PRACTICAL PRINTING UC-NRLF * GEORGE SHERMAN* llbru, WOOL LIBRARY OF THE UNIVERSITY OF CALIFORNIA. Class PRACTICAL PRINTING EXPLAINING THE WAYS AND MEANS OF PRODUCTION IN THE MODERN PRINTING PLANT By GEORGE SHERMAN n New York Oswald Publishing Company 1911 tx' SCHOOL Copyright 1911 by the Oswald Publishing Company CONTENTS CHAPTER PAGE i From Apprentice to Journeyman .... 1 ii The Composition of Commercial Forms . . 9 in Display Composition 19 iv Bookwork 31 v Job Composition, Proof -making and Proof- reading 4>4> vi Composing-room Equipment 57 vn Facilitating Composing-room Production . . 68 viii Imposition and Lock-up 75 ix Platen Presswork 87 x Cylinder Presswork 67 xi Printing Inks 108 xii From Superintendent to Shipper . . . . 117 xni In the Shipping-room . 131 225952 LIST OF ILLUSTRATIONS PAGE Locking miters in use 11 Construction of locking miters 12 Brass panel and corner fonts 13 An example of brass rule designing 14 Use of a low rule in tabular work 16 A type area sketch 21 A letter sketch 22 Completed type design 23 Table of space calculation 24 Table of ems in one pound of type 25 Enclosing type matter in irregular mortise 26 Table of sizes and weights of paper 33 Table of type and leads calculation 34 Use of text letter in title-page 36 A classic chapter heading 37 A hand-lettered effect . 39 A German title-page 40 A reverse plate effect 42 Letterhead with reader's marks 50 Letterhead partly corrected 51 Table of proofreader's marks 53 Effective proof of business card 54 Proofing frame 56 Serviceable cabinet 58 Brass galley 59 Yankee job stick 60 Brass type gage 61 Case for steel composing rules 62 Case for brass and copper spaces 64 Small set of gravers 65 A type-high planer 66 Combination stone and cabinet 67 Arrangement for medium sized shop 69 List of Illustrations PAGE Index to cabinets 70 Label for miscellaneous character cases 71 Card for removed cases 72 Index for storage of cuts 73 Job ticket bin 74 Railroad furniture 77 The midget quoin 81 Steel skeleton furniture 81 Book-heading chase 83 Sectional block 84 Types of register hooks 84 Key for register hook 85 Patent block 86 Ratchet . . . , 86 Types of form racks 86 An ink closet 93 Modern platen press 95 Feeding mechanisms 109 Use of the latch arm 103 Modern cylinder press 104 The sheet steel trip arm 105 Valve and chamber . 106 Chart for harmonious color relations 112 Job ticket 118 Job record 119 Composing-room time ticket 121 Time ticket 123 Time slip 126 Proof envelop 127 Proof receipt 128 Combination cutting slip 128 Special job ticket 129 Patented shipping box 132 Shipping tag 133 Package label 133 Reminder and re-order blank 135 Receipt 136 Another form of receipt 137 Instructions to shipping clerk 139 Bundling machine 140 PREFACE TT was the aim of the author and publishers of this book * to make it exactly fit its title ; that is, practical. The methods and processes described have been tried and proved. The recommendations may be safely followed, but it is expected that the advice given will be accepted as merely suggestive, that the reader will think for him- self. Improvements in printing machinery and methods follow one another in rapid succession ; the reader is ad- vised before purchasing any portion of the equipment recommended in these pages, to look into market con- ditions carefully so as to get the latest and best it affords. The publishers will always be glad to furnish any possi- ble information. CHAPTER I From Apprentice to Journeyman " If I were asked to give advice to the young man of today, I would say, 'Take one thing and study it, learn it thoroly, become a master of it.' " SIR ALFRED HARMSVVORTH, English millionaire newspaper proprietor. " In years gone by, the printing trade, in common with many other occu- pations, was confined, restricted. Those were the days when one man com- pleted a pair of shoes, when the entire suit was modeled, cut and sewn by a single tailor. And ofttimes the printer edited the copy, set it up, locked it, made it ready, ran it off, and, after wrapping it, delivered it to the cus- tomer. Then the all-around man was not only an advantage, but a neces- sity. . . . The master printers of today seldom claim to do everything. They will announce that their specialty is booklets, catalogs or railroad work. As the employers have abandoned the old-time methods and adopted those suitable to the changed conditions of the present, so should the em- ployeescompositors and pressmen alike strive to excel in one particular. The man who perfects himself in some one special thing gains the fat en- velop and assures himself of steady employment." JOHN H. CLAYTON. TECHNICALLY the making of the most successful journeyman in the modern printshop means the making of the specialist. This is the plan of pres- ent-day instruction in the workshop, in the technical school and of the printing trade journal. In the fulfilment of this idea the apprenticeship period of four or five years should be divided so as to permit the young man to apply himself to the all-around duties of the composing-room during the first two or three years. Careful observation of his tendencies, or his proficiency in any one particular line, will enable the foreman to deter- mine the specialty for which he is best fitted, whether it be artistic display composition, booklet construction, rule [1] 2 Practical Printing and figure work, make-up, imposition, proofreading or the management and supervision of large jobs requiring four or five men in their completion. The last two years should be devoted to the perfection of either one of these special qualifications. Under such a system a four- or five- years' apprenticeship will bring forth fruitful results to the employer and a guarantee of maximum wages to the journeyman. The mercenary motives of some unscrupulous employers are too frequently responsible for the indifferent qualifi- cations of commonplace journeymen. The ambitious young man should be advised of this. If he is continu- ously assigned to the duties of an office porter or an errand boy with the promise of a trade as a subterfuge his four or five years of apprenticeship may grant him a journey- man's title of very ordinary value. Some twenty years ago an unpromising lad entered the employ of one of Pennsylvania's most successful pub- lishers. In less than a week it was discovered that the boy was utterly unfitted for the trade. He lacked the necessary common school education and he was not of the bent and stuff productive of good printers. He was unceremoniously discharged with the laconic advice to seek employment in a blacksmith shop. This printshop sarcasm was accepted in a literal sense. Today, the dis- charged printers' apprentice is a man of affluence and wealth and the products of his wagon-shop are known to every user of heavy vehicles in the country. This is for the benefit of both employer and apprentice and it is intended to stimulate the employment of only such boys as are adapted to the trade. Hundreds of men From Apprentice to Journeyman 3 are poor printers because they are unfitted for the busi- ness, and they are unsuccessful in life because some one failed to tell them to quit years ago and take up black- smithing. No boy should enter a printshop as an apprentice under sixteen years of age. He should not be permitted to qualify unless he is able to show the results of a gram- mar school education. If compelled to go to work before he arrives at sixteen, his duties should be confined to office and shop errands, as a preliminary to entering upon a reg- ular apprenticeship. On the very first day of his actual apprenticeship he should be permitted to learn the cases. He should be told briefly how to hold the stick, how to stand before the frame, how to grasp the letters, and above all to avoid eagerness to attain great speed in setting. False motions are always acquired during these first days of case experience by the over-zealous boy and the impedi- ment usually lingers during his life at the business. An old case of ten point is the proper thing for the beginner. It is the most practical size for the young hands to pick up and past experience has proven that the fastest compositors have developed their speed from a beginning on this letter. Use no other than perfectly spaced and properly indented reprint book copy, leaded with two-point leads, measure no less than twenty ems or more than twenty-five ems. Show the boy how to dump his stick by beginning with four or five lines and increasing until he is able to handle an entire stickful with proficiency. Then teach him how to lock up his galley and to take a roller-press proof. Send these trial 4 Practical Printing proofs thru the proof-room in regular manner and permit some journeyman to take the few minutes' time to point out the errors in composition as a first corrective lesson. The boy who is unable to produce a fairly correct and moderately well-spaced proof after two weeks' work at the case, allowing say four or five hours' actual practice each day, is not intelligent enough or does not possess sufficient inclination to make it worth while to continue him as a composing-room apprentice. In such case per- mit him to enter as an apprentice in the platen press- room or send him on his way with kindly advice to seek employment in some other field. Distribution of display type should not be attempted or permitted during the first six-months' apprenticeship. During this period he should devote some of his time to the study of faces with similar characteristics, he should learn to know them by name, by studying case labels, type founders' specimens and the advertisements in lead- ing trade journals. The second period of six months may be devoted to the distribution of straight-line display composition. Here is where the young apprentice will discover a wealth of information if he is sufficiently interested in his work to court it. He should be alert and watch the dead jobs of the best journeymen in the composing-room. In distrib- uting and dismembering the rule, line and letter justifi- cations, he should note the manner in which these are put together and endeavor to derive something of value from each job. The most successful boys are those who are obliging to the journeymen, who do not object to looking up a From Apprentice to Journeyman 5 sort occasionally and who are ever ready to lend their assistance in placing materials within easy reach. For this spirit they will be indirectly compensated by infor- mation which will be readily imparted to them by the more advanced workmen. The boy who 'knows it all" in the beginning will discover that he has much to learn many years afterward, and that the task is then much more difficult. Upon entering the second year the ambitious appren- tice should endeavor to secure the foreman's consent to his becoming an assistant or understudy of some proficient journeyman in charge of booklets, monthly publications and other large work. In this capacity he should be called upon to set running heads, make typographical altera- tions, set occasional reprint advertisements, learn to handle linotype slugs and monotype metal, proving on the Washington hand press, and, as he advances, learn something of page make-up, which includes the justifica- tion of cuts among type matter, folioing, tying, shelving and storing. During this second-year period he should advance rapidly, as he is now approaching the critical period when he is to receive his finishing touches and when he is to be allowed to try out his originality. This period will be his third year. At this time he should be a subscriber and a regular reader of at least two prominent printing trade journals, for he must now acquaint himself with the prevailing styles of display in job composition and the most ap- proved methods of mechanical construction. Detailed an- alysis and instruction along these lines will be covered in succeeding chapters. 