a. 
 
SO:\[E PRESS NOTICES ON ''PRINTING." 
 
 At/it'u.rinii. — " yir. Jatdlii Ims iinnhu-eil a tliiid edition of 'Priiitiiif;,' wiiicli is 
 skilfully ri'vised aiiil t-iilartred. We may anain (nniineiKl tliis valuable 
 iiaiiillmnk liy an expert, as tliomuuhly luactieal. Sixteen samples of various 
 qualities of pajier are iHnmd in al the end of the book, anil there is some 
 salutary information as to tlie quality of the 'art' i)apers which are used to 
 ]»rint ]»roeess Idoeks." 
 
 ftiilish I'riiitrr. "The edition is revised rmdenlarued. some ino ])p. of additional 
 ma tterlieinu included. Kxa mi nation jtapers for theCity and (Juilds Institute 
 and the last three examinations for clerks in JI..M. Stationery Office are 
 p;iven. A furtin-r ext'ellent feature of this liook is ilie attention jiaid to the 
 subject of jiaper; tlie sami>les embodied should )iro\e exceedinu nsi'fnl to 
 students. Kxaminers have ajiain severely connuente<l mi the lack of know- 
 led;ie shown by stmlents ((ffering themselves f<ir examination, in tlie import- 
 ant <|nestion of )>aper." 
 
 Thr S/ii'(tki'r.~" A jtraeticil treatise of more than common value. . . . This i.s a 
 thoron<'h, conci.se, and iutelliyible book, written with obvious ma.stery of 
 all details of the subject.' 
 
 Sfitunla^i lt('vicir.— "y\r. .Facobi goes into tlie minutest particulars . . . contains 
 a large amount of information whirii will jtrove interestinj;; to anyone who 
 h.as ever had occasion to look into a printed book or news]taper."' 
 
 Spectator. — "The ignorant reader may gain considerable information as to the 
 machinery ami working of the art." 
 
 LIfrrarif irri/7(/. ".lust what it i)retends to be— a practical treatise for practical 
 |)rinters ... a niasterly handbook." 
 
 //i(?('.>>7//c.s-." .Many books have been published on the art of printing . . . the 
 
 book before us, however, is more concise and complete than any of them '' 
 Tlie Sci'tsinan. — ".\ thoroughly practical mainial, writtenby one who knows what 
 
 he is writing about. It has already been very favourably received. This 
 
 edition has been enlarged and revised." 
 Printers' Itrcjixter. — "There is nnich about it which plea.ses us. ... It is well 
 
 printed and well illustrated. . . . He has written tersely and to the point." 
 
 The Stationer. — "A wonderfully complete book, going into full explanations a.s 
 to almost everything." 
 
 Stationery and Booksellinrf. — " Written as it is by one of the best authorities on 
 the subject— the manager of the Chiswick l*re.ss -is a thoroughly practical 
 treatise on the art of typography." 
 
 British Bookmaker. — ''The author, as manager of the Chiswick Press for many 
 years past, is entitled to sjieak with authority. ' 
 
 Glasfjoir //«';•(?/(/.- "This remarkably comjilete treatise covers the whole art of 
 luinting. with sjieciil refcrenct' to bookwork, from the casting of the type 
 to the last stage of i»iddmtion The most comjietent of craftsmen can 
 ))eruse the work with benefit, while the apprentice or student will find it a 
 veritable cyclo])aeilia of the art." 
 
 South London /Ov-.s-s-. — " Mr. .Jacobi is well qualified to write upon the art of 
 printing, ami his treatise jiossesses the merit of being interesting and in- 
 structive." 
 
 I'rintinif Tinirs and Lithoijraidier. — '' It deals with the subject in an exhaustive 
 and succimt manner. . . . We wish it all the success it deserves in its efforts 
 on behalf of technological education." 
 
 llazell's Mariazine.--" It has been carefully compiled, and in this respect is more 
 reliable, and ci'itaiidy more i)ortable than .some other attempts in this direc- 
 tion. . . . We can unhesitatingly reconnnend the young student to add the 
 liook to his technical library." 
 
 British atid Cuhmial Printer.- " This is a new edition of the author's well-known 
 
 handl k on the art of typography as applied more particularly to the 
 
 luinting of liooks. It is brought thoroughly u]) to date. . . . 'J'lie various 
 sami)les of ])aper, with the detailed information that are indmled in the 
 
 1 _k should lielji tlie stuileiit to a much greater knowledge of this particular 
 
 subject. The wnrk is profusely illu: tr.ited with diagrams and illustrations 
 of printing jilaiit and machinery." 
 
PRINTING 
 
B V THE SAME A UTHOR 
 
 PRINTING. A Practical Treatise on the Art of Typo- 
 graphy as applied more particularly to the Printing of Books. 
 NVitli upwards of i8o Illustrations, and a Glossarial Index of 
 Technical Terms and Phrases. Sixth (revised and enlarged) 
 Edition. Crown 8vo, cloth, price \os. td. net. 
 
 THE PRINTERS' HANDBOOK of Trade Recipes, 
 Hints, and Suggestions relating to Letterpress and Lithographic 
 Printing, Bookbinding, Stationery, Engraving, etc. With many 
 useful I'ables and an Index. Third Edition, Enlarged and 
 Classified. Crown 8vo, cloth, price ^s. net. \Oiit of print. 
 
 THE PRINTERS' VOCABULARY. A Collection 
 
 of some 2,500 Technical Terms, Phrases, Abbreviations, and 
 other Expressions, mostly relating to Letterpress Printing. 
 Useful book for Authors and Publishers. Crown 8vo, cloth, 
 price 35. dd. \O71t of print. 
 
 ON THE MAKING AND ISSUING OF BOOKS. 
 
 Fcap. Bvo, price 25. ()d. net. \Oiit of print. 
 
