University of California Berkeley f THE LETTER-PRESS PRINTER: A COMPLETE GUIDE TO THE ART OF PRINTING CONTAINING PKAOTICAL INSTRUCTIONS FOR LEARNERS AT CASE, PRESS, AND MACHINE. EMBRACING THE WHOLE PRACTICE OF BOOK-WORK.WITH DIAGRAM AND COMPLETE SCHEMES OF IMPOSITIONS; JOB WORK, WITH EXAMPLES; NEWS-WORK, COLOUR WORK, TO MAKE COLOURED INKS. TO WORK PRESS AND MACHINE, TO MAKE ROLLERS, INSTRUCTIONS IN STEREOTYPING, AND OTHER VALUABLE INFORMATION. BY JOSEPH GOULD, PRINTER. LONDON : E. MARLBOROUGH & Co., 51, OLD BAILEY, E.G. FARRINGTON & Co., 31, FETTER LANE, F&EET STREET MIDDLESBROUGH : J. GOULD, PRINTER, SOUTH STREET. (gnteb at SiH&mwre' fall STEREOTYPED BY J. QCOLO PREFACE. THE First. Second and Third Editions of " The Letter-Press Printer " having being disposed of, and a new edition inquired for, I have much pleasure in introducing to the trade a Fourth Edition. Of the First, Second and Third Editions over 9,000 copies were printed and sold, a quantity that has far exceeded my most sanguine expectations. This great success I attribute to the flattering notices of the trade journals, and to their warm recommendations of the work. I have done my utmost to improve the present edition in all the departments on which it proposes to afford instruction, and I hope my endeavours have been sufficiently successful to merit the continued approval of the trade. The Colour Printing section has been carefully read, cor- rected, and added to by a gentleman of great experience, who is at present managing one of the principal colour printing establishments in London. He pointed out some errors in that section of my First Edition, and kindly volunteered his gratuitor.s services to make " Colour Printing " more useful, reliable, and valuable in this edition. I tender him my warmest thanks. I have added a page or two of Furnitures and a few additional IV PREFACE. instructions in imposition, which I hope may be found of service to the uninitiated. Stereotyping having become almost universal, I have given such instructions in that branch of the business as may be of service to those who are ignorant of its various manipulations. The Historical Introduction has been written specially for this work by Mr. J. Southward, a gentleman whose works on printing are universally known and appreciated. He has treated the subject in a manner that cannot fail to give satisfaction, and I tender him my sincere thanks. The following extracts from the Preface of the First Edition of this work will explain the objects I had in view in then pub- lishing it, and my desires and aims remain the same. " My first object in writing was to endeavour to explain the various systems of working as practised by a journeyman printer ; and to give Examples where I considered explanation would be insufficient or difficult. As far as I have been able, I offer in the following pages the experience of one who has worked at the various branches of the business which are treated upon ; and I have tried to make all so plain that I hope it cannot fail to be understood. " Above all, it has been my wish, in producing this Manual to make it a useful and an instructive guide to the actual mechanical and other operations to be gone through in the course of working at case, press, or machine, and to do so in the most comprehensive manner. It has also been my aim to offer such instruction to the jobbing compositor and the news- hand as would enable them to take a frame in any book-house, PREFACE. . V and to show the news or book compositors how to make them- selves useful in a jobbing office. " The branch of the business upon which I have had least personal experience the daily newspaper would have been passed over but for the kindness of a friend, a London morning news-hand, who supplied an article on that subject. " My hearty thanks are due to our mutual friend Mr. Self, (late Secretary of the London Society of Compositors,) for his kindness in looking over the book-work portion of this work, for his voluntary offer of any assistance I might need, and for his encouraging and friendly assurances." Some of the various tables which are introduced are copied from the " The Compositor's handbook," published in 1854, by Simpkin, Marshall, and Co. ; and the remainder from other sources. I have added a few extra Tables and Receipts, which I hope will be found useful, J. G. November, 188S. Handsomely and stronyly bound, gilt, red edyes. Price 2s. 6d. THE GAME OF DRAUGHTS. The most remarkable work on the Game of Draughts ever published. Con- taining' ooG pages of CRITICAL POSITIONS, PKOBLEMS, AND GAMES, being the greatest array of the finest play that has ever been collected in one volume. With Historical and Critical Notes. BY JOSEPH GOULD. This work also contains special sections by Dr. Brown, Messrs. Drinkwater, Fred Allen, Frank Dunne, Kcar, Robertson, Wyllic, Gourlay, Hedlcy, Smith, Leggctt, Gilbert, Whitney, Richards, and Contributions from Messrs. McCall, Parker, Willie Gardner, Ritchie, etc. With AN APPENDIX, Inj Mr. J. Pilchards, Penzance. LONDON t E. MA11LBOKOUGH AND CO., 51, OLD BAILEY, E.C. May be obtained of any bookseller, or will be sent by return to any address by Joseph Gould, Printer, South Street, Middlesbrough. commended to players by all the Draughts Editors in Great Britain, America, Australia, and New Zealand. CONTENTS. INTRODUCTION (B\ r MR. J. SOUTHWARD) .. 11 10 The Invention of Printing by Gutenberg Caxton intro- duces Printing into England Tools of the Early Print- ers English Typefounders The Printing Press and Machine Composition Rollers Stereotyping Electro- typing. BOOK-WORK .. .. .. .. .. 17 30 Distributing Composing Spacing Uniformity in Composition Correcting Taking Copy Titles Dedi- cations Prefaces Contents Head-lines Signatures Initial Letters Notes Indention To Lay a Case The Upper and Lower Cases. IMPOSITION . . . . . . . . . , 31 35 Making-up Pages To make proper Margin (with illus- tration) Locking-up, &c. COMPANIONSHIPS . . . . . . . . 3542 The Line Book explainedMaking out Bills The General Bill The Clicking System explained How to Cast up a \Vork,&c. NAMES OF VARIOUS SIZES or BOOKS . . . . 42 Viii CONTENTS. DIAGRAMS OF IMPOSITIONS . . . . . . Complete Schemes of every useful Imposition, from a Single Sheet of Folio to a Sheet of Sixty-fours Furni- tures for various sizes of book-work General Remarks on Imposing formes. JOB-WORK .. .. .. .. .. Introduction General Arrangement of Jobbing Offices Reglets, Furniture, &c. Three Examples of How to display Circulars Display of Posters, Billheads, Memo- randums, Note Headings, Business and Address Cards How to form a Curve Eight Examples of Titles How to set a Poster, with Examples How to set Two-colour Bills How to set Diamond Bills How to set Nine-sheet Poster, with two Examples To Space out Lines How to set several columns, with separate justification, in one Measure Table and Tabular Work, with Examples To set cash Columns Measures for Bills, Circulars, Cards, &c. 43 77 78108 Music COMPOSITION . . . . 108 109 CASTING OFF COPY .. .. .. .. 109 112 How to ascertain the number of pages a certain quantity of manuscript will make in any size of type. ESTIMATES .. .. .. .. .. 112, 113 Estimate for Printing and Binding a Work Estimate for Pamphlets, with Covers and Advertisements For Posters For Handbills General Remarks. NEWS-WORK .. .. .. .. .. 114117 System of Working a London Morning Newspaper- Provincial Morning Paper. PRESS-WORK .. .. .. .. .. 118124 Mechanical Operations To Cover a Tympan Making Ready Making Register Working off Working Posters General Jobbing, &c, CONTENTS. MACHINE-WORK .. .. .. 125132 The Machineman Remarks Care of Machinery- Making Ready on Cylinder Machines Working Off Making Ready and Working Off Job Work Cleansing Blankets The Platen Machine, &c. COLOUR PRINTING .. .. .. 133144 Contrast of Colours To make Shades and Colours by Admixture The Colours To make Coloured Inks To reduce Coloured Inks Colour Grinding Printing in Colours Working Colours on Machine Gold Printing. DAMPING PAPER .. .. .. 144, 145 CASTING ROLLERS . . . . . . . . 145 149 Proportions of Treacle and Glue Preparing and Casting Recasting Rollers. WASHING FORMES .. . .. .. 149 STEREOTYPING . . . . . . . . 150 157 The Apparatus The Flong Stereo. Composition Making the Matrix Drying and Baking the Matrix- Casting Trimming Mounting Stereo, etal Causes of Failure Remarks. GREEK AND HEBREW.. .. .. .. 158 163 Greek and Hebrew Alphabets Greek and Hebrew Upper and Lower Cases. TECHNICAL TERMS .. .. .. .. 164167 COMPOSITORS' WAGES . . . . . . 168171 Advances in Piecework Prices from 1785 to the present time Abstract of Scale Rates of Wages in all the Principal Towns in the United Kingdom. X CONTENTS. USEFUL TABLES . . . , . . . . 172178 Quantity of Paper to give out for any Job of from 50 to 10,000 copies To Calculate the Cost of Paper Relative Sizes of Type Leads required to Justify a Line of any given Body of Type Showing the number of Ems of any Fount that will correspond in Depth with any num- ber of Pica Ems Sizes of Paper Giving the number of Hours in any number of Lines of Composition The Price of any number of Hours or Thousands The num- ber of Lines containing a Thousand Ens in any body of Type. . PRICES or JOB PRINTING . . . . . . 179 Double-royal and other Posters Small Posters Hand Bills .Circulars Billheads Memorandums Business Cards. PRINTERS' CORRECTION MARKS . . . . 180, 181 ACCENTS, ODD-SORTS, &c. . . . . . . . 182 USEFUL RECEIPTS . . . . . . 183 HISTORICAL INTRODUCTION. BY JOHN SOUTHWARD, Author of " Practical Printing,"* "Dictionary of Typography," etc., etc. THE art of Printing or, to speak more correctly, that branch of it called Tpyography (to which alone this book is devoted) was invented, it is believed, by a German named John Gutenberg, between the years 1450 and 1460. Some biblio- graphers are, however, of opinion that there was if not a previous at least a simultaneous invention of the art in Holland ; but the balance of evidence at present seems to favour the claims of Gutenberg. Very little is know with certainty of the early life of Gutenberg. He was born at Mainz, probably about 1398 or 1399, took his mother's (not his father's) family name of Gutenberg, and was living at Strasburg in 1434. A trial at law in that city, in 1439, revealed the fact that he was engaged in some experiments whose object was a profound secret ; and that among the appliances he had constructed for carrying out those experiments were "four pieces laying in a press," which Gutenberg desired should be destroyed or separated, so that no one should see them. These four pieces were not a part of the press, but when put together constituted one tool. There was no secret about the press, and probably printing from engraved wooden blocks was done before this time on a press resembling the ordinary napkin press. It is believed that this tool was a mould for casting types, and in that consisted the invention of printing. In 1448, Gutenberg was living in Mainz, and it is probable Xll INTRODUCTION. that he was engaged in printing small jobs, such as a Boy's Latin Grammar, an Almanack, and some broadsides'. About the year 1456, probably some little time before, he published an edition of the Biblia Latino, Vulgata. It is a noble book, in size demy folio, and contains 1764 pages, each page being arranged in two columns, and each column having 36 lines. As Gutenberg's office was destitue of such appliances as composing sticks, setting rules, iron chases, galleys, and imposing stones, it is probable that this work occupied about three years in its production. Gutenberg had been assisted with money by a local goldsmith and money-lender named John Fust, who afterwards sued him for the sum, and was permitted to take possession of the entire printing-office. At the age of 60, however, Gutenberg deter- mined to set up a new office. By this means he printed a Latin Dictionary and some other works, and only relinquished it through the growing infirmities of old age. He died in 1468 or thereabouts. In 1462, however, the city of Mainz had been besieged and captured. The workmen belonging to the printing-office were dispersed, and carried the art into different countries. In 1472 or 1473 there was at Bruges a printing-office founded by Colard Mansion. Among his customers was an Englishman named William Caxton, formerly a mercer, then the repre- sentative there of the English merchants settled in the Low Countries. Appreciating the advantages of the art for multi- plying copies of his literary productions he employed Mansion to cast for him a new fount of types. In 1476 Caxton returned to England with the view of introducing the art of printing into his native country. William Caxton is thus entitled to be regarded as the first English printer. He set up his press near Westminster Abbey, and in the following year there issued from his office the first book ever printed in this country, called the Dictes and Sayings of the Philosophers. It is a folio of 76 leaves. Between this year and 1491, when it is supposed he died, he published a large number of books, some of them of his own composition, others being translations. Of his private or business life little is known with any certainty. INTRODUCTION. X1H Soon after Caxton established himself at Westminster, TheodorLc Rood, who came from Cologne, began printing at Oxford. Two offices were in operation in London during the time of Caxton, being owned by John Letton and William Machlinia respectively, who came from Germany. Wynken de Worde, one of Caxton's workmen, succeeded his master, and another assistant, Richard Pynson, a Norman, commenced to practice the art after the death of Caxton. Such were the beginnings of the typographical art in England. The first printing-press in Scotland was put up at Edinburgh, in 1507 ; the first in Ireland, at Dublin, in 1551. Let us now see what were the tools and the usages of the early printers. The earliest German types were imitated from the Gothic letters of the manuscripts of the period ; in Italy the letters were cut in imitation of the popular form of Roman letters. From the first-named are derived our Black-letter founts ; from the second, the ordinary Roman founts. The dimensions of each body were determined by the necessities of the " copy " or manuscript. There was no system of regularly graduated sizes, and typefounding was regarded as a branch of the printer's business. The words and paragraphs were " run on " in the most perplexing manner, pages presented a mass of black types. There were no titles, no running titles, no chapter headings, no folios to the pages. Instead of spaces to divide paragraphs, an illuminator rubricated the initial letters. Words were divided at the ends of lines without any system ; in the very earliest books the lines themselves are of irregular length. Proper names were begun sometimes with a capital, sometimes with a small letter. The only points used were the comma, colon, and period, and they were inserted capriciously. A great number of words were abbreviated, apparently at random. Arabic figures, instead of the present Roman numerals, were first used in 1470 ; the first example of a title page is contained in a book dated 1477. Galleys were not known for some time after the diffusion of the art ; the types were placed line by line, perhaps letter by letter, in wooden trays, which served as chases. The types were inked by balls. It is supposed that Gutenberg's invention of oily ink was suggested by the oil colours of painters. XIV INTRODUCTION. The first books printed were on sheets about 16 by 21 inches, and only one page could be printed at one time at the press. William Caxton, as has been mentioned, had his types, or at least some of them (and he only possessed eight founts during the 17 years of his career as a printer) cast abroad. When the art of printing became sufficiently developed, a division of labour followed, and type founders were separated from printers. It is not known who v\as the first English founder ; indeed the early history of typefounders in England is altogether lost. The first great founder, however, wasAVilliam Caslon, born in Shropshire in 1692, who set up his foundry about 1723. This foundry is still in existence, and has obtained a world-wide fame for the excellence of its types. One of his apprentices, Jackson, started a foundry of his own, but it was bought by a descendant of Caslon, and in 1819 the punches, matrices, &c., were purchased by Blake> Garnett, & Co., of Sheffield. This foundry is now the property of Messrs. Stephenson, Blake, & Co. In 1793 Vincent Figgins, also an apprentice and afterwards fore- man to Jackson, began the business still carried on under the style of V. and J. Figgins. A fellow apprentice of Jackson, Cotterill, also set up a foundry, which was purchased by Thorowgood, about 1820, who afterwards took into partner- ship Mr. Robert Besley, since Lord Mayor of London. The late Charles Reed and Mr. Fox bought it in 1862 ; it is now conducted by the firm, Sir Charles Reed and Son. These great foundries all owe their origin, therefore, to William Caslon. The Scotch typefounding business was begun? on an independent basis, by Alexander Wilson, of Glasgow; and his foundry now exists as the Marr Typefounding Company, Limited, Edinburgh, One of Wilson's employees, William Miller, started a foundry in Edinburgh in 1809 ; it is now carried on by Messrs. Miller and Richard, Mr. Walter Richard, Miller's son-in-law, entering into the partnership in 1823. These ar.e the principal English and Scotch foundries, and for many years monopolised the business of Great Britain. Several foundries have, however, since sprung up, the most important of which is the Patent Typefounding Company, of London, now the property of Messrs. Peter Shanks and Philip Revell. INTRODUCTION. XV The Printing Press and Machine. \t has already been stated that the invention of the printing-press may not be attributable to Gutenberg. Parts of a press, at which it is believed he worked, have been discovered during the present century, which led to the belief that the model he adopted was little more than the common wine or napkin press, the chief appliances being a platen, which was made to approach the forme by the use of a screw. By the year 1507, a travelling carriage, moved by a rounce, a tympan, and a frisket had been added. This press was in use for nearly three centuries. A Dutch printer, about the middle of the 17th century, however, improved it by steadying the platen and giving it a recoil when the bar was returned. The first great improver of the press was our noble countryman, Charles Mahon, third Earl Stanhope, who invented an ingenious arrangement of links and leavers, and was able to use a platen double the size of any that was before practicable. His press, too, was the first that was constructed entirely of iron. Ruthven, of Edinburgh, in 1813, George Clymer, of Philadelphia, in 1817, and R. W. Cope, in 1824, made further improvements. The first printing machine was constructed by Frederick Koenig, a German, in 1810. It was a platen machine ; but in 1812 a cylinder and a travelling bed were adopted. The first newspaper machine was made by Koenig for Mr. John Walter, of the Times a two-feeder, turning out about 1000 impressions per hour. Applegath and Cowper greatly simplified and improved the existing model, and in 1824 invented the perfecting machine. In 1827 they constructed a four-cylinder machine, which printed 6000 impressions per hour, and superseded Koenig's. In 1848, Applegath devised a machine with eight vertical cylinders, which printed 12,000 impressions per hour. In 1857, the Hoe Machine was introduced into this country from America ; a ten cylinder machine gave about 20,000 impressions per hour. The Marinoni machine was brought from France in 1868. The Walter Press was completed between 1862 and 1868 ; and the edition of the Times was printed on presses of this kind in 1869. About the same time the Victory Machine was invented by Duncan and Wilson, of Liverpool. XVI INTRODUCTION. The first machine specially intended for jobbing was invented by David Napier, in 1824. It had a large impression cylinder, the sheets being fed in from the top About 1850, Thomas Main invented the small cylinder jobbing machine, which has been adopted since as a model by many different makers, among them Messrs. Harrild, who manufacture the beautiful Bremner Machines. Many important improvements have, however, been added. The small jobbing treadle machines were invented by George P. Gordon, of New York, and first introduced into this country in 1867. Composition Rollers were invented by Bryan Donkin in 1811, but they were not actually brought into use until 1818, when Cowper invented the modern ink-table and press roller. Since then, indiarubber and other substances have been proposed; but they are not equal to the mixture of glue and treacle, except for very fast newspaper machines. Stereotyping with plaster was invented by William Ged, of Edinburgh, goldsmith, in 1725, but was allowed to fall into disuse a few years afterwards. It was again invented by Foulis and Tilloch, of Glasgow, in 1784, and greatly improved by Earl Stanhope. The paper process was introduced into this country by Vanoni, a maker of plaster casts, in 184G, and improved by James Dellagana. Indiarubber stamps were invented by Alfred Leighton, in 1864. Electrotypiny for printing purposes was first practised by Morel, a Frenchman, assisted by Messrs. Cassell, Fetter, and Galpin, about the year 1860. Such is a rapid review of the progress of typography during the past four hundred years. Perhaps no industrial art has received such a development ; yet it must not be concluded that invention has exhausted itself. To the art of printing "Thus far shalt thou go and no further," cannot possibly be said. There is no limit to the improvement of which even yet it is capable ; the products of the present will inevitably be eclipsed by the products of the future, just as the achievements of the past have been outshone by those of the present. THE LETTER-PRESS PRINTER. BOO K- WO R K. DISTRIBUTING. THIS is one of the most important operations of the compositor, because carlessness in this will undoubtedly cause much loss of time and trouble, besides (unless the matter is most carefully read and corrected in the stick) giving an impression of inatten- tion and slovenliness in the workman ; for nothing looks worse, or lowers the compositor more in the eyes of his employers and fellow-workmen than " dirty " proofs. Before commencing to distribute, first thoroughly wash and rinse your type, either on galleys or in the form, unlocked on a letter-board, in the trough ; then take a convenient quantity on your composing-rule, or a lead, in your left hand, letting the matter rest across the third and little fingers and against the palm of the hand, keeping it steady with the thumb and other fingers. With the forefinger and thumb of the right hand take a word or two from the uppermost line of the hand- ful, at the same time observing what the words are ; then drop each letter one by one into its proper " box "; and as very much depends upon distribution, the compositor should be most careful that no type falls into a wrong portion of his case.