6 Practical Printing Points worthy of immediate attention to the third-year apprentice in the job shop will be briefly cited here : In setting displayed work from manuscript copy be sure to study the main points to be brought out. Do not erroneously emphasize unimportant parts of the text. Refrain from an endeavor to show too many faces. Always remember that the choicest specimens of display composition consist of simple, well-chosen lines in neat, straight -line arrangement. Study the subject of appropriateness in the use of type. In other words, learn to understand that a polite announcement is not susceptible to the same treatment that might be accorded to a forceful newspaper advertise- ment, and that Blair, Engravers' Roman, scripts and other imitations of copperplate printing and lithography do not travel in company with the more common letters generally used on dodgers, and in the display of prac- tical business forms. Space all lines uniformly. The stoneman will discover poor justification to your detriment if you persist in being careless. Do not attempt chap-book typography and letter- spaced effects until you have thoroly mastered the mechanical details of plain printing. Study alignment. An interesting table of points above and points below for lining system justification will be found in every modern type founder's specimen book. The slovenly workman is generally known by his quad boxes. Don't permit these boxes to become a depository From Apprentice to Journeyman 7 for wrong-fonts and broken letters. Be neat and tidy in the disposition of material. Don't imagine that your ideas are far above those of the designer of your copy, or the lay-out man. If he sug- gests a certain line or a certain style of display, it will pay you to adhere to it. Don't mix old-style and modern letters in display com- position. Make a detailed study of rule work and rule joining. Above all do not cut labor-saving lengths of rule. Any combination can be made without cutting. If you are confronted with a difficulty in this respect it will be well to consult some one who is acquainted with these problems. After the apprentice has completed his third year in the various details of composing-room performances he should begin to get acquainted with his bearings. He should know whether he is better fitted for stonework or for display composition, or whether he should apply him- self to proofreading or any of the other specialties into which the trade is now substantially divided. If he prefers stonework it will be well for him to take about six months of the fourth year on the platen press stone. This will give him adequate instruction in the placing of locking furniture, the use of quoins, planing, the lay-out of small fours and eights and other details. To become an expert on the book stones he will require from two to three years of continuous experience as an assist- ant to the regular man in charge of this work. In the meantime he should consult books on imposition, the mechanism and adjustment of folding machines, margins, 8 Practical Printing nipper and guide edges and paper stock. After complet- ing a thoro training in all of these departments he will emerge a finished mechanic with every prospect of ad- vancement, in later years, to the position of foreman or superintendent. One reason why the percentage of thoroly competent journeymen has decreased in recent years lies in the fact that apprentices are too frequently permitted to use their own discretion in the matter of perfecting themselves. They are carelessly hired and even more carelessly fired, which fosters the idea that the trade must be acquired thru varied ups and downs in a number of shops. While the majority of master printers and their foremen are lax in their attention to the apprentices under their charge, the parents of these boys are even more careless and fre- quently antagonistic to stern supervision. The famous printers of years ago were not left to sway to the whims of their choice in this manner. All were carefully and strictly indentured, a system which virtually compelled a boy to serve his time in strict accordance to a prescribed system of instruction and advancement. CHAPTER II The Composition of Commercial Forms THE construction of brass-rule designs for commer- cial forms and the use of rule in tabular work are subjects worthy the attention of the apprentice who is interested in job-room mechanics. A practical man, well known to the printing world, speaks of brass rule in the following terms : In brass rule the compositor has the simplest and most severe material. Handled wisely and with the proper types, the use of brass rule imparts to a design an element of strength and a high order of refinement and dignity. Brass rule in a design either looks well, commonplace, or decidedly bad. When it looks well, the use is simple, direct, and honest, and is invariably the work of the most skilled men in the composing-room. A design which depends for decorative effect upon brass rule will achieve this eifect not so much from what a compositor has done as from what he has left undone. In building panel designs it is a matter of facility to avoid mitering. A joint formed by square-butting is as good as a mitered joint and it can be made perfect in less time. Imperfect joints lend an indifferent appearance to rule work and a visible opening, whether butted or mitered, is equally displeasing. For this reason mitering should be done only when absolutely necessary, or when one-piece parallel rules are used. When mitering is done on any of the conventional 10 Practical Printing hand-lever shaving machines the rule must first be cut into pieces about six points longer than the sizes re- quired. Adjust the machine to forty-five degrees for a square corner and cut a miter at one end of each rule. All miter-shaving machines are made to cut deeper at the foot of the rule than at the face, which tends to produce a closed joint. The machine must now be set for the re- verse miter and for accurate length. First, move the tri- angle in position for square-end shaving, and then set the gage with twenty-four point em quads. These should be placed in body-to-body arrangement, as there is more dependable accuracy in bodies than in sets. Raise the handle so that the knife will rest against the very top of the line of quads and then move the gage up snugly against the other end. Tighten the thumb-screw. Never adjust the gage for length while the handle is down with the blade resting against the bottom of the quad, for, if you do, the rule will cut a trifle short. After this adjustment has been made the triangle should be moved to forty -five degrees for mitering. When the miters are cut, the feet of the rules should be faced on a piece of emery paper to remove the burr. The best joints will result in a paneled design by first completing the brass -rule work with an interior filling of new metal furniture. The type should not be inserted until all of the rule work has been completed. Finally, however, after a panel design has been cor- rectly constructed, a great deal depends upon the lock-up and make-ready in securing perfect rule-joinings. Faulty locking is the chief cause of poor joints. Frequently, swelled or shrunken wood furniture and a warped chase The Composition of Commercial Forms 1 1 will prevent a perfectly square lock-up. The eye may be unable to detect it, which emphasizes the necessity of using a steel square on all forms containing panels and rule-joinings. The quoins should be tightened with the fingers at first and then each rule-joint should be subjected to individual planing with the smooth end of a boxwood quoin. After that, slight variations in the hights of con- necting rules can be readily detected with the fingers. These joints should be rubbed down and faced with a Scotch stone or a small bit of lithograph stone. Very old and badly -worn rule often can be made to print perfect corners by deftly touching up the joints with a fine jeweler 's file. The filed joints should be finished with a facing stone. Typefounders have devised a number of clever wrinkles for the improvement of rule-joints, many of which are time- and labor -savers in addition. Next to the solid and Figure 1 brazed corners the locking miters (Figures 1 and 2) are recommended, especially in the bodies four-point and larger. Mere pressure of the quoins in locking tends to 12 Practical Printing draw the parts together, thus forming a perfect miter. The interlocking lugs serve properly to direct the parts into position as the form is being fastened, and to prevent the leads that are outside the type from entering the joint. High metal corner quads are among other improvements Figures designed to lend support to one- and two-point rules and to lessen the tendency of these weaker rules to bend in- wardly or outwardly at the corner joinings. Very pleasing and characterful designs, in keeping with the tendency toward straight-line effects in modern deco- ration, may be produced with the new fonts of brass square corners and solid brass panel ends. All these are labor-saving, easy to assemble and justify, and readily con- vertible to many uses. A series of these fonts is shown, Figure 3, and their availability in brass-rule designing, Figure 4. The practicability of setting tabular "work in one measure across-page with the aid of short -measure slugs, or by casting up mentally for alignment, was demonstrated by the newspaper compositor of the hand-set days. This method of setting tables across-page and inserting rules The Composition of Commercial Forms 13 afterward is adhered to to this day by the expert rule- and-figure printer, and it is the only method by which this class of composition can be handled on line- and letter- 61 Font No. 1 81 101 121 1 Point Face 62 Font No. Z 82 102 122 2 Point Face ca Font No. 3 I 181 C3 4 Point Face c: V i Font No. 4 es ee as 84 85 103 i 106 124 125 129 127 Figure 3 casting machines. The Rogers system, as applied to the linotype, has made it possible and practical to insert verti- cal brass rules in tabulated machine composition. Greeneville Dec kl e Edge Book and Cover PAPER C.The finest line of paper ever put upon the market for books, brochures, announcements, etc. ^Printing qualities unsurpassed. C.Carried by the leading dealers. CSample books on application MANUFACTURED BY Charlestown Paper C ,***+ *% ^ CHARLESTOWN ompany MASS. .U.S.A. B. G. BROWNE, President & Treasurer Figure 4 The Composition of Commercial Forms 15 Figure 5 shows how a low rule, similar to the Rogers low rule, is used to advantage in hand-set tabular work. The column-rules (E) are supported by a two-point shoulder on the cross-rules (C) and two-point supporting spaces (A) of whatever type-body used. At one end of the table regular unnotched pieces (D) of cross-rule may be used. Side spaces (B) are also supplied to work with the type figures used. These side spaces are cast shoulder hight and are en-set or figure-set of the body of type used. The hight of the shoulder notch on the cross -rule (C) and the hight to which supporting-type-spaces (A) are cast is such that leads, slugs, spaces and quads of regular manu- facture may be used. The composition of type-matter to register perfectly to machine -ruled blank lines and book -headings is another branch of typesetting that has become specialized. The quickest way to set and register the type-matter for a plain-ruled box-heading, consisting of a single line of type of one size, is as follows : Cut off the heading of the ruled sheet and tip this narrow strip of paper to the bottom of a stick set to even ems and as nearly the measure of the sheet as possible. Set the type on this strip of paper and justify each word in the center of the space, between the respective pairs of vertical rules allotted thereto. But this method is hardly practical in setting the more complicated ruled blanks, in which the headings consist of a number of boxes containing matter of various depths and several sizes of type, and marginal or side lines in addition. Such blanks must usually be set in two sec- tions, each separately first the box-heading and then the marginal or side lines. In setting the heading, place The Composition of Commercial Forms 17 the galley on the frame with its head to the left, just the reverse of its position in general use. Lay the ruled sheet on the bottom of the galley with the foot of the sheet to the lower left-hand corner. A reglet or slugs of some labor-saving length, long enough to cover the heading, should be placed over the sheet at the side of the galley as a foundation to work against. All of the matter in the boxes should be set in a stick made up to twelve-point ems. Commence by setting the box containing the greatest amount of matter, which will establish the maximum depth of the box -headings. Let us suppose this box to contain three eight -point lines, measuring fifteen twelve-point ems. Under ordinary cir- cumstances, the difference in the various measures of the boxes in the heading would require a number of changes in the set of the stick. The experienced book-heading printer will avoid these changes by setting his stick to the measure of the widest box. If this measure is fifteen ems, all lesser measures will be secured by placing a suf- ficient number of twenty -four-point quads in the stick to make up the difference. This method will not only avoid changing the measure of the stick, but it will at once facilitate composition, in that it will give greater freedom to the fingers in making justification to a narrow measure in a deep stick. Empty the matter for the various boxes on a neighboring galley and lift them to galley containing the ruled sheet in the order required, from left to right. The maximum depth of the headings being three eight-point lines, therefore twenty -four-point spacing will be required between the various sections of the heading to register all separate items between the respective vertical lines. 