,printing and ,bookbinding for ,schools 
,by                                  ,s4
 ,j4 ,,vaughn     ,head ,department of  
,manual ,arts1 ,state ,normal ,school1  
,de,kalb1 ,illinois    ,illustration3   
,logo                                   
#aiai                       ,,public    
,,school ,,publishing ,,co41            
,,bloomington ,,illinois                
,copyright #aiab                    by  
the ,public ,school ,publishing ,co4    
,,the ,,art of ,,printing      ,printing
 is distinctly a social art4 ,setting   
type and striking off a  number of      
impressions presuppose1 in the first    
place1 a community to  read what is     
printed2 and in the second place1 that  
the information  printed is of value to 
this community4                         
--,l4 ,w4 ,,wahlstrom1                  
,in the ,francis ,w4 ,parker ,school    
,year ,book4                            
,,table ,,of ,,contents3                
,,page         ,introduction            
#a         ,the ,art of                 

,printing--,methods and ,tools of       
,composition    #e         ,type        
,setting                                
#ad         ,rules of ,composition      
#be         ,proof ,marks               
#bg         ,imposition                 
#bh         ,presswork                  
#ch         ,cleaning and ,distributing 
#db         ,what to ,print and ,how to 
,proceed                       #de      
,wood ,cuts and ,metal ,plates          
#ej         ,the ,equipment--,its       
,selection and ,cost                    
#ef         ,arrangement and            
,disposition of ,equipment              
#fe                                     
,,introduction                          
,printing as a ,manual ,art in ,schools4
    ,woodwork has been quite generally  
introduced into the high school and     
grammar school4 ,with all the defects of
 the earlier presentation of the        
subject1 not to speak of those in later 
efforts1 it has made a  surprisingly    
general appeal1 and has met with unusual

 and deserved  success4 ,some of the    
methods employed1 tending to place a ban
 on  originality and thought1 have      
brought it far short of its             
possibilities  in the aid of            
intellectual development4 ,to a         
considerable extent the  woodwork has   
not touched1 as intimately as it might1 
the vital interests  of the pupils and  
of the homes2 and1 by its own           
limitations1 it has not  had an         
especially strong social bearing4 ,the  
need is not less woodwork  but more     
original and thoughtful woodwork1 and   
also a greater variety of  other        
constructive work which touches more and
 wider interests and which  may appeal  
to those not particularly adapted to    
that one line4 ,in this  way it will be 
possible to strengthen the places where 
woodwork is weak4  ,so far experience   
with printing in school indicates that  
it makes quite  as general and permanent
 an appeal as woodwork4    ,printing    
makes this very strong appeal to the    

boys because1 in the first  place1 the  
printshop comes as near to reproducing a
 great world industry  in the school as 
any other line of industrial work4      
,instead of doing  simply the           
8roustabout0 work of the beginning      
apprentice the boys are  put to work    
with the regular shop equipment1 and    
soon are ready to begin  turning out    
some printing4 ,it is a common thing to 
hear a boy remark1  8,this is just the  
way they do it down town40 ,so they look
 upon printing  as the work of real men1
 and feel that they are actually taking 
part in  some of the activities that are
 potent in the affairs of men4 ,it's    
wonderful1 the pull of this feeling of  
participation in the world's  work4     
,besides this1 there is probably no     
other line of ,manual ,arts work in     
which pupils1 grade boys especially1 get
 so practical a working  knowledge of   
the actual shop work as in printing4    
,this fact is often  turned to good     
advantage by the boys1 for there can    

scarcely be found a  commercial         
printshop anywhere which is not glad to 
employ one or two  boys during vacation 
time1 if they know a little about the   
work and are  interested4    ,there is  
the still further fact that printing    
offers the concrete  embodiment of rules
 of punctuation1 capitalization1        
syllabication1  sentence structure1     
paragraphing1 etc4 ,it is an            
indisputable fact that  work in the     
printshop influences in a remarkable way
 the disposition to  observe good form  
and to follow the best usage in all such
 matters4 ,it  is a daily occurrence in 
the school printshop that some boy      
brings a  text book or newspaper to     
exhibit what he considers a glaring     
disregard  of some of these principles  
of composition4    ,printing furnishes a
 distinctly different type of motor     
activity from  woodwork1 for it is the  
arrangement of certain unyielding forms 
within  limited space to produce some   
desired effect4    ,in the matter of    

social significance printing is         
practically ideal4  ,almost every       
problem is a community project1 that is1
 a number of pupils  combine their      
efforts to produce it4 ,practically     
every task in the  printshop is         
undertaken with the consciousness of    
real service to a  great number of      
people in the school or in the community
 at large4    ,it is interesting to note
 that among the boys in school1 the     
genuine joy  in the production of       
printed matter does not necessarily     
arise out of a  sense of the commercial 
value of the product4 ,the class that   
has printed  and illustrated a little   
pamphlet of stories for the second or   
third  grade are proud and happy        
immeasurably beyond the pride and       
happiness  that would come from a job of
 office blanks worth so many dollars4   
,in  other words1 they are happy to the 
extent that the quality of their work   
merits praise1 and that they feel able  
to make others happy by their  services4

    ,the school paper is an enterprise  
of very much the same nature4 ,it is a  
real influence and a genuine service    
performed for which they expect no      
individual return except in the         
appreciation of those they serve1 and   
pride in the excellence of their work   
and the skill it shows4 ,this is        
certainly a kind of training for which  
there is a distinct need just  now4     
,there is no other one of the ,manual   
,arts that can touch so intimately  the 
varied classwork1 interests1 and        
activities of school life as does       
printing1 especially when combined with 
bookbinding4    ,it brings a freshness  
and vigor to the elementary reading and 
language  work2 it touches the athletics
 and social activities through          
announcements1 programs1 and notices in 
the school paper2 it becomes an         
important factor in the celebration of  
special days1 and in the  preparation of
 material bearing on them2 and it bears 
an intimate and  vital relation to art4 

,another interesting development is in  
the relation of printing to the  other  
lines of constructive work4 ,it has     
proved extremely valuable to  have the  
completed problems written up in        
descriptive articles by the  pupils1 and
 to have the best of these compositions 
printed4                                
,,the ,,art ,,of ,,printing             
,methods and ,tools of ,composition4    
,in printing1 composition includes all  
the steps from receiving the copy  until
 the type is set up1 proofed1 corrected1
 and made up into page  forms4    ,this 
discussion presupposes a knowledge of   
spelling1 syllabication1  punctuation1  
paragraphing1 etc41 all of which good   
composition really  includes4 ,practical
 rules bearing on these different phases
 may be found  in various handbooks for 
the printer4    ,the first essential in 
printing is1 of course1 a quantity of   
type  properly arranged4    ,type is    
cast from a composition of metals--lead1
 tin1 antimony1 and  sometimes copper4  

,this composition is melted and poured  
into moulds the  size and shape of the  
desired type4    ,accuracy in ,size of  
,type4 ,lead is used as the chief       
constituent of the  composition1 because
 it shrinks very little in cooling4     
,this makes  greater accuracy possible4 
,accuracy is an absolute essential in   
type1  for thousands of pieces of metal 
must be held together in one form by a  
slight pressure at the sides and ends of
 the form4    ,lead alone is too soft to
 wear well and to retain the shape of   
the type  under the constant pressure of
 the printing press4 ,tin is added to   
give  hardness1 and antimony or copper  
to give toughness to the type metal4    
,type ,described4 ,type are small       
columns of the metal with a letter or   
character in relief on one end of each  
column1 as at ,fig4 #a4 ,the surface  of
 this relief portion from which the     
letter or character is printed is       
called the face4    ,the various faces  
are distinguished by names applied by   

the foundries1  as 8,caslon ,old        
,style10 8,engraver's ,old ,english10   
8,banker's ,script10 etc4    ,the       
extreme length of type from the face to 
the foot is 4#iah inches1 or  about     
eleven-twelfths of an inch4             
,illustration3      ,fig4 #a4      ,the 
column of metal on which the letter or  
character rests is the body  or shank of
 the type 7a1 ,fig4 #a7 and the distance
 which the body extends  beyond the edge
 of the letter or character is the      
shoulder 7b1 ,fig4 #a74    ,on the side 
of the body next the base of the letter 
or character are one  or more nicks 7d1 
,fig4 #a74 ,the chief purpose of such   
nicks is to  indicate the base of the   
letter or character1 and thus to aid the
  compositor in keeping the type right  
side up without constantly  referring to
 the face of the type4    ,to the       
manufacturer1 these nicks indicate other
 things in addition to  that mentioned  
above1 but these need not be detailed   
here4    ,the size of the type has to do

 with the body1 and signifies the       
vertical  distance through the body1 or 
the distance from the nick side to the  
opposite side1 as from x to x1 ,fig4 #a4
    ,of course it is clear that among   
the large amount of type manufactured1  
there must be a great number of         
different faces on the same size of     
body2 and that there may be two or three
 sizes of the same face on the  same    
size of body4    ,in order to indicate a
 specific type1 it is necessary to      
mention its  size and the name by which 
that particular face is distinguished2  
as1  8#aj point ,author's ,roman ,wide10
 8#ah point ,pabst ,old ,style10 8#f    
point  ,caslon ,bold ,italic10 etc4     
,the ,point ,system4 ,the type          
manufacturers of this country have      
adopted  a uniform scale of sizes known 
as the point system4 ,in this scheme1   
the  unit or point is 4#jach inches1 or 
about one seventy-second part of an     
inch4 ,the size of any type is so many  
points based upon this system4  ,twelve 

points constitute an em pica which is   
the larger unit of  measurement4        
,when the printer speaks of dimensions1 
like the length and width of a  page1 he
 says it is a certain number of ems or  
picas long and wide4 ,an  em pica is    
one-sixth of an inch2 so a page three   
inches by five inches  is eighteen by   
thirty ems pica4    ,until comparatively
 recent years there was no definite     
standard of type  sizes4 ,each foundry  
established its own standards4 ,if a    
printer wished  to use type from        
different foundries1 it probably was    
necessary to make  some troublesome     
adjustments with bits of paper or       
otherwise to get them  to line properly4
 7,specimen of words out of line47      
,there was a sufficient similarity in   
sizes of type to justify the use of     
names to indicate certain sizes4 ,the   
names used to designate the common      
sizes from #d to #ab point type         
according to the point system1 are as   
follows3                             #d 

points--,diamond                        
#e  points--,pearl                      
#e points--,agate                       
#f  points--,nonpareil                  
#g  points--,minion                     
#h  points--,brevier                    
#i  points--,bourgeois                  
#aj points--,long ,primer               
#aa points--,small pica                 
#ab points--,pica            #a4 ,this  
line is set in #f point ,caslon ,bold4  
#b4 ,this line is set in #h point ,post4
          #c4 ,this line is set in #aj  
point ,author's ,roman ,italic4         
#d4 ,this line is set in #ab point      
,strathmore ,old ,style4    ,some of    
these names1 such as ,nonpareil1        
,brevier1 ,long ,primer1 and ,pica1  are
 still in quite general use4    ,not    
only is the height or depth of the body 
determined by the point  system1 but the
 width or set of the body 7cc ,fig4 #a7 
is also cast on  the point basis4 ,there
 are no fractional points in the width  
of type  made on the point set basis4   

,any number of letters or characters    
placed  side by side make an integral   
number of points4 ,this is called point 
set4    ,also1 in case a number of      
differently faced type with the same    
body are  used in the same line1 they   
are so cast that the different faces    
line  with each other as well as if they
 were all of the same face4    ,the     
system goes still further and makes it  
possible to use different  sizes of type
 in the same line without difficulty in 
alignment4 ,this is  done by making the 
lining of the different sizes vary by   
points1 so that  the difference can     
easily be built in with leads and slugs1
 see page #ad4  ,this line has three    
different faces and two sizes of type4  
,spacing of ,words and ,letters4 ,quads 
and spaces are pieces of metal  shorter 
than the type1 and are used to make     
blank spaces between words  and at the  
ends of lines shorter than the measure4 
,illustration3      ,fig4 #b4      ,in  
any size of type there are four kinds of

 quads4 ,fig #b shows the ends  of the  
#h and #ab point quads and spaces4 ,an  
em quad is the square of the  type body4
 ,the #aj point em quad is a square quad
 whose sides are #aj  points wide4 ,an  
eight point em quad is #h points or     
one-ninth of an inch  square4    ,an en 
quad of any size type is one-half the em
 quad of that size of  type4 ,a two em  
quad of any size type is equal to two of
 the square or em  quads1 and a three em
 quad is equal to three of the square or
 em quads  laid side by side4    ,there 
are four of the thinner blanks in any   
size of type1 known as  spaces4 ,the    
#c-;em space is one-third of the em     
quad2 the #d-;em space  one-fourth of   
the em quad2 and the #e-;em space is    
one-fifth of the em  quad4 ,the hair    
spaces are very thin spaces of copper   
and brass4 ,these  are very seldomly    
needed in general work4    ,the em quad 
must be clearly distinguished from the  
em pica4 ,every size  of type has its em
 quad2 but the em pica is simply the #ab

 point standard  unit of measurement4   
,type ,font4 ,a quantity of the same    
size and face of type with an           
assortment of the various letters and   
characters which are used together  is  
called a font4 ,sometimes fonts are     
designated by the number of  certain    
letters they contain4 ,a font may be    
mentioned as having so many  capital    
,a's and so many small a's4    ,type may
 be bought in weight or job fonts4 ,if  
bought by weight1 it  contains capitals1
 small capitals1 small or lower case    
letters1  including ligatures 7ff1 fi1  
etc471 figures1 marks of punctuation1   
spaces and quads4 ,twenty per cent of a 
weight font is made up of spaces  and   
quads unless otherwise specified4 ,job  
fonts are small assortments of  type1   
where only small quantities or unusual  
faces are needed4 ,such  fonts do not   
include small capitals1 spaces or quads4
    ,fonts or parts of fonts come from  
the foundry wrapped in small packages4  
,the capitals1 the small letters1 and   

the quads and spaces come1 of  course1  
in separate packages4 ,the letters are  
arranged for the most part  in          
alphabetical order2 but there is an     
occasional insertion of a mark of       
punctuation or a thin bodied letter out 
of regular order to fill out a  line4   
,in taking the type from these packages1
 the entire face side of the mass  of   
type is wet with soapy water4 ,then1    
beginning with the first of the         
alphabet1 a few letters are taken at a  
time and put into the proper  boxes of  
the case4 ,this is called laying the    
case4    ,illustration3      ,fig4 #c4  
,,news ,,cases4      ,illustration3     
,fig4 #d4 ,,job ,,case4      ,type      
,cases4 ,type cases1 ,figs4 #c and #d1  
in which type is kept are of  two       
general kinds1 news and job4 ,news cases
 are in pairs1 the upper and  the lower 
case1 arranged to occupy a position one 
above the other on top  of the stand or 
cabinet1 ,fig4 #e4 ,the upper case      
contains the capitals1  small capitals1 

and an assortment of signs and symbols4 
,the lower case  contains the small     
letters1 numerals1 marks of punctuation1
 quads and  spaces4 ,the ,california job
 case is about the size of the lower    
news case  and fits like a drawer into a
 stand or cabinet4 ,it is arranged to   
contain both the capitals and lower case
 type1 but is without boxes for  the    
small capitals4 ,by reference to ,fig4  
#d1 it will be seen that the  left side 
of the job case is exactly the same as  
the entire lower news  case1 except that
 the compartments are smaller4          
,illustration3      ,fig4 #e4      ,the 
right side of the job case contains only
 thirty-five boxes for  capitals instead
 of forty-nine1 as in the capital side  
of the upper news  case4    ,it will be 
observed that the capital letters are in
 regular order in the  case with the    
exception of ,j and ,u4 ,it is          
interesting to note that these  two     
letters were the last to be added to the
 alphabet1 and hence were  simply placed

 at the last of the alphabet in the     
case4    ,in the lower case there is but
 little regularity of arrangement1      
except  that the most commonly used     
letters occupy the most convenient and  
conspicuous places4 ,the printer knows  
the locations of the various  boxes1 so 
that the picking out of a certain letter
 becomes almost purely  automatic4      
,,type ,,setting      ,in beginning to  
set type1 the first tool the printer    
needs is the job  stick1 ,fig4 #f4      
,illustration3      ,fig4 #f4      ,this
 is the receptacle into which the       
compositor places the type as he  sets  
up the form1 letter by letter4 ,sticks  
are made in great variety1  and almost  
any length from six inches up4 ,there   
are the simple1  ungraduated stick1     
adjusted by the thumb screw2 the marked 
and  perforated stick for nonpareil     
adjustment by means of a lever1 ,fig4   
#f1  and the non-adjustable stick for   
news or book composition4    ,the       
printer sets the stick the length of the

 desired line4 ,this is done  by placing
 into it a lead or slug1 the desired    
length1 and moving the  clamp up against
 it tightly enough that the type will   
not easily fall  forward1 and yet       
loosely enough to allow the lines to be 
lifted from the  stick without binding4 
,illustration3      #ab em #b point     
,lead    ,fig4 #g4      ,spacing of     
,lines4 ,leads 7,fig4 #g7 are strips of 
metal  wide1 and from  one to five      
points1 inclusive1 in thickness4 ,strips
 six points and  thicker are called     
slugs4 ,leads and slugs are used to     
space between the  lines of type1       
bearing the same relation to the lines  
as spaces and  quads bear to the words4 
,these strips are said to be labor      
saving when  they are cut ready for use 
into definite lengths of pica or        
nonpareil  variations4 ,the standard    
lengths are from #d to #be ems pica4    
,when not so  cut1 they are called      
strip4    ,illustration3      #ab em #f 
point ,slug    ,fig4 #g;a4      ,a lead 

or slug generally of the thickness to   
give the required space  between the    
lines1 and of the length of a line1 is  
placed in the stick1  and the type is   
set with the top of the letter toward   
this lead4 ,then  with the lead or slug 
in the stick and the stick in the left  
hand1 the  compositor stands upright at 
the case1 picks out the letters and     
characters one at a time1 and places    
them1 nick out and face up1 into  the   
stick1 beginning at the lower left hand 
corner4 ,fig4 #h4 ,as the type  are put 
into the stick1 they are held there by  
the thumb of the left  hand4 ,the method
 of holding the stick at the proper     
angle to prevent the  type from falling 
out and to allow the thumb to do its    
work properly1 is  quite an art which it
 takes time to acquire4    ,justifying  
lines4--,the line of type reads from    
left to right the same  as printed      
matter but the letters are inverted4 ,it
 takes the beginner  some time to       
accustom himself to this condition1 but 

with practice1 it  becomes easy and     
convenient4 ,each word except the last  
in the line1 is  followed by a space1 or
 a quad4 ,in ordinary solid matter1 that
 is matter  without leads or slugs      
between the lines1 the three-to-em      
spaces are  used between words4 ,but the
 line must come out evenly at the end   
without  leaving a space or dividing a  
word improperly4 ,this very seldom      
occurs  in beginning work1 so the young 
printer sets himself to the task of     
justifying the line1 that is respacing  
it so as to remove the  difficulty4     
,approved methods of spacing and        
justification may be found  in the list 
of rules of composition on page #be4    
,great care should be  observed in      
getting each line as nearly perfect as  
possible before  proceeding to the next1
 for in this way1 much trouble and      
annoyance in  correcting proof are      
avoided4    ,illustration3      ,fig4   
#h4      ,when a line has been thus     
finished and a lead put in above to     

support  it1 the compositor proceeds    
with the next line exactly as before4   
,it is  wise for the beginner to leave  
all the work leaded1 so as to simplify  
the operation of removing the lines from
 the stick4 ,if it is desirable1  the   
leads or slugs may be removed after the 
type is emptied from the  stick4 ,if the
 last line of a paragraph is not a      
complete line1 it is  filled with quads 
and spaces1 but the spaces should never 
be placed at  the end or between the    
quads4    ,illustration3      ,fig4 #i4 
,to ,remove ,type3 ,the ,galley4 ,when  
the stick is full or nearly so1 the     
compositor lays it down and to remove   
the type catches the first lead  with   
both thumbs1 and the last lead with the 
first finger of each hand4  ,fig4 #i4   
,then he slightly raises the first line4
 ,with the remaining free  fingers      
pressing against the ends of the lines  
and pushing at the same  time down      
against the stick1 he lifts the type    
bodily and puts it into  the galley4    