* Also carefully note the spaces between the words, so that they may be properly separated and thrown into their proper boxes. The thin and middle spaces are usually thrown into the thin space box ; it is however best to mix a portion of the middle * Since writing the above and following pages I have been favoured with the loan of Stower's Guide to the Art of Printing (published 1808), from which I extract the following : "The compositor will find it to his advantage composing from a clean case, though he may be longer in distributing it. A man looses double the time in correcting that he imagines he saves from quick and slovenly distribution." 18 THE LETTER-PRESS PRINTER. spaces with the thick, so that in spacing out thin spaces may be added to the middle.* For poetry the thick spaces should not be mixed. After some practice the operation of distributing becomes almost involuntary, and may be performed with very great rapidity. COMP O SING. COMPOSING is the term used to denote the act of arranging different types into words and sentences ; and is considered the most important operation in the art of printing. What is most essential to the beginner is a thorough knowledge of the English language, spelling, and punctuation ; he should also understand what is meant by roman, italic, condensed, ex- panded, two-*, four-, and six-line, antique, script, ornamental, and other types ; what are dashes, leaders, leads, quotations, furniture, mallets, shooting-sticks, and planers ; the various names of the different sizes of type and other things he will come in contact with in all printing offices. Having thoroughly learned the " lay " of the cases, and been instructed in the first rudiments of the trade, the apprentice may commence to " set." What is most coveted by the ambitious typo, is to be able to compose with quickness; and being able to pick up types swiftly, combined with the after- ad vantage of an almost spot- less proof, constitutes what is considered a good compositor. We find, however, that, compared with really good compositors, there are a preponderance of indifferent and slow workmen. The question then occurs, Why cannot one compositor work with as much quickness as his companion, if he be endowed with as much talent and natural ability ? There are many reasons ; and it behoves all, more especially beginners, to guard as much as possible against practices that will baffle their efforts to acquire speed. Pernicious habits may gradually and almost imperceptibly be developed when learning to compose which it will take years to eradicate ; it is therefore absolutely necessary that these should be guarded against. Bear in mind * " It is necessary to observe that the thin, middling, and thick spaces are generally mixed together, as there is less trouble in justifying by taking them up at random, than when they are all kept separate ; for should there be occasion to alter a thick space to a middling, or vice versa, it may be necessary to change them all in order to make the line even, when, by taking them up as they occur, there is the greater chance of justifying the iine regularly without much loss of time." STOWER. COMPOSING 19 that every movement which does not in some way assist in the work of composing should be shunned as unnecessary ; and let the young compositor by careful training endeavour to avoid such. One of the most usual unnecessary movements is the habit of picking up a type, and striking the compOsing-rule or stick to turn it, thus wasting almost as much time as is required to pick up another letter. Some have a habit, when they have taken up a type properly, of raising their hand so as to describe a half circle, instead of bringing the type straight to the stick and depositing it there. Others (always in a hurry) snatch at the type apparently at random, and after two or three " attempts " manage to seize one ; whereas if they had gone coolly to work two might have been placed in the stick during the time. Then again, some in their anxiety to be quick strike the bottom of the type on the top of the composing-rule, ren- dering another movement necessary ; and many have acquired a habit of shaking the body and nodding the head, sometimes to a rather violent extent, causing much unnecessary fatigue. Although but few compositors are entirely free from all false movements, many have several combined, and waste time in worse than useless movements ; and when these drawbacks are aggravated by a compositor being naturally slow, the waste of time becomes still more apparent and annoying. To compose with ease is a very important thing to be con- sidered ; therefore we must study to attain an easy position. Some compositors prefer high frames the height of the breast ;* but high frames are not favourable to ease, the arms soon becoming tired, from being removed so far from their natural position ; although many urge that use is second nature, and that after using high frames for a few weeks no incon- venience is felt. Others prefer lower frames, reaching about two inches above the elbow, which, I think, are preferable. * "What to a learner may appear fatiguing, time and habit will render familiar and easy ; and though to work with his cases on a level with his breast may at first tire his arms, yet use will so inure him to it, that it becomes afterwards equally unpleasant to work at a low frame. His per- severance in this mode will be strengthened by the reflection, that it effectually prevents his becoming round-shouldered, a distinguishing mark by which compositors above the common stature are generally known. This method will likewise keep the body in an erect position, and prevent those effects which result from pressure on the stomach." STOWER. " The slow compositor is he who stands up to a case too high, clutches his stick too tightly, and makes false motions. The man who stands to a low case, holds his stick loosely in his hand, carrying it around over the boxes, so that the picking hand has a shorter distance to travel, and brings a letter every time, is the man you read about in great feats of type picking." American Newspaper Reporter (1874). B2 20 THE LETTER-PRESS PRINTER. At such frames the compositor's arms are in a more natural position, and he can follow his right hand with his stick all over the lower-case. At the lower frames the body may also be kept erect with as much ease as at the higher ; and the elbows bemgkept closer to the sides will be found to promote both ease and expedition. However, let it be understood, in offering the foregoing remarks, I give them only as my opinion of the proper height of the frames, in conjunction with the easiest and most expeditious mode of composing ; and that, although others may differ from me, I believe all who give an unprejudiced trial to both high and low frames will prefer the latter. In beginning to compose, try to arrange something like a system,* and studiously endeavour to learn it so perfectly that it shall become a thoroughly confirmed habit to do what is to be done properly ; and bear in mind that causing the hands to dart backward and forward with great swiftness is not desirable. It is necessary to proceed steadily and systematically, and to thus acquire and cultivate the art of bringing each type to the composing stick at once, without superfluous movements. f Proceed thus : take the composing-stick in your left hand, with the thumb reaching the composing-rule, cast your eye on the partition of the case from which you require a type, and having fixed upon one, pick it up at the first attempt and secure it in * " He should not be too impatient to gain the reputation of a quick compositor; his principal study should be to acquire a proper method, though the progress be slow. This attained, expedition will follow from practice. It is not by velocity of movement that expedition is to be gained, either in composing or distributing ; it it to system, without which their attempts may have the appearance of expedition, but produce only fatigue from anxiety and false motion. To system, therefore, we would particu- larly call their attention, and as clean distribution generally produces clean composition, which not only saves time at the stone, but acquires them a respectable name, they cannot be too attentive to that part of their business." STOWBR. t " A determination not to mako any false motions, however fruitless it may at first appear, will in a day or week visibly increase the number of ems set ; that is, by sighting the nick before the hand goes out to pick up the type, so that when it is taken up by the thumb and forefinger there need be no necessity for turning it around to see where the nick is, the arm meanwhile making a false or lost motion that would have sufficed to bring another type into the stick. These false motions not only consume time but become chronic, and increase in number and intensity, so that some men fairly shake themselves to pieces, and only set perhaps five or six hundred ems an hour. We have known men who acquired this nervous jerky style in setting type, and making two or three motions for every type secured, almost entirely rid themselves of the superfluous shakes by adopting a slow and measured style, apparently unremunerative at first, but which gradually quickened into systematic speed. We therefore consider an avoid- ance of false motions is essential to fast type-setting." Printers' Circular (American). SPACING UNIFOKMITT IN COMPOSITION. 21 your fingers before removing the eye ; and while conveying it to and placing it with all convenient rapidity in the composing- stick, fix your eye on the next type you require, and as before, while taking it to the stick, fix your eye on the type next required; and so on, being as expeditious and certain in all your movements as practicable, until the line is composed. Let the stick follow the right hand as closely as possible, for this is most important, as it saves an immense amount of time, and the distance the hand travels with each type from the case to the composing-stick will thus be reduced to a minimum. When a line is composed, justify it either by spacing-out or getting-in; and while so engaged read it over carefully. While inserting the last spaces, lifting the setting-rule and placing it upon the line already finished, the compositor must look to his copy for the next words to be set up. He should never take more in his mind than is convenient, although certainly the more the better, if it can be taken with certainty, so that " outs," " doubles," and wrong words are avoided. SPACING. Spacing correctly and uniformly requires considerable calcu- lation and thought on the part of the compositor. In book- work especially uniformity is expected, for the appearance of the pages depends greatly upon their spacing, and there must be, as far as possible, an equal space between each word of a line, and each line also should be as uniform as possible. The thick space is the proper division between each word ; but as it would be impossible to space all lines with that alone, it behoves the compositor to endeavour so to space that the inequalities shall be least noticed. In reducing the space, also, care should be exercised, and the spaces following the points must be reduced in proportion. After the comma no extra space is needed; but after the semi-colon and colon an en quadrat should be put, and after a full-point an em quadrat. Before the ! ? : ; and " a thin space must be put, and also after inverted commas ("). In spacing the short lines of paragraphs, or poetry, place all the spaces required to justify the lines immediately after the last word, so that they will be most convenient when dis- tributing the matter. UNIFORMITY IN COMPOSITION. With regard to general uniformity in composition, I quote the following from an excellent article, signed " J. B.C.," which 22 THE LETTER-PRESS PRINTER. appeared in the Printers' Register, Nov. 6, 1871, and which tallies with much of my own experience in different book- houses. He says : " Uniformity in Composition is of great consequence in the setting-up of type ; for by attention being paid by the com- positor to this matter, the pages of a work are often improved in appearance, and the time of the reader saved to a consider- able extent. It is a good practice, where any particular style is to be observed, for the overseer to issue printed or written instructions to the compositors as well as to the readers. Some houses have a totally different style of using capitals and points to others; some, again, prefer wide spacing, while others maintain that an average thick space is sufficient throughout the line. Oftentimes where a volume is to be reprinted, and the type is somewhat thicker in set than that used by the previous printer, the order goes forth to space close, so as to get in within the required limits. "We knew of a printer who would rather see a widely- spaced line than submit to a word being divided ; and preferred leaded-matter to be double-thick spaced, or even as much as an en quad and a thick space between the words. Within sight of this office was another, where any division of a word was allowed provided it was a legitimate one rather than the line should exceed thick spacing. Even such a word as 'John-ny* was considered passable with the 'ny' turned over into the next line. We were brought up in the first-named of these two houses, and had been so accustomed to wide spacing all through our apprenticeship that it became quite natural to us to adopt the same system elsewhere ; but circum- stances led to our being employed in the last-named office, and the first ' take ' of copy which fell to our share was about two and a-half pages of 12mo Long Primer. Judge of our astonish- ment, when the proof came out, to find that we had to overrun every line and reduce the spacing between every word causing us to re-make-up two-thirds of a sheet by the less number of lines the ' take ' then made ; and yet there was not half-a- dozen literal errors in the whole of it. The worst part of all was a note that was appended to the proof, to the effect that whoever had set-up the matter thus, ' with so many pigeon- holes between the words,' was to be discharged as soon as he had rectified it. However, upon an explanation being offered, we were allowed to continue in the establishment, and rose in the estimation of the employer whose anger had thus been aroused ; but we took great care to study the style of the house, UNIFORMITY IN COMPOSITION. ?{$ and act up to it. We have mentioned this circumstance t show how varied are the regulations of different offices. " With regard to Capitals. Some houses keep the caps, down as much as possible, whilst others will use them very frequently. Houses where religious books are printed, make it a rule to cap. such words as He, His, Him, Whom, &c., when alluding to the Deity ; in addition to these capitals, High Church works especially are found with GOD, CHRIST, HOLY GHOST, and all words referring to the Trinity, in small caps., and sometimes where extra emphasis is desired, a copious use of italic and capitals is indulged in ; but it causes the page to have more the appearance of an advertisement, instead of the neatness which should always grace the text of a volume. "Then as to Figures. How frequently do we see, in the same article, the age of a man, for instance, in figures at the commencement, whilst further on it is put in words. This arises from the carelessness of both the compositor and the reader. Some houses prefer the ages of persons, or any other numbers, unless in statistical matter, in words rather than figures. Others prefer a liberal use of figures to save space. Some, again, adopt the plan of putting all numbers tinder a hundred in words, and all over a hundred in figures. But newspapers generally stick to the plan of putting all numbers under ten in words : this often has a very disagreeable look to a person of taste. Now figures, unless in tabular matter, do not improve the beauty of composition; on the contrary, like a too liberal use of capitals, they produce a certain ugly prominence that destroys the effect of the page. What can look worse than the following example, which is similar to others frequently met with in the columns of a news- paper, and is a style which we decidedly object to. After giving the details of a dreadful accident and loss of life, the report gives a list of persons who perished, with their ages, &c. : " ' Esther Thompson, 42 ; Joseph Thompson, four ; Esther Thompson, nine (children of above) ; George Jones, 62 ; Ellen Smith, 10 ; Cornelius Smith, eight ; Arthur Smith, two. There were 10 others injured, nine of whom are but slightly hurt.' " Why not have put all the ages in figures?- i The paragraph would have been more uniform, and looked iar better. Our opinion is, that figures should be avoided as much as possible, excepting in such pars, as the one we have quoted, and other statistical matter and tables ; but if they are used, the system should be adopted throughout an article in fact, throughout a work whatever the number may be, whether one or a thousand. 24 THE LETTER-PRESS PRINTER. " We have been led to make these remarks from the various styles which we find casual hands adopt when occasionally called in to assist, and the careless manner in which a majority of them perform their work. It shows plainly, that for a man to be a thorough compositor he requires to see as many changes as possible as soon as he completes his apprenticeship ; for experience in the different modes practiced in the different offices will prove of the greatest value to him when he settles down in a steady situation. At the same time, unless he gives his mind to study these various styles, and in composition to adhere to the rule of the house in which he may be employed, his experience will not be of much avail." CORRECTING. Correcting is a necessary evil, as it not only diminishes the earnings of the compositor but is prejudicial to his health, through leaning over the stone. It is, however, the carelessness and inattention of the workman in many instances that causes the nuisance and I may say, the disgrace of a foul proof. Certainly, in the confusion, noise, "rush," and unnecessary talking, in many badly-regulated offices, it is not to be wondered at that the compositor's attention is sometimes distracted, and he finds it difficult to concentrate his thoughts on his work as much as he could wish. But in some instances neither the disgrace of a foul proof, nor the trouble and waste of time in correcting it, will enforce on careless workmen becoming attention. As soon as a proof is put into the hands of the compositors, the one who has the first pages in the sheet,* if they contain corrections, must lay-up and carefully unlock the formes, leaving the coins slack, but in their places. He must then gather the corrections between the forefinger and thumb of his left hand, or in his composing-stick, and taking a space-box he commences to correct. He raises the line containing his first correction with the bodkin in his right hand and the forefinger of his left, by pressing them against each end of the line, just sufficiently high to allow of any wrong type being easily extracted. He then takes out the wrong type and inserts the right one, and should the space require reducing or altering in any manner, he can easily do that before he allows the line to drop into its place. While engaged correcting the first error, lo.)k for the next, and proceed in the same manner until all literals are corrected. Should there be any "outs," "doubles," * The first in a sheet does not in every house lay up the formes. I giye the different modes of working in another part of this manual. CORRECTING. 