18 Practical Printing Next, set the marginal lines in some measure, governed chiefly by the length of the longest line and the size of leads and slugs most plentiful for the purpose. Cut a nar- row strip from the left margin of the ruled sheet and fasten it with thumb tacks to the wooden sides of an old book -galley, and then space out the lines accordingly to register with the ruled lines. The heading and marginal lines are now combined into one job and the whole thing is tested finally with a full sheet of the ruled paper. Jobs containing a great number of vertical and hori- zontal lines, intersecting to form large areas of ruled squares, should be set in two forms down rules in one and cross rules in another, to print over by turning or whirl- ing the sheet. This is the practical and profitable method of printing editions of five thousand or less impressions. A number of materials usually on hand in almost every printshop are available as substitutes for the more expen- sive zinc-etched tint blocks. Common press-board is easily cut to fit any enclosure and it forms a suitable printing surface when mounted on a wood-base of proper high:. The durability of its printing surface will be increased by adding a coat of varnish or gum guiacium. Embossed cover-papers of tough texture also may be used to advan- tage. Some novel tint background designs may be pro- duced by their use. One printer makes excellent and profit- able use of a scroll saw in cutting borders and large wood- letter display lines. He uses one-eighth-inch maple veneer for the purpose. Wood-lines and other designs are taken from available prints, and pasted on the veneer to form a pattern for sawing. The letters and designs resulting are then mounted oil electrotype bases ready for printing. CHAPTER III Display Composition D [SPLAY composition, from the artistic standpoint, has been more thoroly discussed in the printing trade journals than any other subject relating to the graphic arts. The subject has been practically ex- hausted. It would be almost impossible to write a chapter pertaining to the purely artistic features of display com- position without repeating what has been said on the sub- ject again and again by other writers. At the same time, the mechanical and the truly practical part of composition has been noticeably overlooked. As a matter of fact, one printer can readily handle all the aesthetic" composition that comes to the average composing-room with a working force of twenty men. Therefore, let us reverse proportion in the character of trade journal and technical school in- struction to conform more equitably with the above ratio : Art instruction, 1 ; instruction along mechanical and prac- tical lines, 19. The trade requires more skilled mechanics, and the apprentice should endeavor to fit himself for the most promising openings of the future. For this reason, this chapter is intended to be of value to those who are interested in the practical side of job composition. Lately there has been considerable demand for men who are able to plan and lay out work for those who are less com- petent. Advertisements of this character are common : [19] 20 Practical Printing WANTED. A job printer who can plan and work out ideas in advertise- ments, circulars and pamphlets in a shop employing six compositors. Salary governed by the applicant's ability. These advertisements mean that it is v/orth while to study charting and sketching in the rough, The composi- tor who is able to "cast up" a piece of poorly -prepared copy, to the extent of denning the correct sizes of display lines and body type to be used, the measures, the arrange- ment and the general design is always in demand at a good salary. The rough sketch is an item of facility. It has two valuable features of economy. First, it enables the finished job printer to use the entire force of the compo- sing-room when there is a rush of display work by supply- ing the less competent help with rough outlines. Second, the rough sketch supplies a general idea of the completed job, which may be submitted to the customer as a substi- tute for a first or trial proof. If the sketched idea does not conform with the customer's taste, the cost is little, and the plan of composition may be changed, while the printer avoids the embarrassment of adding charges for alterations. A little study and practice will enable any printer to cultivate judgment of type and line widths, so that in a short time it will be easy to write "set in twenty -four- point Caslon Bold," with a feeling of assurance that the line will fit the measure. Rough -sketching or rapid out- line-designing may be practiced along several lines to ad- vantage. Letter-sketching (Figure 7) gives a detailed conception of the general typographical appearance of the completed job, while mere type-area sketching (Figure 6) supplies a good idea of plan, proportion and balance. The latter method is the more rapid of the two, and it is the most practical plan to pursue in sketching typographical Figure 6 GENERAL LEANDERI An Illustrated Story ffie Colonial Revolution GEORGE HAROLD BERNARD ^PHi ~L-Z Figure 7 GENERAL LEANDER An Illustrated Story <5f ffw Colonial Revolution GEORGE HAROLD BERNARD Figure 8 Typography and design by Chas. E. Wagener 24 Practical Printing designs for the exclusive use of compositors. Letter- sketches will be more acceptable to the customer, how- ever. Sketched typographical designs may be improved in appearance by pasting -in proofs of title -pieces, orna- ments and borders when materials of this kind are desig- nated for decorative purposes. Large advertising agencies use lay-out" sheets to ad- vantage. These sheets are cross-ruled to present an area of twelve-point squares with an agate-line scale in left-hand margin. Lay-out sheets of this character, for use in design- ing and rough -sketching display composition, can be eco- nomically produced by faint-line ruling on a ruling-machine equipped with point -spaced pens. These sheets are of value in gaging display lines and in denning body-type areas. Legible, well-prepared copy is essential to rapid and accurate composition. The advent of line- and letter- casting machines has created the necessity of rewriting poorly -pre pared copy on a typewriter. It has been demon- strated that this plan is a time- and money -saver in the lino- type department, and there is no doubt that type-written manuscript would be of equal value to display compositor. In calculating the amount of space a manuscript will occupy, this table may be used. The number of words to the square inch set in various sizes of type is given. Calcula- tions are based upon types of average or medium set. Due allowance must be made for lean or fat types. 18-point, solid 7 10-point, solid 21 7-point, solid 38 14-point, solid 11 10-point, leaded 16 7-point, leaded . . . 27 12-point, solid 14 9-point, solid 28 6-point, solid 47 12-point, leaded . . 11 9-point, leaded 21 6-point, leaded . . . 34 11-point, solid 17 8-point, solid 32 5-point, solid 69 11-point, leaded .. 14 8-point, leaded 23 5-point, leaded . . . 50 Display Composition 25 When leaded matter is specified it is usually understood that the lines are to be separated with two-point leads. Double-leaded refers to type-lines separated with a lead or leads equal to four points in thickness. One -point leads are seldom used for spacing large quantities of text. This size is usually of brass and it is generally classed as line- and letter- justify ing material. To ascertain the quantity of plain type required for a certain piece of work, find the number of square inches in the matter, and divide the same by four. The quotient will be the approximate weight in pounds. As it is im- possible to set all of the boxes uniformly bare, it is neces- sary to add twenty -five per cent to large fonts, and forty per cent to small ones, to allow for uneven quantities of sorts left in the case. The number of ems in one pound of type of the various sizes, is approximately as follows : 5-point 829 ems 7-point 423 ems 207 ems 1 . . . 685 ems 8-point. . . . . . 324 ems 11-point 6-point . . . . . 576 ems 9-point 256 ems 144 ems One pound of average solid type -matter contains about four square inches of printing surface. Good judgment in "casting-up" large quantities of manuscript to correctly fit the limited confines of allotted type area must be acquired by practical experience. The foregoing tables will be of assistance to the studious printer in acquiring this experience. When it becomes necessary to adapt a certain amount of text to exactly fit the in- terior of an irregular drawing (Figure 9) the value of practical knowledge of casting-up asserts itself. Judgment in setting matter for limited areas of this I Display Composition 27 kind consists in knowing what sizes of type to select. The mechanical procedure is explained in the next paragraph. Separate, well-inked proofs of the mortised cut should be taken on regular engraver's proof-paper. If this work is done on a Washington hand press, a large, smooth- surfaced tint -block should be placed on the bed of the press to substitute the cut, after each proof has been pulled, for the purpose of making a transfer or offset proof. This proof should be taken on much thinner paper than that used for the originals. Place the fresh, well-inked original proof face up on the tint block and then lay the transfer sheet directly over it. The best offset or trans- ferred negative will result if a few sheets of smooth, un- wrinkled packing are placed over all. This offset proof must now be trimmed square to fit the pan of a stick which has been set to some suitable measure. A tip or two of paste will hold the slip in perfect position until the com- position is completed. The matter is set full measure, across the proof-slip, quadding indentions so that the com- position will follow the outlines of a transfer. By this method it is as easy to follow irregular outlines as to set straight matter. 1 11 examples such as Figure 9 it is a mat- ter of great economy to set the type to one measure with the guidance of an offset sheet, electrotyping and patch - ing-in, rather than to adopt the obsolete and expensive method of justifying separate lines inside of a difficult mortise. Figure 10 is a proof of an electrotype ready for inserting by patching. A few suggestions and some valuable hints on job printing mechanics are appended, paragraphed and in condensed form : 28 Practical Printing Avoid an excessive amount of rule work and intricate panel designs in commercial printing for practical purposes. Manipulation of this kind adds fifty per cent to the cost of composition and make-ready without adding to pleas- ing appearance. Make good use of white space as an illuminant of type matter. It makes composition easier and it shows better judgment than the use of too many detractive ornaments. ( i Adhere to a single series of type in plain forms for \prac tical purposes. y Space display lines accurately and uniformly. An en quad is the proper word -spacing for the medium letter. For the extended letter use no less than two three-em spaces between words and no more than an em quad. The extra extended letter will permit of spacing with an em quad and a three -em space. Be careful to consider and make allowances for the extra space created by words ending with open letters, such as A, F, J, L, P, T, V, W and Y. Imperfect rule joints may be likened unto an ugly scratch across a beautiful oil-painting. Avoid them by accurate mitering and careful justification. A plain circular, set in paragraphed style, with an ap- ^propriate initial and an attractive heading, is preferable to a mixture of display faces. Avoid a combination of three hyphens as a substitute for an em-dash in display lines. A rule justified with point- set spaces is preferable. In separating forms for color work, avoid the use of a great number of leads and slugs. Use perfect labor-saving Display Composition 29 furniture whenever possible. Justifying material reduced to a minimum number of pieces will guarantee better color register. Do not use periods as word ornaments. They are poor decorators and when widely spaced they offer little resist- ance to the impression. The use of script in date lines for office headings is an old-time custom not in keeping with good typography. A letter in harmony with the remainder of the display is more appropriate. Adhere to one kind of rule in blank forms. Do not use dotted lines in one part of job and plain rule in another. If you would produce a solid form of type and blank lines do not justify rules to type with slugs and leads only. Quads, used with rules, will produce a better form in every way. Address lines set "Chicago, Illinois," in adver- tisement work reveal the style of an unfinished printer. A squared and letter-spaced style of typography used in conjunction with the long- and short-line idea on