,the first line should go against the   
closed end and should  read from the    
lower side of the galley up4 ,the closed
 end of the galley  should always be at 
the right as the worker stands at the   
case4    ,the galley1 ,fig4 #aj1 is a   
kind of rectangular brass tray open at  
one  end1 into which the compositor     
places the lines of type on removing    
them  from the stick4 ,galleys are of   
various sizes for different kinds of    
work4    ,illustration3      ,fig4 #aj4 
,lines and ,borders3 ,the brass rule4   
,in case there are solid lines to be    
made in the printed matter1 as in ,fig4 
#aa1 this is done by use of the  brass  
rule4    ,illustration3      ,fig4 #aa4 
,this1 like leads1 may be had either in 
the strip or in labor saving  lengths2  
but unlike leads1 it is type high1 and  
is designed for the  purpose of making  
lines1 borders1 etc41 ,fig4 #ab4 ,it may
 be had in any  thickness1 but usually1 
a very thin face like a hair line or one
 point1  is put on a heavier body4 ,in  

such cases the rule is beveled from one 
or  both sides and is said to be        
side-faced or center-faced 7a and b1    
,fig4  #ab74 ,labor saving brass rule is
 made up in weight fonts1 and may be had
  with or without mitres for the        
corners4    ,illustration3      ,fig4   
#ab4      ,if a rule line shorter than  
the measure of the type line is to be   
made1  the blank spaces at the ends of  
the rule are filled with leads1 slugs1  
or quads of the same thickness as the   
body of the rule4    ,rule for borders  
is put around the type form after it is 
finished4 ,if  the face of the rule is  
as thick as the body1 as at c1 ,fig4    
#ab1 good  corners are made simply by   
lapping one piece of rule over the end  
of the  other piece which meets it at   
the corner4    ,if the face is thinner  
than the body1 the rule in borders or   
panels must  be side-faced unless there 
are mitres4 ,the bevels of the side     
pieces of  rule are turned in toward the
 type and those of the end pieces are   

turned out4 ,the end rule laps over the 
ends of the side rules at the  corners1 
as shown at a1 ,fig4 #ab4    ,dotted or 
hyphen lines as seen in ,fig4 #aa1 are  
made by the use of  leaders1 which      
closely resemble quads in that they are 
of quad sizes4  ,leaders1 however1 are  
type high1 and have either the dot or   
hyphen  face--so many dots or hyphens to
 the em4 ,it is not necessary to have a 
great variety of leader sizes1 since    
with the point lining system1 one  size 
of leader can easily be lined with      
another size of type4    ,spacing and   
,tying a ,galley or ,job of ,type4 ,when
 the compositor has  finished setting   
the type and placed it into the galley1 
if it is an  advertisement or small job1
 he proceeds to space it out by the use 
of  leads and slugs to the required     
length4 ,the form is then tied up4      
,illustration3      ,fig4 #ac4      ,it 
requires considerable care and skill to 
tie up a mass of type  properly4 ,the   
form is in the lower right hand corner  

of the galley4 ,the  compositor takes a 
cotton string and beginning at the upper
 left hand  corner1 he starts to        
wrapping the twine around the form from 
left to  right1 drawing it taut just    
before turning a corner4 ,when the      
starting  point has been reached1 he    
pulls the twine down across the original
 end  thus binding it firmly against the
 metal4 ,after wrapping from three to   
six times about the form1 a loop is left
 in the twine1 which is forced  by means
 of a composing rule1 ,fig4 #ac1 or a   
lead1 down between the type  and the    
strands4 ,this leaves a small piece of  
the end projecting as a  convenience in 
untying4 ,the next step is to take a    
proof4 ,the galley is  laid on the stone
 or a table1 or the form may be slid    
from the galley to  the stone1 ,fig4    
#ah4    ,illustration3      ,fig4 #ad4  
,illustration3      ,fig4 #ae4          
,taking a ,proof4 ,when the tied form   
has been placed upon the stone or  proof
 press1 it is inked by rolling a small  

rubber roller 7,fig4 #ad7 over  it1 the 
roller having been first well inked by  
rolling it over an inked  piece of      
marble1 slate or glass4 ,then the type  
is covered with a moist  paper1 the     
sponged side up1 or a regular proof     
paper4 ,if there is no  proof press the 
proof planer1 a smooth faced block of   
hard wood1 with  face covered with felt1
 ,fig4 #ae1 is laid on the top of the   
paper1 and  tapped squarely and firmly  
with the mallet4 ,if the proof planer   
does not  cover the form1 its position  
is changed and the mallet used again4   
,the  impression left on the paper is   
the first proof4 ,see proof marks1 page 
#bg4 ,in school1 it is wise to have the 
pupils read their own proofs4           
,illustration3      ,fig4 #af4      ,to 
correct a galley4 ,then with the marked 
proof before him1 the  compositor       
proceeds to correct4 ,if only slight    
changes are to be made1  such as turning
 an inverted letter or taking out a     
capital and putting  in a lower case    

letter1 such changes may be made without
 lifting the  type into the stick4      
,often lines or words are transposed1 or
 omissions  or repetitions are          
discovered4 ,such errors necessitate    
respacing and  overrunning1 by which is 
meant the going over several lines      
respacing  them and crowding a word out 
of one line into another in order to    
correct an error4 ,in such cases1 it is 
well to lift out into the stick1  the   
lines involved4 ,in the matter of taking
 out a letter1 it is  necessary only to 
press lightly at both ends of the line  
with the thumb  and finger of one hand1 
raising the line about half way out of  
the form1  and with the other hand to   
remove the desired letter and allow the 
line  to slide back into its original   
position4 ,bodkins and tweezers are     
dangerous and useless instruments in    
most instances4 ,after the changes      
indicated in the first proof have been  
made1 a second proof is taken to  make  
sure that all corrections have been     

made1 and that no new errors  have crept
 in4 ,this proof should be submitted to 
the instructor for  approval4 ,it may be
 necessary to make a number of proofs   
before a  perfect impression is gotten4 
,in case of a sufficient quantity of    
matter  to necessitate its division into
 pages or columns1 the proof is taken in
  the galley without tying up1 ,fig4    
#af4 ,the form is locked tightly in the 
galley by means of furniture and quoins1
 ,fig4 #af4 ,this is somewhat like  the 
lockup described on page #cb1 except    
that furniture is placed only on  one   
side of the mass of type4               
,illustration3      ,fig4 #ag4          
,making up4 ,when the corrections are   
made1 the matter is properly  divided1  
the page numbers and headings are       
placed1 and the pages or  columns are   
tied up4 ,this process is called making 
up4 ,fig4 #ag4 ,when the  printer begins
 to make up1 he has before him a long   
mass of type1 as at  ,fig4 #af4 ,the    
length of the page is determined4 ,it   

includes the page  number1 the running  
head1 if there be one1 and a nonpareil1 
or six  point1 slug at each end4    ,a  
page #ah ems wide might properly be #cj 
ems long4 ,in this case1 the  measure   
would be #ca ems and a #ca em reglet1   
7see furniture page #ca7  answers well  
for a measure1 as will any long piece of
 furniture on which  the desired length 
may be marked4 ,an accurate ruler may be
 used to  advantage4 ,the length of the 
first page is usually less than the full
  measure and is somewhat arbitrarily   
determined4 ,it is generally sunken     
about one-fourth of the page4 ,after    
this page is tied up and moved  aside1  
the page number1 the running head and   
the slug are added to the  remaining    
column of type and the measure applied  
for the next page4 ,this  is repeated   
until the final page is reached1 which  
is usually somewhat  less than the full 
measure4                                
,,rules ,,of ,,composition      #a4     
,spacing between words should appear as 

nearly uniform as possible1  not only   
throughout the line but throughout the  
entire piece of work4    #b4 ,for solid1
 or unleaded matter1 the em quad is used
 to indent the  paragraph1 and to follow
 a period except at the end of a line2  
the #c to  em space1 between words in   
the absence of marks of punctuation     
other  than the comma2 the en quad1     
after a semi-colon and also after a     
colon  when followed by a lower case    
letter1 but when followed by a capital  
letter1 the space should be slightly    
larger1 perhaps two #c to em spaces4    
#c4 ,the indentation and spaces between 
words should vary according to the      
spaces between the lines4 ,in case of   
two point leaded matter1 the en  quad   
should be used instead of the #c to em  
space and other spaces should  be       
correspondingly larger4    #d4 ,in      
justifying a line after the spacing has 
been done according to  the above rules1
 spaces may be increased at kern        
letters1 f1 y1 etc41  between long      

words1 and after semi-colons and colons2
 or reduced at  slanting letters1 at    
commas1 and at the sides of small words4
 ,spaces  should be the same on both    
sides of very small words1 and there    
should  never be a greater variation in 
the spacing between ordinary words than 
the difference between an en quad and a 
#c to em space4    #e4 ,type should     
stand squarely on foot4    #f4          
,divisions of words at the ends of the  
lines should be avoided  wherever       
possible but when divided1 the proper   
division of syllables  should always be 
made4    #g4 ,avoid dividing short      
words1 or dividing words by cutting off 
short  syllables at the first or last4  
#h4 ,do not loosen the clamp of the     
stick in order to make it possible to   
insert a space4    #i4 ,when in doubt   
about spelling1 punctuation1            
capitalization1 or  syllabication1      
consult authority4    #aj4 ,save endless
 time and trouble by producing a clean  
proof the first  time4    #aa4 ,in      

making up1 it is good form to have the  
first and last lines of a  page full    
lines4 ,so it is best not to have a     
paragraph begin with the  first line or 
end with the last line of a page4       
,,proof ,,marks      ,illustration3     
,proof ,marks4                          
,,imposition      ,imposition is the    
arranging of the type masses in proper  
order on the  stone1 and the fastening  
of them into the chase4                 
,illustration3      ,fig4 #ah4--;,,back 
,,view4      ,illustration3      ,fig4  
#ah4--;,,front ,,view4      ,the        
imposing stone1 ,fig4 #ah1 is a smooth  
marble slab on which the forms  are     
placed for locking up ready for the     
press4 ,the stone may be laid  upon a   
box1 bench or table1 but both stands and
 cabinets are made for  this purpose4   
,it is properly bedded in its 8coffin0  
by placing putty  along the edges of the
 bed and along any cross supports which 
may run  under the stone4 ,then when the
 stone is placed into this receptacle1  

it  remains solid and level and free    
from strain4 ,it should project a short 
distance above the frame of the bed in  
order to render easy the removal  of the
 forms to and from the galley4          
,illustration3      ,fig4 #ai4      ,the
 chase1 ,fig4 #ai1 is a steel or        
cast-iron frame1 into which the forms   
are locked to be put into the press4    
,the size of a press is based upon  the 
inside dimensions of the chase4 ,a #aj  
#ae press is one that  accommodates a   
#aj  #ae chase4 ,the skeleton chase is a
 steel chase with a  very narrow frame4 
,this makes the inside considerably     
larger4 ,a skeleton  chase for a #aj    
#ae press is practically #aa  #af1      
making a clear gain of  almost an inch  
each way4    ,when the type has been    
proofed1 corrected1 made up1 and tied1  
the form  is slipped from the galley to 
the stone1 and is then ready for the    
lockup1 ,fig4 #bj4    ,illustration3    
,fig4 #bj4      ,a chase is put upon the
 stone in such a position as to form a  

frame  about the type1 which as a rule  
should occupy the central part of the   
space enclosed by the frame4 ,a roller  
supporter1 a1 ,fig4 #bj1 is placed  in  
each end of the chase and pieces of     
furniture are built out solidly  from   
the type form to one side and one end of
 the chase4    ,illustration3      ,fig4
 #ba4      ,furniture1 ,fig4 #ba1 and b1
 c1 ,fig4 #bj1 is the name given to     
pieces of  wood and metal1 which are    
used to build around the forms in the   
process  of locking them into the chase4
 ,furniture varies by the em in width   
and  by #e to #aj ems in length when cut
 labor saving4 ,metal furniture is more 
modern and makes possible more accurate 
work2 but for beginners1 it has  its    
disadvantages4 ,the metal is soft and of
 considerable weight1 making  heavier   
forms2 and if a piece is dropped upon   
the stone or even upon the  floor1 which
 frequently happens1 it probably has a  
corner or an edge  battered4 ,in the    
lockup1 occasionally this small defect  

may cause the  8pi0 of the whole form4  
,reglets are a kind of wood furniture   
similar in  size and use to leads and   
slugs but are largely used as furniture 
in  locking up forms4 ,in leaded forms  
which have to be kept for sometime1     
reglets are substituted for the leads   
and slugs4 ,they are very much  cheaper1
 and they relieve the necessity for     
large quantities of the more  expensive 
leads and slugs4 ,wood furniture1 which 
comes by the case or by  number of      
pieces1 is cheap1 durable1 not easily   
injured1 and on the  whole1 quite       
satisfactory for school use4 ,a small   
amount of metal  furniture1 which is    
sold by weight1 is desirable in every   
printshop4    ,when the furniture has   
been built in at one side and one end of
 the form  as indicated above1 quoins   
are placed at the other side and the    
other  end about midway between the type
 and the chase4    ,illustration3       
,fig4 #bb4      ,quoins1 ,fig4 #bb1 are 
devices for locking the forms into the  

chases4  ,there are two chief kinds1 one
 consisting of two separate wedge shaped
  pieces of hard metal with notched     
sides1 which by the use of a key are    
made to slide in opposite directions    
against each other4 ,the danger of      
these quoins in the hands of schoolboys 
is that1 not realizing how  easily good 
forms are held1 they persist in trying  
to screw the quoin to  the last notch1  
frequently endangering the chase and    
ruining the quoins4  ,the other kind is 
constructed of two pieces of metal      
joined by springs  and opened by the use
 of a key operating a nut which1 after a
 slight  expansion of the quoin1        
releases its hold and allows the parts  
to spring  back together4 ,this quoin is
 safe for the form and for the chase1   
and is  itself not battered in the      
process of locking up4    ,after the    
quoins have been put into proper        
position1 pieces of furniture  are      
fitted in on both sides of the quoins4  
,the pieces of furniture are usually a  

little longer than the sides of  the    
form against which they fit4 ,they are  
always placed around the form  in such a
 way that they can not bind against each
 other so as to prevent  the pressure   
from striking the type squarely1 ,fig4  
#bj4    ,with the key1 ,fig4 #bb1 the   
quoins are very slightly and uniformly  
tightened4 ,then the planer is used4    
,illustration3      ,fig4 #bc4      ,the
 planer1 ,fig4 #bc1 is a smooth faced   
block of hard wood similar to the  proof
 planer1 but is usually smaller and not 
covered with felt4 ,this is  laid on the
 face of the form on the stone and      
tapped lightly with a  mallet1 in order 
to make sure that the faces of all the  
type are at the  same level--no letters 
projecting so as to be broken or to     
injure the  rollers1 or1 at best1 to    
ruin the impressions4    ,after this1   
the printer tightens the quoins         
gradually1 giving a slight  turn to each
 quoin in succession4 ,there is danger  
of the beginner's  getting the lockup   

too tight1 causing the form to spring up
 from the  stone and the chase to spring
 and even to break4 ,if the composition 
is  good and the furniture is properly  
placed1 it does not require a very      
tight lockup to hold4 ,before removing  
the chase from the stone1 the  lockup   
should be tested by raising one side of 
the chase very slightly  and tapping the
 furniture to see if any of the type are
 loose4 ,if the  form holds1 it is ready
 for the press4    ,forms for ,four and 
,more ,pages4 ,when there are a number  
of pages  instead of one to be dealt    
with1 the imposition is considerably    
more  complicated4    ,illustration3    
,fig4 #bd4      ,any piece of printing  
of four or more pages has an outside and
 an inside  section4 ,page one and all  
the pages that are printed on the same  
side of  the paper with it constitute   
the outside section4 ,page two and all  
the  pages that are printed on the same 
side with it are the inside section4  ,a
 four page printed sheet is called a    

sheet folio4 ,the best way to  handle   
such a four page form is by the         
work-and-turn method1 provided  the     
press is large enough to accommodate the
 four pages at one time4 ,by  this      
method1 the pages are arranged as in    
,fig4 #bd4 ,note that in this  form as  
in any other outside form1 page one is  
at the lower left hand  corner with the 
foot of the page toward the printer4    
,margins are  determined by measuring   
from the front of type pages one and two
 the  width of the page plus twice the  
desired margin to the backs of pages    
three and four4 ,then the length of the 
page plus twice the margin is  measured 
from the foot of pages one and four to  
the head of pages two  and three4    ,in
 this case1 the stock is cut double the 
length of the finished job4  ,when it   
has been printed on one side1 and the   
ink has dried1 it is  turned and given  
the same impression on the other side4  
,of course1 in  printing this second    
side1 care must be taken to reverse the 

paper so  that pages two and three back 
up one and four at one end1 and one and 
four back up two and three at the other 
end4 ,when the ink of this  impression  
is dry1 the sheet is cut at line ,,xx   
making two complete  folios from one    
sheet4    ,with school boys working on a
 small press1 the four pages are often  
handled in two separate forms of two    
pages each4    ,illustration3      ,fig4
 #be4      ,when so divided1 each pair  
may be imposed in exactly the same order
 as  in the four page form4 ,in this    
case the paper is cut to exact size and 
pages one and four are printed on one   
side4 ,when the ink dries1 it is  run   
through the press again and pages two   
and three are printed on the  other     
side1 completing the work4    ,an eight 
page form1 or a sheet quarto1 for a     
sufficiently large press1  may be       
imposed after the work-and-turn method  
as in the case of the four  page form4  
,the numbered rectangles in ,fig4 #be   
show the arrangement of  pages in the   

work-and-turn method of imposing an     
eight page form4 ,it  will be observed  
that pages in the outside section of an 
eight page form  are in the same order  
as those of a four page form4 ,for a    
press that can  accommodate only four   
pages1 the inside and outside sections  
are imposed  exactly in the same order  
as in ,fig4 #be1 but are used as        
separate forms4    ,when we undertake   
the imposition of an eight page job1 we 
meet the  problem of margin for trim1   
which has not been encountered in the   
previous forms4 ,in an eight page piece 
of work1 there must be two folds  and   
since the sheets are folded after they  
are printed and before they  are cut1 it
 is evident that some allowance must be 
made for trimming the  fold at the top  
of the pages4 ,since in folding1 the    
edges are probably  not even1 it is     
necessary to trim them also4 ,thus it is
 clear that  allowance must be made for 
trim around each pair of leaves4 ,fig4  
#be  represents a half sheet of standard

 #be  #ch paper laid on the eight page  
form imposed by the work-and-turn       
method4 ,the line ,,xx indicates where  
the printed half sheet is cut before    
folding4 ,the dotted lines indicate  the
 margins allowed for trim after folding4
 ,the method of measuring for  the      
imposition is as follows3 ,suppose the  
type pages to be four by seven  inches  
and centered in the pages1 and the      
margin1 after trim1 to be one  inch all 
around each page4    ,it is apparent    
then that the backs of type pages #h and
 #e are two inches  from the backs of   
pages #a and #d4 ,the location of pages 
#g and #f is  determined by measuring   
half the length of the half sheet1 or   
#ab inches  in this case1 from the front
 edges of type pages #a and #d4 ,the    
distance  then from #h to #g and from #e
 to #f is #b inches or #ae ems pica1    
making   inch for trim4 ,one-half of #ai
 inches1 or the other dimension of the  
half  sheet1 measured from the foot of  
type page #a to the head of #d1 places  

the distance of #b inches between #a and
 #d4 ,this allows  inch here also  for  
trim4    ,in this work1 some prefer     
simply to fold the paper and use it for 
measurement1 but in any case when the   
margins are determined1 they are  built 
in with appropriate furniture and the   
form is locked up4 ,it is  well to      
remember that1 viewed from the foot of  
the pages in a form1 odd  numbered pages
 are always at the left of even numbered
 pages4    ,in most of the work of this 
character1 the pages are so large that  
only  two may be accommodated by a small
 press4 ,in this case1 the eight pages  
are imposed in pairs as follows3 ,one   
and eight1 two and seven1 three and     
six1 and four and five4 ,it will be     
observed that the sum of the page       
numbers of any pair is always one       
greater than the whole number of  pages4
                                        