26 or anything requiring overrunning, take out a few lines near where the alteration is required, and put them on a galley with the last line to the top of the galley. If an "out" makes nearly a line, it will be easy to so space the following lines as to make even without overrunning, and without appearance of uneven spacing. Should a word or two require getting-in, notice whether any of the lines before or after the one requiring the insertion can be reduced so as to take in a word of the adjoining line, and by reducing the spacing judiciously, in a few lines the words may be got in. If there be a " double " of a word or two, take a few lines in the same manner on your galley, and space out carefully so as to turn a word or two from the adjoining lines into the one containing the "double" sufficient to fill up the space required. (See the Examples given below.) Whenever a word is to be altered, lift the line into the stick so as to insure even spacing ; and whenever the spacing of a line re- quires altering, the quickest and most satisfactory manner is to do it in the stick. It is not advisable to have the lower-case on the stone, and take out the corrections as they are required, as some compositors do, for various reasons : for by gathering the corrections between the finger and thumb they act as a check, should any have been overlooked in making the altera- tions ; but by taking the corrections from the lower-case as they are wanted there is no check whatever, if any corrections are not made, so that the further annoyance of a revise, with its consequent loss of time, would have to be corrected. So soon as the first in the sheet has corrected he must pass the proof to the compositor whose matter follows ; and so on to the end of the sheet. He first sailed with his fleet to the proceeding; and, in order to prevent isle of Cyprus and reduced the the other princes from imitating greater part of it to his obedience. Nicocles, the king of \that island, submitted to him Hltf3 the rest, but made a stjctfet alliance with willing to execute that commission Antigonus a y6ar or two after. Pto- themselves, earnestly entreated Ni- lemy received intelligence of this codes to prevent it by a voluntary ^He first sailed with his fleet to the isle proceeding; and, in order to prevent of Cyprus and reduced the greater the other princes from imitating part of it to his obedience. Nicocles, his example, he ordered some of the king of Paphos, one of the cities his officers in Cyprus to destrov of that island submitted to him like him ; but they being unwilling the rest, but made a secret alliance to execute that commission them- with Antigonus a year or two after. selves, earnestly entreated Nico- Ptolemy received intelligence of this cles to prevent it by a voluntary "Out" got in " Double" driven out. THE LETTER-PRESS PRINTER. TAKING COPY. In taking copy for book-work always make enquiries as to measure, whether anything special is required to be observed in the punctuation, and whether anything in particular must be " kept up " or otherwise, as a few instructions may save much time and trouble. In many cases, however, the compositor is allowed to use his own discretion as regards punctuation. When the copy in hand is finished enquire of the compositor who has the next "take" whether you have any on his copy to finish. On book-work it is a very rare occurrence for the compositor to " make even." TITLES, DEDICATIONS, &o. IN setting titles the taste and judgment of the compositor must be exercised ; plain types, in my opinion, only ought to be used, and rules are usually omitted. All catch lines should be set in small capitals ; and the principal lines in fine light romans. Where much display is required, an occasional line of full-faced or expanded roman, old-english,' or other plain type may be used with good effect. The printer's or publisher's imprint, or both, must be put at the bottom of the title. I might here give more explicit directions for setting titles, but considering too many directions are likely to embarras the learner, I intend giving some illustrations of titles further on in this work ; for, I believe, doing so will be the plainest method of instruction. DEDICATIONS. The dedication must be placed on the third page, and is generally confined to one page ; it ought to be neatly displayed with small caps, and caps, of the same type, or smaller than the body of the work. The name of the person to whom the work is dedicated is usually put in larger capitals, and the author's name, &c., in smaller capitals than those used throughout the dedication. The words, " Is dedicated to," &c., are frequently inserted in one line of church-text. Are set either in a size larger or smaller than the body of the work, and are either leaded out or not, according to the CONTENTS HEADLINES SIGNATURES. 27 taste of the printer or author. The running-title is set in the same type as the body of the work, and the folios used are sometimes lower-case numerals. It is also customary in some houses to set the preface in the same type as the work, but to make a .distinction by inserting extra leads. If an introduction be given it is set in the same type with or without any distinctive feature, according to taste. CONTENTS. The summary of contents follows the dedication ; the type used being in every instance smaller than the body of the work. The usual method is to set the summary in caps, and small caps., with the folios at the end of the lines. The index is put at the end of the work, and should be alphabetically arranged. HEAD-LINES (RUNNING-HEADS). Head-lines are the lines at the top of each page, and usually contain the title of the work on the even page, and the subject of the chapter or page on the odd, and also the folios. The folio is placed at the beginning of the line on the even, and at the end of the line on the odd pages. The head-lines are gene- rally set in the small caps, of the type the work is set in ; although, as tastes differ, some are set in italic caps, or lower- case especially in magazines and in some instances a double thin or single thin rule is put after the head -line. Where the pages of a work are in columns, a full single or double rule ought to be placed at the head of each. Chapter headings are set in capitals larger than the body of the work ; sometimes in neat titling letter ; and if explanatory headings are used they are set in type two or more sizes less than the text. SIGNATURES. Letters of the alphabet are placed at the bottom of certain pages of each sheet to guide the bookbinder in arranging and folding the sheets. The first sheet or half-sheet of a work is usually commenced with signature B ; the title, preface, &c., (which are left till the end of the work,) being considered sig. A. The letters J, V, and W are omitted. Should the number of sheets exceed the number of letters in the alphabet, the letters are doubled, or a figure placed before them thus BB, Cc, 2B, 2o, &c. In some offices figures instead of small caps, are used for signatures. In half-sheets of quarto, octavo, &c., where the sheets are folded without cutting, the signature is placed on the first page 28 THE LETTER-PRESS PRINTER. only ; but in sheets of quarto, octavo, &c., even although they can be folded without cutting, signatures must be placed on the first and third pages on the third page to indicate to the com- positor and pressman that sig. s2 is the companion forme to sig. B. The positions of all the signatures, however, will be found in the diagrams of impositions. INITIAL LETTERS. When initial letters larger than the type of the work are used at the beginning of chapters, they should be justified so as to range exactly with the top of the type ; and the first word ought to be set in capitals. NOTES. Should the work in hand have bottom notes, references must be put in their proper places while setting the text, and the compositor must put a piece of paper between the line containing the reference and the following one, to guide the clicker iD making-up. The references usually used are the Asterisk Dagger f Double Dagger J Section Parallel Paragraph Other references are also used ; but those given are the most common. If there are notes to the notes, then superior letters or figures are sometimes used. There are several kinds of notes, and they receive their names from the positions they occupy in the pages. Foot-notes or bottom-notes are placed at the end of the page. Side-notes on the margin of the page. Cut-in-notes are let into the text. Notes are generally set in type two sizes smaller than the body of the work ; and if the work be leaded, the notes are usually leaded with a thinner lead than the text, or set solid. Side-notes, like the folios, must be put at the beginning of the lines on the even and at the end of the lines on the odd pages of a work. They ought to be set, if possible, to even pica ems, so as to facilitate justification in making-up. INDENTION Common paragraphs are usually indented an em, although where the measure is wide, and sometimes in leaded matter a greater indention is given. To " run out and indent " sometimes termed a hanging indention the first line of the paragraph is set full and the succeeding lines are indented. TO LA* A CASE THE UPPER-CASE 2V Paragraphs begun with an initial letter, and those following chapter headings, are not required to be indented. TO LAY A CASE. Slide or lift the type out of the paper which contains it, either on to the imposing-stone or a wide metal galley, keeping the cord round it. Then wet the type with a solution of soft soap and water, which has a tendency to prevent It from sticking when afterwards used. Untie the cord, take up a few lines of the same letter on a setting-rule, then place the rule on the edge of the box into which the type must go, and push them off into the box, being careful that none of the types fall into the adjoining boxes. Repeat until the boxes are completely full. Should any sorts remain after the cases are filled, keep them in lines, make up the lines into convenient sized pages, tie up, paper, and label them, so that the sorts may be at hand when required for future use. Of course, where fount -cases are nsed the surplus sorts are kept in them. THE UPPER-CASE. I give the following illustration of the upper-case as it is most commonly laid. In some offices, however, the " lay " is quite different, the capitals and small capitals being commenced A B C D E F G A B c K D E F 6 H I K L M N O H I L M N O P X Q Y R Z S JE T CE V U W P X Q Y R Z S JK T 03 V U W J J 1 2 3 4 5 6 7 a e 1 6 U I 8 9 e w i W| || A 3 Sp cr cr z X V u t Thick Space. a r q Quadrats cases extensively "pied " by strangers who may be occasionally called in to assist, and who, not being used to the altered lay, take some time to become sufficiently acquainted with it to be able to distribute into cases different from those they have been used to, so that the common lay is usually interfered with as little as possible. A very great improvement, however, with little alteration of the cases, might be introduced by having the thin and middle spaces close to the thick, the distance betvfeen them as they stand causing extra labour and a great loss of time in spacing. In double-cases the same "lay" is adopted, but the small-caps, portion of the upper-case is omitted. * The "lay" of the cases seems not to have been altered for nearly a century ; forj on comparing Stower's with the present, I find they are the same in every particular, except as regards the double letters used in the old -faced types. IMPOSITION MAKING-TIP MAKING MARGIN. 31 IMPOSITION. IMPOSITION consists in laying down the pages of a sheet or half-sheet so that they shall back and follow each other in tlieir proper order ; in placing furniture and chase round them ; and locking-up the formes ready for proof. MAKING-UP PAGES. When ready to make-up, take the proper number of lines to make a page, including head-line and white after, and white at the bottom, press them tightly together ; place a piece of reglet against the side, and cut a nick exactly even with the white-line at the bottom of the page, and keep it as a guage wherewith to measure the length of the pages of the work. In making-up, the first page commencing the work is in- variably "dropped," that is to say, commenced lower down the page than the cross-heading. The distance it is dropped is ruled by taste and the size of the pages. The compositor in making-up his pages must make them all exactly the same length, for it will be impossible to " register " a forme properly unless this be done. As each page is made-up, it must be tied tightly with small twine, by passing the twine three or four times round, and then fastening it by pushing a noose between the cord and the type at the bottom of the page, with the setting-rule, taking care to leave a loose end of the cord sufficiently long to facilitate the untying of the page after the furniture has been placed round it. The pages are then placed on page-papers a piece of wrapping paper larger than the page and kept in some convenient place till all are ready to be " laid down." When the whole of the pages have been made-up for a sheet they must be taken to the imposing-stone and laid down in their proper places, ready to have the chases and furniture placed round them. Care should be taken by the compositor to see that his pages bear the proper folios and signatures when required before being tied up. The side-sticks, foot-sticks, and furniture should now be obtained from their places in the office, or from the store-room, either by the compositor or the " quoin-drawer overseer." MAKING THE PROPER MARGIN. Carefully look over the pages on the imposing-stone, to see that none have been laid down in a wrong position ; and having seen that all are in their proper places, place the chases round THE LETTER-PRESS PRINTER. them. Procure a damped sheet of the paper that th forme will be worked on, and fold it to the required size into four for 4to, into eight for 8vo, &c.; then the furniture must be placed round the pages in such quantities that the pages will fall, when printed, a little nearer the top than the bottom, and nearer the inner than the outer edge of each division of the LOCKING-UP. 3o paper. The following is the method of measuring to find the proper furniture required for a half -sheet of twelves ; and in Dther impositions the same method holds good. Having the paper folded into 12mo, measure from the end of the line of page 7 (see fig. B.), allowing page 6 to come about a pica em within the outer edge of the paper, and then measure the distance between the pages; should it require seven ems be- tween the two pages, the same will be required in the gutters* all through the half-sheet. Then open the paper and measure from the beginning of the lines in page 7, to the beginning of the lines of page 5, putting equal quantities oi furniture on each side the cross-bar and sufficient to make page 5 come to the full outer edge of the paper. (See CC.) The heads are measured in exactly the same manner. (See figs. A and DD.) If a plentiful supply of metal furniture be at hand, the work of making-up furniture is comparatively easy, and may be accom- plished with little loss of time ; but where wood furniture must be cut for the sheet or half-sheet, care, skill, and judgment are required. If obliged to use part wood furniture, use it in gutters and backs. The furniture for the gutters ought to be cut a trifle longer than the pages, and that for the heads short enough to prevent their binding when the forme is locked-up. The side-sticks also should be a little longer than the pages, and the foot-sticks just short enough to pre> rent binding. LOCKING-UP. The forme having been properly " dress ed " with furniture, put quoins slackly both at the side- and foot-sticks ; and carefully untie the pages. Now commence to quoin the forme properly all round, and having done so, push the quoins up tightly with the fingers, then wipe the planer and plane the forme lightly, but well, turning the planer from side to side and planing the pages several times. Next tap the thick ends of both side- and foot-sticks, to cause the p'itges to go up well to their places, then drive the quoins gently up all round ; next drive the quoins with a little more force, using the same all round ; and lastly, with sufficient force to make the forme tight and firm enough to lift off the stone : then plane the forme again. Locking-up a forme properly is a much more difficult opera- tion than is generally imagined : indeed, so much care is * I use the word " gutters " here, because in book-houses this portion oi the furniture is called the gutters, although in reality it is the furniture oi' the backs. What is called the backs in book -houses is between the pages on each side of the long cross. 34 THE LETTER-PRESS PRINTER. required that it is seldom we find a compositor persevering enough or sufficiently skilful to do it properly. If locked-up with greater force at one side than the other, most prohably the cross-bar will bend, and the forme will be crooked ; if locked-up too slack, there is a fear of its falling through, or of type being " drawn " by the rollers ; and if locked-up too tight the pages may spring. In fact, if not locked-up with an even pressure all round, the pages are liable to " hang," the only proper remedy for which is to unlock the forme and d< the work over again. Before lifting the forme off the stone, raise it a little and observe carefully if any letters, &c., are loose and likely to fall out. If the forme " lifts," take it from the imposing-stone to the proof -press. In small offices the compositor pulls the proof, but in large offices this is done by the " proof -puller." LAYING-UP AND LOCKING-TIP FORMES FOR CORRECTION. In different houses different systems of laying-up and locking- up formes for correction are pursued. In some establishments and companionships the laying-up goes round to each by turn, and the one who has laid-up locks-up also. In other "houses the first in a sheet, having corrections, lays-up the forme, and the last having corrections locks-up, providing either has more than half-a-page at the beginning or end : but if a compositor is both first and last in a sheet, he either lays-up or locks-up he does not do both. In other places where the line-book is passed, the compositor whose turn it is, according to the imposition scale, to impose, takes the entire charge of such sheet for a stated time say a fortnight and he both lays-up for corrections and locks-up, besides having had to impose the sheet ; and he must see that it is safe from damage during the time he has charge of it. This system is good, as the compositor is more careful that all goes right with his sheet than he would were he not responsible for it. GENERAL REMARKS. The composi^i must take particular care of his copy, and be able to produce it instantly when it is wanted. All superfluous sorts, leads, quadrats, &c., that may have been turned out in distributing any jobs or sheets, if they will not be required for the work in hand, must be given to the store-keeper. When any work is finished the compositors must clear away all head-lines and other materials, and if the type be not COMPANIONSHIPS THE LINE-BOOK. 35 required for the next work, if it be leaded, must be unleaded, and tied up in convenient sized pages, and given to the store- keeper. In making-up sticks great care should be exercised that they may be exactly of the same measure as the sticks of other compositors on the same work. It is best to make sticks up to a line of pica m's set thus 3 B 3 3, just sufficiently tight to allow the line to move easily. No compositor ought to take sorts out of any case without permission, neither ought he to withhold permission to anyone to take sorts that he may have in abundance and not require. When receiving cases from the overseer, the compositor ought to see that they are in a proper condition, or point out anything he may see wrong with them ; and he must return his cases, when done with, clean and free from pie. Compositors must abstain from holding unnecessary conver- sation with each other, and from doing anything which may cause annoyance to their companions. COMPANIONSHIPS. I AM not certain whether I ought to include all the systems pursued in different book-offices in London under the head oi Companionships, because, properly speaking, there are no com- panionships in many of the smaller houses ; but I will here give for the guidance of those who may go into a book-printing establishment in London for the first time an idea of the modes of working there, hoping by doing so to preserve them from much unnecessary embarrassment. THE LINE-BOOK. The system adopted in some of the smaller houses is for each compositor to make-up and impose his own pages,* the making-up being passed from one compositor to the companion who follows him, accompanied by the line-book, which I will endeavour to explain as briefly as possible. We will suppose that Messrs. Pearson, Pain, Tooley, and Robertson are formed * "In this system the compositor having to make-up his own pages is more likely to acquire a thorough knowledge of this branch of the business than under the plan next to be described [the Clicking System] ; but the latter is probably more expeditious, as it saves the time lost in passing the make-up. "Southicard's Practical Printing. o2 36 THE LETTER-PRESS PRINTER. into a companionship to get out a certain work. Having filled their cases with the type required, and received copy from the overseer, they start composing. Pearson having first " take,' : so soon as he has finished it commences the making-up, the length of page being usually given by the overseer. For illustration, I will say the pages are thirty-three lines long. Pearson makes-up four pages, and passes twelve lines to Pain, who has the second " take. 1 ' He also passes the guage of the pages and the running-head and white after the head with the lines. With the making-up, the compositor who has the first pages in the work must make out the line-book, thus : LINE-BOOK THE RHINE. Pearson to Pain, fol. 5 5th in Sig. B. To the good. To the bad. Pearson ... 