 THE PRINTING OF MODERN BOOKS. A Paper 
 
 read before the Bibliographical Society. Pott 8vo, sewed. 
 
 [Reprinted for presentation. 
 
 SOME NOTES ON BOOKS AND PRINTING. 
 
 A Guide for Autliors, Publishers, and Others. This work is an 
 amplification of " On the Making and Issuing of Books." Demy 
 8vo, cloth boards. Folkth (revised) Edition. Price 6s. net. 
 
 GESTA TYPOGRAPIIICA ; or, A Medley for Printers 
 and Others. Fcap. 8vo, rubricated throughout, price 3.?. 6d. net. 
 
 A FEW SUGGESTIONS OF PLAIN LETTERINGS 
 
 FOR ARTISTS AND OTHERS. Some type models of 
 capital letters adapted for designers, etc. Second Edition. 
 Imperial i6mo, sewed, price is. net. 
 
 N^.B. — Ihese vohtmes, zvhcre in print, are to be obtained 
 through most booksellers or are supplied on receipt of postal 
 order., ivith sixpence extra for postage, by the Author 
 at the Chisioick Press, 20, Tooks Court, Chancery Lane. 
 Pondon, E. C./^. 
 
PRINTING 
 
 A rRACTICAL TREATISE ON THE ART OF 
 TYPOGRAPHY AS APPLIED MORE PAR- 
 TICULARLY TO THE PRINTING OF BOOKS 
 
 BY 
 
 CHARLES THOMAS JACOBI 
 
 DIKECTOR OF TlIK ClIISWICK PRESS, FOUMER 
 
 EXAMINER IN TYPOGRAPHY TO THE CITY AND 
 
 GUILDS OF LONDON INSTITUTE, ETC. 
 
 SIXTH EDITION 
 
 (REVISED AND ENLAllGED) 
 
 LONDON: G. BELL AND SONS, LTD. 
 
 VOKK li(.)lSE, rullTLGALST. UNCOLNS INN 
 
 li)L) 
 
Ai 
 
 ^z. 
 
 iondon: printed uy the althok at the CHISWICK ikess 
 tooks coukt, chancery lane 
 
iNOTE TO THK SIXTH KDITION 
 
 ONCE more it is iieeossary to state that for the new 
 edition this volume has again been verbally corrected 
 in various places and that certain sections, particularly those 
 relating to Composing Machines, Motive Power, and to 
 Printing Machinery, have been revised and brought up to 
 date. It also includes an additional chapter (xxxvi) on 
 "Methods of Book-illustration." 
 
 The various Examination Papers which were set for the 
 years 1909 to 1919 are given, but it will be noticed that there 
 has been no Examination held for H.M. Stationery Office 
 since 1914, owing to the war. Now that peace has been de- 
 clared i)robably another will be announced in the near 
 future. As regards that of the City and Guilds of London 
 Institute it has been officially stated that next year there 
 \\\\\ lie no Examination for Grade 1 in England and Wales, 
 but the Syllabus generally will still hold good. 
 
 The diflierent examples of Paper have been given as 
 usual, but owning to the prevailing high cost of this neces- 
 sary commodity no prices are quoted, as it is expected 
 that the present prices will not be maintained. 
 
 The author again begs to- express his best thanks for 
 the loan of many blocks and for much information readily 
 aft'orded by many friends, too numerous to specify, but 
 whose names will be obvious by reference to the text and to 
 some of the illustrations contained in this work. 
 
 C. T. J. 
 
 November 1919. 
 
 M 31)49 
 
CONTENTS 
 
 l.ls r UF 1 1. LISTIIATIONS XV 
 
 I.NTKODUCTION x^i 
 
 TYPEFOUNDING AND TYPE BODIES 
 
 ('iiAi'iKi; I. Letterpress Printing deHned — The Production 
 of Type: the Punch, Matrix, and Moulds for Hand and 
 Machine Casting — The Potary Type-casting Macliine — 
 Component Parts of Metal — Selection of Founts of Type 
 for Wearing Properties and Good Ai)pearance — List of 
 Letters which constitute a Foimt — Fractions, Accents, 
 and Signs — Varieties of Old Face, Old Style, and Modern 
 Faces — Italic — Black-letter Founts — Some Jobbing 
 Founts — Distinctive Parts of a Letter — Classification of 
 Letters— The Bodies of Types in Depth — Sizes of Types — 
 Belation of Types to each other in Body — Spaces and 
 Quadrats — Measurements of Type Bodies sho>vn at a 
 glance— The Point System with Standard Line and Unit 
 Set Types .......... 1-35 
 
 COMPOSITION AND DISTRIBUTION 
 
 (iiAiTEK 11. Materials, Tools, and Appliances used — \'a- 
 rieties of Frames and Cases — Dill'crent kinds of Com- 
 posing Sticks, Setting Pule, and Cialleys— Leads — Brass 
 Rules of Plain and Fancy Character — Furniture, Wooden 
 and Metal -(^)uoins— Patent Locking-up Apparatus — 
 Mallet, rianer, and Shooting Sticks— Chases, Lnposing 
 Surfaces, Forme and Letter- P>oard Backs — (Jalley Proof 
 Presses — Bale and Lead Cutter — Bodkin, Tweezers, and 
 Shears .......... o(J-OU 
 
 ix 
 
PRINTING 
 
 l'\(;i. 
 