,,presswork      ,illustration3         
,fig4 #bf4      ,the first thing in the 
matter of handling a press1 ,fig4 #bf1  

is to have a  clear idea in mind as to  
the method of its operation2 the next is
 to  make sure that the press is well   
oiled1 well cleaned and the bed and     
platen clean of all grit1 paper1 gauge  
pins1 quadrats1 etc4    ,the throw off1 
a1 ,fig4 #bf1 is a lever by use of which
 the press can be  prevented from       
printing4 ,this should always be in such
 position as to  hold the platen1 b1    
away from the bed1 c1 until the press is
 ready for  an impression4    ,an       
essential part of the press which needs 
to be mentioned separately is  the      
rollers1 d4    ,they are a kind of      
rubbery composition moulded around steel
 rods or  cores2 and when placed on the 
press1 they distribute the ink over the 
plate1 e1 and carry it down upon the    
type4 ,of course1 they are soft and     
pliable and need proper attention to    
keep them so4 ,there are summer  rollers
 and winter rollers and neither can be  
used to advantage out of  season4       
,winter rollers become too soft for     

summer1 while the reverse is  true of   
summer rollers used in winter4 ,seventy 
degrees is about the  right temperature 
to insure the proper working of rollers4
 ,when they  become permanently hard    
enough to retain1 for a considerable    
time1 the  type impressions1 rollers are
 said to be dead4 ,much can be told     
about  rollers by observing the color   
and the shine of the surface4 ,a dead   
roller has a dead1 lusterless surface4  
,when rollers are worn out1 they  are   
simply sent to the factory where the old
 composition is removed and  new        
composition molded upon the same cores4 
,the chief constituents of  rollers are 
molasses1 glycerine and glue4           
,make-ready4 ,in preparing the          
make-ready1 a hard surfaced piece of    
pressboard is placed on the platen4 ,on 
top of this1 should be from three  to   
five pieces of book paper for 8packing10
 covered finally with a  8drawsheet0 of 
tough manila4 ,now the press is inked by
 putting upon the  plate1 e1 a small    

quantity of ink and allowing the press  
to run until  the rollers have          
thoroughly distributed it over the      
plate4 ,then the form  is put into the  
press at c1 and care is used to see that
 the grippers1  f1 are properly adjusted
 so that they do not strike the form and
 at the  same time1 are not far enough  
out to strike the roller supporters4 ,in
  case of interference of grippers1 one 
or both may be removed4 ,when           
everything is ready1 an impression is   
taken on the draw sheet and is  examined
 to see if any type are high1 or to     
discover and correct any  other defect4 
,then the lower clamp1 g1 is loosened   
and while the draw  sheet is thrown     
back1 an impression is taken on the top 
sheet of the  packing4 ,if a portion of 
the impression is indistinct1 a thin    
piece of  paper is pasted upon the      
indistinct parts to give them a slightly
  heavier impression4 ,this is known as 
the overlay4 ,in patching up the        
make-ready in this manner1 it is very   

important that the overlay shall  not   
reach beyond the parts which need       
building up4 ,if an indistinctness  in  
an impression is due to worn type or a  
low cut1 it may be remedied by  an      
underlay4 ,this is the pasting of bits  
of paper or cardboard to the  foot of   
the type1 or to the back of the cut4 ,in
 case a portion shows too  heavy an     
impression1 that particular part is cut 
out of the top sheet of  the packing4   
,then the draw sheet is clamped down    
again and a device is  arranged for     
holding the stock for printing4         
,illustration3      ,fig4 #bg4      ,for
 locating the positions of the gauge    
pins1 ,fig4 #bg1 or quadrats1 the  stock
 is laid straight across the impression 
allowing the ends to  project equally   
over the ends of the impression1 and    
with a sharp  pencil1 a mark is made on 
the draw sheet along the left end of the
  stock4 ,then the stock is slipped down
 across the impression in such a  way as
 to allow the edges of the stock to     

project the distance of the  desired    
margins above and below the impression  
on the drawsheet4 ,a mark  is then      
placed along the lower edge of the      
stock4 ,the gauge pins or  quads are    
placed on these two lines1 two on the   
horizontal and one on  the vertical1 in 
such a position as will best hold the   
stock on the  platen4 ,if quads are     
used1 they are glued to the drawsheet4  
,it usually  takes several impressions  
on the cut stock to get a perfect       
adjustment4  ,in order to prevent the   
stock from being lifted from the platen 
by the  ink1 a small cord is tied about 
the ends of the grippers in such a      
position as that it strikes the stock   
above the impression of the type4       
,constant care must be exercised to keep
 the grippers from getting in the  way  
of the roller supporters and causing    
considerable injury4    ,the pupils in  
school begin operating the press very   
slowly and by foot  power4 ,the process 
of feeding is largely a matter of       

cultivating a  certain ambidexterity and
 a rhythmic movement of the hands1 the  
right to  place the blank sheet upon the
 platen1 and the left to remove it after
  it is printed4 ,great care must be    
taken to avoid soiling the stock or     
smearing the ink on removing the freshly
 printed sheets4 ,as skill is  acquired1
 speed should be increased4 ,finally the
 boys are able safely to  feed a motor  
driven press4 ,when the matter is       
printed1 it is carefully  scattered over
 the letter boards1 table1 or shelves to
 dry1 and the  chase is removed to the  
stone4                                  
,,cleaning ,,and ,,distributing         
,after finishing the job of printing    
proper1 there are still some very       
important things to do4 ,the form must  
be cleaned1 the ink thoroughly  removed 
from the press1 and the type thrown back
 into the proper cases1  or distributed4
    ,the form is cleaned by going over  
the type1 first with a cotton cloth     
moistened with benzine1 and following   

with a bristle brush4 ,the press  also  
must be washed1 that is the ink must be 
removed from the plate and  the rollers4
 ,with cotton rags or waste moistened   
with benzine1 the ink  is wiped off the 
plate4 ,then the rollers are run upon   
the plate1 and  with the cloth still    
further moistened with benzine1 the     
rollers are  carefully gone over and all
 the ink removed4 ,the rollers are then 
run  down from the plate1 which is wiped
 clean and dry4 ,in case waste is used  
in cleaning the rollers1 it should be   
wrapped inside of a cloth to  prevent   
threads and lint from adhering to them4 
,to the inexperienced1  this matter of  
cleaning the press1 gives the impression
 of a long1  tedious and dirty task4 ,it
 proves to be quite an interesting      
demonstration for the instructor to wash
 the press clean1 and come  through the 
process in three minutes with hands     
scarcely soiled4 ,there  grows up       
somewhat of a rivalry among the groups  
or individuals to see  which can wash   

the press in the shortest time and with 
the least muss4  ,in leaving the press1 
this caution should always be kept in   
mind2 never  allow the rollers to remain
 on the plate or on a form in the press4
 ,rags  that have become saturated with 
benzine and ink should be burned or kept
  in a closed can4    ,it is the        
practice with a great many good printers
 to leave the ink on  the press over    
night1 after thoroughly oiling it with  
lubricating oil4  ,by thus leaving the  
rollers covered with this soft1 oily    
coat1 the  composition is protected from
 the drying and hardening effects of the
  air4 ,of course there are inks which  
harden in spite of the oil1 such as     
gilts1 bronzes1 bronze blues1 reds1 etc4
 ,such inks should not be left on  the  
press longer than necessary4    ,the    
next morning1 the oily ink is easily    
removed with a dry cloth4  ,sometimes1  
it is well to follow up with a cloth    
slightly moistened with  benzine4    ,in
 case ink has been permitted to harden  

on the rollers1 it may be  removed by   
taking the rollers from the press1      
washing them with  moderately strong    
lye1 using a printer's scrub brush4     
,after the ink is  removed1 the rollers 
are thoroughly rinsed in water4    ,when
 type has been allowed to remain without
 the ink having been cleaned  off1 and  
the ink has hardened and cemented the   
type together1 it may be  loosened and  
cleaned with lye4 ,make a strong        
solution of lye and  saturate the mass  
of type with it4 ,rub the lye in        
thoroughly with the  scrub brush1 leave 
the lye on the type for two hours and   
then rinse in  water4 ,keep repeating   
this process until the type is loosened 
and  cleaned4    ,when a form has been  
used and is no longer needed1 it is     
called dead  matter and is ready for    
distribution4 ,to prepare the type for  
distribution1 a sponge is saturated with
 soapy water and the top of the  form   
thoroughly wet1 so that the water makes 
its way down into the small  crevices   

between the type4 ,if the form is put   
into a galley1 it is  placed in the same
 position as for tying up4 ,then the    
printer takes upon  a slug the last two1
 three1 or four lines and holds them in 
his left  hand as in ,fig4 #bh1 so that 
the lines occupy the same position as   
when  in the stick4 ,with the right     
hand1 he picks up one or more words from
  the right end of the top line4        
,standing before his case in the same   
position as when setting type1 he spells
 the words back into the case4  ,it is  
very important that type be properly    
distributed1 that the  letters1         
characters1 and spaces be put into their
 proper boxes4 ,this is  interesting    
work1 and beginners delight in it2      
besides1 it is a work in  which         
considerable skill can quite readily be 
acquired4    ,illustration3      ,fig4  
#bh4      ,the proper time to rescue a  
letter from the floor or from a wrong   
box  into which it has been dropped1 is 
immediately after it has been so        

misplaced4 ,leads1 slugs1 furniture1 and
 rule should be put at once in  proper  
positions into their respective places4 
,,what ,,to ,,print ,,and ,,how ,,to    
,,proceed      ,in discussing the matter
 of the proper printing for the public  
schools1  let us not forget this general
 proposition1 i4 e41 that the claim of  
printing to a place as a school art must
 rest upon its force as an  educational 
factor and not upon the fact that1 by a 
species of child  labor1 money may be   
made or saved4    ,there may be done    
some work of a commercial nature1 of    
course1 as in any  kind of so-called    
industrial work1 and thereby money be   
saved for the  institution or the       
community4 ,but the fact that some of   
the work results  in financial gain or  
saving is incidental1 although it may   
help to add  interest and reality to the
 work4 ,however1 the work of the school 
print  shop should be largely such as1  
in the absence of the school shop1 would
  not be printed4    ,school printing   

may be grouped loosely into three       
classes3    #a4 ,material whose content 
appeals to the pupils and whose merit   
justifies permanent form4 ,it is always 
a happy condition when the matter  which
 we ask the boys and girls to print     
appeals to them on its own  merit as    
something that deserves to be           
perpetuated4 ,the book idea  presupposes
 permanency of content4 ,so the book1   
printed and bound by the  pupils and    
containing their favorite selections1   
makes a strong appeal4  ,literature     
classes collect ballads1 lyrics1 and    
other forms of  literature for such     
work4 ,books of ballads suited to the   
various grades  might profitably be     
prepared4 ,the broadsheet idea may be   
taken advantage  of to popularize       
national airs1 patriotic songs1 crisp   
maxims1 rare bits  of humor1 etc4    #b4
 ,such temporary material as connects   
intimately with the school work  and    
does a genuine service4 ,an abundance of
 valuable material may be  found in     

connection with elementary reading1     
nature study1 geography1  gardening1    
constructive work1 etc4 ,stories        
relating to these subjects  and written 
by the children may be printed and      
furnished to the children  for reading  
matter4 ,the development of             
dramatization in the schools  offers    
material for the printshop4 ,a story    
like 8,treasure ,island0 or  8,kinmont  
,willie0 is read by the boys and girls1 
who set themselves to  the task of      
putting it into dramatic form4 ,pupils  
take up the work of  printing such a    
production with the greatest of interest
 whether it is  the work of their own or
 of another class4 ,the school paper is 
a  valuable thing from every point of   
view4 ,spelling lists1 binders' notes   
inserted in rebound books1 programs of  
school entertainments1 ,xmas and        
,easter cards1 etc41 come under this    
second division4    #c4 ,this class     
includes such work as would ordinarily  
be sent to the  commercial printer4     

,letter heads1 office blanks1 report    
cards1 business  notices1 official      
announcements1 etc41 come under this    
head4 ,some of  this can be handled to  
the profit of both the boys and the     
school and  without injustice to the    
commercial printer4    ,in beginning    
printing with a class1 it is believed to
 be best to take  advantage of the      
wide-eyed curiosity and intense interest
 of the pupils1  simply to make them    
familiar with the locations of the      
various parts of  the equipment and the 
names of the various tools of the       
printer4 ,just  the pointing out and    
reciting of the names of the leads1     
slugs1  furniture1 etc41 are sufficient 
to hold the rapt attention of the class4
    ,during the early period is a good  
time for investigations by the pupils   
as to the origin and development of     
printing1 the story of movable type1    
the evolution of the press1 the relation
 of printing to progress1 etc4  ,this   
plan of having the pupils get as much   

relevant information as  possible       
concerning their new activity1 under the
 impulse of this first  enthusiasm1     
proves to be an effective method of     
teaching as well as  valuable and timely
 work for the boys and girls4 ,the same 
eagerness to  become familiar with the  
work makes the lay of the cases an easy 
matter  to get before the class4 ,almost
 without exception the boys ask for the 
privilege of making individual diagrams 
of the cases1 for pocket  reference4    
,the very irregularity and confusion of 
the lower case somehow  appeal to the   
boys1 and they take great pride in      
mastering what seems at  first glance   
almost a puzzle4    ,the explanation    
that j and u were the last letters added
 to the alphabet  and that they occupy  
positions in the capital case           
corresponding to the  time of their     
additions1 makes the lay of the capital 
case easy to  remember4    ,considerable
 time may well be devoted to just this  
kind of work4    ,in familiarizing      

themselves with the case1 the pupils may
 well begin the  use of the job stick   
and the practice of properly holding it1
 by the use  of large type1 in setting  
up their names and such simple matter as
 they  care to attempt1 putting the type
 back again into the proper boxes4 ,when
  simple composition is begun1 it is    
thought best that each piece of work    
should run through the typical          
processes1 setting up the type1 emptying
  the stick1 proofing1 correcting1 tying
 up1 removing to the stone1  locking up1
 and printing4 ,the presswork for these 
first efforts may be  done by the       
teacher by way of demonstrations1 so    
that the pupils become  familiar with   
the methods of handling a press4    ,the
 class should be kept for a considerable
 time on such work as labels1  name     
cards1 spelling lists1 etc41 gradually  
working into the longer  compositions of
 plain1 straight matter4    ,when it    
comes to the larger jobs1 one piece of  
work may be divided among  several      

pupils or even the whole class4    ,of  
course1 in all this work1 there must be 
constant reference and  attention to the
 various rules of composition1 such as  
justification1  spacing1 margins1 etc4  
,as the class advances1 it is well to   
have each boy do a little press  work by
 himself4 ,he will prepare the          
make-ready1 which the instructor  has   
previously demonstrated1 ink the press1 
set the gauge pins1 and run  off the    
job1 under the close scrutiny of the    
teacher4 ,in handling jobs  of two or   
more pages1 the pupils have experience  
in proofing1 making up  the matter into 
page forms1 and of imposing or locking  
it up4 ,it is well  to have the list of 
proof marks conspicuously on the board  
and to insist  upon the pupils' use of  
them in a correct and intelligent way4  
,at the close of the eighth year and in 
the high school1 the handling of  cuts1 
tabular work1 and the more difficult    
processes all along the line  is        
expected4    ,not only must the boys use

 the cuts in printing but they ought to 
make  the wood cuts1 zinc etchings1 and 
copper plates as frequently as  possible
 from designs and illustrations prepared
 by themselves4    ,during the work in  
printing1 the teacher should not        
overlook or neglect  any illustrative   
material that may be available1 and     
which may be of  value in setting       
standards1 arousing ambitions1 and      
offering suggestions  for improvement4  
,visits to commercial print shops are an
 excellent thing  from the standpoint of
 all these considerations4 ,in studying 
the  arrangements of the parts of a     
broken page1 or of an advertisement1 it 
has proved interesting and profitable to
 cut out the parts of the  printed      
matter collected for study1 and to      
reassemble them by pasting  them to     
another page4 ,the variety in the matter
 of margins1 spacing1 and  grouping that
 can be had by such a treatment1 is     
often really  surprising4 ,then when    
there are added the possibilities of    

different  sizes and kinds of type1 the 
colors of ink1 and the colors and       
textures  of paper1 the effects that may
 be produced are without limit4         
,,method ,,of ,,teaching ,,the ,,lower  
,,case      ,each boy has a case before 
him4 ,the class is told that there are  
three  little groups of letters to be   
learned first3 ar1 is1 jk4 ,these       
groups are learned first1 because they  
are not consecutive and do not  readily 
fall into the grouping which is to      
follow4    ,after these first groups    
have been fixed in the mind1 it is      
explained  that the left half of the    
lower case is made up1 for the most     
part1 of  groups of letters which are   
consecutive in the alphabet4 ,these     
groups  are3 bcde1 lmn 7h7 o1 tuv4      
,besides jk on the left side there  is  
another nonconsecutive group1 qxz4      
,these groups are repeatedly  pointed   
out during the explanation4 ,when we    
come to the group lmn  7h7 o1 we say    
8lmn over h to o40    ,beginning with a1

 the class repeats several times these  
groups3  bcde1 lmn 7h7 o1 tuv1 qxz4     
,then it is pointed out that there  are 
only two groups remaining1 and that they
 are on the right hand side  of the     
case4 ,they are fg and ypw4    ,when the
 boys have located the groups a few     
times1 they are tested on  the entire   
alphabet in order4 ,they begin1 a1 bcde1
 fg1 and then  they remember the 8over h
 to o0 expression1 which locates h for  
them4 ,the next letters1 i and jk1 are  
in the first groups learned  and hence  
are easily recalled4 ,then follows the  
group lmno4 ,if they do  not readily    
locate p1 the group ypw is repeated by  
the teacher4 ,the  letter q is in the   
corner group1 qxz1 r is in the first    
group  learned1 ar1 and s is in the     
second group learned1 is4 ,the next     
letters1 tuv1 are in a group by         
themselves1 and the remaining letters   
of the alphabet1 w1 x1 y1 z1 are in the 
two remaining groups1  ypw and qxz4     
,if at any time1 a boy cannot locate a  

letter1 he can be immediately  assisted 
if the teacher will simply repeat the   
group in which the letter  is to be     
found4 ,for instance1 if he cannot find 
x1 the teacher should  simply say 8qxz40
    ,the location of quads1 spaces1     
numerals1 and 8points0 is only a matter 
of a short time1 and may be learned at  
the time the letter boxes are  learned1 
but can just as well be taught when an  
explanation of the quads  and spaces is 
made4    ,it will be observed that by   
this plan1 instead of learning the      
positions  of twenty-six separate boxes1
 the boys learn the positions of the    
following nine groups3 ar1 is1 jk1 bcde1
 lmn 7h7 o1 tuv1  qxz1 fg1 ypw1 which   
include the twenty-six4                 
,,wood ,,cuts ,,and ,,metal ,,plates    
,the making of wood cuts and metal plate
 etchings has proved one of the         
greatest sources of interest and        
educational profit to the boys and      
girls4 ,it vitalizes and lends motive to
 design and illustration1 it  requires  

very little equipment and is a perfectly
 feasible scheme even  for the seventh  
and eighth grades4    ,it is perhaps as 
well to illustrate the idea with a      
concrete problem4 ,a  book is being made
 for instance1 by each pupil4 ,he plans 
a cover design1  a bookplate or an      
illustration4 ,after the design or      
illustration is  carefully worked out1  
it is traced in reverse by means of     
carbon paper  upon a piece of wood1     
copper1 or zinc4 ,if it is to be a wood 
cut1 the  block is squared up to the    
proper thickness1 about seven-eights of 
an  inch4 ,birch1 maple1 and black      
walnut have proved very satisfactory for
  this work4 ,of course1 in commercial  
work1 boxwood is extensively used  and  
the design cut on the end grain2 but it 
is very satisfactory and  much easier   
for the school work1 to cut the figure  
on the side of a  piece of ordinary     
board4 ,with a small veining tool1 such 
as is used in  wood carving1 the design 
is outlined1 care being taken to leave  

the  edges of the parts to be left in   
relief sharp and distinct4 ,then with a 
small gouge1 chisel or knife1 the       
background is cut away to the depth of  
about one-sixteenth of an inch4 ,no care
 need be taken to make the  background  
smooth4    ,of course1 the open grained 
woods do not give a solid1 uniform      
impression4 ,this is not at all         
objectionable as one may see by         
examining  the wood cuts of the old     
masters4 ,however1 if a dense impression
 is  desired1 this experiment has been  
tried with good results3 ,after the     
design is cut1 the face of the block is 
gone over with a heavy coat of  thick   
woodfiller4 ,when the filler is dry1 it 
is carefully scraped from  the face of  
the design4 ,by this simple method1 a   
dense1 clear1 and  uniform impression is
 made possible4    ,if it is to be a    
metal plate1 the pupil simply takes a   
thick1 smooth  piece of copper or zinc1 
traces the design1 and with a water     
color  brush1 he paints with asphaltum  

varnish the parts of the design to be   
left in relief4 ,the back of the metal  
plate is also covered with a thin  coat 
of the varnish4 ,careful examination is 
made to see whether air  bubbles have   
caused small holes in the varnish1 or   
anything else has  caused any portion of
 the design to be left uncovered4 ,when 
dry1 the  acid bath is prepared4        
,commercial nitric acid is the safest   
solution4 ,it  is diluted by adding     
about an equal volume of water to it1   
making it  from #ae to #bj strong4 ,the 
diluted acid is poured into a glass or  
porcelain tray and the plate put into   
it4 ,if the acid can be kept moving  by 
frequently rocking the tray1 the etching
 will be very materially  hastened4 ,it 
takes from three to five hours to etch  
deeply a piece of  copper1 depending    
upon the strength and amount of the     
solution and the  amount of exposed     
surface to be eaten away4 ,if large     
surfaces are to be  etched1 quite a     
large quantity of acid is desirable1 or 