the same page is inharmonious and not in accord with good display. To facilitate distribution place all final spacing of quad lines immediately after the last word of the paragraph. Do not scatter miscellaneous spaces among the quads. In constructing panels to surround type-matter the top and bottom rules should always lap the side rules. This relates to unmitered panels. In setting the text for a stylish booklet avoid excessive leading. Ten -point will not admit of more than three- point leading, while twelve -point type should be confined 30 Practical Printing to four-point leading or less. Rather reduce the measure and increase the margins than scatter the type in open order over the entire area of the page. Study the alignment of initials with body-type and endeavor to preserve uniform indention of matter sur- rounding initials. Use text or old-style headings over old style -body type. Gothic headings and headings of similar character should not be used with old-style faces. CHAPTER IV Bookwork THE regular sizes of commercial book papers have been established by the conventional proportions of type-pages. If the pages of a book are to be made up for printing on a paper of regular size it is an easy matter to arrive at the proper type measure and page- depth by dividing both sheet-length and sheet -width by four, and deducting trim allowance. This applies to sixteen- page signatures. Accordingly, twenty -five by thirty -eight, the most commonly-used book paper, is the correct size for a book that is presumed to trim to six by nine inches. Allowing one inch for outer margins, the correct measure would be twenty -four ems for a page depth of forty -two ems. To print a thirty -two-page form on one side of the same stock would require type-pages eighteen by twenty- seven ems. This would result in a book four and one -half by six inches, trimmed. It will be observed that book -papers of regular com- mercial sizes are cut to conform with the proportions of two to three that is, the breadth of the sheet is equal to two-thirds of its length, or nearly so. These propor- tions also should govern the measure and depth of pages of type-matter, in all cases of conventional book im- position. Proportions frequently are changed, however, when odd and novel effects are intended to be pro- [31] 32 Practical Printing duced thru the medium of an unequal distribution of margins. Make-up for the most-used book-papers may be gov- erned by the following : A sixteen-page make-up for twenty-five by thirty-eight- inch stock will produce a six by nine-inch book. Type- pages, twenty-four by forty-two ems. Thirty -two pages on the same stock will produce a four and one-half by six-inch book. Type-pages, eighteen by twenty-seven ems. A sixteen -page make-up for twenty-eight by forty-two- inch stock will produce a seven by ten-inch book. Type- pages, thirty by forty -eight ems. Thirty-two pages on the same stock will produce a five by seven-inch book. Type-pages, twenty-two by thirty- two ems. * A sixteen-page make-up for thirty -two by forty-four- inch stock will produce a seven and one-half by ten and one-half inch book. Type-pages, thirty -two by thirty- five ems. Thirty -two pages on the same stock will produce a five and one-quarter by seven and one-half inch book. Type- pages, twenty -four by thirty -six ems. A sixteen-page make-up for thirty-six by forty-eight- inch stock will produce an eight and one -half by eleven and one-half inch book. Type-pages, thirty-six by fifty- four ems. The accompanying table ( Figure 1 1 ) is of value in determining comparative weights and sizes of regular book and flat papers : In estimating the quantity of type and leads required XXXXXXXXXX i i i i i i ! c S S c H c c O tfi U? U5 ITS (O ec co * -f * o s * .ss> -:- -I Q O O~O - h. co- ^00 -6 2 N i xxxxxxx u xxxxxxxxx SSSSSfiS 5x5 II! a P Ill Figure 11 34 Practical Printing for books of various sizes this table may be used as a basis for reckoning The figures are based on a uniform meas- ure of twenty-five twelve-point ems. Estimates for shorter or longer measures may be made by proportioning the totals accordingly. MEASURE 25 EMS c I to 1 ofc 1 12-point Ems per line 50 37^ 30 25 Lines to 1000 ems 20 33^ 40 Inches to 1000 ems .... \% iH 63/4 2-pt. Leads to 1000 < m 3 15 21 27% 34J4 3-pt Leads to 1000 ems 1 3 1^ 19^ 25^j 32 To find the number of pounds of type required for a page of certain size, divide the square-inch surface of the page by four and the quotient will be the number of pounds of type required solid matter. When the type is to be leaded, multiply this quotient by a fraction whose numerator represents the point -thickness of the leads used and whose denominator is the same as the size of type used. Subtract this result. Thus, a twenty-four by forty- two-em (four by seven inches) page contains twenty -eight square inches; divided by four supplies the weight; or seven pounds of solid matter. If ten-point matter, leaded with two-point leads is specified, then two-tenths of seven pounds, one and two-fifth pounds, subtracted from seven pounds leaves five and three-fifth pounds, the weight of ten-point type required for the above page leaded with two -point leads. No matter what depth of type-page may be required, it is always advisable to have the make-up in conformity Bookwork 35 with the length of standard labor-saving furniture. Some- times to do this it may be necessary to add two or three picas in leads and slugs at the feet or heads of pages before tying, but this will save considerable time in lock- ing and stonework. When the illustrations lap the mar- gins or extend beyond the confines of type it is customary to increase the width of these pages either two, four or six ems by the addition of slugs or metal furniture. Pages of this kind, made up to uneven widths, are troublesome to the stoneman, compelling him to break up marginal furniture and not infrequently to make tedious justifica- tions with slugs, leads and cardboard. In edition work or sewed volumes, bound in stiff covers, the order of pages usually is as follows: 1, half-title; 2, blank ; 3, full-title ; 4, blank or copyright ; 5, dedication ; 6, blank; 7, preface; 8 contents; 9, list of illustrations; 10, blank; 11, beginning of text. Appendix begins on first left-hand page following end of text; then follow glossary and index. Title-page composition as applied to bound volumes and literary works is subject to restriction. Radical de- partures from recognized forms and standards are not per- missible. Capitals, in old-style or modern romans, are acceptable styles for title-page lettering, and these may be arranged in long -and -short -line or the Puritan or Colo- nial squared fashion, but must conform strictly with the chosen style of the text. Black letter or text is permissi- ble in some literary title-pages, but only when used with old-style roman as shown in Figure 12. A classical chapter heading, with rubricated initial, entirely up to the requirements of an edition de luxe has been supplied by THE FAMILIAR LETTERS OF BOSTON AND NEW YORK HOUGHTON, MIFFLIN & COMPANY MDCCCCVI Figure 12 VOYAGE AUTOUR DE MA CHAMBRE J'lL est glorieux d'ouvrir une nouvelle carriere, et de paraitre tout a coup dans le monde savant, un livre de decouvertes a la main, comme une comete * inat- tendue etincelle dans Fespace ! Figure 13 1 38 Practical Printing Bruce Rogers, and it is used here to show the limitations of display, decoration and marginal proportioning. (Fig- ure 13.) The title-page of the commercial booklet offers greater opportunity for the exploitation of original ideas in com- position. It is not governed by the foregoing restrictions. Rule-work ornamentation and color may be used in mod- eration, and there is no limit to the variety of styles of lettering and composition that may be applied with pleas- ing effect to the title-page of the modern advertising booklet. Hand-lettering, with tinted borders and back- ground and harmonious color effects, are the factors that lend a characterful touch to the stylish booklet of today. (Figure 14-.) The sweeping grace of German title-page composition and decoration is illustrated in a splendid specimen taken from a booklet recently issued by the Rudhardsche Type Foundry, Offenbach-on-the-Main. (Figure 15.) A great deal might be said of means of improving the appearance of the text pages of conventional bookwork. Limited space permits of but a few brief notes on this point. A stiff, rectangular page of plain reading matter, without initial or running heading, is barren and unat- tractive, and does not possess the touch of attraction so desirable in the advertising booklet of today. Stylish run- ning headings should be supplied wherever possible, and there is no end to the variety of styles in headings that may be used. Letter-spaced lines in roman or italic, either with or without rules ; left or right-hand headings, en- closed with brackets ; novel uses of the folio, either in figures or spelled out in roman or italic these are but a FIR.ST -NATIONAL BAN IV OF CHICAGO FIFLST TRUSTS SAVINGS BANK C H I O NATIONAL SAFE DEPOSIT COMPANY SOUVENIR, J > O &"' Figure 14 Scbriftcivlnitialen unbSdimucknadi 3eid)nungcn oon Profeffor Bebrens in Offenbac am ITlain Figure 15 Bookwork 41 few of the devices that lend interest to the plain page of paragraphed text. To these may be added a pleasing touch of color by way of rubricated paragraph marks, or tinted brass-rule enclosures. A stylish initial always serves well to usher in the beginning of a new chapter or a new subject of the text. But these are not always used wisely and well. Neither are they always inserted in a workmanlike manner. The alignment of initial and text is too frequently neglected and it is not uncommon to note the use of a modern initial with old-style body. Then, too, the spacing between initial and surrounding matter is often irregular, too open or too narrow, all of which mars the beauty of the printed page as a whole. Reverse plates, showing white lettering on a solid back- ground, are used to a great extent for booklet covers and title-pages. (Figure 16.) Printers of the larger cities, who are within convenient reach of the engraver, have no trouble in securing plates of this character, zinc-etched, at a nominal cost. The designs usually are set in substan- tial, open lettering, and when rules are used they should have a face not less than two points in width. After the type-work is completed it must be proved on onion-skin and bronzed. This proof, sent to the engraver, is placed in a regular photographer's printing frame with a sheet of velox or some other developing paper and exposed to light. The transparency of the onion-skin permits the light to act upon all portions of the developing paper ex- cept those parts protected from the light by the bronzed lettering. After immersing the sheet thus affected into the regular developing bath it will show the design and lettering in ivory white with a solid black background. AND IMPLEMENT PAINT ALSTON-LUCAS PAINT Co. Figure 16 Bookwork 43 This forms the finished proof for the etcher. Printers who are far removed from photo-engraving houses can make perfect proofs of this character, both for printing and embossing, with little trouble and small expense. A camera is not necessary. A printing frame, at seventy- five cents, a dozen sheets of velox, a few M-Q tubes at five cents a piece, and a dime's worth of common hypo for fixing, forms the complete outfit. CHAPTER V Job Composition, Proof-Making and Proof-Reading Job Printing. Reading in this kind of work must be very care- ful, but it does not require the education needed for either of the others. [Reference is made to newspaper and book- work.] The reader should be quick to detect wrong-fonts, bad letters, false spacing and errors in style. He should, also, be able to mark wrong lines and wrong methods, and to point out how changes should be made. For these reasons, he should be an expert job printer. Where a number of men are working on miscellaneous jobs, it would be strange, indeed, if some of them did not mistake a line or commit an error in getting up a card or program, or that some change would not brighten up a given job very much. "American Dictionary of Printing and Bookmaking," published by Howard Lockwood & Co., New York City, 1894. THIS paragraph is quoted for the purpose of show- ing the greatest prevailing error in the selection of commercial readers. Job composition proofreaders are most frequently ill-chosen because of the opinion that "it does not require the education needed for book and newspaper reading." The quotation is misguiding and utterly incompetent. They who have failed to appreciate the truth are paying dearly for the fiddler. And they who know they who have acquired their knowledge through years of experience as commercial printers are the ones who offer radical contradiction to the assertion by employ- ing the most highly -educated and the most thoroly- [441 Job Composition, Proof -Reading, Etc. 45 finished mechanics to fill these positions. To these they grant the maximum salary allowances of the composing- room. And why? Chiefly because the display composition proof-reader's "O. K. " is the one thing that either makes or breaks. Not infrequently the slightest error in a business form, such as a wrong-font, a misspelled word, an incon- gruity in display or a misconception of style, may cause a complete loss of productive labor and stock. Book and newspaper readers are not so closely and completely surrounded with these possibilities of costly consequence. Typographical errors, misplaced and turned linotype slugs, are of such frequent occurrence in the modern daily as to be overlooked as unavoidable happen- ings. Even a case of extreme carelessness, such as the transposition of an entire handful of slugs in a news item, will do little more than heap the editor's wrath upon the make-up and the proof-room. Tomorrow the whole matter will be forgotten and the error will in no case affect profit and loss in the accounting departments. Admitting, however, that book -room reading requires greater accu- racy and keener comprehension of typographical perfec- tion, there is yet a wide margin of difference between the required skill and education of the book and the com- mercial reader. As a matter of fact, the responsibility for error in book reading does not end in the proof-room. Rather, from here it goes to the author, accompanying the revise, thus converting this branch of reading into a mere automatic performance, with responsibilities extending only to departures from actual copy. And, then, after all, if errors slip through, it is hardly possible that they would offer cause to reprint an entire edition. 