12 | Pain ... 12 Pain makes-up five pages, and has fourteen lines over, but being twelve lines "to the bad," he is not allowed to borrow lines to make-up the next page, but must pass the fourteen lines to Tooley, who follows him in copy. By passing fourteen lines to Tooley, and deducting the twelve lines he is "to the bad" from them he finds himself two lines " to the good." He accordingly fills up the line-book thus, and passes the making-up : Pain to Tooley, fol. 10 10th in Sig. B. Pearson ... 12 I Tooley ... 14 Pain ... 2 | ~H H Tooley makes-up six pages, and has three lines over, which he passes to Robertson ; being fourteen lines "to the bad " he deducts the three lines he has passed, which leaves him eleven lines "to the bad." The line-book is then passed with the making-up, and stands thus : Tooley to Robertson, fol. 16 16th in Sig. B. Pearson ... 12 Pain ... 2 Tooley ... 11 Robertson ... 3 14 14 Robertson makes-up one page to complete the sheet, and at once orders his companions to "lay down pages." The pages are laid down, each in its proper place, and the quoin-drawer overseer places chases and furniture round them. Toolev. who THIS LINE-BOOK. 37 has most pages in the sheet, must impose, and likewise make out and fill up the imposition scale, in this form : Sigs. Pearson "3 PH "o o H 1 o Imposed by B 4 5 6 1 Tooley C D E Where the companionship is small and the compositors well acquainted with their business, this system is good ; but it is not suitable for large companionships, too much time being usually wasted by mistakes in entering or passing lines, &c. The compositor in making out his " bill," when working in a companionship of this description, writes the number of pages he has made-up and imposed, and the pages he has made-uu but not imposed he writes on account, thus The Rhine, Sig. B 4 pp. ... ... 040 Andrew Trudger, Sig. B G pp. Sig. C 10 pp. 140 On account The Rhine 8 pp. 080 J. PEARSON. 1 16 Another system, adopted chiefly on Monthly Magazines, is to write on account, deducting the account line each week, and also after the General Bill is made out ; and the compositor makes out his bill thus : Jan. 10, 1874. 16 pp. The Observer On account The Bar 140 400 540 3 10 Deduct on account, Jan. 9 J. GOULD. 1 14 THE LETTER-PRESS PRINTER. The General Bill having been made out, the compositor writes his bill in full, and deducts the whole amount he ha vritten on account, as follows: Jan. 23, 1874. 12 pp. The Observer ... 18 1 p. 4 to demy circular, brevier 056 General Bill The Bar ... 507 641 Deduct on account, Jan. 16 400 J. GOULD. 241 When the Magazine or other work is finished, each compositoi looks carefully over the sheets and marks the whole of the matter he has composed; and, when all have "marked, "the sheets are given to one of the compositors in the companionship, who undertakes to make out the General Bill. He first of all finds out how many pages of each different sort of type the magazine contains, and puts down the number and value of each in separate lines. He then with a page-cord measures each compositor's matter^ first the small pica, then the long primer, and lastly the brevier, putting down the amount of each, and giving the total amount in the GENERAL BILL THE BAR FOR JANUARY. THIRTEEN SHEETS. 38 pp. brev. at 3s. 5 14 103 pp. sm.pica, ls.8d. 8 11 8 67 pp. l.p. 2s.ld. ... 6 19 7 21 5 3 Pearson Gould Gardiner Searle 5 19 507 524 534 21 5 3 THE CLICKING SYSTEM.* When companionships are blessed with honest, upright, and hard-working clickers, who do not endeavour to favour one companion, and be a stumbling-block in the way of another ; who treat every one alike, and act for the good of the " ship," * I once assisted at a " rush " where the line-book and clicking were com- bined on the same work. The work was given to the two companionships by a chapter each, and as each chapter ended a page the working of the two systems could easily be kept separate. I understood, however, from the clicker (Mr. Cox, afterwards Secretary of the London Society of Compositors) that such a " mix " was very seldom resorted to. THE CLICKING SYSTEM. 39 this system is the best I am acquainted with both for the com- positor and his employer. Under a clicker, the compositor, on his lines, is enabled to earn greater wages, through being able to remain in his frame until wanted for the purposes of correcting, and not losing time in the various ways unavoidable in con- flection with other systems, having in fact, little to do but distribute and set ; and his employer gains by a greater amount 3f work being turned out, and by the work being done with more uniformity ; and the pages, furniture, &e., being properly made-up saves time in making ready at machine or press. There are several methods of paying clickers, however, some being, I venture to say, grossly unjust ; one of which is to pay the clicker the same number of hours as the compositor who makes the highest in the companionship. This method affords scope to an unscrupulous clicker to so manage the copy that the quickest workman and thosre is sometimes an immense difference in the quickness of cpmps. belonging to the same companionship shall have the most straightforward and fattest copy, and he can in many other ways assist the swiftest worker, so that he (the clicker) may have the greater number of hours to write, the consequence being that the other members of the companionship "share the loss." There were other unfair methods which I hope are now discontinued, and of which I need not speak. Clickers, however, are often spoken of in disrespectful terms, simply because some compositors do not properly understand the working of the system, and endeavour to make out that there are too many lines to set for each hour's work, or that the clicker is not punctual and industrious, or robs his companions by charging what he is not entitled to. I believe, in many instances, if men did but cast-up their hours' work, and note the doings of their clicker, they would find themselves at fault, although they might not confess it, I have not worked under many clickers; but those I have been placed under were, I considered, most upright, energetic, and honest. Certainly, I recollect a clicker "making the bill pay" by writing, for several weeks, a few sheets more than were composed, leaving his companions at the end of that time considerably in debt. Of course, this could not be continued long ; and no clicker with the slightest pretension to honesty would attempt it. When a new companionship is formed, I think it would be best to allow the members to choose their own clicker ; * for it is certain they would fix upon an honest, industrious, and expert workman. * Since publishing my first edition this has become the rule in "fair" offices, 40 THE LETTER-PRESS PRINTER. I will try to give a short explanation of the system, and as briefly and clearly as I can. The clicker having had the copy of a work put into his hands, requests his companions to get in letter. While they are doing so, he prepares himself to set the notes, chapter-headings, poetry, head-lines, &c., required for the first sheet. As soon as the members of the " ship " have sufficient letter in, they apply to the clicker for copy. When the clicker finds that a few " takings " are finished by his companions applying for a second "take" he commences to make-up. He goes to the first in the making-up, takes his galleys of matter, the lines of which he either counts or measures with a type-guage, making a note of them ; and proceeds in like manner with all the companions, keeping an account of the number of lines composed by each, so that he may be able to check their bills when sent in. When sufficient for a sheet has been made-up he lays down the pages on the stone, and acquaints the quoin-drawer overseer of the same. That gentleman at once puts furniture and chases round thft pages. The clicker then takes off the cords, locks-up the formes, and takes them to the proof -puller. When the proof comes out it is given to the clicker ; and he in turn hands it to the first in the sheet, who lays-up, unlocks, and corrects his portion. The proof then goes round regularly as before ex- plained ; and, if it be the system of the house, the last in the sheet locks-up the formes, and takes them to the proof-puller to be pulled for revise. At the end of the week each companion gives his bill to the clicker, thus F. BRIERLEY, 54 hours. And the clicker makes out his bill in this manner : . V^UMl- AJN 1UJN ll.r. hours. s. d. JJlLilj. s. d. Brierley . 54 229 To 20 sheets "The Lewis 41 ] 12 6J Trudger," from Smale 50 ] 19 7 sig. B to X, at Mathews . 44 14 10 16s. per sheet . 16 Coulson . 39 10 lOi- Author's Correc- Burroughs 44 14 ICf tions and Press James 42 13 3 Proofs 250 Turner . 50 19 7 On account on Suter 45 15 Ti- galleys . 1 13 2J Blackie . 40 ll 8" Pain, Clicker 54 229 503 19 18 2J 19 18 21 At 9|d. per hour. HOW TO CAST-UP A WORfc. 4l To find the number of lines to the hour you must find the number of ens there are in a line, and then divide 1000 by that number, which we will take to be 50 ens, thus ens in line 50)1000 20 This would make the number of lines to the hour 20; but. should the work in hand be a solid reprint, it is usual to put on a line and sometimes two, which would make the hour's work, of course, 21 or 22 lines. If on the other hand the work is leaded and manuscript, a line or two is deducted to compensate the compositor for the extra trouble of inserting the leads. By reducing the amount of the general bill to pence, and dividing by the number of hours written, we arrive at the price per hour, viz., 9|d. It will be seen, that I have put the clicker down for the full amount of hours the line is supposed to have been on. Should the clicker however lose any time, by coming late, or in any other manner, it would have to be deducted. In some unfair offices, according to Southward's Practical Printing, "There is a system of organising three classes of companionships. The first class companionships have all the best kind of work, and are paid sevenpence or eightpence per hour. The second class take the medium work, and are paid sixpence per hour. The third and lowest class get all the inferior work, for which they are paid fivepence per hour. In such cases the men are not paid for the fat, which is claimed by the employers as remuneration for the clicker's labour.* A new man is generally put in the third class companionship. If he is a quick and clean workman he is advanced to the second class, and if he deserve it, he is ultimately removed to the first class. The first class is kept constantly engaged ; if there is a scarcity of work some is taken from the second class." HOW TO CAST-UP A WORK. Set a line of m's thus S 2 S , in a stick, to the measure of the work, and double them. Should 20 ems and a thick space make the line it will be counted 41 ens, the thick space counting as an en, but anything under the thick space is taken no note of. Then count the number of lines in a page, if the matter be solid, including heads and whites; but if the page be leaded set a line of quadrats or m's to the full length of the page, including the white at the bottom, and count them. For illustration, I will take the length of the page at 45 ems, had it * In such houses the compositors will be on their " bare lines," the "house " claiminer heads and whites, as well as all " fat." 42 THE LETTER-PRESS PRINTER. been 45 ems and an en it would have been called 46 ems long the en counting an em in the length ; but anything less than au en is dropped. CAST-UP. 45 ems long. 40 ens wide. 1800 ens in a page. 16 pages in a sheet. 10800 1800 28800=29 thousand ens in sheet. d. per 1000. 12)217id. per sheet. 18s. lid. 1 per sheet extra if there are notes. 1 per sheet extra if there is " mixture.'" 1 1J It will be seen that 28,800 is put down at 29 thousands ; but 28,499 ens would count only 28 thousands : 500 or more carrying the 1000, under 500 not being charged. " Mixture" is the insertion in the text of paragraphs in type of a different size from the body of the work. NAMES OF VARIOUS SIZES OF BOOKS. Folio denotes a sheet of paper folded into two leaves, making four pages ; quarto, 4to, is a sheet divided into four leaves, or eight pages ; octavo, 8vo, a sheet into eight leaves, or sixteen pages ; duodecimo, 12mo, a sheet into twelve leaves, or twenty- four pages. So, also sixteens, 16mo ; eighteens, 18mo ; twenty-fours, 24mo ; thirty-twos, 32mo ; forty- eights, 48mo ; sixty -fours, 64mo, are the several designations of sheets when folded into sixteen, eighteen, twenty-four, thirty-two, forty- eight, and sixty-four leaves, each making twice the number of pages. THE LETTER-PRESS PRINTER. DIAGRAMS OF IMPOSITIONS. 43 j 1 If Abstract Title- It II Deeds of Estates II are printed with all the margin on the left side, and 1 on single leaves, being fastened together at the corner. I! OAt?s 01 si auuoj oqq. guisodrai jo poqpui siqx o 1 I Abstract Title- Deeds of Estates. 2 1 i A Single Sheet of Folio. THE LETTER-PRESS PRINTER. Outer forme of the Outer Sheet. Inner forme of the Outer Sheet. Outer forme of the Inner Inner forme of the Inner ! Sheet. Sheet. Two Sheets of Folio, Quired, or lying one in another. Imposing in quires may be carried on to uny extent by observing the following rule : Suppose the work to consist of 32 pages, or 8 sheets, then, any two pages whose united numbers make 33, are to be imposed together; as, 1, 3219, 1412, 21, &c. There must be a little less furniture in the backs of the inner sheets than in the outer ones. A Half Sheet of Quarto, Imposed as a Slip. THE LETTER-PRESS PRINTER. OUTER FORME. INNER FORME. A Sheet of Common Quarto. OUTER FORME. INNER FORME. 8 111 . | Two Half-Sheets of Quarto, worked together. 46 THE LETTER-PRESS PRINTER. OUTER FORME. INNER FORME. HHHM ' A Sheet of Common Octavo. OUTER FORME. INNER FORME. Sheet of Octavo, the Broad Way, commonly used in Works of Music. THE LETTER-PRESS PRINTER, 47 OUTER FORME. INNER FORME. Two Half-Sheets of Common Octavo, worked together. Half a Sheet of Common Two Quarters of a Sheet of Octavo. Octavo, worked together. 48 THE LETTER-PRESS PRINTER. A Sheet of Octavo, 12 of the work, and 4 of other matter. OUTER FORME. INNER FORME. A Sheet of Octavo, Imposed from the Centre. THE LETTER-PRESS PRINTER. 49 A Half-Sheet of Octavo, imputed i'roni the Centre. OUTER FOIIMK. Two Quarters of a Sheet of Octavo, Imposed from theCentre. INNER FORME. A Sheet of Twelves. D 50 THE LETTER-rRESS PRINTER. I* I A Sheet of Twelves, without cutting. OUTER FORME. INNER FORM: 61 A Sheet of Twelves, with Two Signatures THE LETTER-PRESS PRINTER. 51 A Common Half-Sheet of Twelves. A Half-Sheet of Twelves, without cutting. A Half-Sheet of Twelves. A Half-Sheet of Twelves- Different methods of Imposing, from the Centre. D2 THE LETTER-PRESS PRINTER. i'TKU FORME. INNER FORME. OS Q 21 4 111 ;-^ JIL Two Half-Sheets of Twelves, worked together. THE LETTER-PRESS PRINTER. 53 A Half Sheet of Twelves, 8 of the work, and 4 of other matter. 18 54 36 72 Eight Pages, imposed as a Sup 64 THE LETTER-PRESS PRINTER. Outer forme of a Sheet of Long Twelves, without Inset. fa JTHIMI Outer forme of a Sheet of Long Twelves, with Inset Outer forme, Long Twelves, to be folded without cutting. THE LETTER-PRESS PRINTER. 55 Inner forme of a Sheet of Long Twelves, with'out Inset. :>f a Sheet of Long Twelves, with I nset. Inner forme, Long Twelves, to be folded without cutting. THE LETTER-PRESS PRINTER. tillliliil iiiiiliiiiiilllilEI iliiiii itiiiiiri ifiiiiiJiiiiiiiiiiiBiii A Half- Sheet of Sixteens. - A Half-Sheet of Twenties. THE LETTER-PRESS PRINTER. INNER FORMK A Sheet 'jf Sixteens. THE LETTER-PKE88 PRINTEB. OUTER FORME. A Sheet of Twenties THE LETTER-PRESS PRINTER. A Half-Sheet of Eighteens. When the white paper is worked off, transpose pages 11 and 8 to the place of 7 and 12; and pages 7 and 12 to the place of 11 and 8 : this done, the sheet will fold up right. A Half-Sheet of Eighteens, without transposition. This imposition is made so that there need be no transposition of pages during the working off. It is an objectionable one, however, for it lertves, when cut up, three single leaves to be pasted in, instead of one. The lines inside the chase show where the sheet has to be cut before folding. I should recommend that these impositions (Eigh teens) be avoided altogether, and some more simple ones adopted, even when it may necessitate leaving a couple of blank pages at the end of a pamphlet, or of using a larger or smaller size of paper for the work. 60 THE LETTER-PRESS PRINTER. INNER FOKME. A Sheet of Eighteens, without cutting. THE LETTER-PRESS PRINTER. INNER FORME. Cl 81 16 28 25 12 19 US OUTER FORME. A Sheet of Eighteens. 62 THE LETTER-PRESS PRINTER. INNER FORME. nil:,} J> 40 _?3_ 16 13 36 37 12 _ 48 25 24 21 28 45 4 i Sheet of Twenty-Fours, without cutting. THE LETTER-PRESS PRINTER. JNN'KIl FOKMK. OUTER FORME. SI 81 91 G 9S 18 Ofr 88 A Sheet of Twenty-Fours, with Two Signatures. rw^i THE LETTER-PRESS PRINTER. INNER FORME. _. os si 31 34 47 18 ^ es 55 10 n is 69 19 46 35 30 A Sheet of Thirty-Twos, without cutting- THE LETTER-PRESS PRINTER. INNER FORME. G5 OUTER FORME. A Sheet of Thirty-Twos, with Four Signatures. K THK LETTER-PRESS PRINTER. A Half-Sheet of Twenty-Fours, the Sixteen Outerforme of a Sheet of Lonp'Sixteens, without cutting. THE LETTER-PRESS PRINTER. A Half-Sheet of Twenty- Fours, the Sixteen way, to be folded without cutting. Inner forme of a Sheet of LongSixteens, without cutting. 68 THE LETTER-PRESS PRINTER. A Half-Sheet of Thirty-Sixes, with Two Signatures. THE LETTER-PRESS PRINTER. G9 Lf 39 42 43 38 98 8fr 88 37 44 41 40 81 18 08 GL OS 66 S8 23 2fi 27 22 \\ 21 28 25 24 oi 9 1 16 13 4 II 01 14 15 A Half-Sheet of Forty- Eights, with Three Sigs. 70 THE LETTER-PRESS PRINTER. A Half-Sheet of Seventy-Twos, with Three Signatures. THE LETTER-PRESS PRINTER. 71 H18 s I H : 00 r. lii; < il A Half Sheet of Ninety Sixes, with Six Signatures. 72 THE LETTER-PRESS PRINTER. HI LZl 951 til 001 601 11 L6 319 122 123 118 .101 108 105 104 99 CL 9L 9 71 74 75 70 *8 86 96 18 85 92 89 88 OS 89 55 58 54 8 6 ST S 1 16 13 4 98 fi* 37 44 8^ 88 41 40 92 19 30 31 18 Outer forme of a Sheet of Sixty Fours, with Eight Sigs. THE LETTER-PRESS PRINTER. 86 Til Oil 66 9 [I SSI 8ST SIT 103 106 107 102 I J17 124 121 120 28 V6 ^6 88 89 LL 08 S3 I 87 90 91 m 69 76 73 72 42 43 38 53 So 32 IS 20 ll 14 01 15 Inner forme of a Sheet of Sixty Fours with Eight Sigs. THE LETTER-PRESS PRINTER. F URN IT U RE. AT the suggestion of several compositors I give measurement.'? of furniture required in impositions. Although they have been very carefully made, it will be found advisable to test their accuracy with a sheet of the paper to be used before sending formes to press, as the sizes of paper differ a little occasionally. DIAGRAM SHOWING GUTTERS, BACKS, HEADS, AND TAILS. So that the following measurements may be better understood, T give the above diagram, to which those who are not thoroughly acquainted with the imposition of book-work icill do well to refer when making-up furniture. Royal 8vo. 26 ems wide, 40 ems long. Gutters 9J ems, backs 13 ems, heads 13 ems. Royal 12mo. 22 ems wide, 38 ems long. Gutters 6J ems, backs 9 ems, heads 10 ems, off-cut 12J ems. Royal 12mo. 19 ems wide, 36 ems long. Gutters 9 ems* backs 11 ems, heads 12 ems, off-cut 15 ems. Royal 18mo. 17 ems wide, 31 ems long. Gutters 7 ems, backs 8| ems, heads 7 ems, off-cut 9 ems. Royal 32mo. 14 ems wide, 26 ems long. Gutters 3} erne, backs 5^ ems, heads 4 ems, tails 4 ems. This furniture is for pages made up to a longer length than usual. IMPOSITION GENERAL REMARKS. 