else a changing  or strengthening of the
 solution during the process4 ,as soon  
as the acid  becomes somewhat burdened  
with the metal1 it ceases to act at all 
freely1 and even begins to deposit a    
blue nitrate upon the metal4 ,in  such a
 case1 it is best to put the plate into 
a fresh solution4    ,illustration3     
,fig4 #bi4      ,care must be taken that
 the acid is not too strong1 as the heat
  generated by its rapid action softens 
the varnish and lets the acid  under to 
play havoc with the design4 ,numerous   
bubbles and yellow-green  fumes indicate
 that the acid should be weakened by the
 addition of a  small quantity of water4
    ,by observing the progress of the   
etching occasionally1 it can be told    
when the proper depth has been reached4 
,then the plate is heated  sufficiently 
to soften the varnish1 soaked in        
kerosene or turpentine1  and rubbed     
clean with a cloth4 ,or the warm varnish
 can be removed by  simply saturating   
the cloth with kerosene1 turpentine1 or 

benzine and  rubbing over it4    ,a     
block of wood is then prepared for a    
base so that the mounted plate is       
slightly less in thickness than the     
height of the type4 ,then with a  punch 
or a small drill1 holes are put into the
 lower1 or background1  part of the     
metal4 ,through these holes the plate is
 fastened to the  block by small tacks  
or escutcheon pins1 the heads being     
sunken below  the surface of the        
background4 ,large surfaces of          
background should be  sawed out before  
the metal is mounted upon the block4    
,when the cut is  used in printing1 it  
is brought up to the proper height by   
the  underlaying of paper or cardboard4 
,this work is used extensively in       
connection with such work as cards and  
programs for ,xmas1 ,thanksgiving1      
,easter and other special occasions4    
,fig4 #bi4                              
,,the ,,equipment--,,its ,,selection    
,,and ,,cost      ,in planning an       
equipment for a print shop1 as for any  

other shop1 the  more specific the      
conditions and limitations under which  
one is placed1  the more intelligently  
one can go about the undertaking4 ,in   
the first  place1 the following things  
should be as definitely decided upon as 
possible3    #a4 ,the grade and number  
of pupils who are going to handle the   
equipment4    #b4 ,the nature of the    
work anticipated4    #c4 ,amount of     
money to be expended4    ,this is only  
another way of saying that a school     
printshop must meet  school conditions4 
,there are a number of points in which  
the school  print shop differs          
materially from the commercial job shop4
 ,the number  that must be kept at work 
is an illustrative point4    ,from the  
standpoint of durability and of quality 
of the work to be done1  it is safer1 of
 course1 to buy as large a part of the  
equipment as  possible1 new4 ,in other  
lines of the ,manual ,arts work1 very   
little  disposition is shown to buy     
second hand machinery and tools2 but    

there  seems to be a decided tendency to
 look for old equipment for the         
printshop4 ,this1 perhaps1 arises out of
 the misapprehension that even a  very  
small printing plant is very expensive4 
,on the contrary1 it will be  seen by   
reference to the lists on page #eh1 that
 a printing equipment is  comparatively 
inexpensive4 ,unless one is an expert1  
or is familiar with  the time and kind  
of use the goods have been subjected to1
 it is unsafe  to buy such used goods as
 type1 leads1 slugs1 rule1 furniture1   
and type  cases1 for these may be       
regarded as perishable2 besides1 they   
are  comparatively cheap4 ,so1 from the 
financial standpoint1 as well as that   
of good work1 it is unwise to buy such  
used material4 ,and when it comes  to   
the larger1 more expensive articles1    
like the press and the cutter1  it must 
be considered that they are probably not
 soon1 if ever1 to be  replaced1 that   
imperfections are difficult to detect1  
and that not a  very large reduction1   

can be had on machines in good repair4  
,but if it  is a question of getting a  
start in printing by the use of old     
equipment  or doing without the         
printshop1 by all means let's have the  
old  equipment4 ,there are a good many  
items that can be safely and cheaply    
bought second hand4 ,among these are    
cabinets1 stones and frames1 case       
stands1 lead cases1 etc4    ,it is wise 
to buy only such staple articles as in a
 good printer's  judgment the conditions
 demand4 ,there is some temptation to   
buy1 out of  a scanty allowance1        
articles which are not absolutely       
necessary1 or  which may easily be      
improvised4 ,it is wise to buy the      
essentials and  such quantities and     
accessories as make what one buys       
available to its  full capacity4 ,to    
illustrate1 it is not uncommon to find  
quite a liberal  quantity of type with  
an insufficient supply of quads and     
spaces4 ,this  simply means that the    
type is available for use only to the   

extent of  the quad and space supply4   
,this illustration is only typical of a 
number  that might be made4 ,for school 
purpose1 it is much more satisfactory to
  have generous quantities of a few     
sizes of type of one series1 than to    
have small quantities of several sizes  
and series4 ,if the specific  purposes  
of the shop are clearly in mind1 the    
selection of faces1  quantities1 and    
sizes of type is greatly facilitated4   
,if it is planned to do very much of the
 supplementary reading work for  the    
elementary grades1 good quantities of   
#ab point type should be  provided1     
including such a special supply of      
sorts1 especially in  capitals1 as seems
 necessary to meet the needs4 ,for      
instance1 it has  been found that in the
 language and reading work of the lower 
grades1  the personal pronouns1 ,i and  
we1 are used with great extravagance in 
beginning sentences2 so the ,i and ,w   
boxes are soon empty4 ,in case some     
prominence is to be given to arithmetic 

work1 then larger quantities of         
figures1 fractions1 etc41 should be     
bought than come in the regular  fonts4 
,for general work1 there can be no wiser
 selection than a large  quantity of #aj
 point type4 ,of course1 where the      
allowance permits1 it is  extremely nice
 to have small fonts of two or three    
different faces1  which may be used for 
variety1 initials1 display1 etc4    ,it 
has been found very satisfactory to have
 large quantities of a few  sizes of    
body type as previously suggested1 and  
in addition1 a few fonts  of a heavier  
face1 duplicating the body type in sizes
 but with some  larger sizes1 and also a
 small assortment of some nice simple   
text  letters4 ,in selecting type1 a    
wide1 clear1 readable face is desirable1
  and it is best to select those faces  
which do not contain hair lines or      
complications which make it difficult to
 get a distinct impression1 and  which  
render the type less durable4 ,it is    
rather unusual to see a shop            

sufficiently supplied with quads and    
spaces1 and especially is this so  where
 much of the work is widely spaced and  
where each line is treated  as a        
paragraph1 as in elementary matter4     
,in order to provide for the small font 
display type which1 of course1  comes in
 straight letter work1 it has been found
 a good plan to add1 in  addition to the
 regular #bj1 #e pounds each of quads   
and spaces for each  #ej pounds1 and #b 
pounds for each #be pounds of body type4
    ,everything considered1 the #aj  #ae
 press is preferable for the school as  
well as other work4 ,it accommodates    
large forms1 which fact is often  urged 
against it2 but for the smaller work1   
like the most of the school  work1 it is
 practically as easily handled as an #h 
#ab4 ,it is  considerably more expensive
 but it has a much greater capacity for 
work  of the more advanced kind4        
,illustration3      ,fig4 #cj4      ,of 
course1 cabinets are preferable to open 
case stands4 ,they are  compact1 free   

from dust and dirt1 and of good         
appearance4 ,however1 they  are more    
expensive than stands1 if the matter    
must be determined by the  question of  
cost4 ,if one goes to the expense of    
getting a cutter1 ,fig4  #cj1 it is the 
part of good judgment to get one that   
will be of the  greatest service4 ,so it
 is advisable to get a #be or #bf inch  
cutter4 ,the  difference in cost above  
that of a twenty-two inch is            
overbalanced by  the economy and        
convenience in cutting large stock4 ,in 
case a large  cutter cannot be bought1  
small table cutters1 which give good    
service1  may be had at various low     
prices4 ,the stone mentioned in the #hjj
 list  on this page is practically ideal
 for the small printshop4 ,it is a #bf  
#dd marble1 mounted upon a cabinet which
 contains a large quantity of  wood     
furniture1 and a number of drawers and  
letter boards4 ,this stone is  not so   
much more expensive after all1 if one   
considers the cost of the  furniture and

 case and the other conveniences4       
,probably the general method of         
selecting equipment for any line of work
  is to take an ideal list and by       
elimination reduce it to within the     
limits of the appropriation4 ,the       
following #hjj equipment is the one     
selected by the author for his own      
classes1 after several years of         
planning and investigation4 ,during this
 time1 a great many school men  who have
 had to deal with the same problem1 and 
a number of expert  printers were       
consulted and asked for criticism of the
 proposed list  under the conditions    
which the equipment has to meet3        
#a  h4 p4 motor4     #a #aj  #ae        
,chandler  ,price ,gordon ,press with #c
 chases4     #a ,steel chase4     #a    
,boston ,staple ,binder1 ,style ,a4     
#a #bf ,chandler  ,price ,paper ,cutter4
     #a ,utility ,imposing ,stone ,frame
 and ,stone1 #bf  #dd4     #a ,no4 #fh  
,new ,departure ,cabinet 7#ej cases74   
#a ,no4 #b ,paper and ,card ,stock      

,cabinet4     #a ,no4 #h ,bettis ,lead  
and ,slug ,case4     #b ,pairs news     
cases4     #b ,pair #b-c case tilting   
brackets4     #a ,metal furniture case4 
#a ,no4 #a ,harris ,rule ,case4     #e  
#h  #ac all brass galleys4     #a #ab   
#ah all brass galley4     #h #h  #b     
,yankee ,job ,sticks4     #a #ah  #b    
,yankee ,job ,stick4     #b ,doz4 ,no4  
#a ,wickersham ,quoins4     #b ,keys1   
,no4 #a4     #a ,doz4 ,spring ,tongue   
,gauge ,pins4     #a ,quart ,success    
benzine can4     #a ,benzine brush4     
#a ,no4 #b press brake4     #a #c  #f   
planer4     #a #c  #h proof planer4     
#a #b  #d mallet4     #b ,pair roller   
supporters4    #bj ,pounds #f ,point    
,authors ,roman ,wide4    #dj ,pounds #h
 ,point ,authors ,roman ,wide4    #dj   
,pounds #aj ,point ,authors ,roman      
,wide4    #bj ,pounds #ab ,point        
,authors ,roman ,wide4    #bj ,pounds   
#ah ,point ,authors ,roman ,wide4     #b
 ,fonts #f ,point ,old ,roman ,black4   
#b ,fonts #h ,point ,old ,roman ,black4 

#b ,fonts #aj ,point ,old ,roman ,black4
     #b ,fonts #ab ,point ,old ,roman   
,black4     #b ,fonts #ah ,point ,old   
,roman ,black4     #a ,font #bd ,point  
,old ,roman ,black4     #a ,font #cj    
,point ,old ,roman ,black4     #a ,font 
#cf ,point ,old ,roman ,black4     #a   
,font #dh ,point ,old ,roman ,black4    
#a ,font #h ,point ,engraver's ,old     
,black4     #d ,fonts #ab ,point        
,engraver's ,old ,black1 ,l4 ,c4     #b 
,fonts #ab ,point ,engraver's ,old      
,black1 ,caps4     #a ,font #bd ,point  
,engraver's ,old ,black4     #a ,font   
#dh ,point ,elzeverine ,initials4     #e
 ,pounds #f point spaces assorted4      
#aj ,pounds #h point spaces assorted4   
#aj ,pounds #aj point spaces assorted4  
#aj ,pounds #ab point spaces assorted4  
#aj ,pounds #ah point spaces assorted4  
#e ,pounds #bd point spaces assorted4   
#e ,pounds #cj point spaces assorted4   
#e ,pounds #cf point spaces assorted4   
#e ,pounds #dh point spaces assorted4   
#e ,pounds #f point quads assorted4     

#aj ,pounds #h point quads assorted4    
#aj ,pounds #aj point quads assorted4   
#aj ,pounds #aj point #b- and #c-;em    
quads4     #e ,pounds each #ab1 #ah1 #bd
 point quads assorted4     #e ,pounds   
each #cj1 #cf1 #dh point quads assorted4
    #aj ,pounds #aj point leaders1 three
 dots to em4    #aj ,pounds #h point    
leaders1 three dots to em4    #ej       
,pounds each #b point ,l4 ,s4 leads and 
#f point ,l4 ,s4 slugs4     #c ,pounds  
,l4 ,s4 brass rule hair line1 side      
centered on #b point body4     #c       
,pounds ,l4 ,s4 brass rule1 #a point    
face1 side centered on #b point body4   
#b ,pounds #b point ,l4 ,s4 black face  
rule4     #b ,pounds #d point ,l4 ,s4   
black face rule4     #b ,pounds #f point
 ,l4 ,s4 black face rule4     #b ,pounds
 #aj point ,l4 ,s4 black face rule4     
#bd ,pounds metal furniture4     #a     
,font ,no4 #a brass and copper spaces4  
#d ,font solid brass panel ends4     #a 
,set #ab point brass squares4   #ajj #ac
 brass label holders4    #e,m  ,boston  

staples4    ,in case this amount of     
money is not available for a printing   
equipment1  this list may be modified to
 come within the necessary limit4 ,by   
substituting a smaller press and cutter1
 by getting stands instead of  cabinets 
for the type and stone1 by eliminating  
the stock cabinet1  motor1 and stapler1 
and by reducing the quantities of       
various items1 one  may still have an   
excellent equipment4 ,the following is  
such a  suggestive list1 and can be     
bought for #djj3     ,press1 #h  #ab    
with four chases4   ,cutter1 #bc4       
,doz4 job sticks4    #a ,doz4 gauge     
pins4    #a ,doz4 quoins4    #b ,keys4  
#a ,benzine can4    #a ,benzine brush4  
#a ,waste can4     ,doz4 brass galleys1 
#h  #ac4   #aj ,lbs4 metal furniture4   
#a ,two lb4 font labor saving brass     
rule1 #a point1 side centered on      #b
 point body4    #a ,two lb4 font brass  
rule1 labor saving1 #b point4   #ej     
,lbs4 ,l4 ,s4 leads1 #b point4   #be    
,lbs4 ,l4 ,s4 slugs1 #f point4    #a    

,rule case4    #a ,metal furniture case4
    #a ,planer4    #a ,proof planer4    
#a ,mallet4    #a ,lead and slug case4  
#a ,case wood furniture4   #bd          
,california job cases4    #b ,pairs news
 cases4    #a ,double case stand1 #bd   
cases4    #a ,stone and frame1 #bf  #dd4
   #aj ,pounds #h point type4   #ej     
,pounds #aj point type4   #be ,pounds   
#ab point type4    #b ,fonts #ah point  
type4    #a ,font #bd point type4    #e 
,pounds #h point quads and spaces4   #ae
 ,pounds #aj point quads and spaces4    
#aj ,pounds #ab point quads and spaces4 
#e ,pounds #ah point quads and spaces4  
#b ,pounds #bd point quads and spaces4  
,illustration3      ,fig4 #ca4          
,,arrangement ,,and ,,disposition ,,of  
,,equipment      ,if the machinery1     
cabinets1 tables1 etc41 are compactly   
and properly  arranged in good relative 
positions1 a good job outfit can be     
placed and  used in much smaller        
quarters than at first seems possible4  
,the  printshop is one place where a    

great amount of floor space between the 
various parts of the equipment is not   
entirely essential4 ,when the  groups or
 individuals have been set to work1     
there is no necessity for a  great      
amount of passing back and forth4 ,this 
is mentioned for the  benefit of those  
who feel that printing cannot be        
installed unless there  is an enormous  
amount of floor space available4 ,of    
course1 large rooms  are desirable1 but 
after all1 the effectiveness and        
availability of the  equipment turn on  
the point of convenient arrangement of  
related parts1  so that a job may pass  
easily from one stage to another without
  disturbance or interruption4 ,in other
 words1 the arrangement must be  such   
that all the operations of the job shop 
may be in progress at the  same time and
 that without confusion4 ,in the first  
place1 the type  cabinet or case stand  
should be convenient to plenty of table 
space so  that the boys may carry their 
cases back and forth without difficulty4

    ,the proof stand or press and the   
imposing stone should be of easy access 
to those who are working at the type    
case and at the same time in close      
reach of the pressman4    ,a good       
position for the press is in a well     
lighted corner far enough  from the     
walls to permit easy passing of the     
pressman for the purpose of  oiling1    
cleaning1 and general care of the press4
 ,the motor may be placed  in the corner
 back of the press and entirely out of  
the way4 ,the paper  cutter and stock   
cabinet should be placed as closely     
together as  possible not to interfere  
with the action of each other4 ,there   
cannot  well be too much in the way of  
drawers1 wall cases1 and shelving1 for  
the work of the students1 small items of
 supplies1 inks1 rollers1  benzine and  
waste cans1 etc4 ,these conveniences can
 be added here and  there in small1     
unoccupied spaces1 with just a little   
time and a very  small bit of expense4  
,in this way and this only1 can a place 

be provided  for everything with any    
assurance that everything1 at any one   
time1 may  be found in its place4 ,these
 repositories should be properly        
labelled4  ,such additional items and   
conveniences not included in any list of
  equipment1 are nevertheless among the 
essentials1 and their presence  greatly 
facilitates and systematizes the work4  
,the matter of table space  cannot be   
too greatly emphasized4 ,not only are   
tables used for rests for  type cases   
but the make-up galleys are laid upon   
them for convenience in  work4 ,proof   
reading also requires table space4      
,it seems proper1 under this heading to 
speak of the disposition of the  various
 sizes of type for the greatest         
convenience4 ,of course1 the type  ought
 to be divided and placed so as to be   
accessible to the greatest  possible    
number4 ,so1 except in very small fonts1
 each size should be  divided and put   
into as many cases as can be supplied   
with working  quantities of type4 ,thus1

 fifty pounds of ten point1 which is    
extensively used in general work1 may be
 divided among five or even more  cases4
 ,in this way1 ten pupils can be        
accommodated at the ten point  cases at 
one time1 since two can work1 to a very 
fair advantage1 at one  case4    ,the   
class works in groups1 one setting type1
 one proofing and  correcting1 one      
making up forms1 while the fourth       
operates the press4 ,at  the same time1 
there usually are jobs going forward in 
different kinds  and sizes of type4 ,so1
 it is difficult to think of needing    
accommodations for more than ten        
students at one size and kind of type   
at one time4                            
----------------------------------------
--------------------------------        
,the little boy said1 8,i can           
not go home4                        ,my 
goat ran into the                       
woods4                        ,he will  
not go home40                           
,then the boy began to cry4             

,the squirrel tried to make             
the goat go home4                       
----------------------------------------
--------------------------------        
,,first ,,grade ,,poems                 
,do you best your very best1            
,and do it every day2                   
,little toys and little girls1          
,this is the wisest way4                
,see-saw6 ,see-saw6                     
,here we go up and down4                
,see-saw6 ,see-saw6                     
,this is the way to town4               
,the world's a very happy               
place1 where every child                
should dance and sing1                  
,and always have a smiling              
face1                       ,and never  
sulk for anything4                      
,politeness is to do or say             
----------------------------------------
--------------------------------        
,,high ,,school   ,,commercial          
,,department                            
,bloomington1 ,illinois4                

99       99       99       99       99  
,it was late in mild ,october1 and the  
long autumnal rain      ,had left the   
summer harvest-fields all green with    
grass again2      ,the first sharp      
frosts had fallen1 leaving all the      
woodlands gay      ,with the hues of    
summer's rainbow1 or the meadow-flowers 
of ,may4                                
--,whittier4                            
----------------------------------------
--------------------------------        
,,print ,,shop ,,press                  
,ye ,high ,schoole4                     
99       99       99       99       99  
,,vol4 ,i4      ,,sioux ,,city1 ,,iowa1 
,,thursday1 ,,november #bg1 #aiac4      
,,no4 #a4              ,,organized      
,,play         in ,sioux ,city4 ,he     
visits each school         ,,flying     
,,the ,,flag                            
about once a week4 ,he starts the pupils
                --------              in
 some kind of play and the teacher      
--------   ,,this ,,idea ,,is ,,being   