 CiiAi'TKi; HI. Position and Aspects of a Composing Itooni, 
 with Plan — Learnin<:f the 13oxes — Lays of Book and NeAvs 
 Cases— Reversed Print— Attitude in Composing— Spacing . 
 and Justifying — Composition — Making Measures — Rules 
 for Spacing— ?]mptying the Stick — Punctuation, Capi- 
 talization, and Indentations — Chapter Heads . . . 70-83 
 
 ( 'iiAi'i'i:i; I\'. I'repari)ig Type for Distribution — Method of 
 Distribution — Odd Sorts and Peculiars — The Jigger — 
 The Sticking or Caking together of Type . . . 8-1-87 
 
 CiiArTEK V. Making-up into Pages^Difierent Styles of 
 Headlines — Determining the Length of Page — Page 
 Gauges — Footnotes, Sidenotes, and Cut-in notes, with 
 their Reference Marks — Rules for the Setting of Pre- 
 liminary and Appentlix Matter — The Printer's Im[)rint — 
 Tying-up Pages — Signatures ...... 88-93 
 
 Chapter VI. Imposition — Outer and Inner Formes — De- 
 hnitions of Sizes of Books — Table of Signatures and 
 Folios — Schemes of Imposition — Margins of Books — Mak- 
 ing Margins — Type Measures or Scales — Furniture — The 
 l)roper method of using Quoins — Furniture Gauges . 94- 111* 
 
 Chapter VII. Locking-up Formes — Pulling the Proofs — 
 Making Corrections in the Metal — The Space Paper or 
 Box — Signs and Marks used by Readers in Correcting 
 Proofs — Clean Proofs — The Forme Carriage . . 113-11^ 
 
 Chapter VIII. Jobbing Work— The Character of Types 
 used — Wood Types and their Receptacles — To Preserve 
 Wood-letter and Cuts — Ornaments, Borders, and Brass 
 Rules — The Classihcation of Faces — The Adjustment of 
 Border Rules— Curved Work 119-124 
 
 Chapter IX. Colour Work— Selection of Suitable Types 
 for Rulnicated Lines — L'nderlaying for Different Colours 
 — Methods of making Skeleton Formes — Tint Blocks, 
 how they can be made 125-128 
 
 Chapiei^ X. Newspaper \\'ork — The Qualitications neces- 
 sary for News-hands — Making even — Composing Ma- 
 chines in the Market — The Linotype, Monotype, Typo- 
 graph, and 'I'horne . Machines dt'scril)cd . . . 12iM.")0 
 
CONTENTS xi 
 
 I'AliK 
 
 CiiAi'TEi; XL Classical and other Languages — The Cases 
 used for Greek, Hehrew, an<l (lernian, witli IMans of 
 Lays in general use — Kules for Coniposition in these 
 Languages — (Jerinan Handwriting .... L")l-I(i!) 
 
 Chapter XIL Type Music— Suggested Plan of Cases— Some 
 
 Si)eciniens of Music Founts wliich may he ohtained 170-172 
 
 CliAi'TKii XTTT. Tahle and Tahnhir Work— Definitions- 
 Composition — Pedigrees ...... 178-174 
 
 CnAPTKR XIV. Scale of l*rices as i)aid in London— Method 
 of Casting-up Value of Work — Lengths and Widths for 
 ordinary Book work — Nuniher of Lines per Thousand — 
 How to Cast-oil" Copy for Quantity — Equivalent of Leads 
 to Type Bodies — Comparative Sizes of Types — Number of 
 Words in a S(iuare Inch of various Types . . 175-184 
 
 READING 
 
 Chapter XV. Qualilications necessary for a Corrector of 
 the Press — llules for Guidance of the Composing and 
 Beading Departments — The Rudiments of Beading — 
 First- Proof Beading — Beading for Press — The Selection 
 of Beading Boys — Books showing Progress of Work in 
 hand — Beference Works for use .... 185-189 
 
 HAND-PRESS WORK 
 
 Chapter XVI. Dehnition of Press Work — Description of 
 Pres.ses used — The Stanhope, Columbian, and Albion 
 Presses — Instructions for erecting these Presses — Chill 
 of the Albion Press— Sizes of Presses determined by the 
 Platen "... 190-197 
 
 Chapter XVII. Ai>pliances, Tools, and Materials used in 
 connection with Hand-Presses — The Tympan and Frisket 
 — The Bank and Horse — Ink Tables — The Brayer and 
 Slice — Ink Knife and Sheep's-foot .... 198-203 
 
 Chapter XV II I. Boilers— Varieties of Hand Boilers used— 
 The old-fashioned Inking Ball--Becipes for IJoller Com- 
 position — Casting Boilers — ^'arious Hints as to Condition 
 and Treatment of KoUers 204-21;^ 
 
xii PRINTING 
 
 PAGE 
 
 ("iiAi'iKK Xl\. Inks — The Management of Inks — De- 
 seiii>ti()n of \aii<^u.s Kinds and Properties of Good Inks 
 for dill'erent Purposes — Kecipe for Jilaek Ink — Mixing 
 of Coloured Inks 214-217 1 
 
 ( iiAiTEi; XX. Printing by Hand-Presses — Method of cover- 
 ing Tympans — Fixing Forme on Press and Making-ready 
 — Cutting the Frisket out^-Obtaining Register — Fixing 
 the Points — Even Colour in Working off— Lubricating 
 the Press — Difficulties due to Change of Temi>erature^ 
 Set-oti-Slurring— The Cleansing of Type . . 218-229 
 
 Chapter XXI. Stereotype Work — Methods of Mounting 
 Plates for Printing — Varieties of Stereotype and Electro- 
 type Plates— Some Hints and Suggestions on Press Work 
 generally — Centring the Lay of a Sheet — Picks — Mode 
 of Payment for Press Work 230-23.") 
 