75 Demy Svo. 24 ems wide, 41 ems long. Gutters 8J ems, backs 10 ems, heads IOJ ems. Demy Svo. 22 ems wide, 38 ems long. Gutters 10J ems- backs 13 ems, heads 13J ems. Demy 12mo. 19 ems wide, 35 ems long. Gutters 6 ems, backs 8 ems, heads 8 ems, off -cut 10 ems. Demy 18mo. 16 ems wide, 27 ems long. Gutters 5| ems, backs 7J ems, heads 6^- ems, off-cut S ems. Demy 32mo. 12 ems wide, 21 ems long (same size page as " Compositor's, Guide and Pocket Book.") Gutters 4 ems, backs 5J ems, heads 4 ems, tails 6 ems. Crown Svo. 23 ems wide, 37 ems long. Gutters 7J ems, backs 8 ems, heads 7 ems. Crown 8vo. 20 ems wide, 35 ems long. Gutters 8J ems, backs 11 ems, heads 9| ems. Crown 12mo. 16 ems wide, 32 ems long. Gutters 5 ems, backs 7 ems, heads 6 ems, off-cut 8 ems. Crown 18mo. 14 ems wide, 24 ems long. Gutters 5 ems, backs 7 ems, heads 5 ems, off -cut 6| ems. Crown 32mo. 11 ems wide, 18 ems long. Gutters 3 ems, backs 5 ems, heads 3| ems, tails 6 ems. Foolscap Svo. 18 ems wide, 32 ems long. Gutters 6J ems, backs 8 ems, heads 7 ems. Foolscap 12mo. 14 ems wide, 26 ems long. Gutters 5 ems, backs 7 ems, heads 7 ems, off -cut 8 eins. Foolscap 18mo. 12 ems wide, 20 ems long. Gutters 4J ems, backs 5 ems, heads 6 ems, tails 6 ems. GENERAL REMARKS. The impositions given for half-sheet of octavo (page 47), sheet of octavo (page 46), half-sheet of sixteens (page 56), common half-sheet of twelves (page 51), and sheet of twelves (page 49), are the impositions usually adopted in book-houses for works running over many sheets ; it is therefore taken for granted, when the compositor lays down his pages that he follows one of these impositions, unless otherwise ordered. The impositions in the preceding pages embrace schemes sufficient for every purpose. Several which have found a place in other Hand-books are omitted here as unnecessary, and new ones are given instead, in the hope that they will be found more useful in general book- work. A few half-sheets and quarter-sheets, being simply repetitions of the foregoing 76 THE LETTER-PRESS PRINTER. impositions, are also omitted. Sheets and half-sheets imposed from the centre, however, will be found, such impositions being in many instances very convenient where short or blank pages occur in a sheet ; for, being imposed from the centre, the light or blank pages may be surrounded by the full pages, which in working at hand-press especially is a great advantage. In large London book-houses, where the clicking system is carried on, the compositor is not called upon to lay down and impose his pages, nevertheless a knowledge of impositions ought to be possessed by every workman ; for the want of such know- ledge which might at any time be required of him may prove seriously detrimental to his interests. In the country especially, both in jobbing and news-offices, to know how to lay down pages and impose them is indis- pensable. In such offices compositors are, in many instances, unable to accomplish the simplest impositions ; and one who is perfect in them, even to an octavo sheet only, is a very useful man. The introduction of large machines into book-houses, and their employment for book-printing, renders it unnecessary that any of the many-page impositions should be omitted, they, income houses, being in as great request as even the ordinary sheets of 8vo and 12mo. I extract the following instructions from my " Compositor's Guide and Pocket Book ": "When a pamphlet of a single sheet or half -sheet is to be imposed, use an imposition that will fold without cutting, as such will be found most convenient for stitching. " If formes containing many pages of a work are to be imposed, adopt such impositions as contain several signatures ; for a work could not be bound neatly if each section contained an unusual number of pages. For instance, a sheet of twenty- fours with two signatures will fold the same as two sheets of twelves, and a sheet of thirty-twos with four signatures will, when cut-up, fold the same as four sheets of octavo. "As half-sheets are simply the two formes of sheets locked up in one chase they may be laid down by following the fore- going impositions. For example, a half-sheet of 'forty-eights is a sheet of twenty-fours imposed in one chase, a half-sheet of sixty-fours is a sheet of thirty-twos in one chase, and so with others. " It may be of some assistance to the compositor to say that in nearly all impositions the first page is laid down on the left hand, and that when all are laid down the numbers of the folios of each pair of pao;es when added together will make one more IMPOSITION. 77 than the number of pages in the sheet or half-sheet. For example, see sheet of thirty-twos 1 and 64 = 65 ; 33 and 32 = 65 ; 25 and 40 = 65 ; 57 and 8 = 65, &c. " In pamphlets containing a greater number of pages than can be imposed in a couple of chases and worked as a sheet, it will be best to impose the pages so that the half-sheets or quarter sheets can be " inset," for the convenience of stitching. A pamphlet of 56 pages might be imposed as a sheet of sixteens, a sheet of octavo, and a half-sheet of octavo ; that is, 32, 16, and 8 pages. The eight inner pages (25 to 32) to work as half-sheet; the next sixteen inner pages (17, 18, 19, 20, 21, 22, 23, 24, 33, 34, 35, 36, 37, 38, 39, 40) as a sheet of octavo ; and the remainder as a sheet of sixteens." All impositions except the half-sheet of eighteens, which is different from the others are built upon the same foundations : 8vo and 12mo. The sheet of sixty-fours (half-sheet of one hundred and twenty-eights, if imposed in one chase) is eight sheets of 8vo ; the half -sheet of ninety-sixes is six sheets of 8vo ; the half -sheet of seventy-twos is three sheets of 12mo ; the half-sheet of forty-eights is three sheets of 8vo ; the sheet of eighteens is a sheet of 12mo, and a half-sheet of 12mo im- posed as an off -cut, either for an "inset " or to form a separate half -sheet, &c., &c. A BOOK-WORK FORME IMPOSED IN A JOB-CHASE, TO WORK ON MACHINE. As some machines allow very little furniture at the gripper-edge, chases with cross-bars cannot be used in im- posing book-formes to be worked on them, it will, therefore, under such circumstances, be necessary to impose the pages well to one side of the chase, as in the above diagram. JOB-WORK. JOB-PRINTING includes an infinite variety of every descrip- tion of work, in most of which the compositor is called upon to exercise his skill or taste, by displaying and arranging lines so that, according to the class of job, they shall appear bold and effective or artistic and neat. Jobbing composition is quite different from that of book or news-work : the effect of every variety of type and ornament must be studied and borne in mind by the compositor, for no one can hope to set attractive jobs without understanding the effects producible by the mate- rials at his disposal. The jobbing compositor, in addition to "picking up" types, should be able, on examining the copy given to him, with instructions as to what description of job is intended for, to decide how it should be displayed and know how to display it. To be a good jobbing-hand it is not abso- lutely necessary that the compositor should be a " whip." The qualities required of him most are a quick perception of the features to be brought prominently out in the work in hand, and in so arranging that he loses no time in bringing out those features, by setting useless lines, and, as is sometimes the case with unskilful workmen, in being compelled to almost re-set a job after it is supposed to be finished or ought to have been finished. A good jobbing-hand, well accustomed to the office in which he is working, can fix at once upon the type that he will require for any line. If he wishes to make a full line of any word he will go with confidence to the type that he ex- pects will make the line and set it, and finds, in nine cases out of ten, the type makes what he requires a full line ; and so on throughout the job in hand, which, when once in type, needs no alteration to bring it down tc the size of the paper or to drive it out to the proper length, Every compositor should endeavour to make himself acquainted with the composition of miscellane- ous work, as it is a great source of annoyance to find that a man who is put on to assist cannot earn his wages, but is in fact a hindrance to others in a jobbing office. Even for the most JOB-WORK GENERAL ARRANGEMENT. 79 competent hands to proceed with their work in a satisfactory manner, however, it is necessary that they should be thoroughly acquainted with the various descriptions of type the office con- tains, and know where to find it without having to waste time in seeking. GENERAL ARRANGEMENT. To facilitate the execution of work, and to prevent unneces- sary embarrassment to the workmen, every rack ought to be numbered or lettered, and all the cases numbered, and figures should be placed on the sides of the racks, corresponding with those on the cases in the racks. If the racks are lettered say A, B, C, &c., the cases belonging to rack A ought to be num- bered a.:d lettered A, thus, 1 A, 2 A, 3A, &c. ; and all cases must be put in the racks according to their numbers. Every case should also be labeled with lines of the types it contains, and it would be a convenient plan to paste a slip of each descrip- tion of type on a sheet of paper, and give the number of the case containing it, thus 1A REFORMATION. POSTPONEMENT OF LECTURE. ZB3T THEE -A/U-TIHIOiK, OIF 1 2 A In Affectionate Remembrance of ASTRONOMY. THE ROYAL BLUE BOOK OFFICE. This sheet should be pasted on the wall at the end of the rack, or on the rack itself, so that the compositor would see at a glance where the type he requires is to be found. A book might also be kept containing a line of each sort of type, numbered and lettered as on the cases, which would be handy for refer- ence for any compositor not acquainted with the contents of the office, or to show to any customer who might wish to choose a particular type for a job. The larger types should be arranged on shelves, with slips of wood between each line of type ; and the largest wood type might be set on edge, and each letter labeled, or alable placed below each set of letters, thus Type on edge AAABB | CCDD | EEEE FFGG I HHIII Face of shelf A | B J | D | E | F | G | | II | I By w T hich arrangement much space is saved ; and if the lables are printed on cards, and tacked on the face of rhe shelves, they 80 THE LETTER-PRESS PRINTER. will remain firm. An upright ought to be placed between the types, at intervals, to keep them from falling over say, between B and C, D and E, E and F, G and H, I and J, &c. When kept in this manner, the types can be set from the shelves with nearly as much ease as a line of caps. The cases most in use should be kept up. so as to be always at hand ; and any case taken out of the rack for temporary use must be re- turned as soon as done with ; in fact, everything in an office ought to have a " proper place, and everything should be kept in its proper place." Shelves should be made to fit the empty ends of " whole " frames. Small jobs that require to be kept standing ought to be tightly corded and put on galleys, which would be out of the way on those shelves, and could easily be got at. But as soon as a job Js done with, let it be distributed as speedily as possible ; and no i'orme that has been unlocked on bulks, boards, imposing- stone, or anywhere else, must be allowed to stand long before being cleared away to prevent "pie." Leads, reglets, rules, &c., <&c., that are turned out in distribution ought to be cleared away at once. Forme-racks are very useful in every office ; jobs requiring to stand in chase should have a label attached to the outer edge of the chase, on which is written a description of the job, and be placed in the forme-rack. REGLETS, FURNITURE, ETC. Cut reglets to the lengths required for different-sized bills, commencing at crown quarto, and wood furniture and side- sticks to pica ems, commencing from about eighteen ems, where no metal furniture is used, and increasing in length by two ems ap to say fifty ems, and over that by four ems. Keep " sets " of furniture, with side and foot-sticks for different sizes of bills, especially for those most required ; and when not in use tie up and keep them in pigeon holes, or in any other place where they will be always at hand. Metal furniture and quotations ought to be found in every jobbing office. DISPLAY. I WILL not attempt to lay down imperative rules to guide the compositor to display every class of work ; although I may say all depends upon the proper arrangement of lines in various lengths, and the proper selection of different faces 'and sizes of JOB-WOHK. 81 type, which, by harmoniously blending, will produce the best effect ; and in the case of posters, &c., they must be so arranged that the purport of the announcement can at once be seen. Heavy lines ought not to follow each other without being relieved by lighter ones, and full lines must have two or three shorter lines of various lengths between them to permit of their showing to advantage. It must be borne in mind, however, that the display which would be considered good for a poster would not be suitable for a card or circular (see page 83), or for any other description of fancy-work. The display of a job must be in keeping with its character; for a poster it must be done with the object of catching the eye bold and effective ; for cards, circulars, billheads, memorandums, note headings, &c., it ought to be neat and artistic. Proper "whiting" (leading or spacing-out) of jobs, is most important. By properly whiting, a job but indifferently displayed will be rendered passable ; but a job, however well displayed, if improperly whited, may be utterly spoiled in appearance. The better to illustrate my meaning, I give the circular on the next page, "whited" pro- perly and improperly. Beside the illustration given of a displayed circular, a very neat and satisfactory job can be produced by simply running on in script, italic, or even roman, without display, in the following manner J n z o llicie il * 1 91 * ! 1 l | J *U fl .ft * g .1 s'Sb.Sooafgi-'s C'5-^MOao s 08 I I tE -2 c I fr Ul * 1 rf I* I H^-| > S g. I I *? f . t "I ^ 3 a CO CO ts ^ 0> r^ S* .'S O S PH e .2 1 S ss 5 82 THE LETTER-PRESS PRINTER. co tr P | o s: P* -i cr c o 5 ^ 5 < B , a in 3 3" i p 3 3 3 so P CO 5 3 CO *"* Cd o > 3D CO CO er So' 3- P EL 1 o CD C- cr G C _ T3 g. 11 P CD line ing & O -< . 6 s 3 3- 1 f^ T> 30 1 ? CD o 3 o I 3" CD 5" CO CO P 3* 3" 5' 1* 5 CD* ^ *0 cl C" CD I a 1 C a CO 3 3 3 "i S CO C-, O CO 3. co' O P 1 3 if CD CD CD 30 c C CO. P 3* I sf O w P CD" r:. w 2. CD* 3 w z "* . 3" ~ CD 5* CD 3 o CO O 3- 3* CD -- e* o o 3 3 3- ^ 3 M 55 CD ^ CO PROPERLY WI1ITED. CO O & 50 CD 5! 3 CO P \ nuance i 1 p- S C 3- P CD* 3 P 3 P. 3 3 G bd c CO en" cr * cr . O 3 o 3 '-" i-J CO -o 3O 1 ? personal P O 2. O H 3* CD c CO 1 CO ' S3* CD 3- g 3- co' CD 3 | >T3 cr co' c? 1 - ^. 03 1 o 1 1 =S *o G | CO CD S3 CJ CO P p CO CD 2. CD" g. CO remise 3 -3 p f I CD G C 5 M ^co tt ^~" 3O ^ m 2E P P CO CD" P- G 1 CD : 2. ^ 1 3 o s 3 6 g ' cs o cc -* CD 3 CD o 0* S3- ._- OQ CD gj* O P i* E" P CD* ' 3 CO* ? CORFOI o 73 O O O i 7) o d o ROj O H O 25 O H HH o w H IMPROPERLY WH1TED. JOB-WORK DISPLAY. 83 CO o o o o LU D CO UJ z W UJ w Q "S ^o u So Q ^'*j OT J | s is o 58 s -5 C c8 S I -. i c I f a? CIRCULAR. a o & H 3 I O o as 15 etf ^ *H ^o o a ^Tl > 5* O ^ O o o FBATHEES, FLOWER AND OP DRAPER STUPENDOUS STOCI< T. SIMPKINSO GREAT SACRIFIC: CLEARING H P^ H3 o CO J/2 r^ ^- -< * i SB CO P3 C5 >H BELIEVED WITH LIGHT AND SHOKTER LINES. JOB-WORK DISPLAY. 85 To set posters of this description, or any that may require nearly every line to be displayed, first glance over the copy and decide which shall be the" most prominent lines. Set the lines fixed upon, and lay them on the imposing-stone about the distance apart you would like them to occupy when the bill is finished ; and then fill in the secondary and catch lines. The secondary lines should be set lighter or in such types as are best adapted to heighten the display of the principal ones ; and only large enough to drive the bill out to the proper length. In the poster on the opposite page, for instance, the lines " Clearing out,'* " J. Simpkinson's," " Drapery," " Fancy Goods," and " Reduction of 50 per cent." would be set first, and laid on the stone, and then the other lines filled in. Circulars, either in the style of notes or letters, and signed by the issuer, ought to be run on, without any attempt at display a * ' "G - "9 -5 o s .a, & a 1 J- 1 1 V. 1 , . J t, if. a l I- i 1 * *>i ::.]. " r S -5 >, 5i K l-ii'lll ^ t $ S . S S ^2 S a, ^ Cards, invoice headings, memorandums, &c., afford inAnite scope for display, and, according to the fancy of the compositor, or according to "orders," are set in plain, bold, small, or fancy types, or in script. Instead of giving pages of matter descriptive of the methods of composing billheads, memorandums, note-headings, &c., which would only embarrass the young compositor, I select the following to illustrate various methods of displaying such 86 THE LETTER-PRESS PRINTER. THORNABY ROAD, Stockton, 188 0tt0Jt 0f WM. CRAGGS, GROCER, TEA DEALER & PROVISION MERCHANT. DUNDAS STREET, Middlesbrough, 18S4. To MELLANBY & SONS, IRON MERCHANTS. D URHAM, 188 FRANK STRAP, Ur M BUTCHER. CAMDEN STREET, YORK STREET, London, 183 )R, TO 1^, fl IpEARSON, BUILDER, PLASTERER, HOUSE DECORATOR, PAPER HANGER, &c. JOB-WORK DISPLAY. CHURCH STREET, 87 Surgeon* (G> ri e. 1) 1) Particulars if required, iO3* FROM 7*0.. JOSEPH HENRY, STOCKTON, Residence: Gilkes Street. 188.. dFurniture Sealer, JJpholsterer, anU MEMORANDUM. FROM : To J. CORNER, 158, PINE STREET. MIDDLESBROUGH. 188 - CHEAP PAPER-HANOI HO 88 THE LETTER-PRESS PRINTER. [STATIONER. NEWSAGENT.!; PRINTER, C. A. PEARSON, BAKER AND .CONFECTIONER. Middlesbrough Academy, ' Middlesbrough, 1884, > and NOTE HEADINGS. JOB-WORK DISPLAY. 89 Curved lines introduced by way of variety sometimes enhance the beauty of display. Brass curves and curvilinear furniture nave been introduced to the trade to facilitate the forming of curves, and of course are useful. Where, however, such appli- ances have not found their way into an office, and the compositor desires to introduce a curved line, I consider the best method is, in the first place, to set up the whole of the job with the o o PRACTICAL >> BRASSFINISHER & TINSMITH, OAK STREET, -tf' exception of the curved line ; slide it on the imposing stone, and place the furniture round it. Slackly quoining the side- stick, open the page where the line is to be introduced, and, having previously prepared the curved line, insert it, using quadrats, quotations, or whatever is most convenient, in the manner indicated, to secure it in its place. Tighten the quoins gradually, and lock up. To form the curve it is best to cut brass rule to about the hei'ght of a lead, and it may be bent to the desired curve by heating it on a piece of round wood. The rules and quadrats in the above illustration, are left type-high to better illustrate the mode of procedure. 90 THE LETTER-PRESS PRINTER. BUSINESS CARD. THOMAS PARKINSON, DECORATOR, GLASS GILDER, &c., 35, GEORGE STREET, MIDDLESBROUGH. 17. WEST STREET, NORMANBY. VISITING CARD. The following examples of different styles of titles are copied from various works, the types used being as nearly as possible reduced in proportion to the size of the pages. They are selected more on account of the little display they require than for anything else ; for it often occurs that the compositor who is not familiar with the composition of titles is more puzzled how to make a respectable title out of a few lines than he is where the matter for display is more profuse. The illustrations given will also guide the compositor in the display and whiting of titles, which is of a different character to that of general jobbing-work. JOB WORK D I8PLAY. 91 O O z D w hj O C/3 cn O u o * H * n2 H i2{ O > s 82 o ^ B W O HH H HH O CO O CO on the 1st and 15th c PRICE ONE PENr BY CRITICU iL AND HISTORK S CHURCHES AND PREACHERS AND P THIS TOWN, ETC CONTAINING )AL MISCEL -? >- 9 - t) CJ tr (T> ^ ^ > | 3g ^ tz{ ' ^2 " cl z H 3=) THE LETTER-PRESS PRINTER. p 2 ^ ; 8 ^ f** 9 t^" O '"j PL] HH j I W HH C_J ^ 02 P5 ^ t>- ~ O H H O O cc 5 ^ W IS OGRAPHY . AS8ICAL, p a N ri ^ NOAH WEBSTEE, LL. ND ADAPTED TO ENGLISH OR .ND USAGH, WITH ADDITIONS, CHARLES ROBS TO WHICH ARE ADDED ED LISTS OF SCRIPTURE, < MODERN GEOGRAPHIC PROPER NAMES. tt *41 O N H << S % 8 H z CM * a 13 Q 3 o 8 & p W > ^s s w : us ggg| o 525 JOB-WORK DISPLAY. 