,,carried ,,out continues this until ,mr
 ,morris returns  ,h4 ,h4 ,,rice        
,,comments ,,on ,,the           ,,in    
,,sioux ,,city4         the next week4  
,all pupils are engaged                 
,,subject4                              
,,henry ,,metzger      ,,raymond ,l     
,,link         ,hawthorne ,mother's     
,club              ,meets ,tuesday      
,chicago ,automobile ,co4               
,september #bc1 #aiac                   
,,automobiles              #c3ae o'clock
                       and ,accessories 
#abba ,north ,state ,st4      ,,chicago 
----------------------------------------
--------------------------------        
,series #a1 ,senior ,eighth4--,print    
,shop3 ,ye ,highe ,schoole4             
,,history                     ,senior   
,eighth ,grade1 ,december #a1 #aiac     
#i3cj to #aa3cj ,a4 ,m4    ,,note3      
,answer any ten of the following twelve 
questions4             ,i4 ,for what are
 the following places to be remembered8 
a4 ,jamestown4 c4 ,harper's ,ferry4     

b4 ,vicksburg4 d4 ,yorktown4            
99       99       99       99       99  
,illustration3                          
--------------------------------------- 
,,the ,,service                         
,,philosophy                            
,i ,believe in                          
,,sincerity--,that ,power of the        
personality that wins confidence1       
and establishes satisfaction4           
,,endurance--,the essence of vitality   
derived from ,health and                
strength4                               
--------------------------------------- 
----------------------------------------
--------------------------------        
,,bookbinding                           
and      ,a ,,course ,,of ,,instruction 
,,for ,,each ,,grade ,,of ,,the         
,,elementary ,,school                   
,by                                  ,s4
 ,j4 ,,vaughn     ,head ,department of  
,manual ,arts1 ,state ,normal ,school1  
,de,kalb1 ,illinois4                    
#aiad                       ,,public    

,,school ,,publishing ,,co41            
,,bloomington1 ,,ill4                   
,copyright #aiab                    by  
the ,public ,school ,publishing ,co4    
,,table ,,of ,,contents3                
,,page                                  
,introduction         #ajf              
,classes of ,bindings  #aji             
,case ,binding         #aaa             
,library ,binding      #abb             
,extra ,binding        #aca             
,rebinding            #adj              
,equipment            #ade              
,suggestive ,course    #adg             
,first ,grade          #aea             
,second ,grade         #aeb             
,third ,grade          #aec             
,fourth ,grade         #aee             
,fifth ,grade          #aeg             
,sixth ,grade          #afj             
,seventh ,grade        #afd             
,eighth ,grade         #aff             
,illustration3 books                    
,,introduction      ,there are a number 
of well defined reasons why bookbinding 

may justly  claim recognition as an     
educational factor in our schools4      
,in the first place1 the permanent and  
vital character of the book in one  form
 or another has given it a place of     
respect in all civilizations4  ,the book
 is the final form of all enduring      
literature and indeed of all  enduring  
thought4 ,it is the epitome of the      
printer's1 the engraver's1  the         
illustrator's1 the designer's1 and the  
binder's art1 and is the  meeting point 
of all the crafts4    ,so the book idea 
appeals very strongly to people both in 
and out of  school4 ,bookbinding is     
perhaps the most logical and consistent 
of all  the crafts1 in its development  
from the simple to the more complex     
forms4 ,in this easy gradation1 is      
repeated the history of the book  itself
 and of its development4    ,from this  
point of view1 books fall into four     
rather distinct classes4    #a4 ,the    
simplest idea of binding is the holding 
together in some manner1  a number of   

single leaves4 ,so the attention is     
directed simply to  methods of fastening
 together leaves of related matter for  
convenience  in handling4    #b4 ,after 
this simple convenience has been met1   
the matter of protecting  the leaves    
forces itself upon us1 and the attention
 is turned almost  wholly to devising   
ways of making durable and beautiful    
covers4 ,the  various forms of separate 
covers are made to accomplish these     
ends4    #c4 ,later1 the attention turns
 back to the book proper and the        
different  methods of putting together a
 number of sections which become        
necessary  in larger books made of      
folded printed sheets4 ,the emphasis now
  naturally falls upon this new feature 
of fastening sections together1  and so1
 various methods of sewing are          
developed4    #d4 ,in the fourth        
division1 the emphasis goes upon the    
covers and the  decoration4 ,here come  
in the tooling1 lettering1 inlaying and 
such  processes as are usually included 

in the term finishing4                  
,,apply ,,to ,,children',s ,,work4      
,not only is the book idea enduring and 
vital1 and its development  logical and 
consistent1 but the book work may be    
intimately related to  the other        
activities of the school1 the pupil     
bringing about with his  own effort the 
satisfaction of his own distinct needs4 
,in making books for spelling1 reading1 
language1 nature study1 art1  etc41     
these needs and relations are evident4  
,these books with their stories1 their  
covers1 and their end papers1  offer    
abundant material for illustration1     
design1 lettering1 etc41 in  the art    
work4    ,again1 the bookbinding work in
 its elementary aspects of construction 
is  peculiarly adapted to children4     
,this is evidenced by the fact1 easily  
demonstrated1 that children do as well  
in their particular grades of  work as  
matured but inexperienced people can do 
in the same grades of  work4    ,aside  
from the logical development and the    

genuineness of the problems  presented  
and their intimate relations to the     
other work1 perhaps the  strongest      
argument in favor of bookbinding in the 
schools1 is the fact  of its            
adaptability to the conditions of the   
ordinary school room1 with  but little  
equipment and hence but little expense4 
,the work may be carried on in the      
primary and intermediate grades with  as
 small1 but practically the same        
equipment1 as is necessary for such     
activities as 8cardboard construction0  
and kindred work4    ,it will be seen by
 reference to page #de how inexpensive  
even a good  equipment for upper grade  
and high school work is4                
,illustration3 ,bookbinder workers      
,,classes ,,of ,,bindings4              
,forwarding--,finishing4    ,in advanced
 bookbinding1 there are the two general 
divisions of  work3--,forwarding1 which 
includes in new books1 sewing1 backing1 
putting  on boards1 and covering2 and   
finishing1 which has to do with the     

lettering1 tooling1 inlaying1 and       
general decorative treatment4    ,the   
elementary and high school treatment of 
the subject of bookbinding1  such a     
treatment as is undertaken in the       
present volume1 is almost  wholly       
concerned with the various processes    
included in the term  ,forwarding1 which
 in rebinding includes a number of other
 steps not  mentioned above4            
,case ,binding2 ,library ,binding2      
,extra ,binding4    ,based upon their   
methods of sewing1 backing1 covering1   
finishing1 etc41  there may be said to  
be three general classes of             
bindings3--,case ,binding1  ,library    
,binding1 and ,extra ,binding4 ,these   
are arbitrary terms applied to  methods 
of binding which have been fully        
established and recognized4    ,in the  
modern commercial binderies1 all kinds  
of modifications1  combinations and     
imitations are made1 so that it is often
 difficult to  tell by external         
appearances of bindings to what types   

they belong4    ,it is a common thing to
 see a case binding in full leather4    
,the proper way to have a book bound or 
rebound is to have written              
specifications which indicate details of
 methods1 materials1 etc4    ,the       
following are typical specifications for
 ,case ,binding3--    #a4 ,plates       
guarded4    #b4 ,sewed all along with   
five punctures and kettlestitches4      
#c4 ,full or half buckram4    #d4 ,glued
 and backed4    #e4 ,attached back4     
#f4 ,commercial silk headband4    #g4   
,first and last leaves used as          
pastedowns4    #h4 ,edges uncut4        
,,ii4                                   
,,case ,,binding4      ,case ,bindings  
or casings 7for the craft binder refuses
 to call them  bindings7 are those      
covers which are made separately from   
the books and  laid on4 ,these covers   
have the characteristics enumerated in  
the  specifications and are the         
unsubstantial covers usually found on   
modern  cheap1 temporary books4    ,if  

the book is to be bound from original   
sheets1 each sheet is folded  into a    
section4 ,such a section is called a    
signature4 ,the number of  leaves in a  
folded sheet or section gives the name  
to the book4 ,a sheet  folded once1     
making two leaves1 is a folio2 twice1   
making four leaves1 a  quarto or #dto2  
three times1 making eight leaves1 an    
octavo or #hvo2 four  times1 making     
sixteen leaves1 a #afmo2 etc4 ,it is    
seen by this that owing  to the varying 
sizes of paper1 any form of book may    
vary greatly in  size4 ,however1 the    
following may be taken as a general     
standard of  sizes3--                   
#afmo #eg inches4                       
,octavo 7#hvo7 #fi inches4              
,quarto 7#dto7 #ajab inches4            
,end ,paper    ,if there have not been  
left an abundance of blank leaves at the
 first  and last of the book1 at least  
four folios are cut--two for each       
end--and  these become the first and    
last sections of the book4    ,the      

sections are now assembled in proper    
order1 a tin is placed between  sections
 at several places in the book and all  
are put under heavy  pressure4 ,this is 
usually done at the last of a           
recitation1 and the book  left in press 
over night1 so that the sections may be 
perfectly flat4                         
,mark ,up--,puncture4    ,after the book
 is carefully evened up by knocking the 
back and head  against the table1 it is 
marked up2 that is1 a mark is put on    
each  outside endpaper near the head1 so
 that the head of the book may be       
recognized without opening2 and then    
places are marked for five  punctures   
along the back4 ,the top puncture may be
 put about  three-fourths of an inch or 
an inch from the head1 and the bottom   
one  about one and one-fourth or one and
 one-half inches from the foot4 ,it is  
considered that the head should be      
somewhat stronger1 since it must bear   
the strain of pulling the book from the 
shelf4    ,then with a small saw or a   

sharp-edged file1 punctures are made    
across  the back at the marks4 ,these   
should be just deep enough to reach     
through  the inside folio of each       
section4                                
,sewing ,first ,two ,sections4    ,now  
the book is ready to sew4 ,it is placed 
on the table to the left of  the workman
 with the back toward him and the head  
to the left4 ,with a  linen thread and a
 long1 slim needle ready1 the workman   
takes up the  section of endpapers lying
 on top and turns it entirely over1     
laying it  exactly in front of him with 
the head to his right4 ,fig4 #ad4 ,with 
his  right hand he inserts the needle   
into the head puncture1 while with his  
left hand in the middle of the section  
between the leaves1 he draws the  needle
 through to the inside and runs it out  
at the foot puncture4 8,in  at the head 
puncture and out at the foot40 ,the     
second section is turned  over upon the 
first1 and the needle run in at the foot
 puncture and out  at the second        

puncture from the foot4 ,then it is     
inserted at the second  puncture from   
the foot of the first section and       
immediately run out at  the same        
puncture but on the opposite side of the
 thread which runs  along inside the    
first section4 ,then apply this         
unfailing rule when in  doubt as to what
 puncture to go into3--8,put the needle 
into a puncture so  located that it will
 not undo work already done1 and that   
the thread  will not be left exposed on 
the outside of the book40    ,applying  
this rule1 it is seen that the needle   
must be put into the  second puncture of
 the second section4 ,this operation is 
repeated at  each puncture until the    
head is reached4 ,when the needle has   
been drawn  from the head puncture of   
the second section1 the threads coming  
out of  the two head punctures are      
pulled up tight and are tied into a     
double  knot4 a ,fig4 #ad4 ,care must be
 used in pulling the thread so as not to
  tear the paper4                       

,kettlestitch2--,sewing ,all along4     
,the third section is now laid on and   
the needle run in at the head  puncture 
and out at the second puncture from the 
head4 ,now comes the  elusive           
8kettlestitch40 ,the needle is run under
 the second section at  the right of the
 second puncture and out at the left of 
the same  puncture1 as at b ,fig4 #ad4  
,the thread is drawn loosely so as to   
leave a  small loop through which the   
needle is passed4 ,it is now drawn taut 
and  the needle run back into the second
 puncture of the third section4 ,this   
stitch is made every time the needle    
comes out of a puncture until the       
sewing is finished4 ,when the last      
puncture is reached1 a double           
kettlestitch is made and the thread cut 
a half inch from the knot4 ,this  is    
what is meant by 8sewing all along40 ,if
 the original thread should  not be long
 enough or should break1 a new thread is
 tied on with a  weaver's knot1 ,fig4   
#ae1 always inside the book and as      

closely as  possible to the puncture to 
avoid pulling the knot through the next 
puncture4    ,illustration3      ,fig4  
#ad4 ,sewing all along4    a4 first two 
sections tied4    b4 ,kettlestitch4     
,illustration3      ,fig4 #ae4          
,illustration3      ,fig4 #af4          
,illustration3      ,fig4 #ag4 ,marking 
of cloth for ,case ,binding4            
,illustration3 ,book    ,illustration3  
,fig4 #ah4 ,laying on of the cover4     
,illustration3      ,fig4 #ai4 ,half    
cloth cover showing turn-ins at a4      
,backing boards--,backing4    ,the book 
is now placed between backing boards    
with only a small portion  of the book  
projecting above the boards and then put
 into the lying  press 7#a4 ,plate #a71 
and clamped up tightly4 ,the part       
projecting should  about equal the      
thickness of the cardboard used for the 
cover4    ,this book is not to be       
rounded any more than is absolutely     
necessary in  the backing4 ,the process 
of backing is necessary because of a    

thickened  condition of the back as a   
result of the numerous threads and      
perhaps a  few guards that have been    
added to it4 ,by clamping the book      
tightly and  hammering the back1 the    
thickness can be reduced by forcing the 
edges  over the boards as at ,fig4 #af4 
,after the book is firmly fastened in   
the press1 the back is covered with     
thin glue1 which is rubbed in with a    
stiff brush and then wiped off1 so  that
 it remains only in the little          
depressions between the sections4       
,within about fifteen minutes1 the glue 
reaches a kind of elastic  condition1   
and then the hammer is brought into use4
    ,by light strokes along the center  
of the back1 and then gradually  farther
 out toward the end sections1 the edges 
of the sections are  forced away from   
the center and made to project finally  
over the edges  of the backing boards1  
making the joint4    ,illustration3     
,,plate ,i      #a4 ,lying ,press    #b4
 ,backing ,boards    #c4 ,bone ,folder  

#d4 ,paper ,cutter    #e4 ,head ,knife  
#f4 ,sewing ,frame    #g4 ,backing      
,sticks    #h4 ,letter ,press used as   
,standing ,press    #i4 ,back ,saw      
#aj4 ,joint ,rods    #aa4 ,pressing ,tin
    #ab4 ,pressing ,board               
,super2--,headband2--,back ,strip4      
,when the book is dry1 a piece of super 
or thin canvas is glued to the  back and
 about one and one-half inches down the 
endpapers1 which are  then cut off along
 the edges of this super4 ,this forms   
what is called  the slip4 ,the super    
should be a little shorter than the book
 and about  two or three inches wider   
than the back of the book4    ,a piece  
of cotton or silk stock headband is now 
glued to the back at the  head and      
projecting about one-eighth of an inch  
above it4 ,then a strip  of thick1 tough
 paper1 just large enough to cover the  
back1 is glued on4  ,this finishes the  
book ready for the cover4               
,squares2--,foredge4    ,during the     
processes just described1 while waiting 

for the glue to dry1  the materials are 
gotten for the cover4 ,two boards are   
cut as wide as  the book and from       
one-fourth to three-eighths of an inch  
longer4 ,this  makes the squares        
one-eighth or three-sixteenths of an    
inch and  determines the width of the   
joint at the back1 since the board must 
go  forward sufficiently to make the    
projection at the foredge the same as   
at the head and foot4 ,this projection  
is called the squares4    ,several      
things must be considered in determining
 the size of the  squares4 ,the most    
important are protection1 strength1 and 
beauty4 ,from  the standpoint of good   
proportion1 of course1 the large1 thick 
book  would demand large squares1       
whereas protection of the edges may not 
require them so long2 while the strength
 and durability of the binding  would   
suggest shorter squares still4    ,a    
large book set upon a shelf is forced by
 its own weight down between  the boards
 against the shelf1 straining or        

breaking the cover at the  back4        
,turn-in2--,size of ,cover ,cloth4      
,in cutting leather1 cloth1 and paper1  
it is a rule to allow  three-fourths of 
an inch for each turn-in4 ,so this is   
observed in  cutting material for this  
cover4 ,to find the size of the cloth   
for a  full cloth cover1 it is necessary
 to add together the widths of the two  
boards1 the thickness of the back1 the  
two joints and one and one-half  inches 
for the turn-ins at the foredge4 ,this  
sum gives the dimension1 of  course1    
from the foredge of one cover around the
 back to the foredge of  the other      
cover4 ,the dimension of the cloth      
lengthwise of the book is  one and      
one-half inches greater than the length 
of the board4    ,to make the cover1 the
 cloth is laid wrong side up on the     
table1 ,fig4  #ag4 ,three-fourths of an 
inch is measured down from the top and a
 pencil  line is drawn1 a1 a4 ,then the 
middle of the cloth from left to right  
is  found and marked as indicated by the

 crosses4 ,from these central points1   
the lines b b and c c are located which 
mark the positions of the back  edges of
 the boards and of course1 are as far   
apart as the thickness of  the book plus
 the two joints4 ,then the boards are   
placed so that they  fit into the right 
angles formed by lines bb and cc and aa1
 and a  pencil mark as dd is made along 
the foredge and bottom of each board1   
completing the rectangles4 ,the strips  
of cloth outside these rectangles  are  
the turn-ins4                           
,mitres4    ,with scissors or a knife   
the corners are clipped out as at e1    
which is  called making the mitres4 ,it 
is clear that if the corner were cut    
entirely up to the corner of the        
rectangle1 there would be danger of     
exposing the corner of the board1 so a  
distance is left about equal to  the    
thickness of the board4                 
,pasting4    ,the surface of the cloth  
except the back strip between the       
boards1 is  covered with a thin coat of 

paste1 the boards are laid on1 and the  
edges  of the cloth are turned over the 
edges of the boards and pressed down as 
at a1 ,figs4 #ah and #ai1 care being    
taken to get the cloth firmly against   
the edges of the boards4    ,with less  
mature pupils1 it is sometimes advisable
 to put on only one  board at a time1 in
 which case the head and foot of the    
back strip are  treated as at g1 ,fig4  
#ag4 ,the cover is now ready for the    
press4 ,it is  closed in book fashion   
with a pressing tin or board between the
 covers4  ,a piece of clean waste paper 
is put between each board and the       
pressing  tin or board4 ,a waste paper  
and a board are placed on each side of  
the  cover and all put into the press4  
,the cover should be left in the press  
over night4 ,the waste paper is very    
important4 ,without it1 the tins are    
likely to stick to the book and the     
moisture of the paste to cause rust     
which mars the book4 ,this caution is   
never out of place and can never be     

repeated too often1 i4 e41 do not use   
too thin paste2 do not use too  much    
paste2 put on the paste rapidly4        
,laid ,on4    ,now the cover is ready to
 be laid on4 ,a strip of tough paper    
just as  wide and as long as the back of
 the book1 is now pasted along the back 
cloth between the boards f1 ,fig4 #ag1  
and inserted under the cloth which  is  
turned over at the two ends4    ,if the 
cover were to be left hollow1 the paste 
would be applied to the  slips only2 but
 in this case1 where the back cloth is  
to be attached1  both the slips and the 
back1 as well as the strip between the  
boards of  the cover1 are thoroughly    
covered with paste1 and the book set    
into the  cover in its proper position4 
,while the workman supports the book    
with  one hand1 he brings up one side of
 the cover firmly against the book4     
,the slip on this side becomes attached 
to the board4 ,then the book is  laid   
down on the side just pasted1 while the 
other cover is pulled  firmly to bring  

the back cloth against the book1 and is 
then pressed  down upon the             
paste-covered slip or super b1 ,fig4    
#ah4 ,examination is  then made to see  
if the book is straight in the cover1 if
 the squares  are correct1 etc4 ,if it  
is not straight1 it is removed and the  
process  repeated4    ,when the cover is
 on straight1 the cloth is rubbed firmly
 along the back  and into the joints4   
,when it is thoroughly attached at the  
back1 the  book is put lightly into the 
press1 after a tin1 inserted between two
  papers1 has been put between the cover
 and the book on each side4             
,paste-downs--,bone ,folder4    ,the    
next step is the pasting down of the    
endpapers4 ,the cover is lifted  on one 
side and a piece of waste paper is      
placed beneath the endpaper  which is   
then covered with paste4    ,this done1 
the endpaper is drawn back upon the     
board and rubbed down  with the hands4  
,then with a bone folder1 #c1 ,plate ,i1
 the endpaper and  slip are rubbed under

 the back edge of the board at the      
joint4    ,the cover is now closed upon 
the book and immediately opened4 ,if it 
is  found that in closing1 the endpaper 
wrinkles or proves in anyway wrong1  the
 wrinkles are smoothed out and other    
defects corrected4 ,if necessary1  the  
endpaper may be lifted carefully from   
the board and then put down  again4     
,then the cover is closed again1 and    
again inspected4 ,if it is all  right1  
the other endpaper is treated in like   
manner1 and the book is put  lightly    
into press1 not neglecting waste paper  
and tins1 and left until  thoroughly    
dry4                                    
,paste4    ,the best paste is made as   
follows3--,add one-half a teaspoonsful  
of  powdered alum and a few drops of    
wintergreen to one pint of flour4 ,mix  
with water to the consistency of cream4 
,cook until it becomes stiff and        
waxlike1 stirring constantly4 ,then pour
 in some hot water1 stir and cook  again
 until it becomes the desired           

consistency4 ,ordinary library paste  or
 photo mount is not satisfactory4       
,,iii4                                  
,,library ,,binding4      ,the name     
,library ,binding may be somewhat       
misleading if one has in mind  the      
bindings commonly seen in libraries4    
,this binding is practically  what was  
recommended for the libraries of        
,england by a committee from  the       
,english ,society of ,arts1 appointed to
 investigate the causes of the  lack of 
durability in bindings and to suggest   
remedies for defects  found4    ,the    
following specifications indicate the   
distinguishing features of  this        
binding3--      #a4 ,half leather1 paper
 sides4      #b4 ,sewed on four or more 
tapes4      #c4 ,double boards4      #d4
 ,french joint4      #e4 ,zigzag colored
 endpapers4      #f4 ,head cut1 out of  
boards1 and colored4      #g4 ,backed   
and slightly rounded4      #h4 ,cord    
inserted under leather instead of       
headband4      #i4 ,leather attached to 

back4                                   
,zigzag ,endpaper4    ,after the sheets 
are folded and pressed as described in  
the previous  binding1 the zigzag       
endpapers are prepared4 ,in cutting     
these endpapers1  four sheets of white  
paper to match the book are cut and     
folded1 two of  the folios being        
considerably wider than the book so as  
to allow for the  fold e1 ,fig4 #bj4    
,each leaf of the large folios is folded
 back about  one-fourth of an inch from 
the original fold4 ,then another folio1 
c1 the  same size as the book1 is pasted
 under zigzag e1 and the endpapers made 
in this way become the first and last   
sections4 ,folio b is the colored       
endpaper which is not inserted until    
book is sewed4    ,illustration3        
,fig4 #bj4 ,zigzag end4 a1 b1 c1        
separate folios4      ,illustration3    
,fig4 #ba4 ,sewing ,frame and sewing on 
tapes4 a1 finished catch or             
crowsfoot stitch4 b1 the beginning of   
the catchstitch4      ,illustration3    