 ILLUSTRATED AND COLOUR WORK 
 
 CiiAl'TKH XXII. The Printing of Illustrated Work— Care 
 of Woodcuts— Cutting Overlays for Cut-Mork — The De- 
 grees of Work in a Cut — Process, Line, and Half-tone 
 IMocks — Rolling and Beating for suHicient Colour — S[)eci- 
 nien of Cut printed without and with Overlay . 23()-24;i 
 
 Chapter XXIII. Colour Work— Three-Colour Printing- 
 Method of Printing by Underlaying and Skeleton Formes 
 — Hints on Colour^Selection of Colours to Harmonize — 
 Register of Colour Work — lironze Work and ajipliances 
 for same — Some Remarks un Bronze Printing . . 244-249 
 
 Chapter XXIV. Three-Colour or Tricliromatic Printiu<i — 
 The Dissecting Filters — The Need ()f really good Blocks — 
 Suitable Inks — \\'()rking-oll" — Paper necessary for Print- 
 ing-ofl— Suggestions 250-253 
 
 MOTIVE POWER 
 
 Cii \i'ii;i; \\\. Motive Power: Steam, (ias, Oil, Water, 
 and Fleet licity — Beam, Horizontal, and Vertical Steam 
 Kngines- -Shafting, Iviggers, Speed Pulleys, Brackets, etc., 
 for Driving Purposes — Horizontal and \'ertical Cas ami 
 Oil Engines— Suction Cas Plant -Electric Motors . 254-269 
 
CONTENTS xiii 
 
 MACHINE PRINTING 
 
 l'.\(iK 
 
 CliAl'TKi; XXVT. ]\r;u'liineriintin<; -^rotliodsof Tii)i»ressi<m, 
 Platen and Cylindrical — Classilication of l*rintin<;- Ma- 
 chines — Some Hints on LayinL;-do\\ n Machines as regards 
 Foundation and Li^lit — Cleanliness and Lubrication — 
 Systems of Makinu-ready hy Hard and Soft Tmpression 270-274 
 
 CirAi'TKit XXVIl. .Jobl»in;4' ^^'ork -Ink IJistrilmtion— Sys- 
 tem of AFaking-ready on these Machines — Lay Marks and 
 (lauge I'ins — Class of Platen Machine best adapted for 
 Light and Heavy Work 275-282 
 
 Chapter XXVIIL The Larger Kin<l of IMaten Machine, 
 Single and Double— Making-ready and Mode of Work- 
 ing 283-285 
 
 CllAPTEU XXIX. One-side<l Cylinder Machines: Tlie 
 Wharfedale a good kind— The System of Inking ap})lied 
 to Single-cylinder Machines — Description and Kate of 
 Speed to be attained by the Wharfedale in Working — 
 (ieared Inking Ajjparatus — Making-ready — Finding the 
 Pitch — Hard Packing — Slurring — Packing Rollers — 
 llegister — Supply of Ink — Altering the Impression — Key 
 to the Parts of a AVharfedale — How to Erect a Wharfe- 
 dale 286-313 
 
 Chapter XXX. Double ("ylinders or Perfecting Machines: 
 The Web, Drop-bar, and (}ripi)er A'arieties — Set-off— 
 Making-ready — Speeds of Perfecting Machines . 314-317 
 
 Chapter XXXI. Rotary Machines : Hoe's— The Victory— 
 The Marinoni — The Whitefriars— ^Tlieir Working Parts, 
 Capabilities, and Speeds 318-327 
 
 WAEEHOUSE WORK 
 
 Cmapi'ER XXXIL The Warehouse Department — A'arieties 
 of Machine, Mould, and Handmade Papers — Number of 
 Sheets com})rised in a Ream — Tables of Sizes, Equivalent 
 and Relative Weights, etc. — Cards— (,>ualiti<'s and Sizes of 
 the same .328-339 
 
xiv PRINTING 
 
 PAG I 
 
 CHAri'Ki: XXXIII. Machines and other Appliances used 
 ill connection with the Warehouse Department — The 
 Hydraulic Tress — Tlie Nipping Press — (ilazed Boards — 
 Hot Pressing- Hot Rolling; - Cold Kollinj;- — Cutting Ma- 
 chines ......... 34()-.S4ii 
 
 CnAiTKi; XXXI \'. The Care of Paper — Wetting down - 
 The Wooden Press — Counting — The Drying l\o(Mn — 
 Cold Pressing and manner of performing the same- 
 Stacking Work— Cathering— Collating, Folding, and 
 Packing — Kee)»ing Stock — Parcelling — Fohling, Stitcii- 
 ing, Stahhing, and Sewing — llinding. Puling, Perforating, 
 and Nnmhering . . . . . . 847-.*i>7 
 
 COST OF PRODUCTION AND SELLING 
 
 Chapter XXXA'. Pro})er System of Bocdckeeping — Master 
 Printers' Federation System of Cost Finding — Cost of 
 Departmental Production — Overlie.ad Exjienses — Hourlj? 
 Kates— Work Sheets 358-304 
 
 METHODS OF BOOK-ILLUSTRATION 
 
 Chapter XXXVT. Lithography — Wood Engraving — Zinco- 
 grai>hy and Line Process — Half -Tone Blocks — Three 
 Colour Process — Collotype — Photogravure . . 365 373 
 
 EXAMINATION PAPERS 
 
 Questions in Typography set for the Written Examina- 
 tions of the City and (luilds of London Institute for the 
 tiiree years. 1917 to l!)li) inclusive .... 375-392 
 
 CJiKsrioNsix K.NoWLEixiH OF PRINTING sct for the Written 
 E.xaminationsin the Open C«)mpetitions for .situations for 
 Clerks in H.M. Stationery Office on the last three occa- 
 sions, 1<)0<>, 191-2, and 1914 393-399 
 
 Glo.ssaiciai, Index 401-429 
 
 Sami'I.ksoi Pai'Ki; at cad 
 
LIST OF ILLUSTRATIONS 
 
 IKJ. 
 
 
 
 
 
 l'\<iK 
 
 1. 
 
 Pniicli 8 
 
 2. 
 
 Matrix 
 
 
 
 8 
 
 8. 
 
 HjukI iiinujd (opened) 
 
 
 
 4 
 
 4. 
 
 (closed) 
 
 
 
 4 
 
 "). 
 
 Type with taj;- .... 
 
 
 
 ') 
 
 6. 
 
 Finished type . . . . 
 