46 Practical Printing The commercial proofreader's duties may be summed up as follows : He must collect and arrange the various takes, ' ' or pages of copy, in consecutive order ; he must read and revise it as many times as shall be necessary ; he must paste up the final proof, or " dummy," in a presentable manner, showing stock to be employed and color of ink, when the latter is requested ; and he must gather up and put away the copy for each job in a system- atic manner, so that it may be referred to at any time in the future. Some of the large and well-regulated shops have given a deal of consideration to the matter of stor- ing copy, even to the extent of providing a special fire- proof vault for the purpose. Wherever employed, this system is of great service and profitable. Large, commodi- ous envelops, or paper bags, are employed as copy en- closures, and these are numbered to correspond with the job ticket, for convenience in making reference. Fre- quently a reproduction of a certain manuscript, or refer- ence thereto, is required years after the copy has been consigned to the vault, and it is, in such cases, that the value of this system of storing is appreciated. Copy-holder. Those who hold the copy for proofreaders who read to them. To do this well requires much experience. In most places this labor is performed by boys, but, in many of the larger offices thruout the Union, girls or young women are thus employed. They have usually better education than boys, and, if properly trained, become very valuable. They are, too, less expensive than men would be. Again, I am quoting from the "American Dictionary of Printing. ' ' And, again, I must point out an error that has been extremely detrimental to accurate proof-reading. It is Job Composition, Proof -Reading, Etc. 47 the unreliable and dangerous system of reading to the copy- holder. Here is a first cause fora multitude of errors, "in most places this labor is performed by boys, but, in many of the larger offices thruout the Union, girls or young women are thus employed." In other words, boys and girls, necessarily at beginner's wages, are employed as copy -holders. How can we expect such as these to be in- fallibly accurate. Is it not possible that $5.63" may appear on the proof instead of $8.63," as per copy, or "John J. Brown," instead of "John I. Brown?" And, is it not likely, that the young, inexperienced mind may overlook the error thru hurried reading ? How much more practical and more assuredly safe to permit the holder to do the reading in all cases. Surely, the experienced proof- reader will be more apt to catch an omission or an error than the unpracticed eye of a boy. A better plan, and one that is meeting with success in the larger commercial houses, is to subject all small jobs and business headings to two readings. The first reading is by the copy-holder ; the re-reading by the proofreader. The accuracy of this plan has been demonstrated in a large shop where not a single error in commercial read- ing was passed in an entire year. Brains are not alone necessary to the adequate equip- ment of an efficient proof-room. There should be a good reference library, consisting chiefly of three dictionaries Webster's, Worcester's and the Century a city direct- ory, up to date ; a telephone directory ; the latest revised gazetteer, or a list of post-offices in the United States ; a complete atlas of the world, and, if the house can afford it, a set of Americanized Encyclopedia should be included. 48 Practical Printing To this equipment should be added a good reading glass, a line gage with twelve- and six-point gradations, calen- dars of the past, the present, and the following year, fountain pens and pencils, a pair of scissors, a square and rule, black fluid ink, and, at least, two other colors for inserting special corrections and notes ; a blue and a red pencil, a set of cards, containing all the commercial sizes, for making panel-embossed proofs; postal cards and ruled commercial headings for verifying type -areas, and an indexed card inventory of the type-faces of the com- posing-room. An entire volume might be devoted to each of a number of subjects treating on proof-reading, and, in fact, text- books on the following subjects may be secured at any complete book stand: "Capitalization," "Punctuation," Compound Words, ' ' and * ' Style. " While many of these are valuable aids to the job composition proofreader, there still remains to be brought out a book that will deal more directly with the technique of style as related to display composition, showing how correctly to mark and dispose of the title-page, the ruled heading, headings for office forms, society stationery, professional and business cards, legal blanks, posters and agency advertisements. In the limited space alloted to this subject, in a series of articles designed to cover many branches of the trade, information of this kind must necessarily be brief and to the point. In modern display composition it is customary to elimi- nate periods when they appear as terminals of lines. It is contended, by persons of authority and good taste, that punctuation of this kind is detrimental to artistic appear- ance. If this style has been adopted in a certain piece of Job Composition, Proof -Reading, Etc. 49 composition, the proofreader should be careful to note that the idea is adhered to thruout. Accuracy and uniformity in the spacing of display lines is essential. The proofreader must not fail to make deduc- tions and allowances for the extra white space created by such letters as the capitals A, L, V, W, etc. Do not permit a compositor to use dotted rule in one portion of a ruled blank and plain rule in another. Call his attention to such errors on the proof. Mark discrepancies in the alignment of capitals with smaller capitals when used together in the same line. Note, also, that rules are lined perfectly with type-matter. In ruled blank work and legal forms, be careful to ob- serve that all rules are spaced equal distances apart. Order certain lines reset whenever the compositor makes indiscriminate use of more than two or three display faces in a simple form of address or a commercial head- ing. Make him observe harmony in the use of type. When a display line, similar to "John Brown & Co.," is set in capitals with initials of a larger size, do not permit the compositor to use a small capital short "and. " Mark capitals by underscoring, thus ^^. When a fifteen- or twenty -em rule is used as a blank for a date-line in a letterhead or billhead, cut it down to eight or ten ems. This will improve the appearance of the job and the shorter space is sufficient. When a rule is inserted in the date-line of an unruled letterhead, mark it out. It is presumed that paper of this character is for use on a typewriter. Be sure to note the measure and depth of type-matter. Careless compositors frequently exceed the limitations of yajV! 5? i 52 Practical Printing space. Study the peculiar characteristics of the various fonts of text. Remember that it is easy to mistake a capi- tal R for a capital K, or an I for a J. These are diffi- cult lines to read in both capitals and lower-case and the proofreader must observe closely. Make the compositor change the composition if he at- tempts to use the squared style and the long-and-short- line effect on the same page. Correct "The Brown Company, manufacturers of" to read * manufacturer of." Rule. A noun in apposition must agree with its subject in number. But, remember that company" is used collectively, and for this reason may either take the singular or plural verb, according to the context. Thus, when used as an entity a singular verb is required, as "The company has erected a new building. " When individuals are referred to, as "The company are all of the same opinion," a plural verb is used. A common error in display composition is found in the following: James Stillson & Co., manufacturers and dealers in farming implements." Correct this to read "manufacturers of and dealers in," if such is the mean- ing to be conveyed. If the copy reads "The Brown Hardware Company, dealer in hardware and building materials," do not per- mit the compositor to apply extraordinary display to the second appearance of "hardware." This is unnecessary when the business is incorporated in the firm name. Elimi- nate underscoring when used to excess. Overpaneling likewise. Discourage the use of periods for word orna- ments by liberal use of the out -mark. Watch the spacing between display lines. Make the Job Composition, Proof -Reading, Etc. 53 compositor practice grouping and clustering in preference to scattering display, in open order, over the entire space allotted to type -matter. Explanation of proofreader's marks. 1, move to the left; 2, small caps; 3, capitals; 4, set in italics; 5, set in roman; 6, spell out; 7, flush, or no paragraph; 8, paragraph indention; 9, run in; 10, insert space; 11, eliminate space; 12, line up; 13, set in lower case; 14, correct bad letter; 15, right-hand quotation marks; 16, left-hand quotation marks; 17, apostrophe; 18, comma; 19, period; 20, space; 21, disregard out-mark; 22, same as 21, or " no correc- tion;" 23, letter inverted; 24, take out letters or words marked; 25, see copy for omission on proof; 26, take out two-point lead; 27, close up; 28, insert em quad; 29, insert en quad; 30, run back to preceding line: 31, transpose; 82, wrong-font; 33, transpose words; 34, push down space; 35, insert letter indicated; 36, em dash; 37, en dash; 38, cross indicating letter to be changed or removed; 39, close rule-joint: 40, letter-space; 41, hyphen; 42, query copy; 43, boldface type; 44, abbreviate; 45, center words or heading; 46, matter to be eliminated; 47, revise. Figure 19 Mark bad rule -joinings and observe closely that rules are uniform in weight, in the same line, or in a continuous de- sign. Badly worn or heavier-faced rules should be changed. Cut out excessive ornamentation. A portion of the foregoing corrective lesson has been 54 Practical Printing applied in a practical manner to a letterhead proof. (Figure 17.) In this example the proofreader's marks are more analytical in character than the usual book reader's corrections. It demonstrates that a thoro knowledge of correct typographical construction is more essential in job composition proof-reading than in straight-matter reading. Figure 18 is a reproduction of the same letter- head, partially corrected, showing how the proofreader may lend his assistance to the improvement of commercial printing. . JOHRPII BORK 0i,r HIMPMON MAMKKT I 15 SOLICITING YOCR PATBONAGK. WE REMAIN. YOl'HS TO HKHVK. C. P. CHAPMAN & COMPANY Figure 20 A chart, showing an indexed list of proofreader's marks, with explanatory notes, is added for the instruction of the student in job composition and proof-reading. (Figure 19.) When proofs are requested by the customer it is advis- able that they should convey a general idea of the appear- ance of the finished job. Very frequently, the first proof submitted has much to do with formulating a customer's opinion of the ability of the printer with whom he deals. Job