton ,a primer of information about the history and uses of italic letters4 #ca pp42 #cg review questions4 #ci4 ,proofreading ,by ,arnold ,levitas ,the technical phases of the proofreader's work2 reading1 marking1 revising1 etc42 methods of handling proofs and copy4 ,illustrated by examples4 #ei pp42 #fi review questions2 glossary4 #dj4 ,preparation of ,printers' ,copy ,by ,f4 ,w4 ,hamilton ,suggestions for authors1 editors1 and all who are engaged in preparing copy for the composing room4 #cf pp42 #fg review questions4 #da4 ,printers' ,manual of ,style ,a reference compilation of approved rules1 usages1 and suggestions relating to uniformity in punctuation1 capitalization1 abbreviations1 numerals1 and kindred features of composition4 #db4 ,the ,printer's ,dictionary ,by ,a4 ,a4 ,stewart ,a handbook of definitions and miscellaneous information about various processes of printing1 alphabetically arranged4 ,technical terms explained4 ,illustrated4 ,,part ,,vii--,design1 ,color1 and ,lettering #dc4 ,applied ,design for ,printers ,by ,harry ,l4 ,gage ,a handbook of the principles of arrangement1 with brief comment on the periods of design which have most influenced printing4 ,treats of harmony1 balance1 proportion1 and rhythm2 motion2 symmetry and variety2 ornament1 esthetic and symbolic4 #cg illustrations2 #df review questions2 glossary2 bibliography4 #dd4 ,elements of ,typographic ,design ,by ,harry ,l4 ,gage ,applications of the principles of decorative design4 ,building material of typography3 paper1 types1 ink1 decorations and illustrations4 ,handling of shapes4 ,design of complete book1 treating each part4 ,design of commercial forms and single units4 ,illustrations2 review questions2 glossary2 bibliography4 #de4 ,rudiments of ,color in ,printing ,by ,harry ,l4 ,gage ,use of color3 for decoration of black and white1 for broad poster effect1 in combinations of two1 three1 or more printings with process engravings4 ,scientific nature of color1 physical and chemical4 ,terms in which color may be discussed3 hue1 value1 intensity4 ,diagrams in color1 scales and combinations4 ,color theory of process engraving4 ,experiments with color4 ,illustrations in full color1 and on various papers4 ,review questions2 glossary2 bibliography4 #df4 ,lettering in ,typography ,by ,harry ,l4 ,gage ,printer's use of lettering3 adaptability and decorative effect4 ,development of historic writing and lettering and its influence on type design4 ,classification of general forms in lettering4 ,application of design to lettering4 ,drawing for reproduction4 ,fully illustrated2 review questions2 glossary2 bibliography4 #dg4 ,typographic ,design in ,advertising ,by ,harry ,l4 ,gage ,the printer's function in advertising4 ,precepts upon which advertising is based4 ,printer's analysis of his copy4 ,emphasis1 legibility1 attention1 color4 ,method of studying advertising typography4 ,illustrations2 review questions2 glossary2 bibliography4 #dh4 ,making ,dummies and ,layouts ,by ,harry ,l4 ,gage ,a layout3 the architectural plan4 ,a dummy3 the imitation of a proposed final effect4 ,use of dummy in sales work4 ,use of layout4 ,function of layout map4 ,binding schemes for dummies4 ,dummy envelopes4 ,illustrations2 review questions2 glossary2 bibliography4 ,,part ,,viii--,history of ,printing #di4 ,books ,before ,typography ,by ,f4 ,w4 ,hamilton ,a primer of information about the invention of the alphabet and the history of bookmaking up to the invention of movable types4 #fb pp42 illustrated2 #fd review questions4 #ej4 ,the ,invention of ,typography ,by ,f4 ,w4 ,hamilton ,a brief sketch of the invention of printing and how it came about4 #fd pp42 #fb review questions4 #ea4 ,history of ,printing--,part ,i ,by ,f4 ,w4 ,hamilton ,a primer of information about the beginnings of printing1 the development of the book1 the development of printers' materials1 and the work of the great pioneers4 #fc pp42 #ee review questions4 #eb4 ,history of ,printing--,part ,,ii ,by ,f4 ,w4 ,hamilton ,a brief sketch of the economic