 
 
 5 
 
 7. 
 
 Tvpe-eastin«>- niaehine 
 
 
 
 G 
 
 S.- 
 
 The Kotarv type-caster . 
 
 
 
 8 
 
 9. 
 
 Mould wheel of the Rotary type-caster 
 
 
 
 10 
 
 10. 
 
 11. 
 
 Parts of a tyi>e named . 
 
 Point bodies on the American System 
 
 
 
 28 
 83 
 
 1-2. 
 
 Example of Standard Line and -Unit Se 
 
 L letters 
 
 
 34 
 
 18. 
 
 Double frame ..... 
 
 
 
 37 
 
 14. 
 
 Whole frame . 
 
 
 
 
 38 
 
 lo. 
 
 Three-quarter frame 
 
 
 
 
 39 
 
 16. 
 
 Half frame 
 
 
 
 
 40 
 
 17. 
 
 New York (luadrui)le frame 
 
 
 
 
 41 
 
 18. 
 
 Upper case 
 
 
 
 
 42 
 
 19. 
 
 Lower case 
 
 
 
 
 42 
 
 •20. 
 
 Double case 
 
 
 
 
 42 
 
 •_>1. 
 
 Treble case 
 
 
 
 
 48 
 
 •'2 
 
 Furniture cabinet . 
 
 
 
 
 48 
 
 28. 
 
 Lead and reglet cabinet . 
 
 
 
 
 44 
 
 •24. 
 
 Sti(d< with slotted screw 
 
 
 
 
 4o 
 
 •2."). 
 
 Stick with lever 
 
 
 
 
 4,") 
 
 •2(i. 
 
 Sti(d< with tlniiiibscrcw . 
 
 
 
 
 4r. 
 
 •27. 
 
 ^^'oodeJl stick, metal lined 
 
 
 
 
 40 
 
 28. 
 
 Iboadside stick 
 
 
 
 
 40 
 
 •29. 
 
 Setlin*;- rule . 
 
 
 
 
 4(; 
 
 ."!((. 
 
 \ arious galleys 
 
 
 
 
 47 
 
XVI 
 
 PRINTING 
 
 Fili. 
 81. 
 
 32. 
 
 38. 
 
 84. 
 
 85. 
 
 86. 
 
 87. 
 
 88. 
 
 89. 
 
 40. 
 
 41. 
 
 4-2. 
 
 48. 
 
 44. 
 
 45. 
 
 46. 
 
 47. 
 
 48. 
 
 40. 
 
 50. 
 
 51. 
 
 52. 
 
 58. 
 
 54. 
 
 55. 
 
 56. 
 
 57. 
 
 58. 
 
 59. 
 
 60. 
 
 61. 
 
 62. 
 
 ()8. 
 
 64. 
 
 65. 
 
 66. 
 
 67. 
 
 6S. 
 
 69. 
 
 70. 
 
 71. 
 
 Pjitcnt -iilley . • . 
 
 Sonic leads 
 
 IMain and fancy rules 
 
 IJia.s.s rule case 
 
 Saw and block 
 
 Metal furniture 
 
 Foot- or side-stick . 
 
 (^>uoin .... 
 
 Screw chases . 
 
 Marinoni quoin 
 
 Ward's patent quoin as used 
 
 Ward's patent quoin and side 
 
 Wickershani quoin 
 
 Mallet .... 
 
 Planer .... 
 
 Various shooting sticks . 
 
 Cast-iron chase — fixed hars 
 
 Wrought -iron chase — movahl 
 Johhing chases 
 Lock-up chase for jolts . 
 
 lni})osing surface 
 Forme-rack 
 
 I'niversal forme -rack 
 JJulk for letter-hoards . 
 Case-rack 
 (lalley-rack 
 
 Cylinder galley-press 
 
 Liglitniiig proof-press 
 
 Cutting machine for leads an^ 
 
 Bowra cutting machine . 
 
 Rodkin .... 
 
 Tweezers 
 
 Shears .... 
 
 Plan of composing room 
 
 Plan of hook cases . 
 
 Plan of news cases . 
 
 The new lay . 
 
 Words as read in the metal 
 
 Setting type . 
 
 Emptying the stick 
 
 Distributing . 
 
 Jigger for odd sorts 
 
 ticl 
 
 Uar 
 
 hra 
 
LIST OF ILLUSTEATIONS 
 
 XVll 
 
 fk;. 
 73. 
 
 Fa«;e-gaiige 
 
 
 
 
 
 
 PA(JE 
 
 . 89 
 
 74. 
 75. 
 7(3. 
 
 Tying iq) a page 
 Margins of a i)age . 
 Margins of a sheet . 
 
 
 
 
 
 
 . 91 
 . 106 
 . 107 
 
 77. 
 
 Type as to paper 
 
 
 
 
 
 
 . lOS 
 
 78. 
 70. 
 
 Margin pr<)i)ortione(l 
 Page centred . 
 
 
 
 
 
 
 . 108 
 . 108 
 
 80. 
 81. 
 8-2. 
 83. 
 
 Page with proper margin 
 Atljusting margin . 
 .Vdjnsting fore-edge margins 
 Tyi)e scale 
 
 
 
 
 
 % 
 
 . 108 
 . 109 
 . 110 
 . 110 
 
 84. 
 80. 
 86. 
 
 Wrong use of quoins 
 Ivight use of quoin . 
 Sjjace box 
 
 
 
 
 
 
 . 112 
 
 . 112 
 . 114 
 
 87. 
 
 Holding corrections 
 
 
 
 
 
 
 . 114 
 
 88. 
 89. 
 90. 
 91. 
 
 Forme trolley 
 Trays for wood-letter 
 " French" rules 
 ]N Fetal corners . 
 
 
 
 
 
 
 . 118 
 . 120 
 . 121 
 . 122 
 
 92. 
 
 Oxford corner 
 
 
 
 
 
 
 . 122 
 
 93. 
 94. 
 