,fig4 #bb4 ,ready for backing4 a1       
,joint4 b1 ,backing boards4 c1 ,lying1  
or      finishing press4                
,illustration3      ,fig4 #bc4 putting  
on double boards4 a1 ,the slip4         
,illustration3      ,fig4 #bd4 ,putting 
on the leather back4 a1 cord4           
,illustration3 ,book    ,the book is now
 marked up as in the ,case ,binding     
except that there are  only two         
punctures1 one about three-quarters of  
an inch from the head1  and the other   
about one and one-quarter inches from   
the foot1 in an  ordinary size of book4 
,sewing on ,tapes4    ,sewing on tapes  
requires a sewing frame1 ,fig4 #ba1     
which is prepared for  sewing by tying  
five tapes to the horizontal bar4 ,the  
book is then laid  on the floor of the  
frame with the head toward the right and
 the back to  the tapes4 ,the head tape 
is placed one-fourth of an inch to the  
left of  the head puncture1 while the   
foot tape is placed one-fourth of an    
inch  to the right of the foot puncture4

 ,the other tapes are distributed       
equally along the distance between those
 at the head and foot4 ,all the  tapes  
are fastened to the edge of the frame   
floor with thumb tacks4 ,of  course1    
that is only one simple frame out of a  
great variety which may  be made4 ,there
 are numerous ways of improvising sewing
 frames4 ,temporary  frames are often   
made by tacking small strips to the ends
 of drawing  boards1 and fastening a    
cross bar to them4 ,in large classes1   
merely a  board is sometimes used as in 
olden times1 when stiff thongs or strips
  of vellum were used4 ,this is not very
 satisfactory4    ,the book is laid to  
the left as in the previous binding1 and
 the  sections are turned in the same   
way1 and laid upon the frame4 ,the end  
section is laid with a1 ,fig4 #bj1 on   
the floor of the frame and the  needle  
inserted at the head puncture of the    
fold between e and d through  folio c1  
,fig4 #bj4 ,then with the left hand1 the
 needle is drawn in and  run back out   

just to the right of the head tape4     
,then the needle is run  into the       
section immediately to the left of the  
head tape1 making a  stitch across the  
tape4 ,this is repeated at each tape and
 finally the  needle comes out at the   
foot puncture4 ,now the second section  
is put on1  the needle inserted at the  
foot puncture and the sewing continued  
as in  the first section1 until the head
 puncture is reached1 when the thread   
is tied with a double knot to the       
original end4 ,the third section is now 
put on and treated exactly like the     
first section until the needle comes    
out at the right of the head tape1 when 
a crow's foot or catch stitch is  made  
in the following way3--                 
,crow's ,foot or ,catch ,stitch4    ,as 
the needle comes out at the side of the 
tape1 instead of sewing the  thread     
straight across the tape as before1 the 
needle is run from the  bottom up behind
 the two previous threads in such a way 
as to make a  loop knot around them1 a  

and b1 ,fig #ba4 ,then the needle is run
 into the  section on the opposite side 
of the tape exactly as in previous      
stitches4 ,this is repeated at every    
tape until the foot puncture is         
reached1 where a kettlestitch is made4  
,after the third section1 a             
kettlestitch is made every time the     
needle comes out at an end puncture1    
and a crow's foot or catch stitch every 
third or fourth section4    ,the        
remainder of the book is sewed by exact 
repetitions of the processes  thus far  
described4    ,when the sewing is       
completed1 the tapes are cut1 leaving   
them about one  and one-half inches long
 at each side and a colored folio1 b1   
,fig4 #bj1  is tipped to the top of each
 zigzag as at e1 and the book is then   
ready  for gluing1 rounding and backing4
                                        
,rounding4    ,rounding1 as the name    
implies1 is the process of giving a     
convex shape  to the back of a book to  
prevent its becoming sunken or concave4 

,the  book is laid upon the table1 and  
the first few sections are pulled       
firmly forward1 while with a hammer1 the
 upper edge of the back is  struck      
lightly1 driving the upper sections     
forward4 ,then the book is  turned over 
and the process is repeated on the other
 side4    ,a folded sheet of waste paper
 is tipped 7pasted by a very narrow     
strip  of paste7 along the sides of the 
book at the back4    ,marks are placed  
about one-eighth of an inch from the    
back1 showing the  places for the edges 
of the backing boards between which the 
book is put  and all clamped into the   
lying press1 ,fig4 #bb4 ,this done1 the 
back is  thoroughly covered with thin   
glue which is rubbed in with a stiff    
brush  and wiped as in the previous     
book4 ,within fifteen or twenty minutes1
  when the glue has dried sufficiently  
to be rubbery1 the back is pounded  with
 a hammer1 striking first along the     
center1 then gradually toward  the end  
sections1 always with a gliding blow1   

until the edges have been  forced over  
the tops of the backing boards1 as a1   
,fig4 #bb4 ,if this has  been properly  
done1 the back will be smooth and       
rounding1 and the edges  will project   
over about the thickness of the boards4 
,the tapes are now pasted down against  
the outside leaves of the  endpapers1   
and the super glued on1 reaching from   
puncture to puncture1  and to the ends  
of the tapes on each side4 ,when dry1   
the endpapers1 to  which the tapes were 
pasted1 are cut off around the edges of 
the super1  a1 ,fig4 #bc4 ,material is  
now gotten ready for the cover4 ,since  
this book  is to have a ,french joint1  
the boards are cut as much narrower than
 the  book as will make the proper width
 of joint2 and since it is to have      
double boards1 four boards are cut1 two 
thin and two medium4 ,a thin  board and 
a thicker one are glued together1 all   
except about two inches  along the back 
edge1 to form one board4 ,the boards1   
thus glued1 are put  into the press1 and

 the leather cut1 which is to be one and
 one-half  inches longer than the board 
and wide enough to reach around the back
  and as far down the sides as          
desired--the general rule being 8more   
than a  fourth and less than a third40  
,this1 however1 is a statement of the   
most  general kind1 and proper widths   
for the leather are determined to meet  
specific conditions4                    
,skiving--,head ,cut--,coloring4        
,with a sharp skiving or head knife1 #e1
 ,plate ,i1 the edges of the leather    
are pared thin1 and also a strip through
 the middle where the back of  the book 
goes1 is pared1 if the leather is quite 
thick4 ,for this  operation1 the leather
 should be laid on a stone or slate4    
,the book is now marked with pencil and 
trysquare where the head is to be  cut1 
and is placed between two pressing      
boards with a heavy piece of  cardboard1
 called the cut-against1 between the    
back pressing board and  the book4 ,in  
this condition1 the book is now put into

 the cutting press1  ,plate ,,ii1 the   
front pressing board being pushed down  
on a level with the  mark on the book   
and with the top of the press4 ,the plow
 is run forward  and backward1 the blade
 meanwhile being gradually screwed      
toward the  book1 cutting only a very   
few leaves at a stroke4 ,with this easy 
stroke  and slow advance of the blade1  
if the blade is sharp1 the head is left 
smooth and ready for coloring4 ,the head
 is colored with ,india ink and  when   
dry1 is rubbed with beeswax and         
burnished with a burnisher made for     
that purpose4    ,illustration3         
,,plate ,,ii                            
,french ,joint4    ,now the book is     
marked for the ,french joint1 that is1  
for the location  of the back edges of  
the boards1 and a strip of tough paper  
large enough  to cover the back is glued
 on4    ,glue is put into the open      
places left between the layers of the   
double  boards2 then the slips--super1  
tapes1 and pieces of endpapers which    

were  previously pasted together--are   
inserted into these openings1 ,fig4 #bc1
  and the book put into press1 where it 
remains until thoroughly dry4    ,in    
putting on the boards1 great care is    
necessary to insure a straight  cover   
and perfect squares4                    
,half ,leather4    ,it is now time to   
put on the leather1 which is laid1 flesh
 side up1 on  waste paper and thoroughly
 covered with paste4 ,the waste paper is
  removed and the book is then placed in
 its proper position on the  leather and
 the boards opened down against it with 
sufficient pressure  to attach the      
leather to them4 ,then the ends of the  
leather are turned  under the back of   
the book and over the boards1 enclosing 
a cord at the  head as shown at a1 ,fig4
 #bd4 ,this cord makes a roll instead of
 a  headband4 ,this done1 the leather is
 thoroughly rubbed with the hands and   
forced closely down into the joints4    
,joint sticks1 #aj1 ,plate ,i1 may be   
used for this purpose1 but care must be 

used not to mar the leather with  them4 
,now the book is placed with the foredge
 in the lying press1 and a  cord tied   
around it lengthwise through the joint  
to make sure than the  leather holds its
 position at the joint4 ,when dry1 the  
leather is  trimmed1 since the work of  
getting it onto the book has probably   
stretched it1 or the paring may have    
left the edges uneven4    ,measurement  
is made from the foredge back to the    
points where it is  desired to have the 
leather extend4 ,with a sharp knife1 the
 surplus  leather is cut off4 ,the book 
is now ready for the cover papers4      
,marks  are made on the leather for the 
one-eighth inch lap of the paper4       
,cover ,paper4    ,the cover papers for 
the sides are cut one and one-half      
inches longer  than the boards and      
seven-eighths of an inch wider than the 
distance  from the leather to the       
foredge of the board4 ,this allows      
three-fourths  of an inch for turn-in   
and one-eighth of an inch for the lap   

over of the  leather4    ,then the book 
is placed on the paper1 b1 ,fig4 #bd1 in
 such manner as to  have a straight edge
 of the paper come just to the marks on 
the leather  and as nearly the same     
projection at the ends and foredge as   
possible4  ,with a lead pencil1 a line  
is drawn on the paper around the board4 
,corners for the mitres are cut1 always 
cutting not closer to the pencil  mark  
than the thickness of the board1 as     
explained in the previous  binding4     
,this done1 the paper is covered with   
paste1 the book again laid  on in       
position indicated by marks1 and the    
turn-ins pasted4    ,the other board is 
now treated in the same manner4 ,great  
care is  necessary to make sure that the
 paper fits firmly against the edge of  
the board4 ,the bone folder is used here
 to force the paper against the  edge of
 the board before the turn-in is pasted 
down on top4    ,the paper at the       
corners usually does not make a perfect 
mitre1 but  laps4 ,this is remedied by  

taking a sharp knife and cutting through
 the  lapping papers and removing the   
pieces cut off4    ,the book is now put 
under light pressure until dry4 ,nothing
 remains now  but to paste the colored  
endpapers to the boards1 the same as in 
the  previous binding4 ,it will be seen 
on opening the book how much            
flexibility the zigzag has lent to the  
cover4                                  
,,iv4                                   
,,extra ,,binding4        #a4           
,three-quarters ,morocco4      #b4      
,sewed on cords2 cords laced into       
boards4      #c4 ,flexible back4        
#d4 ,edges cut in boards1 head colored4 
#e4 ,rounded and backed4      #f4       
,zigzag endpapers1 colored pastedown4   
#g4 ,head and foot bands1 silk thread   
over heavy cords4      #h4 ,blind or    
gold tooled and lettered4               
,cords4    ,the sewing frame is prepared
 exactly in the same way as in the      
,library  ,binding except that cords are
 here used instead of tapes1 ,fig4 #be4 

,endpapers are cut and prepared zigzag1 
book marked up and punctures  sawed the 
same as in the ,library ,binding4       
,these are the distinct differences     
between sewing on cords and on tapes4   
,with cords1 the needle goes in at the  
head puncture and out on the left  of   
the cord and then doubles back and from 
the right of the cord1 the  needle is   
inserted at the same hole through which 
it came out1  completely encircling the 
cord with the thread1 a1 ,fig4 #be4     
,this is the  whole story of sewing on  
cords4 ,in the use of tapes1 the thread 
simply  goes back of the tapes1 not     
around them4 ,the kettlestitches are    
made  just as in sewing on tapes1 but   
there are no catch or crowfoot stitches 
as with tapes4 ,when the book is taken  
from the sewing frame1 the back is      
rounded4 ,in this process1 judgment must
 be used not to get the back too        
convex4    ,illustration3      ,fig4    
#be4 ,sewing on cords4 a1 stitch around 
the cord4      ,illustration3      ,fig4

 #bf4 ,lacing cords into boards4        
,illustration3      ,fig4 #bg4 ,detail  
of holes and trough for cords4          
,illustration3      ,fig4 #bh4 ,board   
pulled down ready for the head to be    
cut4      ,the book is now put into the 
backing boards in the press and glued   
and  backed as described in dealing with
 the ,library ,binding4                 
,lacing ,holes4    ,two boards1 as wide 
as the book and one-fourth of an inch   
longer1 are  cut from heavy tar or mill 
board4 ,the boards are placed in proper 
position closely up against the joint   
projection of the back1 and marks       
perpendicular to the back edges of the  
boards1 are made1 indicating the        
positions of the cords4 ,at each mark   
and about one-half of an inch from  the 
edge1 a hole almost as large as the     
cords1 is made with an awl from  the    
outside1 and the projections caused by  
the awl are trimmed off4 ,then  about   
one-half inch from these holes1 another 
row of somewhat smaller  holes is made4 

,these holes are not in the lines drawn 
from the edges of  the boards1 as is    
shown in ,figs4 #bf and #bg1 and are    
punched from the  inside1 leaving the   
projections caused by the awl4    ,then 
a kind of ,v or trough is cut from each 
of the first series of holes  to the    
edge of the board1 making a place for   
the cord to lie1 ,fig4 #bg4             
,lacing4    ,now the cords are frayed   
out and trimmed thin at the ends1 and   
with  paste1 the frayed portions are    
twisted to points and inserted down     
through the first holes and up through  
the others1 a1 ,fig4 #bf4 ,when the     
cords have been drawn tightly and a     
small amount of paste put around the    
holes1 the ends are again frayed out and
 spread about the holes1 and  with a    
hammer1 the board resting firmly on a   
block1 the protruding parts  of the     
board are pounded down about the cords4 
,after this has been done  to all the   
cords on both sides1 the book is left to
 dry4    ,the cutting of the edges in   

boards1 is a process requiring the      
greatest  care4 ,a mark is drawn on the 
white endpaper indicating where the head
 is  to be cut4 ,a tin and a piece of   
heavy cardboard are placed between the  
book and the back board4 ,these make a  
cut-against to protect the cover  from  
the knife4 ,the front board is now drawn
 down even with the head  mark1 ,fig4   
#bh1 and prepared in this way1 the book 
is put into the  cutting press4    ,it  
is essential to good work that the book 
be absolutely true in the  press1 and   
that the head mark and the top of the   
board which has been  pulled down1 be on
 a level with the top surface of the jaw
 of the press4  ,the cutting is the same
 as described under ,library ,binding1  
page #bg4    ,the book is now removed1  
the covers are thrown back1 and with a  
try  square against the head1 a mark is 
drawn on the endpaper1 showing where    
the foredge is to be cut4 ,with the     
covers hanging down and a pressing      
board and one or two thicknesses of     

cardboard for a cut-against1 the  book  
is put into the press and the foredge   
cut4 ,the foot is cut exactly  as was   
the head4    ,illustration3      ,fig4  
#bi4 ,putting on the headband4          
,illustration3      ,fig4 #cj4 ,cutting 
the leather corners4      ,illustration3
      ,fig4 #ca4    ,pasting on leather 
corners and cover papers4    a1 ,turn-in
 of leather4    b1 ,turn-in mitre of    
leather4    c1 and d1 ,turn-ins of      
paper4    e1 ,taper tied around book4   
f1 ,end pasted down4      ,illustration3
      ,fig4 #cb4 ,deep punctures for    
sunken cords4      ,illustration3       
,fig4 #cc4 ,folded paper for hollow back
 cover4      ,illustration3 ,book       
,head and ,foot ,bands4    ,it is now   
time to make the head and foot bands4   
,the book is fastened in  a lying press 
as shown in ,fig4 #bi1 with the head    
leaning toward the  workman4 ,a needle1 
into which is tied one end of a long1   
colored silk  thread is run through the 
middle of the first section down to the 

head  puncture and out through the back1
 the thread being drawn half its  length
 through4 ,then a strong piece of cord1 
considerably longer than  the width of  
the back1 is laid on the head of the    
book just back of the  boards4 ,the     
needle end of the thread is brought     
directly forward over  the cord1 while  
the other end is crossed over the needle
 end of the  thread1 under the cord1 and
 forward over the cord the same as the  
first  thread4 ,then changing hands     
again1 this operation is repeated twice 
when  the needle is run down into the   
head of the book and out at the back    
one-half inch or more below the head but
 as it comes back over the cord1  it is 
crossed by the other thread exactly as  
at first4 ,about every  fourth crossing1
 the thread should be sewed into the    
book4    ,when the cord is covered to   
the other side of the book1 the two     
threads  are knotted firmly beneath the 
cord4 ,a small bit of paste is put at   
the  end of the silk on each side1 and  

the cord cut off4 ,then a tough piece   
of paper reaching from the top cord to  
the top of the headband is glued  on to 
hold the band in place4    ,the foot    
band is made in exactly the same manner4
    ,then a strip of paper as wide as   
the back is glued on and carefully      
fitted about the cords4                 
,rubbing ,sticks--,band ,nippers4       
,the leather back is put on as in the   
,library ,binding1 but much greater     
care and patience are required in       
rubbing down the leather about the      
cords and making it adhere strongly to  
the book at all points4 ,rubbing        
sticks1 #g1 ,plate ,i1 come in good     
place in this operation4 ,band nippers  
are often used to force the leather     
against the cords4 ,the leather is      
moistened slightly at the head and foot 
and made to lie down snugly  against the
 head and foot bands4 ,after this1 the  
leather pieces for the  corners are cut 
and marked up1 leaving a three-quarter  
inch margin on  the two equal sides of  

the triangle1 ,fig4 #cj4 ,a general rule
 for the  size of corners is that the   
altitude of the finished corner triangle
  should be about the same as the       
extension of the back leather over the  
side of the book4                       
,leather ,corners4    ,the corners of   
the leather pieces are cut out just as  
the corners of the  paper in the        
previous book4 ,then the edges are pared
 thin4 ,the leather  corners are covered
 with paste1 one at a time1 a corner of 
the cover  board is placed in proper    
position on the leather and the turn-ins
  pasted1 a and b1 ,fig4 #ca4 ,this     
done1 the book is put under light       
pressure for a time4 ,the leather is now
 all trimmed to proper size and  the    
cover paper marked and cut for the      
sides4 ,the one-eighth inch lap is      
marked on the leather back1 and the book
 laid on the paper as in  previous book4
 ,then with a sharp pencil1 points are  
made on the paper  showing where it must
 be cut to allow not more than          