93 I l s 1^1 if? ^ 2 " o. w O > . tr 1 O H g -K O O H O * is 2 co 53 O Q p o M t^ 94 THE LETTER-1'RESS PRINTED. H B OQ c ft o M S5 is H "* o 2s P o CO 8! SI" In the hope of assisting the compositor in the composition oi posters and hand-bills, I will give a few illustrations, with remarks on what I consider the most expeditious modes of setting the same. The following is the usual style of sale bill in the North of England MIDDLESBRO'-ON-TEES. IMPORTANT SALE OF VALUABLE MAHOGANY HOUSEHOLD FURNITURE AND EFFECTS. MR. J. HEWARTSON Begs to announce that he has received instructions to SELL BY AUCTION, AT HIS CENTRAL SALE ROOMS, On TUESDAY, JULY 10, 1880, The Valuable Household EUENITUHE AND HOUSEHOLD APPOINTMENTS. The Sitting-Room Comprises Mahogany Sofa, in hair-seating; Mahogany Easy Chair, spring stuffed, in hair-seating ; set of six Balloon-backed Chairs ; massive Mahogany Centre Table, on pedestal ; Wheeler and Wilson's Sewing Machine, in perfect working order ; four Pictures, in gilt Frames; sweet-toned PIANO-FORTE, in Rosewood Case. The Breakfast Room Comprises Couch, Easy Chair and six single Chairs, Mahogany Centre Table, Stand Table, Carpet and Hearth Rug, Gas Pendent, Fender and Fireirons, three Pictures in Maple Frames, Venetian Blinds, &c. The Bed-Rooms Include full-sized Iron Bedsteads, Tudor Bedstead, three prime Feather Beds, Bolsters, and Pillows, Drawers, Dressing Tables, and Bed-room Appendages, &c. Sale to Commence at half-past One o'clock. Central Sale Rooms, Middlesbrough. Printed at the Office of J. Gould. South-st., Middlesbro'. THE LETTER-PRESS PRINTER. Suppose the foregoing to be a double-demy poster. First of all, lay your chase on the imposing stone and " dress " it with furniture, leaving the sidesticks on one side. Set the whole of the body of the bill from the word " Furniture " to the imprint ; you will then find exactly how much space is left for the heading. Set the word " Furniture " in as bold a type as you consider the space at your disposal will warrant it being the principal line. Then commence at " J. Hewartson," and set the lines down to " Furniture," remembering at the same time you must leave room for the heading. -Having done so, set the top line and empty it ; you will now know the amount of space left for the lines " Important Sale," &c., and they can be displayed more or less to fill that space, so as to make the bill, when finished, the proper length. By using ordinary judgment, and following these instructions, there need be no alteration in the WALED MUSIC HALL. Monday and During the Week. First Appearance of J.ROBERTS " I am Going !" Last Six Nights of FRED JEFFERSON ! The Great Ticket-of -Leave Man Fit st Appearance of HARRY RIPLEY, BARITONE. MR. (&MRS. HARRISON Duett ists. TIM SMALINft ** Clog Dancer. " J. CLOSE, Stump Orator. lime and Prices as usual J. Gould, Printer. RINCEo, WALE Monday and During the Week. First Appearance of " I am Going !" Last Six Nights of FRED The Great Ticket-of -Leave Man First Appearance of BARITONE. Duettists. Clog Dancer. Stump Orator. Time and Prices as usual. J. Gould, Printer. P S MUSIC HALL, J.ROBERTS JEFFERSON ! HARRY RIPLEY, MR. & MRS. HARRISON JIM SMALINQ J. CLOSE, Bill set and Divided for Workinq in Two Colours. JOB-WORK DISPLAY. 97 size of any line in the bill either to "drive out" or "get in;" so that as soon as the last line is emptied you may place your side and foot -sticks to the forme, lock up, and pull a proof. Set two-colour bills as ordinary bills ; lock up, and pull a proof on dry paper ; decide which lines shall be in a different colour ; then unlock the forme and take them out, putting in the exact amount of white required to fill the openings, and lock up. lf.it is intended to print both formes together, and transpose them for the second colour, the two formes must be imposed, side by side, in one chase ; if it is intended to work each forme separately, proceed to make up the second forme in a chase by itself. First fold the proof down the centre to measure with. Then dress chase and drop in the lines taken from the first forme ; lay the folded proof on the furniture with the folded edge against the beginning of the lines, and make each line fall in the EXACT position in the chase that it Occupies in the proof, by placing the proper white between them. Lock up, and both formes are ready to be worked off. By imposing them in a chase side by side and head to foot they may be worked together without transposition, by merely turning the sheet for the second colour. At press, points would be used ; at machine, the sheets would be fed to a gauge on the opposite side of the machine from the feeder for the first colour, and to a gauge towards the feeder for the second colour. ROYAL ALHAMBRA PALACE. TWELVE NIGHTS ONLY. IHE GREAT AND FAMOUS CONJURORS! The Mystery of all Mysteries!! Posters and handbills may be displayed in many ways with advantage without adhering to the usual method of using only straight lines of various sizes and different varieties of face. By simply introducing a line (especially where bills contain G THE LKTTKR-l'RESS PIUNTKK. only a few words,) in an oblique direction, or in any manner which will introduce variety, an effect both pleasing and striking may be obtained. PEARSON L L WOOL 60s. SUITS Cheapest place for every descripti Although small bills of the above description are not con- sidered easy to compose, they certainly are not particularly difficult, if properly managed. Cut four pica reglets to the length required to leave a sufficient margin on the paper, mitring the ends ; place the ends together and tightly cord the square, passing the twine half-a-dozen times round, but not allowing the cord to overlap. The rules of the above will illustrate the manner of cutting the reglet to form the frame of the square. Set the principal line of sufficient length to fill the centre, place a lead on each side, then drop in the following and preceding lines, of course reducing the length of the leads to suit the lines within the souare. When all have JOB-WORK DISPLAY 99 been set, proceed to space out each line ; and when that is done, slide the bill off the galley, impose and lock up without removing ike page-cord, which will prevent disarrangement of the lines. If carefully tied, the cord will cause no incon- venience. If the example were a poster, the only difference in setting it would be, instead of making a square with four pieces of reglet, a square should be made inside a chase, side-sticks forming two sides, with quoins inserted to keep them from moving. PROVISIONS AT JUDSON'S Bills in the shape of the above are set in the same manner as the one already described, with the exception of the central square, which can be formed by inserting rules or reglets, as in the illustration. G2 100 THE LETTER-PRESS PRINTER. Many -sheet posters are formidable only when there is no room to set them as one bill, or when the type at the disposal of the compositor is not suitable for the job. A line or two cut for the occasion will surmount the latter difficulty ; and a little calculation the former. Of course where a six-, eight-, or nine-sheet poster can be set up and laid on the office-floor, it can easily be subdivided and then worked off. But where there is no room to allow of its being arranged in such a manner, it will be necessary to make the division in the copy. We will suppose that the copy for a nine-sheet poster reads : " Prince of Wales Music Hall, Monday next, Feb. 6*, and evert/ evening during the week. The Wondrous Leotard on the Flying Trapeze. Supported by a Brilliant Company of Star Artistes. Time of Opening and Prices as usual." Before proceeding to set this as a nine-sheet poster if it cannot be set and laid out on the office-floor it will be necessary to divide the copy into nine sections ; each section having its proper portion of the display allotted to it, according to the fancy of the compositor, and a rough sketch of the bill made somewhat after this manner : PRINCE OF MOND And Ev TIHCE WALES M A Y NEXT, ery Evening during th ^ATOnNTIDK USIC HALL, FEB. 6, e Week. OTJS JS3 ON THE JSTG- Suppor j ted by a Brilliant Com Time of ' Opening and Prices as IMPRINT. pany of STES! usual. Count the letters in the principal display lines, the space between each word being taken as equal to one letter, and divide, allowing each section to represent a sheet, and write the copy afresh as above. JOB-WOKK DISPLAY. 101 CO CO 0) OS Z'fO 3 I i. W CO 102 THE LETTFR-PRESS PRINTER. Having finished the sketch, commence by setting the principal lines, " Prince of Wales," " Leotard," &c., in such type as will extend across the three sheets. Set the secondary lines, taking sufficient to make a full line in the middle sheet ; and should any drive over, leave an equal number of types from the beginning and the end to fall in the sheets on either side. It will be found in practice that but few of the small lines will drive over to the outside sheets. When the middle sheet has been filled, lock it up and work off. After working, wash the forme and lay it up. The sheet on either side can now be commenced ; and in setting it, use the reglets that were used in whiting out the middle sheet. If you prefer sheet 1 to be set after sheet 2, the portions of lines belonging to that sheet must be spaced to the end of the lines ; where catch or small lines have occurred in the middle sheet, quadrats or furniture of the same body must be used in the outer sheet, so that, when printed and placed side by side, each line will range exactly, and the sheets when united appear as one poster. Proceed in the same manner with the remaining sheets. The margin of the sheets when worked should be as represented in the ex- ample given. In the three outside sheets (1, 4, 7) a little margin must be left at the end of the lines, to allow of the middle sheets being pasted to them. The middle and outside sheets should be printed close to the front edge of the sheets, all the margin being left at the end of the lines. At the bottom of the first (], 2, 3) and second (4, 5, 6) set of sheets, also, a little margin must be left, and the second and third set of sheets must be printed close to the top. Where, however, there is convenience sufficient to allow of the principal lines of such posters being laid on the office flour when set, the difficulty of setting many-sheet bills is considerably diminished. When display lines require spacing between each letter to make them the desired length, the space should be so regulated that the letters may, as far as possible, appear to be at equal distances. For instance, less space is required between AW, and all letters standing apart from each other in like manner, than between such as HI and those which stand close. In lines of capitals, clarendons, &c., which are not condensed, space corresponding to the face of the types ought to be placed between the words two thick spaces or an em quad. Expanded and large-sized heavy-faced type will advantageously stand more space ; but less should be used where the lines are com- posed of condensed type. Lines having spaces between each letter require proportionately extra space between the words. In circulars, cards, and other fancy work, where an imprint JOB-WORKTABULAR AND TABLE-WORK. 103 may be allowed, the imprint should be set in the smallest type, and placed at either of the bottom corners of the job. In almost every description of composition it will occasionally be found that a list or some other matter must be set in columns. When this is the case, even if it consist of three, four, or more columns, it will be found most expeditious to set each column with a separate justification, in the same stick that is used for the job. For example, we will suppose the following to be part of a job set to eighteen ems : COMMITTEE. MR. E. WRAG MR. J. HAGUE MR. R. RICHARDSON MR. H- JOHNSON MR. T. 8MYTHB MR. J. WATSON MR. T. MOORE MR. A. SHEAD MR. C. PHILP MR. H. CHURCH MR. R. MATTHEWS MR. J. ROBERTSON Being three columns, each is six ems wide. If it is intended to set the whole in one measure, the first column must be justified against a twelve-em lead or clump, thus : MR. E. WRAG ! i Then take out the twelve-em, and space out the second column against a six-em : Mil. E. W11AG MR. J. HAGUE Now remove the six-em, and let the last column fill the space left, and the first line will appear thus : MR. E. \VHAO MR. J. HAGUE Mil. R. RICHARDSON Proceed with each succeeding line in the same manner ; and if sufficient care is bestowed on the justification of each column they may be set to any length with as much regularity as if a separate stick were used, with column rules dividing. If it be necessary to insert rules, a thick lead placed in tht stick at the beginning or end of the lines (if eight-to-pica rule be used) would, when removed, allow for the rules ; and in that case the second and third columns should be indented an en or em. TABULAR AND TABLE-WORK. TABULAR and table-work embrace every description of job set in columns, whether such colums contain matter or not. It is considered the most difficult description of composition; ami, with the exception of mathematics, really is the most dilficult. 104 THE LETTER-PRESS PRINTER. Table-work requires accurate justification, and, in complicated tables which mast be confined to certain sizes, very careful measurement and calculation. Where a table, however, is set as a job, to make what size it may within certain limits, the task of putting it together will not be difficult, though it may be tedious. Much in table-work must be left to the judgment of the compositor, who must decide, according to the description of the table, how and with what it may be " built up " with the least consumption of time, taking into consideration the material at his disposal. In some houses the composition of a difficult table-page would appear almost an impossibility, the material not being at ail suitable for such work so the ordinary work- man would imagine. The " man of resources," however, will set to work, and, to the astonishment of himself and his fellow - workmen, will produce that which it was imagined could not be " got up " at all. I will not here advocate the s, as in sin ) 300 n Tau th, as in thin ; (j!)) ^, as 400 in tin BROAD LETTERS. As Hebrew words are never divided, the following letters are sast broad to facilitate justification : Aleph. n n S D -n He. Cheth. Lamed. Mem. Tan. GREEK. GREEK ALPHABET. Characters. A a B j8 r y E z H e i K A M N O n F T T X fl I o w P $ ff 5 T X * Name. Alpha Beta Gamma Delta Epsilon Zeta Eta Theta Iota Kappa Lambda Mu Nu Xi Omicron Pi Rho Sigma Tau Upsilon Phi Chi Psi Omega Power. 159 Numerals. a 1 b 2 g 3 d 4. e short 5 2 7 e long 8 th 9 i 10 k or c 20 / 30 m 40 n 50 X CO o short 70 p 80 r 100 s 200 t 300 u 400 ph 500 ch 600 ps 700 o long 800 ASPIRATES AND ACCENTS. Lenis Asper - Acute Grave - Lenis acute Lenis grave Asuer acute Asper grave Circumflex - - Circumflex lenis - Circumflex asper - Diaeresis Diaeresis acute Diaeresis grave - POINTS. The comma, the period, and the exclamation in Greek are the lame as in English ; but the interrogation (;) is our semi-colon ; and the colon is a point at the head of a letter ; as, () nothing more than an inverted period. 160 THE LETTER-PRESS PRINTEK. c -3 I -3 ! o GREEK. 161 162 THE LETTER-PRESS PRINTER. n; .Q .a .n ir .n i: Hi. n: 16? a C n o a n n. ci n n L2 TECHNICAL TEEMS. Am'hor's proof. The clean proof sent to an author after the com- positors' errors have been cor- rected. Bank. -A. table to lay sheets on at press. Bastard title. & short title pre- ceding the general title of a work. Bastard type. Type with a face larger or smaller than its appro- priate body : as nonpareil on minion body, or minion on non- pareil body. Batter. Types accidentally injured in a forme. Beard of a letter. The outer angle supporting the face of a type and extending to the shoulder. Bearer. A. strip of reglet to bear off the impression from a blank page. A long piece of furniture, type- high, used in working jobs. A solid-faced type interspersed over the blank parts of a page in com- posing for stereotyping, to resist the force of the knife when the plates are shaved. Pearer-lines. - The top line and bot- tom line in a page prepared for stereotyping. Bevels. Clumps cast nearly type- high, with a bevelled edge, used by stereptypers to form the flange on the side of the plates Bite. An irregular white on the edge or corner of a printed page, "Caused by the frisket not being sufficiently cut out. Blank page. A page on which no matter appears. Blocks. The mahogany frames on which stereotype plates are affixed for printing. Body. The shank of the letter. Botch. A bungling, incompetent man. Bottle-arsed.Type wider at the bot- tom than at the top. Boxes. The compartments of a case in which the types are placed. Break. The last line of any para- graph. Broadside A forme of one page, printed on one side of a whole sheet of paper. Cassie paper. Damaged paper the outside quires of a ream. Casting off Estimating how many pages a certain quantity of copy will make in type. Chapel. The meetings held by the workmen for the purpose o* re- dressing grievances, collecting fines, and disposing of their funds. Clean proof. When a proof has but few faults in it, it is called a clean proof ; and when a proof is to be sent to the author the pressmen are ordered to pull a clean proof. Clearing away. - Properly disposing of materials after a work has been completed. Close matter. Solid matter with few break-lines Coffin. The carriage of a machine. Companionship.- All the hands on a work. Composing Setting type. Correct. When the corrector reads the proof, or the compositor mends the faults marked in the proof, they are both said to correct ; the corrector the proof, the compositor the forme Corrections The alterations or errors marked in a proof. TECHNICAL TERMS. 165 Cut-in letter. A type of large size adjusted at the beginning of a line at the commencement of chapters. Cut-in note. A note justified into the side of a page. Distributing. Returning type to their various boxes after having been printed from. Spreading ink evenly over the surface of a roller. Double. Among compositors, a re- petition of words : among press- men, a sheet that is twice pulled and mackled. Devil. The errand-boy of a printing- office. Draw. When a forme is working at press, and any of the letters are loosely justified, or from any other cause are not tight in the forme, %nd the adhesion of the ink or rollers pulls them out, they are said to draw. Dropping out. After a forme is locked up, and, when it is being lifted from or being laid upon the imposing table, or the press, if any letters, spaces, or quadrats fall out, it is said something drops out, or something has dropped out. Dressing a chase or forme. Fitting the pages and chase with furni- ture and quoins. Drive out. To ^>ace widely Even lines. When a piece of print- ing has to be executed in great haste, a number of compositors are employed on it, aud the copy is cut into small pieces for each, to facilitate the making-up, im- posing, and the general further- ing of the work ; if the copy should be in long paragraphs, the compositors have each to begin a line and to make their copy end a line, frequently with great irre- gularity of spacing. This is termed making even. In newspapers it is of constant occurrence. Fat. Poetry and leaded matter. Fat face, or Fat letter. Broad-stem- med letter. Father. The head or president of the chapel. Fly. The person that takes off the sheets from the press or machine. Folio The figure or figures which stand at the head of the page ; also, a sheet of paper once doubled. Forme. The pages when imposed in a chase. Foul proof. A proof with many faults marked in it . Fount. An assortment of type in definite proportions. Friar. A light patch in a printed sheet, caused by defective rolling. Fudge. To contrive without proper materials. Full press. When two men work at the press together- Furniture. Strips of wood or metal placed around and between pages when imposed. Gauge. A. strip of reglet with a notch in it, passed with the making-up, to denote the length of the pages. Get in. To set close. Grossing. A compositor taking occasional work. Gutter -sticks. Furniture used in im- position to separate the pages. Half press. When but one person works at the press. Half-title. The title of a book in- sefted in the upper portion of the first page of matter. Hell receptacle. The receptacle for broken or battered letters ; the old metal box ; the shoe. Headline The top line of a paga containing the running title and folio. When there is no running title the folio is styled the head- line. Chapter lines are head- lines, as are also the titles of articles in periodicals and news- papers. High line. Term applied to a type that ranges above the rest in a line. High (or low) to paper. Applied, to a type cast higher or low'er than the rest of the fount. Horse. The stage on the bank on which pressmen set the heap of paper. Horsing. Charging for work before it is executed. Imposing. Arranging and locking up a forme of type in a chase. Imprint. The name of the printer or of the publisher appended to jobs or title-pages. Inferior letters. Small letters cast near the bottom of the tvpe. 1(56 THE LETTER-PRESS PRINTER. Inset Same as off cut. Jeff. To throw for a choice v/lth quadrats instead of dice. Justifying. Spacing out lines accu- rately , Keep in. To crowd in by thin spacing. Keep out To drive out or expand matter by wide spacing. Kerned letter. Type of which a part of the face hangs over the body. Laying cases. Filling cases with a fount of new type Lai/ing pages. Placing pages on the stone in a proper order for imposi- tion. Lea n.