 Metal curves ... 
 Brass circle . . . . 
 
 
 
 
 
 
 123 
 124 
 
 95. 
 96. 
 97. 
 98. 
 99. 
 00. 
 01. 
 
 The Linotype . . . . 
 
 A modern Linotype 
 
 Monotyite keyboard 
 
 Monotype casting machine 
 
 The Typograph 
 
 Plan of (ireek cases 
 
 Plan of Hebrew cases (w ith p( 
 
 >ints; 
 
 
 
 
 
 133 
 137 
 139 
 142 
 147 
 152 
 159 
 
 02. 
 03. 
 04. 
 
 Plan of German cases 
 (ierman handwriting 
 Phm of music cases 
 
 
 
 
 
 
 166 
 169 
 171 
 
 05. 
 00. 
 07. 
 OS. 
 09. 
 10. 
 
 Specimens of type music 
 The lever of the Stanhope pre 
 Columbian hand-i)ress . 
 Albion hand -press . 
 Chill in action 
 Chill out of action . 
 
 SS 
 
 
 
 
 
 172 
 191 
 193 
 195 
 196 
 196 
 
 11. 
 
 Bank, with horse . 
 
 
 
 
 
 
 199 
 
 12. 
 
 Cylindrical ink table 
 
 
 
 
 
 
 200 
 
 13. 
 
 Braver ink table 
 
 
 
 
 
 2(M 
 
 14. 
 
 Ink l)ra\er . . . . 
 
 
 
 
 
 
 201 
 
XVlll 
 
 PRINTING 
 
 FIG. 
 
 115. Ink slice 
 
 116. Pedestal ink table . 
 
 117. Ink knife 
 
 118. Slieei>'s-foot . 
 
 119. PIan(l-i»ies.s roller . 
 
 120. li oiler frame . 
 
 121. Jobbing roller 
 
 122. Tnkino-ball . 
 
 123. Koller coiniwsition kettle 
 
 124. Small roller monld 
 
 125. Koller monld (open) 
 
 126. ,, ,, ^ (dosed) 
 
 127. Ink grinding mill . 
 
 128. Octavo sheet, showing pointdlole^ 
 
 129. Point screw .... 
 
 130. Octavo point .... 
 
 131. Twelvemo point 
 
 132. Chase showing grooves for points 
 
 133. Portable lye jar 
 
 134. Lye trough .... 
 
 135. Woodcut printed without o\ erhiy 
 
 136. Woodcut [)rinted m ith overlay 
 
 137. IJronze brush . 
 
 138. Bronzing machine . 
 
 139. Trichromatic colour chart 
 
 140. IJeam steam engine 
 
 141. Hori;contal steam engine 
 
 142. Vertical steam engine . 
 
 143. ('oml)ined steam engine and boiler 
 
 144. Shafting, rigging, etc. 
 
 145. Lubricator 
 
 146. Crossley town's gas engine 
 
 147. New type Crossley oil engine 
 
 148. Crossley Suction Gas jdant and en 
 
 149. Electric motor 
 
 150. The Cropper platen niaidiine . 
 
 151. Distributing disk on Crojjper macl 
 
 152. Obtaining the lay . 
 
 153. Lay mark (cork) 
 
 154. Lay n)arks (springs) 
 
 155. Cange-pins .... 
 15(1. Tlu' \'ictoria plalcn murhiiK' 
 
 / 
 
 acing 
 
 gine 
 
 une 
 
LIST OF ILLUSTRATIONS 
 
 XIX 
 
 I'lu' I Joldini; .lol.lifr platen iMjicliinc 
 The Scandinavian })laten iiiacliine . 
 The (h)nlile phiten niachine .... 
 The st(»[)-cvlin(ler (Wharteihih') niacliine 
 Earlier system of inking on tlie Whaife<hile 
 (Jeared inking apparatu.s, Avitli distiihiiting drnni 
 (Jeai'ed inking api)aiatn.s, arranged in p\ lanudical orde 
 Parts of a Wharfedale macdiine 
 
 Tiie Miehle two-revolution niachine 
 The Perceler two-feeder niachine . 
 Doulde cylinder perfecting niachine 
 Hoe's (quadruple news])aper perfecting press 
 The Victory single reel rotary machine . 
 The Marinoni single reel rotary niaclnne 
 The Whitefriars single reel rotary machine 
 
 Hydraulic press 
 
 Nil)l»ing press ..... 
 
 Hot-rolling machine .... 
 Furnival'.s cutting machine . 
 Card-cutting machine .... 
 Wetting trough ..... 
 Passing paper through the water . 
 Drying [)oles ...... 
 
 Peel 
 
 Filling in and taking oft' 
 
 Stahhing the sheets .... 
 
 I'AOK 
 
 •281 
 2S4 
 285 
 287 
 289 
 292 
 298 
 804 
 805 
 306 
 307 
 811 
 812 
 315 
 821 
 828 
 325 
 326 
 841 
 342 
 844 
 345 
 346 
 848 
 849 
 350 
 .851 
 852 
 856 
 
i 
 
INTRODUCTION 
 
 SINCE tliis work was first issued, book-printing as an 
 art has g-reatly improved. This improvement has been 
 attributed to various causes, and one suggestion in reference 
 to its decorative side is that the work of William Morris 
 at the Kelmscott Press has had a stimulating effect on the 
 general printer. That this is so cannot be doubted, for one 
 can see that artist's influence in many of the best books 
 printed during the last twenty years or more. This is to 
 be observed not only in this country, but in Amei'ica, and 
 on the Continent, too. Beside^ the example of the Kelmscott 
 Press, the general printer has many advantages which did 
 not exist in former years. For instance, the selection of 
 book-types now offered is much greater, many of the founts 
 being of good design, but it still requires discrimination 
 in selecting the best kinds. 
 