one-eighth inch lap  on the leather of  
the corners1 ,fig4 #ca4    ,the corners 
of the paper are cut out1 the paper     
covered with paste1 the  book placed in 
proper position and the turn-ins pasted 
as at c and d4  ,care must again be     
exercised that the paper comes squarely 
against the  edges of the boards and    
fits closely around the edges of the    
leather4  ,for such processes1 the bone 
folder is almost indispensable4    ,the 
next step is the lining of the boards4  
,a rectangular piece of heavy  paper is 
pasted on the inside of each cover and  
fitted snugly against  the edges of the 
leather and paper turn-ins4 ,after these
 linings are  dry1 the end papers are   
trimmed and pasted down4 ,in this case1 
great  care and patience are necessary  
to make the endpapers attach themselves 
to the back edges of the boards4 ,of    
course1 the outside white leaves are    
torn off and the colored pastedowns are 
drawn back upon the boards as in  the   
,library ,binding1 and with a bone      

folder1 the papers are forced  against  
the back edges of the boards4 ,then the 
book is closed and  immediately opened4 
,if in closing1 the endpaper is pulled  
loose or  wrinkled1 it is again put into
 proper order and the book again closed4
    ,when the end papers hold their     
positions perfectly1 the book is        
thoroughly protected with paper1 tins   
and boards and put lightly into  press4 
,then the head is colored with ,india   
ink1 a coat of beeswax put on1 and a    
burnisher used to give it a polish4 ,it 
is well to leave the completed  book    
under some pressure for several days4   
,if1 in the process1 some paste has     
gotten on the leather or paper1 it  may 
be removed by the use of a damp cloth1  
carefully rubbed over the  soiled       
places4                                 
,hollow ,back4    ,in case a hollow back
 is desired for this book1 deep         
punctures are sawed  at every cord1 and 
the cords which are smaller than in the 
flexible  binding1 are sunken into these

 punctures1 ,fig4 #cb4 ,the sewing in   
such a  binding is very simple1 the     
thread running along the middle of the  
section and behind the cords1 with      
kettlestitches at the head and foot1    
the same as in the flexible sewing4     
,before the cover goes on1 a heavy paper
 folded as in ,fig4 #cc1 making  from   
three to five thicknesses1 is glued by  
the bottom layer to the  back4    ,but  
especially in elementary work where very
 little gold tooling and  lettering are 
undertaken1 the hollow back is neither  
necessary nor  desirable4 ,at all       
events1 let us avoid the false cords    
sometimes seen in  commercial books4    
,v4                                     
,,rebinding4      ,the foregoing work   
has assumed that the books were to be   
bound from the  original1 unfolded      
sheets4    ,in case of rebinding books1 
the following preliminary steps are     
necessary before beginning the sewing3--
    #a4 ,taking off old cover4 ,this is 
done simply by pulling loose the        

endpapers and carefully loosening the   
super4 ,if the glue or paste  refuses to
 come off1 it is covered with a coat of 
fresh paste1 and after  a short time may
 be scraped off4    #b4 ,cutting        
sections apart4 ,the leaves are counted 
until the thread is  reached which      
indicates the middle of the section4    
,the thread is clipped  and the same    
number of leaves1 disregarding plates1  
is counted1 bringing  us to the end of  
the section4 ,the counting is necessary 
because of the  fact that in many books1
 the first and last few sections are    
pasted1 or  tipped1 together1 making it 
difficult to tell where one stops and   
the  other begins4    #c4 ,beating out  
the joint4 ,in books which have been    
rounded and backed1  the first and last 
few sections especially have a decided  
bend near the  backs caused by the      
hammering4 ,this is removed by laying   
the sections  down on a solid block and 
hammering them along the joints4    #d4 
,mending1 cleaning and guarding4 ,guards

 are strips of tough paper  about       
one-fourth of an inch wide which are    
used to paste together the  leaves of a 
folio that have been torn apart1 and to 
fasten plates into  the book4 ,in case  
of the torn folio1 the leaves are laid  
side by side in  the proper position and
 a guard1 covered with paste1 is placed 
over the  joint where the leaves come   
together4 ,the leaves are then folded   
together creasing the guard in the      
middle4 ,this general rule as to the    
placing of the guards is given in the   
form of a bull3--8,if it is to be       
guarded on the outside1 put the guard on
 the inside2 but if it is to be  guarded
 on the inside1 put the guard on the    
outside40 ,that is1 if it is  the       
outside folio of the section to be      
guarded1 put the guard on the  inside of
 the folio1 so that the ragged edges of 
the tear may be  gathered up by the glue
 on the back and that it may not        
interfere with  the sewing4 ,but if it  
is an inside folio to be guarded1 put   

the guard or  the outside of the folio4 
,when guarding in a plate1 a folio is   
opened  out1 the plate placed on the    
proper leaf1 and the guard put on as in 
the  case of a torn folio4    #e4       
,cutting new end papers4    ,after all  
the foregoing steps1 the book is ready  
to be pressed1 placing  the sections    
upon each other and inserting tins and  
boards as described  in ,case ,binding4 
,when it comes to re-sewing the book and
 putting on new covers1 the  practice is
 to use any method or any combination of
 methods that seems  to be demanded by  
the conditions and size of the book1 and
 the character  of usage which it will  
probably meet4 ,it is not unusual in    
commercial  binderies to sew books      
especially large1 heavy books1 on tapes 
or on  sunken cords without regard to   
the style of cover4 ,this is done       
especially where the book has large1    
thick sections that are difficult  to   
hold in place4 ,thus it is seen how far1
 under some conditions1 we  depart from 

the standard types4    ,it sometimes    
happens that the folios are so badly    
torn at the folds that  to guard them   
would make the back unusually thick4 ,in
 such cases1 the  overcasting method is 
used4 ,the back of the book is cut if it
 is in very  bad condition1 and then    
instead of sewing through punctures over
 cords  or tapes1 several of the leaves 
are taken and placed in the same        
position as a section1 and sewed        
through1 whipping over and over1 and    
going around tapes or cords in the usual
 manner4 ,it frequently happens         
however1 that a book is in good         
condition with the exception of the     
cover1 in which case1 simply a new cover
 is put on4 ,this necessitates          
re-gluing of the back and putting on new
 super and end papers4 ,then the        
question arises how to fasten in the end
 papers so that they may be  strong4    
,one method1 especially in the case of  
heavy books1 is to put in  a cloth      
joint4 ,this is a folded strip of cloth 

about one inch wide1 at  each end of the
 book1 with one side of the fold pasted 
to the outside  leaf4 ,then when the    
cover is put on1 the other side of the  
cloth fold is  pasted to the board1     
,fig4 #cd4 ,a folio of cover paper is   
then tipped  against the cloth and the  
outside leaf pasted to the board2 or in 
many  cases1 a separate sheet is used   
for the pastedown1 leaving both leaves  
of the end folio free4    ,illustration3
      ,fig4 #cd4      ,illustration3    
,fig4 #ce4    a1 ,cloth joints b1 ,end  
sheets      ,in the case of marbled     
endpapers1 the folio is cut of paper to 
match the  book1 a piece of super or    
canvass is put along the fold like a    
guard1  then the single sheet of marbled
 paper is pasted entirely over the first
  page of the folio which is then tipped
 in to the cloth of the joint4  ,where a
 book is to be resewed1 sometimes single
 end sheets of heavy  cover stock1      
together with the cloth for the joint1  
are folded around  the backs of the     

first and last sections and sewed in    
with them1 ,fig4  #ce4 ,then when the   
boards are put on1 the cloth is drawn   
back over the  edge as before4          
,another method of attempting to        
reinforce and strengthen the first and  
last parts of a book is to sew through  
the endpapers that are to remain  free  
as 8flyleaves0 and the leaves of the    
first half of the first and  last       
sections4 ,this seems of somewhat       
doubtful value1 although it may be  of  
some service in the case of a thick1    
heavy book4    ,a very practical and    
easy method of rebinding moderately thin
 books  which have torn backs1 is to sew
 them in the manner described for a     
fourth-grade ,language ,book1 ,fig4 #dj1
 page #ee1 and put on a new case        
binding4 ,in such cases1 care must be   
used to make the joint wide enough  to  
allow the boards to come well in front  
of the stitches2 otherwise1  the book   
would not open without tearing the      
cover4    ,plate ,,iii shows a number of

 library books rebound in this manner by
  seventh grade boys4    ,illustration3 
,,plate ,,iii      ,library ,books      
,rebound by ,seventh ,grade ,boys4      
,,vi4                                   
,,equipment4      ,equipment for        
elementary bookbinding1 as already      
indicated in a  preceding chapter1 can  
be made almost entirely to fit the      
purse4    ,the statement occurs in text 
books and has gone the rounds on 8good  
authority0 that very little can be done 
in the way of bookbinding  without a    
large and unusually expensive equipment4
 ,it is difficult to  understand how    
such a statement could be made by anyone
 who is familiar  with craft binding and
 its simplified forms as they may be    
worked out in  the lower grades of our  
schools4    ,of course1 it is possible  
to spend any amount for bookbinding     
equipment1  but there are many schools  
where good elementary work is being done
 with  absolutely no equipment except   
pocket knives1 scissors and such other  

aids as may be picked up about any      
school building4    ,it is entirely     
possible to adjust the upper grade work 
so that only a  few will be handling the
 same processes at the same time1 thus  
making a  small equipment answer the    
purposes of a good sized class4    ,for 
making the typical books under good     
conditions with a moderate  number of   
pupils in the eighth grade or high      
school1 the following  equipment may be 
said to be elaborate1 and can be had for
 about #ge3--                        #a 
#aj-;inch ,card ,cutter1                
#f ,lying ,presses1                     
#a ,plow and ,press1                    
#b ,letter ,presses1                    
#ab ,sewing ,frames1                    
#b ,paring ,knives1                     
#c ,pairs ,backing ,boards1             
#b ,back ,saws1                      #f 
,try ,squares1                      #c  
,hammers1                      #c ,doz4 
,pressing ,boards and ,tins1            
#f ,awls1                      #f ,paste

 ,brushes1                     #ab ,bone
 ,folders4    ,even this equipment may  
be very materially reduced4 ,many of the
 items  may be improvised1 made1 or     
furnished by the pupils4    ,for        
instance1 the sewing frames are of      
simple construction and offer an        
excellent problem for the class in      
woodwork4    ,the plow and press are not
 an essential even in high school work4 
,most  excellent work may be done by    
cutting both paper and boards with a    
sharp  knife guided by a trysquare or   
straight edge1 against a cutting tin4   
,any  ordinary hammer will do for       
backing purposes4 ,so this brings us    
back to  the repeated proposition that  
much and good bookbinding can be done in
  the schools with almost no equipment4 
,,vii4                                  
,,suggestive ,,course4      ,in the     
previous discussions of the three main  
types of books1  practically every      
process used in elementary hand-binding 
has been  described4    ,the following  

outline is the result of several years  
of effort on the  part of the author1 to
 develop a series of problems involving 
the  bookbinding processes1 meeting some
 of the constructive needs of the       
various grades of the school1 and       
relating in some vital way to the       
regular school interests4    ,it was    
thought that confusion would be avoided 
by indicating the methods  and processes
 of a set of specific problems4 ,it is  
understood that these  problems are only
 typical and that from these1 a great   
variety of books  may be worked out in  
response to special needs4 ,in the      
practical work of  the class1 these     
problems are not dictated step by step  
and in detail1  to the pupils2 but as   
far as possible each pupil plans for    
himself1  size1 number of pages1        
proportions1 color combinations1        
decoration1 etc4  ,a very large part of 
the value derived from such work1 comes 
from the  necessity of thinking and     
planning in advance1 and from the       

privilege  and exercise of choice4      
,let us assume that we are taking the   
problem of the fourth grade  spelling   
book1 page #ec1 ,fig4 #ch4 ,the first   
thing necessary is the  spelling paper  
as a basis for our plans4    ,each child
 is given a sheet of paper1 say #ch     
inches4 ,the class is  questioned to    
bring out the general characteristics of
 the cover needed1  such as the         
direction of opening1 the necessity for 
a hinge in the top  cover1 etc4    ,then
 the matter of the squares or the       
extension of the boards is taken  up and
 the pupils express opinions as to the  
amount of the extension4  ,after reasons
 are given for various opinions1 the    
pupils calculate and  write on the      
sheets of paper the sizes the boards are
 to be cut4    ,then comes the question 
of the distance the hinge is to be from 
the  back4 ,one pupil may answer three  
inches and another one-half an inch4    
,reasons are brought out why neither is 
satisfactory and also why it may  vary1 

say1 from three-fourths of an inch to   
one and one-half inches1 and  each child
 writes on his paper the distance he    
prefers4 ,the same plan is  used with   
reference to the width of the hinge2 and
 since this may vary  greatly1 even from
 one-fourth to two inches1 guided always
 by the ideas  of good proportion and   
fulfillment of purposes1 the pupils are 
asked to  write down their preferences4 
,then is taken up the question of the   
proportion of cloth to paper on the     
covers4 ,in the first place1 it is      
apparent that constructive              
considerations demand that the cloth    
must reach from the back some  distance 
beyond the hinge toward the foredge1 but
 how far beyond is a  question of good  
proportion4 ,it is always found that    
children vary but  little in their      
judgments of proportion in this matter4 
,the author has  made this proposition  
to scores of children3--8,let's have the
 cloth and  the cover paper meet at the 
middle of the cover10 and in the whole  

number of children1 there has never been
 one who would agree to any such  an    
arrangement4 ,when the matter of the    
cloth has been determined1 the  pupils  
calculate the sizes the pieces of cloth 
and paper must be cut1  allowing the    
proper turn-ins4 ,these dimensions are  
written down with the  other decided    
points4 ,from this information1 the     
pupils make simple  drawings4 ,from     
samples of various colors of cloth1     
paper1 and cords1 the  pupils select    
satisfactory combinations4 ,in this1 as 
in all other  matters1 if pupils make   
wrong selections or show poor judgment1 
it is  the opportunity of the teacher to
 suggest and to convince them of the    
wisdom of some other choice4            
,illustration3      ,fig4 #cf4          
,illustration3      ,fig4 #cg4      ,the
 material is next marked out and cut4   
,of course1 this is done by each  pupil 
from the information he has written on  
his sheet of paper4    ,the actual      
pasting of the boards into the cloth and

 paper requires but  few suggestions or 
directions if the pupils have gone      
through the work  of the previous       
grades4 ,if they have not1 then they are
 asked to place  the board upon the     
cloth in the proper position1 mark      
around it1 and  clip out corners as at  
a1 ,fig4 #cf4 ,when the cloth is pasted 
on1 the same  process is used with the  
paper allowing it to lap one-eighth to  
one-fourth of an inch on the cloth1 b4  
,when the covers are completed and      
pressed1 the punctures are made and the 
cord tied in4    ,illustration3         
,,plate ,,iv    #a4 ,tilo ,matting ,poem
 ,book      #b4 ,nature or ,sketch ,book
      #c4 ,home      ,book              
,,first ,,grade4      #a4 ,home ,book4  
,this is made to contain the freehand   
cuttings of the house and its           
furnishings1 the family1 the barn1 the  
chicken house1 all the animals1         
machinery1 etc41 about the home4 ,it is 
made up of sheets of manila paper  with 
colored sheets of the same size for     

covers4 ,these are all tied  together   
with a heavy cord through two holes     
punched at one end4 #c1  ,plate ,,iv4   
#b4 ,nature or ,sketch ,book4    ,made  
of the same material as the ,home ,book 
except that only one colored  sheet is  
needed4 ,but the sheets are all folded  
in the middle and three  or four        
punctures are made with a darning needle
 or a punch along the  fold4 ,a cord    
threaded into a large needle is run into
 the top puncture  and out at the bottom
 puncture2 then back into the second    
puncture from  the bottom around the    
thread and out at the same puncture4    
,this is  repeated at each puncture     
until the top one is reached1 where the 
ends  of the cord are tied together1 #b1
 ,plate ,,iv4 ,the book may be made by  
finding the middle of the paper1        
punching the holes and tying the cord   
before the folding is done4    #c4      
,portfolio4    ,this is made of two     
sheets of paper1 one of which is        
one-half inch  narrower and one inch    

shorter than the other4 ,the small one  
is placed  upon the large one in such a 
way as to leave a half inch strip around
  three sides4 ,the two corners of the  
large sheet are cut out and the  edges  
pasted and folded over upon the small   
sheet4                                  
,,second ,,grade4      #a4 ,portfolio4  
,made of one piece of tough paper by    
simply cutting rectangles from the      
lower corners of the sheet1 as shown in 
,fig4 #cg ,a1 and folding the           
rectangles a1 b1 c on dotted lines4 ,the
 two smaller rectangles are  pasted to  
the larger one1 c4    #b4 ,scrap ,book4 
,made of single leaves with a two-inch  
fold at one end4 ,covered with a  folio 
of ,bristol1 reinforced at the back with
 strip of book cloth1 and  tied through 
five punctures with heavy cord4 ,fig4   
#cg4 ,see #f1 ,plate ,,iv4    #c4       
,nature ,book4    ,cover same as ,scrap 
,book with the addition of pieces of    
cover paper  pasted on the covers1      
reaching from the cloth to the foredge4 

,book made  of folios sewed like #b1    
grade one4 ,pasted into cover4    #d4   
,spelling ,book ,cover4    ,made of     
light boards which are covered with     
cover paper4 ,pieces of cover  paper are
 pasted on the inside as end papers1 and
 are decorated by the  children4 ,the   
two sides of the cover are fastened     
together by inserting  rings or cords in
 holes punched at the end4 #e1 ,plate   
,,iv4    #e4 ,language1 ,poem or        
,arithmetic ,book4    ,single leaves    
covered with folio of crash or burlap1  
tied with cord  through three punctures1
 cover lined with one piece of cover    
paper1 and  edges and design of cover   
worked with coarse thread4 #d1 ,plate   
,,iv4                                   
,,third ,,grade4      ,illustration3    
,fig4 #cg;,a4      #a4 ,spelling ,book4 
,single leaves with separate boards1    
covered with book cloth pasted all      
over4 ,the top board is cut into two    
parts1 leaving a flexible hinge near    
the back4 ,boards lined with cover      

paper4 ,tied through two1 three or four 
punctures by ,japanese method1 ,fig4    
#ch4    ,illustration3      ,fig4 #ch4  
,illustration3      ,fig4 #ci4          
,illustration3 ,spelling ,book          
,illustration3 ,language ,book    #b4   
,literature ,illustration ,book ,cover4 
,half cloth4 ,narrow boards1 leaving    
wide limp back of book cloth4 ,back     
reinforced with super and boards lined  
with cover paper4 ,two or three  boles  
are punched from side to side1 and tied 
with heavy cord or  fastened with rings4
 ,fig4 #ci4    #c4 ,portfolio4    ,made 
of one long1 narrow piece of cover paper
 or ,manila board4 ,the  bottom third is
 folded up to form the body of the      
portfolio1 and the top  third is folded 
down for the hap or cover4 ,two strips  
of cloth are  folded and pasted to the  
ends of the portfolio to hold the front 
and  back together4    #d4 ,nature      
,book4    ,one section sewed with five  
punctures1 same as number #b1 grade one1
  covered with heavy marbled boards1    

with buckram back1 super put on1 and    
first and last leaves used as           
pastedowns4    #e4 ,poem ,book ,cover4  
,made of two boards4 ,joint made in top 
board as in ,spelling ,book4 ,boards    
are covered with crash and lined inside 
with cover paper4 ,tied with  heavy cord
 through four punctures4    #f4         
,japanese ,book4    ,the book part is   
made by folding a long piece of paper   
first one way and  then the other until 
it is all folded accordion fashion4     
,boards are  covered with cover paper   
and pasted to the first and last pages4 
,,fourth ,,grade4      #a4 ,portfolio4  
,made of heavy cover paper1 with some   
method devised by the class for         
increasing and decreasing the thickness 
of the portfolio4    #b4 ,clipping      
,envelope4    ,made of one piece of     
heavy cover paper or light ,manila      
board4 ,rectangles  a little longer than
 half the body of the envelope1 are     
folded over and  pasted4 ,the small flap
 at the bottom is folded up and pasted4 