Composition, Proof -Reading, Etc. 55 Hand -press proofs on the actual stock to be employed are preferred. In all cases, however, where the stock does not lend itself readily to a perfect impression on the hand press, the best grade of engravers' proof-paper should be employed. A clear, snow-white stock, enameled on one side only, of heavy weight (preferably one hundred and twenty pounds) is recommended. Black and white proofs of this kind should be accompanied by a sample sheet of the actual stock ordered. Ruled headings should be proofed on french-folio or onion-skin and pasted over a finished sheet of the machine ruling. The proofing-paper bin should be always well filled with sheets of the follow- ing sizes: 6x9, 8%xll, 8%xl4 and 14x17. Proofs of business cards, invitations, commercial head- ings and like forms may be improved by a simple method of embossing to show the outlines of the stock in relief. For this purpose a set of accurately-sized cards is usually employed. The proof on enameled paper is placed against a window-pane, between the light and the worker. By this means the compositor will be enabled to register the form over the cardboard which is placed behind the proof. Then a sheet of french-folio is placed over all and the outlines of the card are heavily traced with a pencil to cause the apparent outer edge of the stock to stand out in bold relief. The effect is similar to Figure 20. A simple method of registering two-color hand-press proofs, as employed by a number of printers, is worthy of attention. A proofing-frame, made of four dovetailed pieces of ten-em wood furniture (Figure 2l), is placed on the bed of the press. The type-form, well tied with page-cord, 56 Practical Printing is then placed within this wooden enclosure and held in position with a single pair of Hempel quoins, tightened with the fingers. Four common pins, fastened in the frame as indicated in the drawing, with points protruding rr Figure 21 slightly above type-hight are used as registering devices. The form is first inked in one color, and a frisket sheet is placed over the color to be eliminated. It is obvious that the projecting points will make small perforations in the margins of the sheet in pulling the first color proof. The form is then washed for the second color, and again a frisket is used to blot out the lines appearing in the first impression. In taking the second color, the perforations in the first proof-sheet are placed over the points, and after pulling the lever a perfectly registered two-color proof will result . CHAPTER VI Composing- Room Equipment THE equipment and general arrangement of the composing-room will be given first consideration as items of importance to economical production. The up-to-date wood goods catalog and the typefounder's specimen book are alive with suggestions pertaining to the selection of tools, appliances, cabinets, imposing stones and foundry products. These sources of informa- tion are comprehensive and replete. To the man who would begin a small business of his own with a limited amount of capital these suggestions are rather bewilder- ing and not at all in accord with the limitations of his bank-roll. It requires a vast amount of knowledge and keen business judgment, of the kind acquired thru years of practical experience, to know just what is absolutely necessary to a good and adequate equipment, what are sure and certain money makers and labor economizers, and what items of the cataloged tools, utensils and foundry products may well and safely be eliminated. Of course there are tools, devices and machines pur- posely designed to suit the requirements of the specialist. Most of these would be useless to the book and job printer. As these articles are designed to be of especial value to this latter and most extensive class, it is pro- posed to describe an ideal equipment exactly suited to [57] Composing- Room Equipment 59 the requirements. Only the best, the tried and the proven of the many will be selected and combined into one complete plant the ideal composing-room. Usually the bulk of the composing-room investment is in type. Also, at the same time, most of the money care- lessly wasted may be attributed to short-sighted selection Figure 23 and injudicious buying for this part of the equipment. On this point I will repeat a little philosophical advice embodied in one of my articles of a few years ago. "The type salesman who attempts to instal a sprink- ling of the entire products of the foundry he represents, without regard for the limited means of the buyer, should be avoided. It is a matter of economy as well as shrewd discrimination to adhere to a foundry that produces a rea- sonable number of sensible and desirable new faces each year. By this method you are sure to get full value out of each font purchased, you avoid the danger of buying short-lived faces and of crowding your composing-room with useless cabinets, and you are sure to get faces de- manded by popular taste. To produce good work you must buy complete series, in all the sizes, which are usu- 60 Practical Printing ally thirteen in number. Avoid big jumps, as it may necessitate setting certain lines in type entirely unsuitable as a companion to the body and principal display. ' ' Space does not permit of enumerating a complete list of the most serviceable faces for all-around purposes. However, the best advice on this point may be set forth in a single paragraph : Limit your number of faces to twelve or thereabout, and be sure that all of these belong to the class of general utility letters. Each of these should be represented in complete series and in judicious quantities. Spaces and quads, being the chief items necessary to facilitate com- position, should be purchased in extra large quantities. For, is it not a fact that spacing material, one of the most inexpensive of foundry products, is usually lacking in quantity in the majority of composing-rooms? To emphasize the shrewd judgment of the printer who curtails the number of his type-faces, I would cite an in- stance of success attained by the use of but one single and complete series. This plan was adopted and adhered to Figure 24 for more than a year, with pronounced success, by A. Lin- den, of Denver, Colo. In 1905 Mr. Linden produced a comprehensive portfolio of high-grade specimens of com- mercial printing in which Caslon and Caslon Italic were used exclusively in securing a wide and varied range of effects. Composing- Room Equipment 61 The following limited selection of faces will prove eco- nomical, practical and highly suitable for all purposes. Caslon, in two or three weights, with italics to match. Caslon or Priory Text or any other text of similar char- acter. One series of rugged design, which may be either Pabst, Powel, Dorsey, McFarland or similar letter, with accompanying italics. Gothics, in about three weights, with accompanying series of Condensed Gothics of medium set. Three or four series of card letters, for society print- ing, all adaptations from the engraved designs of plate printers. The above are sufficient for the general purposes of the medium-sized commercial printing plant, but the addi- tion of Cheltenham or Kenilworth, or Bookman, or Figure 25 Authors' Roman or of some letter with the characteris- tics of Old Style Antique will lend prestige to the equip- ment of the booklet specialist. Finally, I would caution against the selection of two or more faces with similarities. Investments of this kind are extravagant and wasteful. Why buy Kenilworth when the shop is supplied with Cheltenham, or Cheltenham Bold and Adstyle, or Plymouth and Hearst, or Priory and Flemish.-' In such selection lies the grand mistake of the average buyer of materials of the composing-room. 62 Practical Printing The similarity effaces lends little variety to the products and such mistakes in selection are sure to cause trouble in distribution. The most practical selection of brass rules is of the variety in which the various faces are placed on a uni- form body. That body is preferably three points, as a combination of such rules always makes the best multi- ple of twelve points. Furthermore, three-point rule pos- sesses a more substantial footing than two-point, and it is susceptible to more uniform printing with less make- Figure 26 ready. It is a difficult matter to construct a rule design quickly when a great deal of mitering is desired, and this cannot be avoided with rules which have the face on the center of the body. The ideal composing-room must not be without modern labor-saving rules, all cut to ems and half ems, in conveniently partitioned cases. All rules should be beveled on one side only. Composing- Room Equipment 63 In selecting metal borders it will be profitable to avoid all designs that require close joinings of solids and fine- line or screen effects. Borders of this kind round off readily and become unfit for use in a very short time. The best and most serviceable borders are of the non- joining variety in which the designs are composed of separate segments. No other thing is so unpleasing as the effect of a poorly-joined solid or fine-line metal border. Type-metal leaders are most unsatisfactory for blank- line work, and dotted brass rule is undesirable for pecu- niary reasons. It necessitates difficult justification with quads and leads, which adds greatly to the cost of pro- ducing this class of work. Brass leaders are more ex- pensive than dotted rules, but in the end they are far more profitable. These should be purchased in labor- saving lengths, on six-, eight-, ten- and twelve-point lining bodies. Lately there has been much talk about dust-proof type cabinets and similar composing-room furniture. A com- posing-room so equipped, with varnished and highly- polished dust-proof cabinets thruout, is a handsome thing to look upon ; but, is the idea altogether practical ? Is it not possible that a complete equipment of this kind is a rather expensive luxury? Has the "dust-proof" advocate ever shown you a practical demonstration of the deteri- orating effect of dust on type? It's hardly worth an argu- ment. The four-dollar-and-a-half news stand has given adequate service in America's most successful composing- rooms and it is good enough for general book -room use. A half dozen cabinets and stands, with steel runs and 64 Practical Printing dustless, of approved pattern, should be sufficient to hold the choice display faces, and to serve as stands for the workmen who handle the finer grades of work. Figure 22 is a most serviceable cabinet of this character that meets every requirement of convenience. A four-foot working space should be allowed between all cabinets and stands, which is sufficient to admit of free access to all cases without interfering with , or crowding workmen at ad- joining cabinets. Now let us supply this stand with the necessary tools Figure 27 and utensils, all of a practical nature and each designed to aid rapid and economical composition. A first essential is a good, all-brass job galley, pre- ferably with a one-piece rim. Galleys of this kind will retain absolutely perpendicular side walls and square corners. (Figure 23.) The selection of a composing stick is a matter of individual choice. Numerous patented de- vices of this kind, some toothed and notched for six- and twelve-point adjustments, have been brought out from Composing- Room Equipment 65 time to time. They are giving good service, but the old- time pan with solid knee and heavy thumb-screw attach- ment is still very much in use. One design of this variety is shown in Figure 24. Another valuable tool that should form part of the equipment of every job stand is the solid brass type-gage. A substantial gage is made of four-point brass, with hook and six- and twelve-point graduations. Twelve inches is a convenient length. (Figure 25.) Compositors frequently are in the habit of using labor- saving brass rules for composing type-matter. This habit is destructive to materials and should be discouraged. An excellent preventative is a handy case of steel composing rules (Figure 26), which should be a part of the up-to- date stand equipment. The invention of brass spaces and copper hair spaces has eliminated the scissors and cardboard in letter and Figure 28 final line-spacing. This is an important item of economy which suggests the need of having a handy small -sized case of these spaces close at hand on the compositor's frame. (Figure 27.) Other little items of economy that will not over -crowd the job printer's handy drawer, are a small set of gravers 66 Practical Printing (Figure 28), a diagram of numbered card sizes, a table showing sizes of stock, a small pair of pliers, two or three kinds of fine jeweler's files, a facing stone, tweezers, etc. An indexed cut and ornament cabinet is another mat- ter of necessity, and, to be well equipped for expeditious Figure 29 production, a composing-room should not be without a work -bench and its tools and appurtenances. The latter should consist of a vise, a lead-cutter, a mitering machine, a type-high gage for testing cuts on the block, a type- high planer (Figure 29), and a saw and trimmer. The latter is a machine of exceptional merit and econ- omy. It avoids the delay consequent upon sending elec- tros to a foundry for small mortises and for trimming, and it may be applied to a multitude of duties that make it almost indispensable. One of the most practical items of composing-room economy is the combination stone and cabinet, with labor- saving furniture and reglet racks. One of the latest im- provements in this line is shown in Figure 30. The general utility of its various appointments are too well illustrated to require further description. CHAPTER VII Facilitating Composing- Room Production IF you possess the materials specified in the preceding article of this series your composing-room equipment is complete. Also, it is practical, because it consists of only necessary fonts, furniture and appliances. If you would secure the most efficient service out of these ma- terials it is necessary that the arrangement of your equipment should be planned for the greater convenience of your workmen. Everything should be arranged to avoid unnecessary steps and otherwise to minimize the expendi- ture of unproductive energy. An ideal arrangement for a medium-sized shop is shown in figure 30a. Here the idea is to derive the greatest benefit from available light, to closely surround each worker in each separate branch of the trade with his most necessary materials and to place all furniture, utensils and machin- ery in progressive arrangement. Thus, in adhering to this plan, the lead, slug, quad and rule cabinet has been placed within most convenient reach of all compositors ; the jobber's frame is within easy reach of the foreman's and the proofreader's desk; the make-up's frame is in touch with the book stone ; and the Gordon lock-up is located between the foreman's desk and the job presses the one being his receiving station, the other his de- partment for delivery. [68] Facilitating Composing- Room Production 69 Many practical printers favor the plan of segregating distinct departments, and, in all houses where the theory has been put to practice, the Gordon presses are located in the cylinder-room, usually on one of the floors below the composing-room. It follows that all forms, both large and small, must reach the press-room by way of the ele- vator. Such a plan does not hasten production, as the Cordon GUM Rich (I ooooo 1 * 3 t a Figure 30 a method is roundabout and expensive. I favor the com- bination of Gordon press-room and composing-room on one floor. The necessity of immediate and direct com- munication between these two departments is too frequent to permit of the many small delays such as those conse- quent upon securing make-ready O. K. and sending forms to press and returning them to the Gordon stone when un- forseen corrections or registering for colors are required. 70 Practical Printing An important item to facilitate production in the com- posing-room is an index to cabinets. (Figure 31.) INDEX TO CABINETS CONTENTS CONTENTS A CABINET M CABINET Antique (Modern) 10 Mathematical Signs . 1 Algebraic Signs . 1 Medical Signs . 1 Art Ornaments . 14 Metal Rule Corners . 28 Astronomical Signs 1 Miscellaneous Signs . 1 Monotone 10 B Blair 2 N Blanchard .... 4 Nautical Signs . 1 Bookman .... 3 Borders .... 11 O Old Style (Body) 6 pt. 1 c " 8pt. 2 Caslon O. S. Italic 5 " 10 pt. 3 Caslon O. S. " . 6 " 12 pt. 4 Caslon Bold .... 7 " 18 pt. 5 Caslon Text .... 8 " 24 pt. 6 Condensed Gothic 15 P E Pabst .... 18 Plate Gothic 3 Engravers' Bold . 3 Piece Fractions . , G R Geometrical Signs 1 Radical Signs 1 Gothic .... 16 Recipe Signs 1 H S Heavy Face Dashes . 1 Special Letters . 1 Heavy Face Paragraph Marks 1 Special Brackets 16 Heavy Face Parenthesis . 1 Heavy Face Quotation Marks 1 T Tudor Black 7 I Tiffany 7 Italic (0. S.) . . .' . 9 Typewriter . 10 Figure 31 Facilitating Composing- Room Production 71 An index of this kind should contain every item of type, borders, ornaments and other foundry materials in the composing-room. This list should be printed from large type on a full sheet of cardboard and it should be suitably framed and hung in the center of the room. A greatly reduced facsimile should be hung on the wall aside of each frame. While this is an inexpensive item of convenience, yet it is of inestimable value to the new men or to the extras you may put on from time to time. By referring to the list a new man will be able to locate all materials as readily as the compositor who has served his apprenticeship in the shop. As an auxiliary to the cabinet index, a label similar to figure 32 should be used on all cases containing astro- nomical, algebraic, mathematic and other miscellaneous signs. These labels should be diagramed to represent the box partitionings, with parallel ruling to show the heavier sectional divisions of each case. In using this system, should the new man require six- point piece fractions, he will refer to the index to cab- inets," and under P" he will find piece fractions," 8 D A cf

i I i \ It is unprofitable to burden the workmen with too much sys- tem. For this reason all entries of time should be shorn of detailed annotations. It is useless to specify time for office corrections, taking proofs, etc., unless these items come under the head of author's alterations, which en- tail additional charges. The above ticket, or tickets very much similar in char- acter, are giving satisfactory service in all departments of the Matthews-Northrup Works, Buifalo; Woodward & Tiernan, St. Louis ; The Henry O. Shepard Company, Chicago, and other well-regulated plants. Time ticket entries should correspond with total time entered on the back of the job envelop. An additional time slip should be used when a number of men are employed on the s,,me job. A small slip of memorandum size will answer the purpose (Figure 65.) This slip should be turned in to the man in charge of the job at the close of each day. It is customary to preserve these slips on a spindle until the completion of the work, when the time is totaled and en- tered on the back of the regular job envelop. This saves unnecessary accounting in the business office. Time tickets of similar size, style and character should be used by the workmen in all other departments. From the compositor's frame the next journey is to the From Superintendent to Shipper 125 proof-room. A great deal has been said recently concerning methods of proving and about sending proofs to customers. The plan of taking hand-press proofs in the exact colors specified and on the stock called for in the finished product is advocated by some. This is time-consuming and expensive. A better plan, and one practiced by a great many successful printers, is to take all proofs in black ink on french folio. These proofs may be tipped on sheets of the exact stocks to be used. Such proofs an- swer well in pasting up ruled blank book headings. The next item entering into the system of conducting the work thru the mechanical departments is the proof envelop. It should contain instructions to the customer plainly printed on the outside. If these directions are carefully worded they will act as a safeguard against re- sponsibility for errors in copy. There are many good envel- ops in use, among these Figure 66 is offered as a sug- gestion. Proof envelops should be large enough to hold an 8%xll inch sheet without folding. All proofs sent out should be accompanied by a receipt for the customer's signature. The book of carboncd copies should be retained in the proof-room. This is insurance against a customer's negligence and a check on the er- rand boy. A simple form of this kind suffices (Figure 67). The customer's O.K. permits the job ticket to move forward to the stock-room. If the cutting instructions on the original envelop have been correctly filled out there will be no need of an auxiliary cutting ticket. It must be remembered that the fewer the tickets the less danger of complication. Only in rare instances is it necessary to attach an auxiliary cutting slip. Such a slip should be 126 Practical Printing used only when combinations of several jobs are to be printed on the same sheet or in working out schemes to save impressions by using electros, etc., whereby the original sizes of paper, as planned in the business office, must be changed for the sake of economy. When two or more tickets are combined in this manner they should be clipped together with a combination cutting slip tipped on the outer envelop. Slips of this kind are preferably printed on gummed paper and padded (Figure 68). TIME SLIP To be attached to job envelop No.- close of each day's work. Description of job- Compositor at the 8 9 10 11 12 1 3 4 Total time. Date Figure 65 A rack, filled with a half dozen or more of rubber stamps, will be a convenience to the composing-room foreman in giving instructions to the stoneman as well as to the fore- man of the press-room. These should consist of the fol- lowing: "Gordon," "Cylinder," "Pony," "Work -and- turn," "Sheetwise," "Saddlestitch, " "Gathered," etc. From Superintendent to Shipper 127 Instructions of this kind should be stamped on the O.K.'d proofs. As the job continues on its journey thru the press-room and the bindery it should be followed closely by the job envelop, which should answer well as a perfect substitute PROOF G.G.RENNEKERCO. PRINTERS AND BINDERS 233-235-237 East Randolph Street CHICAGO READ CAREFULLY Especially for name*, addresses, figures and technical words. Return* the original copy with the proof. Write on proof number of copies and color of ink wauled, if not Mark corrections plainly and on margins wherever practicable. Mark "O. K." or "O. K. with Correction!" as the cas. nay be. Do not send vjbal" 1 *' "* Phone Main 477$ Phone Main 4754 Figure 66 for a myriad of ultra-clever devices constantly emanating from the brains of too earnest advocates of system. Specifications covering case-bound books usually re- quire detailed description. Entries of this kind general- ly are too extensive to be embraced in the regular job ticket. These are the only jobs that require special tickets 1 28 Practical Printing , - or instructions that cannot well be entered on the job envelop. Figure 69 covers about everything required for this purpose. If you have completed your work in a finished and ex- emplary manner do not tolerate a set-back thru the prac- Job No Date- Received of The Franklin Company Printers and Engravers Proof of _ Delivered to Signed Figure 67 tice of slovenly methods in your shipping-room. See to it that your packages and bundles are as neat and present- able as possible. Use good and substantial wrapping pa- COMBINATION CUTTING SLIP Attached to tickets Nos Cut sheets _ x __ Cut remnants Cut sheets _x x. Cut sheets x NOTE WEIGHTS AND STOCKS GIVEN ON JOB ENV. Figure 68 From Superintendent to Shipper 129 per of uniform color, and caution against finger marks and slovenly addressing. Use a shipping label in thoro keeping with the artistic appearance of your office sta- tionery. Letterheads, billheads and all other forms such BINDERY CASE SPECIFICATIONS BOUND BOOKS JOB TICKET No.- Note. See detailed specifications as to number of copies, number of pages, size of page, etc. , as given on job ticket. On tapes Without tapes Trimmed size x Head Bands. END SHEETS Plain Edges Litho CASE Stiff^ Flexible. ._. Cloth Leather^ Board_ STAMPING Trout Backbone Gold__ Metal _ Ink. Figure 69 as are usually delivered loose and flat should be packed in specially manufactured boxes supplied with end labels of artistic design. All box and package labels should contain the printer's trade -mark, monogram or imprint, conspicuously displayed. 