~ Close and solid matter. Lean face. Light, thin type. Letter hangs. When the page is out of square. Locking up. Tightening up a forme by means of quoins. Longcross. The bar that divides a chase the longest way. Long pull. - When the bar is brought close to the cheek of the press. Low case. When the compositor Las set almost all the letters out of his case. Low line Applied to a line of type that ranges lower than the rest in the forme. Making-up. To arrange the lines of matter into pages. Making margin. In imposition, ar- ranging the space between the pages of a forme so that the margin will be properly propor- tioned. Making ready. Preparing a forme on the press for printing. Measure The width of a page. Monk. A black spot in a printed sheet, owing to the ink not being properly distributed. Naked forme. A forme without fur- niture. Off. Signifies that the pressman has worked off the forme. Offcut.- A portion of a sheet that is cut off before folding. Open matter. Matter widely leaded or containing numerous break- lines Off' its feet. When matter does not stand upright. Out. An omission marked in a proof by the reader Out of register. When the pages do not back each other. Overlay. A scrap of paper pasted on the tympan-sheet to bring up the impression. Overrunning. Carrying words back- ward or forward in correcting Passing the making -up Passing to the next hand in order the lines remaining (if any) after a com- positor has made up his matter, together with the gauge and proper folio. Perfecting. Printing the second forme of a sheet. Pie. Type promiscuously inter- mingled. Pick A particle of ink or paper imbedded in the hollow of a letter, filling up its face and occasioning a spot. Pigs. An ancient nickname given in derision by compositors to pressmen. The press-room was called a pig-sty. Planing down. To bring down types evenly on their feet, by laying a planer on the page and striking it firmly with a mallet. Point-holes.- Fine holes made by the points to register the second im pression by. Press proof. The last proof read and corrected previous to working- off. Ratting Working at less than the established prices. Register sheet. The sheet used to make register. Register. To cause the pages in a sheet to print precisely back to back. Revise. The last proof of a forme before working it off. Riding. Type at the end of a line catching against a lead, or the ends of leads overlapping each other. Rounce.The handle for running in and out the carriage of a haud- preas. Rttns on sorts. Requiring an inor- dinate proportion of particular letters. Set off. When sheets that are newly worked off soils those that come in contact with them, they are said to set off. TECHNICAL TERMS. 1(57 Set-off sheet. A. sheet of paper pasted on the tympan sheet, when per- fecting, to prevent the second side being soiled by the set off. Sheeting Taking ink off rollers by . rolling them on clean sheets of paper. Shank. The square metal upon which the face of a letter stands. Signature. A letter or a figure used at the bottom of the first page of a sheet, to direct the binder in placing the sheets in a volume Slur. A blurred impression in a printed sheet. Sorts. The letters in the several case-boxes are separately called sorts, in printers' and founders' language. Squabble. A page or forme is squabbled when the letters are twisted out of a square position. Shoulder. The upper surface of the shank of a type not covered by the letter. Stand. The frame on which the Stet. Written opposite to a word, to signify that the word erro- neously struck out in a proof shall remain. Stem. The straight flat strokes of a straight letter. Sub. A compositor occasionally employed on a daily paper, to fill the place of an absentee. Superior letters.- Letters of a small face, cast by the founder near the top of the type. Table-work. Matter consisting partly of rules and figures. Take, or Taking. A given portion of copy. Token -Two hundred and fifty sheets. Turn for a letter.- When a sort runs short, a letter of the same thick- ness is substituted, placed bottom upward. Underlay. A piece of paper or card placed under types or cuts to im- prove the impression. Wayz-goose.A. term given to the annual dinner customary among printers during the summer months. White line. A line of quadrats. Whip. A quick compositor one who can set his " galley " (6000 letters) in two hours. White page A blank page. White paper. Until the second side of a sheet is printed, pressmen call the heap white paper. Working wpocfotf When the hands share equally their earnings on a work. 168 THE LETTER-PRESS PRINTER. COMPOSITORS' WAGES IN LONDON. ADVANCES FROM 1785. PREVIOUS to the year 1785, wages in the printing business appear to have been paid as in most other trades, at a stated weekly sum, piece-work not having been introduced. No regular scale of prices for composition was printed until 1785, the following list of advances in compositors' wages, therefore, is commenced from that date. Nov. 20, 1785, piece-work prices were advanced from four- pence to fourpence-half penny per thousand ens, including english and brevier. In leaded matter the em or en at the beginning and end of the line was not to count in the width.* Feb. 14, 1793, the compositors claimed, (1) "That all works be cast up with the heads and directions inclusive ;" and (2) " That em and en quadrats, or whatever is used at the ends of lines, be included in the width ;" which was granted. The advance to commence at Lady-day, but not to extend to works that had commenced but were not finished before that time. Dec. 18, 1795, at a meeting of master printers, held at the Globe Tavern,to consider certain propositions submitted to them by the compositors, it was resolved, " That all works printed in larger type than engiish shall be cast up wholly as english." Dec. 24, 1800, the master printers met to consider a demand from the compositors for an additional halfpenny per thousand on manuscript. The advance was not conceded, the meeting being of opinion, " That to make any distinction between manuscript and reprint would be an unjustifiable departure from the established and long-approved principles by which work has been regulated." Taking into consideration, however, the pressure of the times (bread alone being Is. 7d. per quartern), a farthing extra per thousand was granted without distinction on both reprint and manuscript. To come into operation January 1, 1801. At a meeting held on Feb. 19, 1805, and at two subsequent adjourned meetings, at the York Hotel, New Bridge Street, on the 20th and 26th of the same month, consisting of eight master printers and eight compositors, a Scale of Prices for compositors' work was agreed to, similar in almost every detail to the acknowledged Scale of Prices that is in force at the present time. And it was also decided that " Any disputes that may arise in future, we agree to refer to the decision of the Committee of Masters." * It appears to have been the practice, in all leaded matter, to indent an em or en at the beginning ainl e*id of the line, to prevent commas or other thin types from slipping. COMPOSITORS WAGES. 169 April 16, 1810, at a meeting of master printers, held at Stationers' Hall, it was agreed that " All works in the English language, common matter, with space lines, including english and brevier, be cast up at fivepence three farthings per thousand ; . . . . without space lines sixpence per thousand," being an advance of three farthings on the Scale of 1805 ; reprint and manuscript to be paid the same price. Jan. 16, 1816, at a meeting of master printers, held at the Globe Tavern, reprint was reduced three farthings per thousand; the price agreed to being fivepence farthing per thousand. Up to 1866, the recognised working hours were from 8 a.m. to 8 p.m. every working day. Nov. 21, 1866, at a meeting of the committee of master printers and compositors, held at the Freemasons' Tavern, it was agreed " That a rise of one halfpenny per thousand on all descriptions of work (excepting newspapers), whether manu- script or reprint, be paid," and " That the established wages be 36s. per week of sixty hours." After this time the piece-work prices, established wages, and number of hours worked were undisturbed till 1872, when the hours were reduced to 54, the established wages remaining at 36s. To secure the piece-hand from loss by the reduction in the hours, an advance of one halfpenny per thousand was granted. The following is an abstract of the Scale as raised by the Settlement of 1872. to "0 ^ 1 ! t 1 OO9O opcopocooo J * - tcooooco i_. o o o co co oo co oo ^^ English Foreign English si Bug. & o Foreign Wthi Accents With Accents O H 170 THE LETTER-PRESS PRKWTER. Notes constituting the charge of One Shilling per Sheet. 4to and 8vo. 20 lines or 2 notes and not exceeding 4 pages in every 10 sheets. 12mo 1 page or 2 notes and not exceeding 10 pages in every 10 sheets. 18mo or above. 2 pages or 2 notes and not exceeding 8 pages in every 10 sheets. Pamphlets. 10 lines or 2 notes and not exceeding 2 pages in 5 sheets. Reprints with MS. insertions add $d. to the price stated on the 169th page. Stereotyped matter with high spaces adds d. to the price stated. Stereotyped matter with low spaces adds Jd< to the price stated. NUMERALS. Numbers expressed by letters; either roman or italic caps or lower case are used, thus Vol. I. chap. xvii. The numerals are: 1 i V v X x L 1 1 5 10 50 C c D d M m 100 500 1000 The manner of expressing numbers by numerals is by eithei taking from a higher or adding to a lower numeral, thus IV VI IX XI XIV xiv XVI xvi XX xx XL xl VI ix xi 4 LX Ix 60 6 XC 90 9 CX no 11 CD cd ...... 400 14 DC dc 600 16 CM 000 20 MC me ..... 1100 40 MD md 1500 COMPOSITOIIS WAGES. 17) PROVINCIAL RATES OF WAGES. Established Wages -(Jobbing}) Piece Work Prices, and Number of Hours Worked. 'stab, piece, hrs. Aylesbury 2fis. ... 58 Kendal stab, piece, hrg 25 51 68 26 51 5(J 32 61 54 28 6 56 29 61 60 27 51 50 34 8 54 35 7} 55 28 6 58 28 61 64. 23 57 32 6J 54 24 6 58 29 61 54 26 5i 54 27 ... 54 32 61 54 27/6 51 54 36 6 55 36 25 ... 56 28 '7 54 30 6J 54 24 6 59 30 6 54 25 ... 59 30 6 56 28 ... 64 31 6J 54 26 ... 56 32 5J 54 26 ... 54: 4vr 24 .. 54 ]Lanc aster B anbury 24/6 6 55 28 6 56 27 6J 54 30 7J 54 28 6 54 31/6 6J 551 30 61 55 28 6i 54 29 ... 60 26 6 54 )27 5 .. )36 27 6J 54 24 5 54 25 5 54 26 ... 56 28/6 6 54 26 6 56 20 ... 60 Leeds Barnsley .. . Leicester Bath Lewes Birmingham Blackburn Londonderry Liverpool . . Bolton Manchester Macclesfield Middlesbrough ... Merthyr Bradford . . Bristol Brighton Burnley Newcastle Cambridge(Town Cambridge(Univ. Cardiff '.. ... Newport Northampton ... Norwich Carlisle Nottingham Oldham Carmarthen Cheltenham Chester Oswestry Oxford (Town)... Oxford (Univ.)... Penrith Potteries Chesterfield Clonmel Coleford 25 ... 56 Darlington .. . 30 6 53 28 6J 54 24 ... 57 26 ... 56 Derby Reading Devizes Dewsbury Rochdale Rugby Salisbury Doncaster 26 5J 57 33 6j 57 27 ... 51 24 ... 60 26 5J 54 30 ... 54 20 60 Dublin Scarborough Sheffield Dumbarton Drogheda Durham Shrewsbury Edinburgh Exeter Stockton.. Sunderland Ulverston Warrington Warwick &Leamg Whitehaven Wigan 32 6 54 24 6 59 25 ... 59 25 6J 54 25 5 57 29 6 55 27 61 54 27 ... 55 26 5 54 28 5i 54 Glasgow Greenock 30 ... 54 30 51 54 30 6} 54 30 6J 54 i 26 6 54 ! 24 6 56 ! 28 58 ' Guildford Halifax Hartlepool .. Hereford Wolverhampton .. Worcester W^rexham Hertford . . Huddersfield Hull . 30 61 54 I 28 5i 53i York . 172 THE LETTER-PRESS PRINTER. OCO! H 13 4 6 8 4 3 4 8 4 ) 4 6 2 3 I 1J oft 4 ... 13 9 6 10J 3 5j 8i 5 2 6 I 3 i* oj 14 2 7 1 3 6} 8* i'i 5 10 2 11 1 54 3A !J 14 7 7 3J 3 7| 8| 6 3 3 l.| I 4 3f 2 1 15 7 G 3 9 9 i'i 2i 6 8 3 4 I 8 4 2 1 15 5 7 8* 3 104 OJ 7 1 7 6 3 6 3 9 I 9J 1 10} 4 *5 2* 15 10 16 3 7 11" 8 H 3111 4 Of 9l 9? 4J 7 11 3 11J 1 111 4\ 16 8 8 4 4 2 10 ~ 91 8 4 4 2 * * 4 2 1 ^ i 5 24 u 17 1 8 64 4 3| 10| 2 8 9 4 4i 2 2j ^4 2 4 17 6 y ** 8 9 4 4* i(4 51 9 2 2 4 7 2 8 J 54 2| 17 11 8 llj 4 5|- 2 10} U 4 9 7 4 94 2 4l ^4 18 4 9 2 4 7 11 54 S 10 10 5 5 V 5 2} 2 6 2 7| 6 6J 3 U 18 9 19 2 9 4} 9 7 4 81 4 91 11* m 2 5f 4 10 10 5 5 2 8* 6J- 3i 19 7 9 9| 4 10$ n| 11 3 5 7J 2 Of (5 4 20 10 5 12 6 3 11 8 5 10 2 11 7 3J lj 21 8 10 10 5 5 13 6^ 3J 12 1 6 04 3 0{ 7 30 15 7 6 18 9 4| 12 6 6 3" 3 14 74 3J 33 4 16 8 8 4 20 10 5 RELATIVE SIZES OF TYPE. Dble. Pica = 2-line Small Pica. Paragon = ,, L. Primer. Gt.Primer= Bourgeois. English = ,, Minion. Pica = Nonpareil. 4J ems of Gt. Primer = 1 inch. t| English = 6 Pica = 7 Small Pica = Small Pica = 2-line Ruby. L. Primer == Pearl. Bourgeois = Diamond. Brevier = ,, Minikin. 8| ems of L. Primer = 1 inch. 9.J- Brevier == 12 Nonpareil = 17^ Diamond = 174 THE LETTER-PRESS PRINTER. LEADS REQUIRED TO JUSTIFY A LINE OF ANY GIVEN BODY OF TYPE. Pearl One four and one eight-to-pica. Ruby One four and one six-to-pica. Nonpareil Two fours ; three sixes ; or four eights, Emerald One four, one six, and one eight Minion . , , . . One four and two sixes. Brevier Two fours and one six. Bourgeois . , Three eights and two sixes. Long Primer. Three fours ; or six eights. Small Pica Two fours and two sixes. Pica Four fours ; or six sixes. English .,.., Three fours and two sixes. This Table shows what number of ems of any other fount will correspond in depth of body with any given number of Pica ems, from 10 ems Pica to 30. Pica. Small Long ; p Pica Primr. boulg Brev. Miu. Nonp Ruby. Pearl. Pica. 10 Hi 12^ ; 14 15 ! 17 20 ! 23 25 10 11 12! 14 15 17 183 22 25j 28 11 12 14 15 17 18g 20^ 24 27* 30 12 18 15 16j j 18 20 ^2 26 30 33 13 14 16 17k 20 21/j 23k 28 32 35 14 15 !7s 19 21 23 25| 30 34A 38 15 16 18i 20 23 25 27 32 37 40 16 17 19 24 26i 28^ 34 39* 43 17 18 21 22i 25g 28 30^ 36 41* 45 18 19 22 24 27 29k 32 38 44 48 19 20 23 25 28 3J 34 40 46 50 1 20 1 21 24 26g 30 32^ 35s 42 48* 53 i 21 22 25A 27jj 311 34 37 44 51 55 j 22 23 ' 26i 29 32* 35g 39 46 53 58 23 24 27^ 30 34" 37 40 48 55A 60 24 25 j 29 31g 35k 38^ 42 50 58 63 26 26 30 32 37 40 44 52 60 65 26 27 31 34 38i 42 45^2 54 62i 68 27 28 m 35 i 40 43g 471 56 65 70 i 28 29 36* 41 45 i 49^ 58 67 73 29 30 34* 38 42 46^ | 50^ 60 69J 75 30 SIZES OF PAPER. SIZES OF PAPER. 175 The following Table gives the dimensions in inches of the various sizes of paper, and the different divisions into which the respective sheets may be cut : DOUBLE SUPER ROYAL. DEMY. Broadside 40 by 27 k Broadside 22J by 17f Loug Folio 40 13f Loug Folio 2*4 ,. 8| DOUBLE ROYAL. Broadside 40 by 25 Long Folio 40 12 Long Thirds Broad Folio Broad Thirds Broad Quarto 2'2i 5| 17| 11} 17f 7* 17? 5f DOUBLE DEMY. Quarto (Common) ... 11| 8| Broadside 35 by 224 Octavo (Common) ... &! 5| Long Folio 35J 11| LARGE POST. DOUBLE LARGE POST. Broadside 21 by 1C>4 -Broadside 33 by 21 Long Folio 21 8* Long Folio 33 104 Long Thirds 21 54 DOUBLE CROWN. Broadside 30 by 20 Long Folio 30 10 Broad Folio Broad Thirds Broad Quarto Quarto (Common) ... 16* 10 164 7 K5A 5J 10A 8| DOUBLE POST. Octavo (Common) ... Si 5| Broadside 31 by 19 CROWN. Long Folio 31 94 Broadside 20 by 15 DOUBLE FOOLSCAP. Long Folio 20 7^ Broadside 27 by 17 Long Thirds 20 5 Long Folio 27 84 Broad Folio 15 10 IMPERIAL. Broadside 30 by 22^ Long Folio 30 Hi Broad Thirds Broad Quarto Quarto (Common) .. Octavo (Common) .. 15 C| 15 5 10 7 7^ 5 SUPER ROYAL. POST. Broadside 27^ by 20 Broadside 19 byl5J Long Folio 274 10 Long Folio 19 7f ROYAL. Long Thirds 19 54 Broadside 25 by 20 Loug Folio 25 10 Loug Thirds 25 ., G* Broad Folio 20 124 Broad Folio Broad Thirds Broad Quarto Quarto (Common) ... 15^ -, 9* 15^ 6| 154 4| 9J 7| Broad Thirds 20 4 Octavo (Common) ... 7i 4 I Broad Quarto... .. 20 6l FOOLSCAP. Quarto (Common) .. 124 10 Broadside 17 by 13^ Octavo (Common) .. 10 G Long Folio 17 6^ MEDIUM. Long Thirds 17 4J Broadside 24 by 19 Long Folio 24 94 Long Thirds 24 (i| Broad Folio .. .. 19 ,. 12 Broad Thirds .. .. 19 8 Broad Folio Broad Thirds Broad Quarto Quarto (Common) ... Octavo (Common) ... 134 si 13i 5j m 4i 84 61 C| ,, 4^ Broad Quarto .. .. 19 ,. 6 POTT. Quarto (Common) .. 12 9$ Broadside 15^ by 12^ Octavo (Common) .. 94 6 Long Folio 154 6 ; 176 THE LETTER-PRESS PRINTER. THIS TABLE shows, in the first, column, the number of Hours in any given number of lines of composition, from 20 to 1150; the figures along the head the number of lines in the Hour. EXAMPLE. If 930 lines have been composed, containing 19 lines to the hour, look for the figures 19 at the top of the table, and carry the eye down till it meets with the nearest number, as, 931 : in a line with that number in the first column are the figures 49, the number of hours, and one line over. 1 10 11 12 13 14 15 | 16 17 18 19 20 21 22 23 2 20 22 24 26 28 30 32 34 36 38 40 42 44 46 3 30 33 36 39 42 45 48 51 54 57 60 63 66 69 4 40 44 48 52 56 60 64 68 72 76 80 84 88 92 5 50 55 60 65 70 1 75 80 85 90 95 100 105 110 115 6 60 66 72 78 84 90 96 102 108 114 120 126 132 138 7 70 77 84 91 98 ! 105 112 119 126 133 140 147 154 161 8 80 88 96 104 1 112 i 120 128 136 144 152 160 168 176 184 9 90 99 108 117 1 126 I 135 144 153 162 171 ISO 189 198 207 10 100 110 120 ^30 140 150 160 170 180 190 200 210 220 230 11 110 121 132 143 154 165 176 187 198 209 220 231 242 253 12 120 132 144 156 168 180 192 204 216 228 240 252 264 276 13 130 143 156 169 182 195 208 221 234 247 260 273 286 299 14 140 154 168 182 196 210 224 238 252 266 280 294 308 322 15 150 165 180 195 210 225 240 ! 255 270 285 300 315 330 345 16 ICO 176 192 208 224 240 256 272 288 304 320 336 352 368 17 170 187 204 221 238 255 272 289 306 323 240 357 374 391 18 180 198 216 234 252 270 288 306 324 342 360 378 396 414 19 190 209 228 247 266 285 304 323 342 361 380 399 418 437 20 200 220 240 260 280 300 320 340 360 380 400 420 440 460 21 210 231 252 273 294 315 336 357 378 399 420 441 462 483 22 220 242 264 286 308 330 352 374 396 418 440 462 484 506 23 230 253 276 299 322 345 368 391 414 437 460 483 506 529 24 240 264 288 312 336 360 384 408 432 456 480 504 528 552 25 250 275 300 325 350 375 400 425 450 475 500 525 550 575 26 260 286 312 338 364 390 416 442 | 468 494 520 546 572 598 27 270 297 324 351 378 405 432 459 ! 486 513 540 567 594 621 28 280 308 336 364 392 420 448 476 | 504 532 560 588 616 644 29 290 319 348 377 406 435 464 493 522 551 580 609 638 667 30 300 330 360 390 420 450 480 510 540 570 600 630 660 690 31 310 341 372 403 434 465 496 527 558 589 620 651 682 713 32 320 352 384 416 448 480 512 544 576 608 640 672 704 736 33 330 363 396 429 462 495 528 561 594 627 660 693 726 759 34 340 374 408 442 476 510 544 578 612 646 680 714 748 782 35 350 385 420 455 490 525 560 595 630 665 700 735 770 805 36 360 396 432 468 504 540 576 612 648 684 720 756 792 828 37 370 407 444 481 518 555 592 629 666 703 740 777 814 851 38 380 418 456 494 532 570 608 646 684 722 760 798 836 874 39 390 429 468 507 546 585 624 663 702 741 780 819 858 897 10 400 440 480 520 560 600 640 680 720 760 800 840 880 920 11 410 451 492 533 574 615 656 697 738 779 820 861 902 943 42 420 462 504 546 588 630 672 714 756 798 840 882 924 966 43 430 473 516 559 602 645 688 731 774 817 860 903 946 989 M 440 484 528 572 616 660 704 748 792 S36 880 924 968 1012 45 450 495 540 585 630 675 720 765 810 855 900 945 990 1035 46 460 506 552 598 644 690 736 782 828 874 920 966 1012 1058 47 470 517 564 611 658 705 752 799 846 893 940 987 1034 1081 48 480 528 576 624 ' 672 720 768 816 864 912 960 1008 1056 1104 49 490 539 588 ' <37 686 735 784 833 882 931 980 1029 1078 1127 50 j 500 | 550 600 650 700 750 800 850 900 950 1000 1050 1100 1150 PRICE PEE HOUR OR THOUSAND. 177 00 GC O w O CC -7 O ^i O t 1C 1C tO ' f Qi to O O OO O 00 Cii LO O O 4*. ' OO Crt Oi 4^ OO Oi to to i-* 5 *. tf* OO 00 'OO 00 t 1C "-* I *!H-' O O i^'--*: Q ) H^ GO h^ I ' -3 00 O C5 to 'w Oi r- 00 H^ O -^ C5 Ci W rf" OO tC tO H* $ Ci Ci Ci CTI * 4" rf OS 60 OO "10 LO i-* *-* i ' _5 O oo Cs o p oo ca o o oo o o o co c A! 178 THE LETTER-PRESS PRINTER. THE NUMBER OF LINES CONTAINING A THOUSAND ENS. In any body of type, from Pica to Nonpareil, and f 10 to 40 Pica ems in width. PICA EMS NUMBER OF LINES CONTAINING A THOUSAND LETTERS. IN WIDTH. Pica. Small Pica. Long Primer. Bourg. Brevier. Minion Nonp. 10 50 43 40 36 32 29 25 11 45 40 36 32 29 27 23 12 42 36 32 29 27 24 21 13 38 33 30 27 25 23 19 14 36 31 29 25 23 21 18 15 33 29 29 23 2 20 17 16 31 27 25 22 20 19 16 17 29 20 23 21 19 17 15 18 28 24 22 20 18 16 14 19 26 23 21 19 17 15 13 20 25 22 20 18 16 15 13 21 24 21 19 17 15 14 12 22 23 20 18 16 15 13 12 23 22 19 17 15 14 13 11 24 21 18 17 15 13 12 10 25 20 17 16 14 13 12 10 26 19 17 15 14 12 11 10 27 19 16 15 13 12 11 9 28 18 15 14 12 12 11 9 29 17 15 14 12 11 10 9 30 17 14 13 12 11 10 8 31 16 14 13 11 10 10 8 32 16 14 12 11 10 9 8 33 15 13 12 11 10 9 8 34 15 13 12 10 9 9 7 35 14 12 11 10 9 8 7 36 14 12 11 10 9 8 7 37 14 12 11 10 9 8 7 38 13 11 10 9 9 8 7 39 13 11 10 9 8 8 6 40 12 11 10 9 8 7 6 PRICES OF JOBS. 179 PRICES OF JOB PRINTING. The following prices are given simply as a guide. They are the lowest charges that ought to be made, even where printing offices are furnished with every facility for executing cheap printing. Posters. 