,see ,fig4  #ci ,a4    ,illustration3   
,fig4 #ci;,a4      #c4 ,spelling ,book4 
,same as that of third grade except with
 half instead of full cloth  covers4    
,see ,fig4 #ch4    #d4 ,language1       
,geography or ,history ,notebook4       
,more than one section4 ,sheets folded  
and cut4 ,sections arranged in book     
form1 and a colored folio tipped in to  
the second endpaper on each side4  ,the 
book is marked up for a sawed puncture  
one-half inch from each end1  and for   
stabs immediately under the sawed       
punctures and every half inch  along the
 side and about one-fourth of an inch   
from the back1 a1 ,fig4  #dj4 ,the stabs
 are made with a sharp punch or awl4    
,a needle is put on each end of a long  
linen thread4 ,then with the thread     
lying in the head puncture1 a needle is 
inserted from each side into the  head  
stab and the thread drawn through4 ,the 
needles are then run into  the next stab
 and then into the next1 until the foot 
puncture is  reached4 ,here the threads 

are brought up and tied so that the knot
 sinks  into the sawed puncture4        
,illustration3      ,fig4 #dj4      ,a  
piece of super is now thoroughly pasted 
upon the back and about one  and        
one-half inches down the endpapers4     
,these outside leaves of the  endpapers 
are cut off at the front edge of the    
super and a piece of the  cover paper as
 long as the book and as wide as the    
super is glued on1 b1  care being taken 
to have it fit flat across the back with
 sharp turns at  the edges4    ,the     
boards having been covered separately1  
except lining1 are now pasted  on about 
three-eighths of an inch from the back  
or one-eighth of an inch  in front of   
the stitches4 ,the book is now put      
lightly into press4 ,when  dry1 the     
colored endpapers are pasted to the     
covers and the book again  put into     
press4    ,illustration3      ,fig4 #da4
                                        
,,fifth ,,grade4      #a4 ,nature ,book4
    ,one section4 ,large sheet folded   

and cut or torn to proper size4 ,sewed  
through five punctures4 ,bound in full  
or half cloth4 ,case binding4 ,super    
put on and first and last leaves pasted 
to covers by closing the cover  on the  
paste-covered endpapers4 ,fig4 #da4     
#b4 ,spelling ,pad4    ,made like the   
top cover of the spelling book shown at 
,fig4 #ch1 except  that it has cloth    
corners1 which are put on the same as   
the leather  corners of the ,extra      
,binding1 ,fig4 #ca4 ,four punctures are
 made and the  narrow part is turned    
over and tied as at ,fig4 #db4          
,illustration3      ,fig4 #db4          
,spelling ,pad      ,illustration3      
,fig4 #db;,a4      #c4 ,soft ,leather   
,cover4    ,this makes a nice gift for  
,christmas4 ,the cover is removed from a
 small  book1 a folio of cover paper is 
tipped to each side for end papers1 and 
the book is pasted into a cover of      
velvet sheep skin4    #d4 ,re-cover4    
,some library book or book of the       
pupil's4    ,new super put on1 new      

endpapers tipped in1 and a new half     
cloth case  binding made and laid on4   
,boards as wide as the book and         
three-eighths  of an inch longer4 ,cloth
 as wide as desired and one and one-half
 inches  longer than the boards4 ,cover 
paper as long as the cloth and          
seven-eighths of an inch wider than the 
distance from the back cloth to  the    
foredge of the board4 ,cloth is folded  
lengthwise and creased only at  the     
ends1 as at a and b1 ,fig4 #db ,a4 ,a   
line c d is drawn  from one end4  ,lines
 h f and g e are drawn4 ,the distance of
 these lines from a and b is  half the  
thickness of the book1 plus one joint4  
,the boards are pasted  into the angles 
d h f and c g e1 and the cover is put   
lightly into  press4 ,the cover paper is
 marked up and pasted on exactly as     
described  in ,library ,binding1 page   
#cj4    #e4 ,post ,card ,book4    ,loose
 leaves of cover paper #gaa4 ,cover made
 exactly like the fourth  grade spelling
 book at ,fig4 #ch1 except that it must 

be much larger in  order to accommodate 
the larger leaves4    ,various devices  
may be used to hold the cards1 but the  
best method  perhaps1 is to cut slits   
for the corners4    #f4 ,rebind         
,straight ,back ,book4      a4 ,old     
cover torn off4      b4 ,sections cut   
apart4      c4 ,mended and guarded4     
d4 ,endpapers cut4      e4 ,sewed all   
along with five punctures4 ,consult     
,case ,binding1 ,fig4 #ad4      f4 ,back
 glued4      g4 ,half cloth case binding
 made and put on4    #g4 ,magazine      
,cover4    ,case binding in full cloth4 
,inside of back lined with a strip of   
book  cloth4 ,a one inch piece of cloth 
or leather runs lengthwise inside of    
each board to hold the leaves of the    
magazine4 ,these strips are fastened  by
 turning the ends and pasting them under
 the end papers1 similar to  that shown 
in photograph1 ,fig4 #eb4    #h4 ,art   
,book4    ,several sections sewed all   
along4 ,heavy gray paper for mounting   
drawings  and pictures4 ,original work  

on cover1 using combinations and        
modifications of previous problems4     
,after the book is bound1 a  sufficient 
number of leaves may be cut out along   
through the book to  prevent too great  
thickness at the back4                  
,,sixth ,,grade4      #a4 ,portfolio4   
,simply a case binding in half or full  
cloth1 with a cloth pocket inside  of   
each cover4 ,each pocket is made by     
taking a piece of cloth one inch  wider 
and two inches longer than the board1   
and folding the edges of one  side and  
the two ends and pasting to the board4  
,then the cover is  finished according  
to the method of making a case binding4 
#b4 ,memorandum ,book4    ,one section  
with a small folio of ,manila board     
outside4 ,cover is made of  one piece of
 buffing1 which is cut  longer and wider
 than the finished  cover4 ,a piece of  
tough paper exactly the size of the     
finished cover1 is  pasted on the inside
 of the buffing1 leaving about a        
three-eighths inch  margin all round4 ,a

 piece of ,manila board as wide as the  
paper1 is laid  on the paper at each    
end4 ,these boards should be short      
enough to leave a  three-quarter inch   
space at the middle of the leather for  
the back4    ,the projecting edges of   
the leather are now turned over and     
pasted to  the ,manila board4 ,end      
papers as long as the ,manila boards and
 one-fourth  inch narrower1 are now     
pasted on4 ,after the cover has dried in
 press1  the ends of the outside folio  
of the book are inserted under the      
unpasted ends of the ,manila boards of  
the cover4    #c4 ,binding from         
,original ,printed ,sheets4    ,small   
book like 8,printing and ,bookbinding10 
8,he ,knew ,lincoln10 8,man  ,without a 
,country10 or 8,the ,other ,wise ,man40 
,arrangements can be made  with         
publishers to furnish unfolded printed  
sheets at reasonable prices4    ,sheets 
are folded and pressed--not cut4        
,sewed all along with five punctures4   
,typical case binding4    ,full cloth4  

,edges untrimmed4    #d4 ,rebind ,sets  
of ,books4    ,case bindings in full    
cloth1 each pupil making a number of    
covers at one  time4    ,where several  
books are to be uniformly bound1 a      
spacer is used to  locate the positions 
of the boards on the cloth1 instead of  
repeating  the measurements on each     
cover4 ,the spacer1 ,fig4 #dc1 may be   
made of  press board1 tin1 celluloid1 or
 other material4 ,by placing the spacer 
at  the middle of the cloth at the head1
 the angles are located for the  corners
 of the boards4    ,illustration3       
,fig4 #dc4      #e4 ,envelope ,file4    
,a number of envelopes are made         
according to the plan indicated by ,fig4
  #ci ,a1 page #ee4 ,with two pieces of 
cloth folded back and forth1 the ends   
of the envelopes are bound together as  
shown in ,fig4 #dd4    ,a case binding  
in half cloth is made similar to the    
,literature  ,illustration ,book1 ,fig4 
#ci1 making plenty of allowance at the  
back for  the thickness of the          

envelopes4 ,when the cover is completed1
 the bottom  envelope is pasted firmly  
to one of the boards1 as shown at ,fig4 
#de4    ,illustration3      ,fig4 #dd4  
,envelope ,file      ,illustration3     
,fig4 #de4      ,illustration3          
,desk ,pad      ,fig4 #df4      #f4     
,desk ,pad4    ,made of one piece of    
heavy cloth board4 ,a piece of cover    
paper one and  one-half inches longer   
and wider than the board1 is pasted to  
one side  and the edges turned over4    
,thin leather corners or end strips are 
now  put on as indicated at ,fig4 #df1  
with only the turnovers pasted4 ,then   
the  under side of the board is covered 
with a piece of cover paper about       
one-half inch shorter and narrower than 
the board4    ,the leather may be       
decorated by tooling1 cutting1 or       
coloring4    #g4 ,note ,book ,cover4    
,stiff boards with cloth back and       
corners1 and paper sides4 ,corners are  
put on the same as the leather corners  
in the ,extra ,binding1 ,fig4 #ca4      

,two strips of board are cut            
three-quarters of an inch wide1 and one 
inch  shorter than the cover4 ,a piece  
of cloth is cut as long as the strips of
  board and four inches wider than the  
back of the cover4 ,one of these  strips
 of board is now pasted one-half inch   
from each long edge of the  cloth4 ,the 
other sides of the strips of board are  
covered with paste and  the cloth is    
folded over upon them4    ,fig4 #dg     
shows the end of this part which is     
pasted inside of the back of  the cover1
 the one-half inch projections of the   
cloth being attached  firmly to the     
boards4 ,end papers are put in and holes
 for the cord are  now punched through  
these three-quarter inch strips1 and the
 leaves are  tied in place4 ,finished   
cover shown at ,fig4 #dh4               
,illustration3      ,fig4 #dg4          
,illustration3      ,fig4 #dh4          
,,seventh ,,grade4      #a4 ,decorative 
,binding4    ,blank book or magazines   
sewed on colored tapes1 ribbons or      

strips of  leather with coarse silk     
thread in decorative stitches1 ,fig4    
#di4    ,boards are bound separately in 
fancy cover papers4    ,tapes are laced 
through the boards and tied at foredge4 
,colored  endpapers pasted to covers4   
,tapes and stitches left exposed at     
back4    ,illustration3      ,fig4 #di4 
#b4 ,portfolio4    ,three rectangular   
pieces of tar or cloth board are cut1   
two larger ones  for the body of the    
portfolio and one smaller one for the   
lid or flap4  ,the large pieces are     
lined with paper on the sides which are 
to go  inside4 ,this prevents warping   
when the outside covering is put on4 ,a 
strip of book cloth or buckram is cut   
about two inches wide and long  enough  
to reach around one side and the two    
ends of the body of the  portfolio4     
,this strip is folded lengthwise in the 
middle with the wrong  side out4 ,then  
each half is folded lengthwise in the   
middle1 turning the  wrong side in4     
,thus folded1 the strip is pasted around

 the ends and bottom edges of the  two  
large boards1 mitering all the corners4 
,fig4 #ej4 ,then the flap is  attached  
by means of two strips of cloth1 one    
above and one below1 and  the edges are 
bound to correspond with the body4 ,then
 cover paper is  pasted on all the      
uncovered surfaces of the boards1       
lapping one-eighth  of an inch over the 
edges of the cloth wherever the paper   
and cloth come  together4 ,scores of    
modifications may be made of this style 
of  portfolio4    ,illustration3        
,fig4 #ej4      ,showing only the cloth 
on the edges4      #c4 ,limp ,leather   
,binding4    ,pupil's blank or printed  
book4    ,sewed all along or on tapes4  
,colored endpapers sewed in4 ,bound in  
one  piece of sheep or calf4 ,cover is  
used for dyeing and tooling in          
decoration4 ,book put into cover by     
pasting book and fitting leather        
closely about it and then pressing4     
,,eighth ,,grade4      #a4 ,book for    
,mounting ,drawings and ,pictures4      

,heavy cover paper is used for this book
 and is cut into large folios4  ,then   
strips of the same paper about one and  
one-half inches wide and as  long as the
 book is high1 are folded lengthwise in 
the middle4 ,one of  these folded strips
 is fitted over the back and one inside 
of each  folio1 ,fig4 #ea1 except the   
first and last4 ,this provides for the  
pasting  of a mount on each page of the 
book without making the body of the book
  thicker than the back4 ,sewed on      
tapes4 ,cover treated exactly as that of
  the ,library ,binding1 page #bg4      
,illustration3      ,fig4 #ea      ,it  
is much easier to handle this problem by
 making the book of regular  sections   
instead of using the one and one-half   
inch strips1 and then  cutting out every
 #crd or #dth leaf after it is          
completed4 ,these leaves  are not       
wasted4 ,they may be used for smaller   
books4    #b4 ,typical ,library         
,binding4 ,see page #bb4                
,half leather4                          

,sewed on tapes4                        
,double boards4                         
,french joint4                          
,backed and rounded4                    
,head cut and colored4                  
,cord inserted instead of headband4     
#c4 ,portfolio4    ,bound in leather and
 paper or cloth4 ,three boards are cut  
the same size4  ,the joints between the 
boards are treated exactly like the back
 of a  case binding1 except that leather
 is used and that the inside of the     
joints are also lined up with leather4  
,small boards for the flaps are  joined 
in the same manner to the ends of the   
middle board4 ,fig4 #eb shows  the      
portfolio with only the leather pasted  
on4 ,the cover paper or cloth  is cut   
and pasted exactly like that of the     
,library or ,extra ,binding4            
,illustration3      ,fig4 #eb4 ,showing 
part of portfolio with only the leather 
pasted on4                              
,list of ,bookbinders ,terms4           
,,back4--,the back of a book is the part

 where the leaves are fastened          
together1 and does not include the sides
 of the cover4      ,,backing4--,the    
process of hammering the back in order  
to drive the extra        thickness due 
to sewing1 over the edge of backing     
boards making        the joint4 ,fig4   
#bb4      ,,backing ,,boards4--,steel   
faced boards between which the book is  
placed        while backing4 b1 ,fig4   
#bb4      ,,band1 ,,or ,,rubbing        
,,sticks4--,sticks used in rubbing the  
leather down over        the cords1 or  
bands1 in the ,extra ,binding4 #g1      
,plate ,i4      ,,beating ,,out         
,,joint4--,hammering the back of the    
section of an old book in        order  
to straighten out the part turned over  
in the process of        backing when   
first bound4 ,no4 #c1 page #dj4         
,,blind ,,tooling4--,putting a design   
upon the leather with hot tools         
without using gold leaf4                
,,boards4--,the stiff sides of the      
cover4      ,,bone ,,folder4--,a bone   

tool for folding paper and cloth4 ,no4  
#c1 ,plate ,i4      ,,buffing4--,thin   
cowhide used in binding4      ,,case    
,,binding1 ,,or ,,casing4--,where the   
book and the cover are made             
separately and then pasted together4    
,pages #aa and #ad4                     
,,collating4--,gathering together the   
sections of a book in the proper        
order4      ,,cover ,,paper4--,heavy    
paper used on the covers of books4      
,,crowfoot ,,stitch4--,the stitch used  
at the tapes in ,library ,binding4 a    
and b1 ,fig4 #ba4      ,,double         
,,boards4--,two boards glued together to
 make one side of the cover        in   
,library ,binding4 ,fig4 #bc4      ,,end
 ,,papers4--,the blank leaves at the    
first and last of the book4      ,,extra
 ,,binding4--,book sewed on cords and   
bound in full or three-quarters         
leather4 ,page #ca4                     
,,finishing4--,the part of bookbinding  
that has to do with the decoration1     
tooling1 lettering1 etc4 ,page #i4      

,,finishing1 ,,or ,,lying ,,press4--,a  
press for holding the book while the    
8finishing0 is in progress4 ,no4 #a1    
,plate ,i4      ,,flexible4--,in ,extra 
,binding where leather is attached      
directly to the        back of the book4
      ,,folio4--,a sheet folded once1   
making two leaves4      ,,foot1 ,,or    
,,tail4--,the bottom of the book as it  
is held upright4      ,,foredge1 ,,or   
,,fore-,,edge4--,the edge of the book   
opposite the back4                      
,,forwarding4--,all the work of binding 
a book until it is ready for the        
finishing4 ,page #i4      ,,french      
,,joint4--,wide space left between the  
edges of the boards and the        back 
of the book in the ,library ,binding4   
,,gold ,,tooling4--,the use of gold leaf
 to cover the lettering or              
ornaments4      ,,guard4--,a strip of   
paper used to mend a torn folio or to   
fasten in a        plate4 ,no4 #d1 page 
#dj4      ,,half ,,leather4--,a book    
bound with a strip of leather at the    

back and the        boards covered from 
the leather to foredge with paper or    
cloth4      ,,head4--,the top of the    
book as it stands upright4              
,,headband4--,a piece of cloth or cord  
at head of book to strengthen back4     
,fig4 #bi4      ,,head ,,knife1 ,,or    
,,skiving ,,knife4--,a knife used for   
paring the edges of the        leather4 
,no4 #e1 ,plate ,i4      ,,hinge4--,the 
part of the cover at the joint where the
 cover bends on        opening4 ,it     
usually refers to a separate piece of   
cloth or leather        used to         
strengthen cover at this point4         
,,hollow ,,back4--,where the cover is   
not pasted directly to the back of the  
book4 ,fig4 #cc4      ,,joint4--,the    
narrow space between the board and the  
back1 and also the        projection of 
the back formed by the process of       
backing4      ,,joint ,,rods4--,small   
rods used to press down the leather or  
cloth at the        joint4 ,no4 #aj1    
,plate ,i4      ,,kettlestitch4--,a     

stitch used in all types of sewing but  
especially in        sewing all along4  
b1 ,fig4 #ad4      ,,laying             
,,on4--,attaching the casing to the     
book4      ,,limp ,,cover4--,cover      
without boards4      ,,library          
,,binding4--,the type of book which is  
sewed on tapes1 has a        ,french    
,joint and double boards4 ,page #bb4    
,,overcasting4--,method of sewing books 
which are badly torn and cannot be      
dealt with in sections4                 
,,plate4--,picture or other special     
matter on a separate leaf which is      
fastened into the book4      ,,plow     
,,and ,,press4--,the plow is for cutting
 the edges of books4 ,the press         
holds the book while the cutting is in  
progress4 ,plate ,,ii1 ,p4 #bh4         
,,pressing ,,tins ,,and                 
,,boards4--,small pieces of tin and     
board to protect the        book while  
in press4 ,nos4 #aa and #ab1 ,plate ,i4 
,,punctures4--,holes sawed or punched in
 the book for sewing or tying4          

,,rounding4--,process of making the back
 of a book curved4                      
,,section4--,part of book made from one 
folded sheet of paper4      ,,sewing    
,,all ,,along4--,method of sewing a book
 with kettlestitches and        without 
tapes or cords4 ,fig4 #ad4      ,,sewing
 ,,frame4--,frame on which the books are
 sewed4 ,no4 #f1 ,plate ,i4             
,,signature4--,small figure or letter at
 the bottom of the first page of a      
section to indicate the order of the    
sections4      ,,slips4--,the tapes1    
super1 and endpaper pasted together to  
insert in the        double boards of a 
,library ,binding4 a1 ,fig4 #bc4        
,,spacer4--,a device for determining the
 position of boards in                  
casebinding1 instead of measuring4 ,this
 is used only where a        number of  
the same kind of books are being bound  
uniformly4      ,,split ,,boards4--,in  
the ,library ,binding1 ,split ,boards   
are sometimes used        instead of    
double boards4 ,these are simply single 

boards split at        one edge for the 
insertion of the slips4                 
,,squares4--,the distance the boards    
project beyond the edge of the book4    
,,stab ,,sewing4--,where books are sewed
 from side to side through holes        
punched with an awl4 ,fig4 #dj4         
,,sunken ,,cords4--,where book is sewed 
on cords sunken into large              
depressions sawed across the back4 ,fig4
 #cb4      ,,super4--,thin cloth put on 
back of book to strengthen the          
attachment to        the cover4         
,,tail4--,same as foot4 ,part of ,book  
at bottom of page4                      
,,tapes4--,pieces of tape to which book 
is sewed in ,library ,binding4 ,fig4    
#ba4      ,,three-,,quarters            
,,leather4--,cover with leather on back 
and corners4      ,,tip4--,to attach a  
sheet of paper by a narrow strip of     
paste4      ,,turn-,,in4--,the  parts of
 leather1 cloth and paper turned over   
board1        etc4      ,,weaver',s     
,,knot4--,a knot used to attach a new   

thread to an old one4 ,it is        made
 as follows3 ,hold old thread between   
thumb and finger1 place        the end  
of the new thread under the end of the  
old thread4 ,then        loop the new   
thread around its own end4 ,draw the end
 of the old        thread down over the 
new thread into the loop4 ,this forms   
the        knot2 now draw the threads   
tight4 ,fig4 #ae4      ,,zigzag4--,a    
kind of fold made in the end folios of  
,library and ,extra        ,bindings4   
,fig4 #bj1 page #bc4                    
----------------------------------------
--------------------------------        
,,transcriber',s ,,notes       #a4      
,silently corrected obvious             
typographical errors and variations in  
spelling4   #b4 ,renumbered the         
,bookbinding section by adding #ajj to  
all of its page        numbers4   #c4   
,retained archaic1 non-standard1 and    
uncertain spellings as printed4   #d4   
,enclosed italics font in underscores4