conditions of the printing industry from #adej to #aghi1 including government regulations1 censorship1 internal conditions and industrial relations4 #id pp42 #abh review questions4 #ec4 ,printing in ,england ,by ,f4 ,w4 ,hamilton ,a short history of printing in ,england from ,caxton to the present time4 #hi pp42 #fe review questions4 #ed4 ,printing in ,america ,by ,f4 ,w4 ,hamilton ,a brief sketch of the development of the newspaper1 and some notes on publishers who have especially contributed to printing4 #ih pp42 #hd review questions4 #ee4 ,type and ,presses in ,america ,by ,f4 ,w4 ,hamilton ,a brief historical sketch of the development of type casting and press building in the ,united ,states4 #eb pp42 #fa review questions4 ,,part ,,ix--,cost ,finding and ,accounting #ef4 ,elements of ,cost in ,printing ,by ,henry ,p4 ,porter ,the ,standard ,cost-,finding ,forms and their uses4 ,what they should show4 ,how to utilize the information they give4 ,review questions4 ,glossary4 #eg4 ,use of a ,cost ,system ,by ,henry ,p4 ,porter ,the ,standard ,cost-,finding ,forms and their uses4 ,what they should show4 ,how to utilize the information they give4 ,review questions4 ,glossary4 #eh4 ,the ,printer as a ,merchant ,by ,henry ,p4 ,porter ,the selection and purchase of materials and supplies for printing4 ,the relation of the cost of raw material and the selling price of the finished product4 ,review questions4 ,glossary4 #ei4 ,fundamental ,principles of ,estimating ,by ,henry ,p4 ,porter ,the estimator and his work2 forms to use2 general rules for estimating4 ,review questions4 ,glossary4 #fj4 ,estimating and ,selling ,by ,henry ,p4 ,porter ,an insight into the methods used in making estimates1 and their relation to selling4 ,review questions4 ,glossary4 #fa4 ,accounting for ,printers ,by ,henry ,p4 ,porter ,a brief outline of an accounting system for printers2 necessary books and accessory records4 ,review questions4 ,glossary4 ,,part ,x--,miscellaneous #fb4 ,health1 ,sanitation1 and ,safety ,by ,henry ,p4 ,porter ,hygiene in the printing trade2 a study of conditions old and new2 practical suggestions for improvement2 protective appliances and rules for safety4 #fc4 ,topical ,index ,by ,f4 ,w4 ,hamilton ,a book of reference covering the topics treated in the ,typographic ,technical ,series1 alphabetically arranged4 #fd4 ,courses of ,study ,by ,f4 ,w4 ,hamilton ,a guidebook for teachers1 with outlines and suggestions for classroom and shop work4 ,,acknowledgment ,this series of ,typographic ,text-books is the result of the splendid co-operation of a large number of firms and individuals engaged in the printing business and its allied industries in the ,united ,states of ,america4 ,the ,committee on ,education of the ,united ,typothetae of ,america1 under whose auspices the books have been prepared and published1 acknowledges its indebtedness for the generous assistance rendered by the many authors1 printers1 and others identified with this work4 ,while due acknowledgment is made on the title and copyright pages of those contributing to each book1 the ,committee nevertheless felt that a group list of co-operating firms would be of interest4 ,the following list is not complete1 as it includes only those who have co-operated in the production of a portion of the volumes1 constituting the first printing4 ,as soon as the entire list of books comprising the ,typographic ,technical ,series has been completed 7which the ,committee hopes will be at an early date71 the full list will be printed in each volume4 ,the ,committee also desires to acknowledge its indebtedness to the many subscribers to this ,series who have patiently awaited its publication4 ,,committee ,,on ,,education1 ,,united ,,typothetae ,,of ,,america4 ,,henry ,p4 ,,porter1 ,chairman1 ,e4 ,,lawrence ,,fell1 ,a4 ,m4 ,,glossbrenner1 ,j4 ,,clyde ,,oswald1 ,,toby ,,rubovits4 ,,frederick ,w4 ,,hamilton1 ,education ,director4 ,,contributors ,for ,composition and ,electrotypes ,,isaac ,h4 ,,blanchard ,,company1 ,new ,york1 ,n4 ,y4 ,s4 ,h4 ,,burbank ,,co41 ,philadelphia1 ,pa4 ,j4 ,s4 ,,cushing ,,co41 ,norwood1 ,mass4 ,,the ,,devinne ,,press1 ,new ,york1 ,n4 ,y4 ,r4 ,r4 ,,donnelley ,,sons ,,co41 ,chicago1 ,ill4 ,,geo4 ,h4 ,,ellis ,,co41 ,boston1 ,mass4 ,,evans-,,winter-,,hebb1 ,detroit1 ,mich4 ,,franklin ,,printing ,,company1 ,philadelphia1 ,pa4 ,f4 ,h4 ,,gilson ,,company1 ,boston1 ,mass4 ,,stephen ,,greene ,,co41 ,philadelphia1 ,pa4 ,w4 ,f4 ,,hall ,,printing ,,co41 ,chicago1 ,ill4 ,j4 ,b4 ,,lippincott ,,co41 ,philadelphia1 ,pa4 ,mc,c,a,l,l,a ,,co4 ,,inc41 ,philadelphia1 ,pa4 ,,the ,,patteson ,,press1 ,new ,york1 ,new ,york ,,the ,,plimpton ,,press1 ,norwood1 ,mass4 ,,poole ,,bros41 ,chicago1 ,ill4 ,,edward ,,stern ,,co41 ,philadelphia1 ,pa4 ,,the ,,stone ,,printing ,,mfg4 ,,co41 ,roanoke1 ,va4 ,c4 ,d4 ,,traphagen1 ,lincoln1 ,neb4 ,,the ,,university ,,press1 ,cambridge1 ,mass4 ,for ,composition ,,boston ,,typothetae ,,school ,,of ,,printing1 ,boston1 ,mass4 ,,william ,f4 ,,fell ,,co41 ,philadelphia1 ,pa4 ,,the ,,kalkhoff ,,company1 ,new ,york1 ,n4 ,y4 ,,oxford-,,print1 ,boston1 ,mass4 ,,toby ,,rubovits1 ,chicago1 ,ill4 ,for ,electrotypes ,,blomgren ,,brothers ,,co41 ,chicago1 ,ill4 ,,flower ,,steel ,,electrotyping ,,co41 ,new ,york1 ,n4 ,y4 ,c4 ,j4 ,,peters ,,son ,,co41 ,boston1 ,mass4 ,,royal ,,electrotype ,,co41 ,philadelphia1 ,pa4 ,h4 ,c4 ,,whitcomb ,,co41 ,boston1 ,mass4 ,for ,engravings ,,american ,,type ,,founders ,,co41 ,boston1 ,mass4 ,c4 ,b4 ,,cottrell ,,sons ,co41 ,westerly1 ,r4 ,i4 ,,golding ,,manufacturing ,,co41 ,franklin1 ,mass4 ,,harvard ,,university1 ,cambridge1 ,mass4 ,,inland ,,printer ,,co41 ,chicago1 ,ill4 ,,lanston ,,monotype ,,machine ,,company1 ,philadelphia1 ,pa4 ,,mergenthaler ,,linotype ,,company1 ,new ,york1 ,n4 ,y4 ,,geo4 ,h4 ,,morrill ,,co41 ,norwood1 ,mass4 ,,oswald ,,publishing ,,co41 ,new ,york1 ,n4 ,y4 ,,the ,,printing ,,art1 ,cambridge1 ,mass4 ,b4 ,d4 ,,rising ,,paper ,,company1 ,housatonic1 ,mass4 ,,the ,,vandercook ,,press1 ,chicago1 ,ill4 ,for ,book ,paper ,,american ,,writing ,,paper ,,co41 ,holyoke1 ,mass4 ,,west ,,virginia ,,pulp ,,paper ,,co41 ,mechanicville1 ,n4 ,y4 ,,transcriber',s ,,notes ,descriptions have been added to ,illustrations4 ,superscripts are shown as superscripted characters ,the following changes have been made3 ,page #e ,leads and ,slugs #bj changed to ,leads and ,slugs #ba ,page #h ,setting the ,composing ,stick #ba changed to ,setting the ,composing ,stick #bb ,page #ba 7nonpareil71 #ab-point 7pica71 and #ah point changed to 7nonpareil71 #ab-point 7pica71 and #ah-point ,page #bd ,if the the gage line is changed to ,if the gage line is ,page #ca ,it oftens happens that the changed to ,it often happens that the ,page #dd between word endings like ----e w----1 y a---- changed to between word endings like ----e w----1 ----y a---- ,page #dg at the begining may not need changed to at the beginning may not need ,page #ec being shorter than the preceeding changed to being shorter than the preceding ,page #eh or a side heading at the begining changed to or a side heading at the beginning ,page #ei see other title of this series changed to see other titles of this series ,page #ia or the compositor1 is out of sorts1 ,see ,sorts4 changed to or the compositor1 is out of sorts4 ,see ,sort4 ,page iii #ae4 ,electrotyping and ,sterotyping changed to #ae4 ,electrotyping and ,stereotyping ,page v ,illustrations2 review questions1 glossary2 bibliography4 changed to ,illustrations2 review questions2 glossary2 bibliography4 ,the order of ,glossary entries has been retained as they appear in the original publication1 the following out of alphabetical order3 ,cast ,up 7,page #hf7 ,extract 7,page #hh7 ,hair ,line 7,page #hh7 ,high-to-line 7,page #hi7 ,lay of the ,case 7,page #ij7 ,logotype 7,page #ij7 ,mutton ,fist 7,page #ia7 ,pi 7,page #ia7 ,pica 7,page #ia7 ,planer 7,page #ib7 ,turned ,commas 7,page #ic7 ,the following words were inconsistently hyphenated1 and appear here as in the original3 old-style_/oldstyle re-spacing_/respacing side-stick_/sidestick