50 100 200 Per 100 after, Double Royal ... 8s. 6d. 13s. Gd. 19s. Gd. Gs. Gd. Double Demy ..,76 11 6 17 56 Double Crown ...60 96 14 46 if in coloured ink Double Royal and Double Demj r , 2s. to 3s. Cd. per 100 extra. Double Crown, Is. to 2s. Cd. per 100 extra. If in two colours 25 to 50 per cent, extra. Posting and other Mils. Royal broadsides ... 6 86 126 40 folio ... 46 66 96 30 quarto ... 36 46 66 20 Demj broadsides ... 50 76 110 36 folio ... 40 56 80 26 quarto ... 30 40 56 16 Crown broadsides... 40 6G 10 36 folio ... 30 46 70 23 quarto ... 26 30 46 16 Sale Bills and others containing an extra quantity of matter will stand ft charge of at least 25 per cent, more than the above prices. Hand Bills on common paper. 1000 2000 5000 Per 1000 after. Crown Svo. ... 4 6 66 12 6 16 Demy Svo. ... 5 6 80 15 6 20 Circulars on writing paper, Jiy leaf. 50 100 200 Per 100 after. Large post quarto... 4 6 6 6 10 6 4 Svo ... 3 4 6 6 2 6 Small post quarto... 3 6 5 8 6 3 6 Svo ... 2 6 3 6 5 6 2 Memoran ditms. Large post Svo 1 6 2 3 1 Billheads Foolscap. 6mo 1 6 2 3 1 4to 2 3 4 6 1 6 Two-thirds of long fol.2 6 4 6 2 Large Post Svo. ... 1 6 2 3 1 C'ommon Cards 50 100 200 500 1000 $1000 after. Small ... 1/6 2/0 3/0 5/0 9/0 8/0 Large ... 2/0 2/6 3/6 G/6 12/0 10/6 180 THE LETTER-PRESS PRINTER. - i CORRECTED FOR PRESS. ^A^S^Sy^ fco which Give, had been _,,- v appointed, was, at this time, perhaps, 6V the first in importance of the^oni- '^ .'.. pany's settlements^ ^Cln tEe prececimg centary^/Fort Saint George had arisen on a ^^t/TJar^erP beaten by a raging surf/and in the neighbourhood a town, inhabited ^-maray. thousands of natives, had sprung up, as -fcfeey- spring up in the East, with the rapidity of the prophet's gourd. " Th^e were already in the sub^ r ^ s ^ / ^/ by its garden^ whither the agents of many white viilas^ach sufroitnded ^ jby its garden^ whither the agents of / the Company retired, after the labours of the desla to enjoy the cool breeze which springs up at sunsetffrom the y 6y Bay of Bengal^ The habits of these mercapile grandees appear to have been/more profuse, luxurjjis, and ^ ostentatious than those of the high judicial and political fimctioanries fa have succeeded then^ /Lord /-< by LORD MACAULAY. CORRECTED PAGE. 181 READV FOR PRESS. " MADRAS, to which CLIVE had been appointed, was, at this time, perhaps, the first in importance of the Company's settlements. In the preceding century, Fort St. George had arisen on a barren spot beaten by a raging surf ; and in the neigh- bourhood a town, inhabited by many thousands of natives, had sprung up, as towns spring up in the East, with the rapidity of the prophet's gourd. " There were already in the suburbs many white villas (each surrounded by its garden), whither the agents of the Company retired, after the labours of the desk and the warehouse, to enjoy the cool breeze which springs up at sunset from the Bay of Bengal. The habits of these mercantile grandees appear to have been more profuse, luxurious, and ostentatious than those of the high judicial and political functionaries who have succeeded them." Lord Clive, by LORD M ACAULAY. _-. 182 THE LETTER-PRESS PRINTER. ACCENTS. The accented letters are Acute a e i 6 u Grave a e i 6 it Circumflex ... & 3 i 6 ft Diuresis a e I o u Long a e i o u Short a 2 i 6 u French 9, Spanish n, Welsh w and $. SIGNS. The following are a few of the most common signs tb, Pound weight. #, Per, each. @, at, or to. , Pound sterling, pound L /, Solidus, shilling mark. */ c , Account. / , Per cent. -f Plus, Addition. Minus, or less, Subtraction = Equal. X Multiplication. Division. Degree. ' Minute. Comma Semicolon Colon Full-point POINTS, &c. ' Apostrophe - Hyphen ! Admiration ? Interrogation & Short " and " ( ) Parentheses [] Brackets &F Fist ODD SORTS. Superior letters and figures are those which stand at the top of the type, thus % b , % d , \ 2 , 3 , 4 . Inferiors stand at the bottom, thus a, b? o a? i> 2? s? 4* Fractions are cast as single types , , f ; or as half-types, called split fractions : T , 2 ? 9 3 j. METAL RULES. En - Em 2-em 3-em 4-em 2-em 3-em BRACES. 4-em ,~^ Superior r- -* LENGTHS AND WIDTHS OP PAGES. 183 LENGTHS AND WIDTHS OF PAGES FOR ORDINARY BOOK- WORK, With the number of Ens contained in each page, from Pica to Nonpareil inclusive. 1 5 SIZE. g P o a 'o 1 S o 1 a a ? PH 1* S & o PQ 2 PQ ^ & o & Picas. F'cctp. Ens. Ens. Ens. Ens. Ens. Ens. Ens. 41 30 4to. 2460 3243 3825 4988 5796 6900 9840 o2 18 8vo. 1152 1517 1800 2346 2695 3180 4608 28 15 12mo. 840 1088 1295 1680 1978 2350 3360 19 15 16mo. 570 748 888 1134 1334 1600 2280 21 12 18mo. 504 672 780 1020 1184 1400 2016 Crown. 48 34 4to. 3264 4290 5040 6693 7696 9120 13056 36 21 8vo. 1512 1968 2340 3060 3520 4200 6048 32 16 12 mo. 1024 1369 1600 2116 2401 2809 4096 23 16 IGmo. 736 962 1160 1518 1715 2014 2944 23 15 18mo. 690 884 1073 1419 1610 1900 2760 Demy. 54 42 4to. 4536 6014 6968 9240 10707 12600 18144 42 24 8vo. 2016 2640 3120 4080 4810 5600 8064 36 19 12mo. 1368 1804 2115 2754 3190 3780 5472 26 20 16mo. 1040 1380 1600 2109 2440 2838 4160 28 16 18mo. 896 1184 1400 1840 2107 2491 3584 21 12 02mo. 504 672 780 1020 1184 1400 2016 Royal. 64 48 4to. 6144 8140 9401 12604 14652 17120 24576 48 27 8vo. 2592 3410 4020 5313 6142 7290 10368 40 21 12mo. 1680 2208 2600 3420 3968 4690 6720 29 21 16mo. 1218 1584 1872 2520 2880 3430 4872 32 18 18mo. 1153 1517 1800 2346 2695 3180 4608 24 14 32mo. 672 896 1050 1360 1591 1880 2688 The above figures are subject to the slight variations in founts from different foundries. 184 THE LETTER-PRESS PRINTER, TABLES OF SIGNATURES AND FOLIOS. No. Sigs. Folio. 4to. Svo. $ Sheet Svo. 12mo. Sheet 12mo. 16mo. ISmo. 1 B 1 1 1 1 1 1 1 B 1 9 C 5 9 17 9 25 13 33 C 37 3 D 1) 17 33 17 49 25 65 D 73 4 E 13 25 49 25 73 37 97 E 109 5 F 17 33 65 33 97 49 129 F 145 6 G 21 41 81 41 121 61 161 G 181 7 II 25 4-9 97 49 145 73 193 H 217 8 I 2!) 57 113 57 169 85 225 I 253 9 K 33 65 129 65 193 97 257 K 289 10 L 37 73 145 73 217 109 289 L 325 11 M 41 81 161 81 241 121 321 M 861 12 N 45 89 177 09 265 1 33 353 N 397 13 49 97 11V3 97 289 145 385 433 14 F 53 105 209 105 313 157 417 P 469 15 Q 57 113 225 113 337 169 449 Q 505 16 K 61 121 241 121 361 181 481 K 541 17 S 05 129 257 129 385 193 513 S 577 18 T 61) 137 273 137 409 205 545 T 613 19 U 73 145 289 145 433 217 577 U 649 20 X 77 153 305 153 457 229 609 X (585 21 Y 81 161 321 161 481 241 641 Y 721 22 Z 85 169 337 169 505 253 673 Z 757 23 2 A 89 177 353 177 529 265 705 -4ino. 21 2B 93 185 3G9 185 553 277 737 B 1 25 2C 97 193 385 193 577 289 769 C 49 26 2D 101 201 401 201 601 301 801 D 97 27 2E 105 209 417 209 625 313 833 E 145 28 2F 109 217 433 217 649 325 865 F 193 29 2G 113 225 449 225 673 337 897 G 241 30 L'H J17 233 405 233 697 349 929 H 280 3i 21 121 241 481 241 721 361 961 I 337 >2 2K 125 249 497 249 745 373 993 K 385 M3 2L 1 29 257 513 257 769 385 1025 L 433 34 2M 133 2G5 529 265 793 397 1057 M 481 35 2N 137 273 545 273 817 409 1089 N 529 30 20 141 281 561 281 841 421 1121 O 577 COST OF PAPElt. 185 TABLE SHOWING COST OF PAPER PER 100. PRICE PER REAM 57- 67- 77- 8/- 97- 107- 117- Sizes s d. s d *. d. s. d. v. d. f. d. . d. 0? 1 H U 14 lj[- 12- i 2 mo I' I 1 J^ 1 :i 2 9 ^ 24 8vo o if 3j 2 4 2$ 44 24 5*1- 3 G 31 G$ 3] 7- ; -' Third.... Half -sheet Sheet 4i o 7-; i i o 51 8 1 3J 6" 9 1 G 7 10i 1 9" 8 llf t Hi 8j 1 1 2 2 D^ PRICE PER REAM 127- 13/- 147- 157- ie/- 177- 187- Si/cs. s. d. s. d. *. (L *. d. s. d. . d. ! ICmo 2 2 'Jj 2^ 2-J 23. 3 2-J 2f 3 3-j- 3.i 32- 4 8vo 4to. 4 7- : | o 4 8^ 4^ 9" 5 9 : r 5 5-J 10| oj ll" G 112 Third.... Half-sheet Sheet . . . 104 1 34 2 7-3 llj i r> 2 10 1 3 1 I' 1 71 3 3 1 2 1 9 3 54 i io 4 3 8 13 3 11" TABLE SHOWING COST OF PAPER PER 1000. PRICE PER REAM 5/- 6/- 77- 8/- 97- 107- IV- Sizes. IGmo 12mo 8vo 4to . ... s. d. 8 11 1 4i 2 8-j . d. 9J 1 1 1 7j 3 3 . d. HJ 1 3 1 103 3 9^- s. d. 1 1 2 8* 4 4 *. d. i 23 1 7^ 2 5 4 104 s. d. 1 41 1 9-| ? ^ 5 o 8. d. 1 6 2 2 1H 5 111 Third.... Half-sheet Sheet . . . 3 ?i 5 5" 1.0 10 4 4 G G 13 5 r 7 7 15 2 5 9J 8 8 17 4 6 (f 9 9 19 G 7 3 10 10 21 8 7 1H 11 11 23 10 PRICE PER REAM 12/- 13/- 147- 15/- 16/- 17/- 18/- Sizes. 16mo 12nio... . . 8vo 4to *. ( J. 1 "7J 2 2 3 3 6 G *. d. 1 9 2 4 3 6^ 7 04 #. d. 1 10J 2 6i 3 9J 7 7 s. d. 2 OJ 2 8^ * Of 8 H 8. d. 2 2 2 lOf 4 4 8 3 *. d. 2 3J 3 1 4: 1\ 9 2| s. d. 2 <4 3 3 4 10*' 9 9" Third.... Half-sheet Sheet 8 8 13 26 9 5" 14 1 28 2 10 2 15 2 30 4 10 10" 16 3 32 6 11 7 17 4 34 8 12 34 18 5^ 36 10 13 19 6 39 186 TIIE LETTER-PRESS PRINTER. NUMBER OF CARDS CONTAINED IN A ROYAL CARD. Thirds 06 Broad Thirds 80 Small 50 Large 32 Double Small 25 Double Large 16 Quad. Small 12 Quad, Large 8 SIZES OF TEA AND TOBACCO PAPERS. Tea : 1 lb. Foolscap. j lb. Crown folio. ,, lb. Demy 4to. 2 os. Dy. 6to, or Cr. 4to 1 oz. Demy 9mo. Tobacco : { lb. Crown 4to. 2 oz. Crown 6to. ., 1 oz. Crown 9 mo. J oz. Crown 12mo, NUMBER OF LEADS IN A POUND. Lengths p 4 ^ 6 to Pica. 8 to Pica. Lengths fito Pica. 8 to Pica. 4 ems 144 216 288 26 ems 22 33 44 5 ems 112 168 224 27 ems 21 SI 42 6 ems 1)6 144 192 28 ems 20 30 40 7 ems 82 123 164 29 ems 20 30 40 8 ems 72 108 144 30 ems 19 29 38 9 ems 64 96 128 31 ems 19 28 38 10 ems 56 84 112 32 ems 18 27 36 11 ems 52 78 104 33 ems 17 26 34 12 ems 48 72 96 34 ems 17 25 34 13 ems 44 66 88 35 ems 16 24 32 14 cms 41 61 82 36 ems 16 24 32 15 ems 38 57 76 37 ems 15 23 30 16 ems 36 54 72 38 ems 15 22 30 17 ems 84 51 68 39 ems 15 22 30 18 ems 32 48 64 40 ems 14 21 28 19 ems 30 45 (50 41 ems 14 21 28 20 ems 28 42 56 42 ems 14 21 28 21 ems 27 40 54 43 ems 13 20 26 22 ems 26 159 52 44 ems 13 19 26 23 ems 25 37 50 45 ems 13 19 26 24 ems 24 36 48 46 ems 12 18 24 25 ems 23 34 46 47 ems 12 18 24 USEFUL RECEIPTS. 187 USEFUL RECEIPTS, &c. Setting Short Measures. Say the measure is two ems brevier. Make up the stick to ten ems, drop in two four-em quads of its own body in the end of the stick farthest from you, justify up to them, and go on filling the stick; when it is full, empty it and remove the quads. To Make Lye. Use one pound of pearlash to three quarts of water, or one pound of potash to five quarts of water. <: Chaostype " and " Selenotype " is said to be quite simple, and consists of pouring quickly but not continu- ously, melted metal into a cold stereo casting -box in which the shape required has previously been ar- ranged, with the help of core bars, or the whole box can be filled and and cut to sizes afterwards. We are informed that is the sole mystery, but the various " chaotic" patterns are the result of practice in dropping in the metal. Dryer for Printing Ink. Mix 6 oz. of balsam of copaiba with one quart of spirits of turpentine; add a little to the printing ink when necessary. This dryer will make the ink work freely, and, in addition,will brighten the colour. A Recipe for Gumming. Dissolve a pound of good gum arabic in three pints of cold water. Then add a tablespoonf ul of glycerine and two ounces of honey. Strain the mix- ture through flannel. The glycerine prevents the gummed labels crack- ing and curling up when dry. A sponge is the right thing to use not a brush. If the mixture is to stand any time, a few drops of sulphuric acid will prevent its turn- ing mouldy or losing strength. To Take Creases out of drawing paper or engravings, lay the paper or engraving face downward, on a sheet of smooth , unsized , white paper ; cover it with another sheet of the same/very slightly damped, and iron with a moderately warm flat-iron. Set-off Paper. A capital one may be made by lightly rubbing with glycerine, or saturating the paper with benzine. These are preferable both to oil and paraffin \vax. To Make, Postal Tubes. The tubes now so largely used are made by roll- in g a sheet of paper selected-cartridge or stout rope-brown-on a cylinder of wood of the required length and diameter of inside required. If you want a tube two feet long cut the paper to that width, and about a yard in length; paste the sheet evenly all over, and then proceed to roll tightly on the wooden cylinder. In about an hour the tube will be dry, and the cylinder may be pushed out. Composition for Mounting Plates.- The following is recommended for fixing electros on wood, etc. Com- mon joiners' glue is dissolved to a consistency of syrup, and pure wood- ashes are added under constant stirring until the mixture has the appearance of varnish. The adhe- sive power of this composition is said to be very great, the addition of the ashes preventing the electros from parting from the wood even when washed with lye. Anotlier Method. A. good mastic for fixing stereotype plates on wood or metal is obtained by dissolving ordinary cobblers' wax until it is about the thickness of a syrup, and then stirring in a sufficient quantity of wood-ash to make it into a kind of varnish. How to preserve Electrotypes. When electrotypes are out of use and require to be stored, they should be kept in a dry place, and the sur- face of the plates should be oiled to prevent verdigris. When they become clogged with hard, dry ink, which the pick brush and turps fail to remove, they may be cleaned and made equal to new in a few minutes by covering their surface with a little creosote, and afterwards brushing the surface with turps. 188 THE LETTER-PRESS PRINTER. Proportion of Antimony for Stereo Metal. About J-J per cent. -of anti- mony is sufficient to mix with lead for stereo metal, and will make it quite haul enough without the addition of tin. Ticket Writers' Ink. Dissolve gum arable in common ink to the con- sistence of ordinary office gum, then add one ounce of powdered lump sugar to a pint of the mixture, and use with a brush. Indian ink will carry a gloss if mixed in manner as above. If colours are required, mix with weak glue the following with a bone knife on a plate or piece of glass, and add gum to the consist- ency mentioned above : Yellow ink --chrome or gam boge; red v ermil ion or Venetian red ; crimson lake ; blue ultramarine ; green emerald or Navy Brunswick; brown umber, vandyke, or purple brown ; purple indigo and lake. To Perfume a Job. Get a few quires of blotting paper and sprinkle the sheets with the perfume desired, then put the blotting under a weight until it becomes dry. When dry, put circulars, programmes, &c., between the sheets, and place them under a weight for a few hours. When removing them, they will be found parfumed. The blotting, if kept from the air, may be utilized many time?, and if placed in a writ- ing desk, will impart the odour to its contents. They can be made to retain their perfume for a long time by keeping them free from exposure to air. Composition for Bronze Work is a mixture of chrome yellow aud varnish. The chrome is well ground with a muller into the varnish. This gives the bronze, especially gold, a fuller tint than if the plain varnish only is used. It answers equally well for copper, citron, or emerald bronze. To give silver bronze a deep appear- ance ordinary dark blue ink may be used. To Render Pencil Notes Indelible. Pencil notes found in a book, or placed there as annotations, may be rendered indelible by washing them with a sponge dipped in warm veil um sizo or milk. To Clean Brass Rules. When verdigris gathers on the face of brass rule, and it won't print sharp, take a little diluted oxalic acid and wash the face never scrape with a knife. Copyright. The term of copyright in any book published in the lifetime of the author shall endure for the natural life of such author, and for the further term of seven years, com- mencing at the time of his death; provided that, if the said term, of seven years shall expire before the end cf forty-two years from the first publication of the book,the copy right shall endure for forty-two years. The copyright in any book published after the death of its author shall endure for the term of forty-two years from the first publication thereof, and shall be the property of the proprietor of the author's manu- script from which it shall be first published. ABBREVIATIONS. 189 COMMON ABBREVIATIONS OF WORDS. altho', although. th', the. can't, can not. that's, that is. couldn't, could not. there's, there is. don't, does not, do not. they'd, they had,they would. d'ye, do you. they're, they are. J em, them. they've, they have. e'en, even. tho', though. e'er, ever. thou'dst, 'thou wouldst* hadn't, had not. thou'lt, thou wilt. haven't, have not. thou'rt, thou art. he'd, he had, he would. thou'st thou wast. here's, here is. thro', through. in't, in it. 'tis, it is. I'd, I had, I would. t'other, the other. I'll, I will. 'twas, it was. I'm,' I am. 'twere, it were. isn't, is not. 'twill, it will. i'the, in the. upon't, upon it. it's, it is. wasn't, was not. I've, I have. was't, was it. let'em, let them. we'd, we had, we would. let's, let us we're, we are. mayn't, may not. wer'n't, we are not. mightn't, might not. we've, we have. ne'er, never. what's, what is. o'er, over. where's, where is. on't, of it, on it. who's, who is. o'th', of the, on the. won't, will not. oughtn't, ought not. wouldn't, would not. shan't shall not. you'd, you had, you would she's, she is. you're, you are. shouldn't, should not. you've, you have. NUMBER OF PAGES IN A GIVEN NUMBER OF QUIRES. 1 Quire equal to 90 pages. 2 , 192 288 364 480 576 7 Quires equal to 672 pages 8 7G8 9 10 11 12 8G4 900 105G 1152 Just Published, Handsomely Bound in Cloth, gift back and sid< Price 2s. 6d., Stiff Covers, Is. 6d., THE GAME OP DRAUGHTS. CRITICAL POSITIONS, AND GAMES. CONTAINING SECTIONS BY Dr. Brown, Messrs. Drinkwatcr, Fred. Allen, F, Dunne, Kear, Hedley Robertson, Gourlay, Smith, Leggett, Gilbert, Richards, Whitney, nnc Wyllie, with Special Contributor by Messrs. McCall, Parker, WillU Gardner, Ritchie, &c. ; Selections from the Works of the Best Authors aitf Composers, and NOTES ON THE POSITIONS, BY JOSEPH GOULD TO WHICH IS ADDED ^ .A. IR IE 3 IE ^T ID I OF COKBECTIONS AND IMPROVEMENTS, BY MB. J. RICHARDS, PENZANC E. MARLBOROUGH & Co , 51, OLD BAILEY, LONDON. MIDDLESBROUGH : J. GOULD, PRINTER, 24, SOUTH STREET. This Work contains the masterpieces of the greatest players, analysts, and authors, is full of astounding and interesting situations, the most scientific and polished play, and the grandest conceptions of the noted experts of the present and past times. Beyond comparison the most wonderful work ever published on the Game, as well as the cheapest. "The Game of Draughts" is recommended by all the Draughts Editors as the finest work ever published in this country. *sy~ May be obtained through any bookseller from the London Publishers; or will be sent, post free, for Is. 8d. or 2s. 6d., by Jos. GOULD, 24, South Street, Middlesbrough. Order at once ! THE MOST INSTRUCTIVE BOOKS EVER PUBLISHED. Strickland's British Draught Player. (PUBLISHED AT 6d. EACH.) THE ABOVE ADMIRABLE SERIES CONSISTING OP 1. OLD FOURTEENTH. I 3. AYRSHIRE LASSIE. 2. SINGLE CORNER. | 4. LAIRD AND LADY. Can now be obtained at 2Jd each, or the series for 8d, from J. GOULD, 24, SOUTH" STREET, MIDDLESBROUGH. These works give the moves to avoid and the moves to make in the various games, and show the reason why. They are the best books for learners ever issued. Now Ready , handsomely bound. Cloth, gilt lack and side, price 2/6 THE GAME OF DRAUGHTS. THE MOST IMPORTANT MATCHES FROM ANDERSON-WYLLIE TO THE PRESENT TIME. TOGETHER WITH REMARKABLE QAMES, BY MR. J. A. REAR. WITH HISTORICAL, BIOGRAPHICAL, AND CRITICAL NOTES, BY JOSEPH GOULD. AND AN AMERICAN SECTION OF MATCHES AND MISCELLANEOUS GAMES, BY MR. CHARLES HEFTER, CHICAGO. E. MARLBOBOUGH AND CO., 61, OLD BAILEY, LONDON- MIDDLESBROUGH : J. GOULD, PRINTER, 24, SOUTH STREET. This work contains over 1400 Games and is a collection of the finest play of the Great Players on EVERY OPENING, interspersed with numerous interesting Notes. There are about SIXTY MEMORABLE MATCHES, including- The Great Match between Wyllie and Martins, 1867, which was played under the following conditions: 1st. Each player was bound to make every opening that could be made. 2nd. Each player to move 11-15, and the second player to make every reply that could be made. 3rd. Each player to play every opening in " Anderson's Second Edition." 72 games. Their Great Match in 1872, of 72 games, 36 restricted and 36 unrestricted. Their Great "Switcher" Match, to decide the question " Could a draw be shown after 29-25 was played ? " The play in this Match is the finest that has ever been published. Mc'Kerrow's Commentary on his Great Match with Martins, in which he gives the draws, and then shows how the games were played and lost. The Great Match between Yates and Wyllie, by which the wonderful youth gained the title of " Champion of the World." The " Remarkable Games" are indeed remarkable, being a collection that stands unequalled for scientific and polished play. The Miscellaneous Games are selected to show wonderful wins and draws, startling strokes of every discription, and are intended to afford instruction to all classes of players. Amongst the contributions of Mr. C. Hefter, Chicago, will be found play that corrects years of analysis and hundreds of variations, the Great American Matches, &c.,