 From a more utilitarian standpoint, the enormous increase 
 of process work has demanded improvements in a practical 
 direction, and that this demand has been met need not be 
 said when one observes the large amount of graphic literature 
 emanating from the printing press of the present day. We 
 have now printing machines capable of turning out all kinds 
 of work in the best possible manner, provided that the work- 
 man has the necessary skill. Again, work is now executed 
 under very different conditions from what was formerly the 
 case, for many printing offices are model factories as com- 
 pared with the old order of things, the natural laws of light, 
 sanitation, and ventilation having been studied for the 
 benefit both of the worker and of his work. 
 
 Having all these advantages, the printer should be able 
 to produce better work than his ]>redecessors, but it must 
 l)e borne in mind that good book-printing recjuires something 
 more than the actual means of production. It is essential 
 that the printer should have a taste for good books, and 
 
xxii PRINTING 
 
 slioukl l»e able to dilt'ereiitiate between a carefully designed 
 volume and oue that is ill-sliapeu. This appreciatiou couies 
 easily to some, but in others it is certainly not instinctive, 
 although it may to some extent be cultivated and acquired 
 by the study of well printed volimies. 
 
 The first step to be taken is the selection of a suitable type, 
 the second is the precise formed of the ]>age when the size 
 of the volume is given. These are two of the most im- 
 portant factors of book production, and even good press 
 work will not redeem a badly chosen type or a dispropor- 
 tioned page. These two things having been attained, the 
 choice of paper and the precise margin are the next stages 
 in the production of a comely volume. Lastly, the actual 
 printing — a good, firm, clean, and sharp imj^ression with 
 a reallv good black ink — one which will not fade or turn 
 brown — should complete the evolution of a well printed book. 
 
 Without the necessary planning out of the type and page, 
 together with an appropriate paper, the after labour is in 
 vain, therefore it is incumbent that these first essentials be 
 carefully studied. 
 
 The aim should be to secure a good effect from the two 
 open pages of a book — one page is not sufficient: two are 
 essential to secure some sort of balance. In considering the 
 dual effect, legibility must be striven for, and not sacrificed, 
 in obtaining the general result. 
 
 Taste in printing varies, as in other art subjects, and it 
 is impossible to lay down any stringent rules or to define 
 the canons which should regulate it. If, however, the 
 foregoing suggestions are carefully acted on the student 
 will not go far wrong. The best volumes produced have 
 generally been the results of much thought and experiment. 
 
 The writer of this volume can lay claim to have had some 
 experience on examining bodies, and he has in that connec- 
 tion frequently met with very ]>oor work in the papers which 
 liave passed tlirough his hands during recent years, and a 
 few words on that subject will not be out of place in this 
 introduction. 
 
 That technical classes are a necessity nowadays will be 
 admitted all round ; for, owing to the growing custom of 
 su])dividing tlie dei)artmonts, especially in large printing 
 
II 
 
 INTRODUCTION xxiii 
 
 offices, the workman does not obtain that general experience 
 which he did formerly. Machinery then was not brought to 
 such perfection as at the present time, and competition did 
 not warrant the making of specialists, as it were, in the 
 different sections or departments of a printing office. 
 
 By some it is expected that technical education is going 
 I to remedy this state of things, but this is a mistake, for 
 these classes cannot possibly comjjete with the workshop: 
 they exist simply for the pur^wse of supplementing the 
 kiiowledi2'e i>'aiued in the office duriuo- the workin**- dav, and 
 that practised or studied in the evening class must naturally 
 be more of the theoretical than of the practical order, al- 
 though some classes have been provided with fairly good 
 equipment for the teaching of the students. 
 
 Under these circumstances the learner must help himself 
 in acquiring that knowledge which will be useful to him if 
 he aspires to be something more than a mere workmau of 
 the rule-of-thumb class. He must, in addition to his daily 
 work and evening class, study for himself by reading all the 
 trade and technical literature he can obtain, and for that 
 purpose there are libraries where he can procure that 
 su]>plementary knowledge. 
 
 No student should attem2:)t to sit for an examination till 
 he feels sure that he can do justice to himself, and this applies 
 more particularly to the final or honours grade and to com- 
 petitive examinations. It is to his own interest that he 
 should postpone to a later period that ordeal, for a bad pass 
 is very disheartening and is apt to deter him from further 
 efforts in that direction. Let him be patieut and abide his 
 opportunity, for, as a rule, some proportion of the candi- 
 . dates who go up for examination are hopelessly unprepared. 
 It is far better to wait even a year, and if the student is 
 persevering he will find that he has acquired a deal of 
 additional information and knowledge in that period which 
 will ])etter tit him for the test. 
 
 Let him have in the interval ears and eyes for everything 
 in connection with types, machinery, paper, and illustrations 
 of all kinds, and at the same time endeavour to find out 
 the why and wherefore of everything that comes within his 
 ken. He should make himself perfectly familiar witli the 
 
xxiv PRINTING 
 
 materials handled not only in his particular department, but 
 should in addition acquire some intelligent aj^preciation of 
 those used in the other branches with which he may be in 
 touch. A thorough grasp of the component parts or con- 
 stituent properties of all materials is absolutely necessary if 
 he Avishes to increase his general knowledge. When this has 
 been obtained he will be able to practise, or at least observe 
 iu others their application in the execution of good work. 
 
 It should be borne in mind that a competent workman 
 can often obtain better results with indifferent materials 
 than an incompetent one with the best. It is an old saying 
 that a bad w^orkman quarrels with his tools, and that this is 
 frequently the case is the experience of those responsible for 
 the efficient working of any printing establishment. 
 
 In recent years the facilities for teaching have much 
 improved through the grants made by the London County 
 Council for the further maintenance and equijDment of the 
 various classes in London. This also applies to some other 
 county authorities where printing is one of the subjects 
 taught. Now that the war is over it is expected that the 
 London County Council authorities will take some further 
 steps in order to centralize the various classes, so as to 
 improve the existing teaching facilities, as was fore- 
 shadowed in the report issued bv the Council earlv in 
 1914. 
 