130 Practical Printing Finally, be sure to safeguard your deliveries by re- quiring an adequate receipt for your goods. Forms of this kind should contain an acknowledgment of a condition of the goods, number of packages and full count, together with date received, name of person making delivery, to whom and where delivery was made, etc. Press counter record and packers' verification also should appear, each properly checked and O.K.'d by the shipper. CHAPTER XIII In the Shipping-room ; "W "Jf TE couldn't improve the powder, so we've im- \/ \f proved the box." This is the new argument of an up-to-date manufacturer of talcum powder. "The inner-seal package" versus the "p a P er sack" has been used equally well in creating a national demand for a certain brand of soda biscuits. It is just beginning to dawn upon the manufacturer and the producer that special attractiveness in wrappers or meritorious im- provements in cartoons and packages are most powerful advertisers and trade stimulators. Canned fly-paper is another new one and the idea is making a fortune for its originator. If it is true that we have just entered the period of the special proprietary package and if it is a fact that the character of the outer covering of a com- modity has greater selling force than the quality of the article itself, then it must apply that even the printer may derive some benefit by improving the outer appear- ance of the consignments from his shipping-room. Therefore, if you have exerted every effort in the vari- ous manufacturing departments of your plant to the im- provement of your products, do not permit adverse criti- cism thru careless methods and mismanagement in your shipping-room. Careless packing and insecure wrapping are frequent [ 131 ] 132 Practical Printing causes of damage in transit. Occasionally there may be reason for a complete loss of both customer and account. Loose office stationery, such as is usually delivered in flat sheets without padding, should never be sent out in or- dinary paper wrappings tied with common cord. The Figure 70 foremost printers of the country long ago abandoned these slovenly methods of delivery. Special boxes of vari- ous sizes, purposely made to hold quantities of five hun- dred or one thousand letterheads, billheads, statements or office stationery of other sizes, are now made and kept in stock by the leading paper box factories and printers' supply houses. When the stamp of individuality is desired 346-35O DEARBORN STREET, CHICAGO, ILL. Figure 71 : i **&** DESI^NER^ IN^RAYERS EIEGTROTYPER^ PRINTERS 346-35O DEARBORN STREET -. CHICAGO, ILL.^g! Figure 1 134 Practical Printing in all packages that come from your house it is advisable to procure boxes made to your order. These may be suit- ably stamped or printed to show your shop device or trade-mark, or preferably an artistic label printed in one or two colors and gold. A patented box of this character, especially devised for printers, is shown in Figure 70. This box opens flat like an ordinary paper wrapper and it is die-cut and scored in an ingenious manner so that it maybe folded around a ' lift" of square sheets in the form of a perfectbox. A suitable telescoping lid lends dura- bility and improves the appearance of the consignment thus enclosed. The outside paper wrappers of these boxes should be of uniform grade and all of one color. In fact it is well to adopt some distinguishing shop" color for all boxes, wrappers, envelops and special enclosures. Even the twine and wrapping cord should be in color- harmony with the package. In a very short time after this plan is adopted your customers will be able to recog- nize the packages that come from your house at a glance and the impression thus created will become a real asset from an advertising standpoint. Do not slight your labels and shipping tags on the common theory that any old form of address will suffice in securing proper delivery. Remember, always, that it is impression that counts in everything now-a-days. Your tags and labels should be the best that your artistic skill can produce. Special engravings and printing in several colors are by no means extravagant ventures when ap- plied to the improvement of packages for shipment. A shipping tag and a package label, in complete harmony, both typographically and in color-scheme, are here illus- REMINDER DO NOT permit your printing to run dowr. to a single day's supplies. Place your orders a week or two .n advance to assure delivery of a well seasoned product before your present sup- ply is exhausted. The following information will be of value in governing your next order : This shipment of was made 19 It consisted of M , M , and M We are in possession of electrotypes of to facilitate the reproduction of this work in the future. We will reproduce this order, with a guarantee of the same quality of stock and workmanship, for $ Will be pleased to quote prices on larger or smaller quantities. In reoidering please give our order No. or enclose a copy from this consignment. Mark all alterations from original copy plainly. We can make delivery within days of receipt of re- order. THE INGLESIDE PRESS 8 Stationers Ave. Pica, O. REORDER BLANK The Ingleside Press Our order No 8 Stationers Ave., Pica, O. Printer's last Order No. PLEASE duplicate order for printing and binding copies of as per your order No of 19 (Copy attached) and charge to account of Figure 73 136 Practical Printing trated as model examples of what these devices should be (Figures 71 and 72). Few printers recognize the value of keeping their ship- ping clerks well supplied with blotters, calendars and other advertising devices. These should be enclosed with every shipment. Blotters are always appreciated when KEEP THIS FOR FUTURE REFERENCE Chicago Received of G. G. RENNEKER CO., Printers 233 RANDOLPH ST. The Following goods in first-class condition: Job No. Signed^ Figure 74 sent with consignments of office stationery and they are sure to act as gentle reminders to the customer in re- ordering. A clever scheme, which is very fruitful in its results, has been used for more than ten years by one of the most successful printers in Chicago. The idea con- sists of a sort of reminder and an order blank which is enclosed with every package of printing sent out. In gen- eral construction it is as shown in Figure 73. JOB NO REQ. NO.. Chicago Received in Good Order From The Franklin Company DESIGNERS : ENGRAVERS ELECTROTYPERS : PRINTERS Phone Harrison 1224 346-350 Dearborn St. -HALF TONES -ZINC ETCHINGS i/AX ENGRAVINGS -WOOD ENGRAVINGS. ELECTROTYPES -STEREOTYPES -PHOTOS NEGATIVES- -DRAWINGS -COPIES SKETCHES- -PROOFS -PATTERNS SIGNED. Figure 75 138 Practical Printing The reminder should be filled in by the superintendent and a sufficient number of copies to supply all of the packages in the consignment should be reproduced on a copying press. One of the most frequent causes of loss to the printer is the delivery of short count. Errors of this kind are usually due to basing count upon ream lots and paper house shipments without considering or allowing for spoilage in printing or poor stock. Strict use of and at- tention to press counters is advised as the only certain precaution against loss of this kind. All statements of quantity in any shipment should be filled in the shipping receipt from figures supplied by the pressman's counter register. Never make a delivery without obtaining the signature of the recipient of the goods. This signed receipt should contain the exact number of packages delivered and the quantity and a description of the goods in each. For de- livery of a small package containing a single order a very ordinary receipt will answer if made out in duplicate (Figure 74). Another common form as used by engravers is shown (Figure 75). Instructions to the shipping clerk are usually simplified in this form (Figure 76). Large editions of pretentious catalogs and books should never be shipped in paper wrapped bundles. Work of this kind should be carefully packed with protecting ma- terials in wooden cases. Specified quantities should be bundled before boxing with protecting straw boards over the edges to prevent the ropes or twine from damaging the work. A bundling machine as used in well-equipped binderies and shipping-rooms is shown (Figure 77). In the Shipping-room 139 Halftone cuts and engravings should be separately well wrapped in soft paper with an outer covering of cor- rugated straw board and then boxed in wood. Mail ship- ments of engravers' proofs and individual prints will ar- rive at destination in first-class condition if enclosed in To J)atM 19 EX COLLECT PREPAID MAIL FIRST-CLASS SPECIAL DELIVERY Figure 76 substantial mailing tubes. The best tubes now on the market are made of pasted layers of spirally twisted strawboard. The well-equipped shipping-room should be supplied with stenciled letters for addressing wooden boxes, ad- dressing brushes, stencil paint, nail pullers, sheet-iron 140 Practical Printing bands for strengthening boxes for long shipment by freight, crating lumber in strips, corrugated strawboard, sealing wax in sticks, complete sets of tags and labels in various sizes, mailing tubes, cardboard shipping boxes, a zinc covered wrapping or bundling table, eighteen-inch shears for cutting ropes and cords, standard platform scales for verifying and checking weights, platform and warehouse trucks, and wrapping paper of several widths in the web improved reels with straight edge tearing devices. Finally, in the completion of your shipping facilities, do not overlook your delivery wagon. Here is a real means of giving your business local publicity. A coat of In the Shipping-room 141 paint occasionally will keep it fresh and new, and above all do not neglect the use of your imprint, your trade- mark or your office device as a prominent part of your wagon decoration. BOOKS ABOUT PRINTING THE AMERICAN MANUAL OF PRESSWORK. This is with- out doubt the most valuable book that has ever been prepared for pressmen. Nothing so elaborate or exhaustive has ever before been attempted, and its value to anyone interested in the success- ful operation of presses, with some account of their origin and development, is inestimable. The book contains 164 pages, 9x 12*4, is handsomely and substantially bound and generously illustrated. Price $4.00. THE ART AND PRACTICE OF TYPOGRAPHY. By Edmund G. Gress. This is the most elaborate and practical book ever published in the interest of the commercial typographic printer. It is unique in the comprehensive treatment given the subject of typography from the job printer's viewpoint. The various phases are dealt with interestingly and instructively by word and illus- tration. While absolutely practical, there is an atmosphere of art permeating every page. The book contains fifty large inserts in color and seven hundred reproductions, mostly in color, of high-class commercial printing by some of America's best typo- graphers. 250 pages, 9y 2 xl2y 2 , cloth, postpaid $5.00. THE AMERICAN PRINTER. A monthly magazine for em- ploy ing printers, superintendents, foremen and ambitious journey- men. It presents and discusses all that is progressive and im- portant in the printing industry. Specimens of printing from all parts of the United States are reviewed monthly, and the best reproduced. Jobs are reset and shown in colors and typographic competitions are conducted half-yearly. Handsome inserts in color appear in every number. Size, 9x12, subscription $3.00 a year in U. S., 30 cents a copy, 150 and more pages monthly. HOW TO MAKE MONEY IN THE PRINTING BUSINESS. By Paul Nathan. Give value and "charge the price" might be an answer to this question; but there is a very complete and comprehensive answer in Paul Nathan's book of 288 pages, bear- ing this title; and every progressive printer should own the volume. The book gives full details and information on the highest authority experience. It tells how a man made money out of printing a thing we all are anxious to do. 288 pages, 5%x9, cloth, postpaid $3.00. PAY ROLL TABLES. Save your bookkeeper's time and avoid errors in making up the pay roll. These Pay Roll Tables are in convenient form, printed on strong bristol board, and may be had for either eight or nine hours a day. With these tables the amount for any number of hours or minutes at any rate from 50 cents to $31.00 a week can be quickly ascertained. 50 cents a set. When ordering state whether tables for eight or nine hours are wanted. THE AMERICAN HANDBOOK OF PRINTING. By Edmund G. Gress. This book is intended to furnish a quick means of learning practical and historical facts about all departments of printing. The author has gathered together a large quantity of interesting information and gives it tersely and without waste of words. One hundred type-faces are shown and explained. 300 pages, 5 1 / 8 x7 1 / 2 , cloth, postpaid $2.00. TYPE DESIGNS IN COLOR. A portfolio of more than one hundred full-size type designs, from actual customers' copy, printed in various two-color harmonies, on fine quality colored stock. Foremen and layout men should have this book. 9x12, paper, postpaid $1.00. POCKET GUIDE TO PRINTING. There are a thousand and one things buried in larger books but made available in this handy little volume of vest-pocket size. 48 pages, S^xGVfc, cloth, postpaid 50 cents. MAKING READY ON PLATEN PRESSES. Many practical and useful hints for the man in the press-room. 5*4x7, 40 pages, paper, postpaid 50 cents. A SYSTEM FOR A MEDIUM SIZED PRINTSHOP. 5*4x7, 24 pages, paper, postpaid, 50 cents. EMBOSSING HOW IT IS DONE. This pamphlet tells how to get the best results in embossing. Pressmen need it. 5 1 /ix7, 16 pages, paper, postpaid 25 cents. OSWALD PUBLISHING COMPANY 25 City Hall Place, New York GENERAL LIBRARY UNIVERSITY OF CALIFORNIA BERKELEY RETURN i This book is ^ ,OM WHICH BORROWED * .SCHOOIj XjJBRARY lue on me last date stairipeaDelow, or on the date to which renewed. Renewed books are subject to immediate recall. DEC LD 21-100m-l,'54(1887sl6)476 > ^ - * / ^25952 .