PKINTIXG 
 
 TYPEFOUNDING AND TYPE BpDIES 
 CHAPTER I 
 
 LetteriiiL'>s I'riiitinj^delined — The Production of Tyi>e: the I'unch, 
 Matrix, and Monhls for Hand and INIaoliine Castinj^- — The 
 Rotary Type-casting Machine — ('oni})()nent parts of Metal — 
 Selection of Founts of Type for Wearing Properties and Good 
 Ajjpearance -List of Letterswhieh constituteaF<mnt- -Fractions, 
 Accents, and Signs — Varieties of Old Face, Old Style, and Modern 
 Faces— Italic — Black-letter Founts — Some Jobbing Founts — 
 Distinctive Parts of a Letter — Classification of Letters — The 
 Bodies of Types in Depth — Sizes of Types — Itelation of Tyi»es 
 to each other in Body — Sjtaces and (^)u;idrats — Measurements of 
 Type Bodies shown at a glance -The Point System Mith Standard 
 Line and L'lit Set Types. 
 
 LETTERPRESS Printing, or Typography, is the art of 
 ^ printing from movable types, the surface of these 
 ty];)es being inked and then im2)ressed on to the paper. 
 Anotlier term would be relief printing, in contradistinction 
 to plate or intaglio printing; this latter process, of which 
 this book will not attempt to treat, being obtained by entirely 
 opposite means. For instance, a sheet of copper is taken, and 
 the j)arts to be printed are cut out, Avhether separate letters 
 or designs; then, when the plate is finished, it is inked 
 over, the ink being deposited in the hollows or furrows. 
 The surface is then cleaned of superfluous ink. This act is 
 usually performed by a skilful movement of the palm of the 
 hand, care being exercised not to wipe out the ink from the 
 interstices. The paper is then impressed into the hollows 
 
 B 
 
2 PRINTING 
 
 i'orintMl in tlio plate. Thus, whilst relief printing is a method 
 of iudeutiu'Ciai--the ink being really forced into the papei 
 ,^-the intaglio process leaves the ink somewhat raised on 
 thf^lsurJace of the finished co]\y. The following diagram 
 will explain this: 
 
 Belief ' ■— — ■■ paper surface. 
 
 Intarjlio ■^^^— j^^F^^' «?''/«ce. 
 
 Subsequent pressing or rolling, if necessary, removes the 
 indentation or impression from sheets jjrinted by the letter-; 
 press method, besides improving the surface. Work executed- 
 by the copperplate process is never pressed, as the printing 
 would be " smashed " and thus spoilt. 
 
 TiCtter press printing embraces type, woodcuts, process- 
 T)locks, electrotype and stereotype plates — in fact, everything 
 obtained by the relief method. 
 
 Practically speaking, the same system is still largely used 
 in the setting of type for bookwork as when William Caxtou 
 brought to this country the art of printing, and it is mostly 
 in matters of detail, as concerns the casting and finishing 
 of type, that it has improved. Ever since 1477, when Caxton 
 issued his first book, ''Dictes and Sayings of the Philoso- 
 phers," from Westminster, types have been picked uj^ singl 
 notwithstanding the great improvements in the mechanical 
 a}»i>liances invented from time to time for type-setting. 
 
 In the olden time printers made their own types, and it 
 was not till the seventeenth century that the arts of letter- 
 founding and printing began to be divided. Moxon, in his 
 ''Mechanical Exercises," vol. ii, 1683, is the first practical 
 and the most reliable authority on the subject of the making 
 of types; it is curious to see how the same methods and 
 appliances were in use till (^uite a recent date in the pro- 
 duction of ty])es by hand. It was not until the middle ofj 
 the nineteenth century that machinery was generally applied] 
 to type-casting. This of course was the means of enormously' 
 
TYPE PUNCH AND MATRIX 3 
 
 increasiug the output, .aud consequently reducinij^ cost very 
 considerably. The old plan of hand-casting is rarely used, 
 and then only for the production of small orders for " sorts." 
 The manafadure of iijpes and a description of the parts 
 of a single letter may appropriately be treated of before we 
 
 r 
 
 C 
 
 Fig. 1. PUNCH. 
 
 m 
 
 commence with the initial stage of printing, i.e., composition 
 of type. To start with, the pun('h-cutter is provided with 
 a long square piece of steel, on the end of which he proceeds 
 to cut the required letter. A proof is ob- 
 tained by the aid of smote as the finishing 
 of the letter advances. By this proof he can 
 see more readily any defects in the shape. 
 When satisfactorily executed it is hardened. 
 This punch is somewhat of the shaj^e and 
 size shown here, fig. 1. It is then struck 
 into an oblong bar of copper, thus forming 
 a matrix or " strike,'" fig. 2. These matrices 
 can be replaced when worn out, but it is 
 highly important that the utmost care should 
 be taken of the originals. After the matrix 
 is struck, it requires very careful justifying 
 to insure perfect depth and ranging of face, 
 for nothing is so bad as an irregular type 
 in regard to thick and thin lines or an uj) 
 and down tendency in ranging of line. 
 
 It should l)e interesting to the student to note that the 
 old method of casting by hand was performed by means of 
 a mould of two equal portions, figs. 3 (opened) and 4 (closed), 
 closed and fastened by means of a spring loop; this mould 
 
 Fig. 2. 
 
 :\IATIJIX. 
 
4 PRINTING 
 
 was niatle of wood iiiid liiieil with iron. Each size ot" body 
 ivquiivd a dittei't'iit mould, but the i>reeise width could bt 
 reguhited accordiug to the thickness of letter to be cast. 
 
 Fig. ;i. mand-mouli) (orKXKD). 
 
 This operation of casting, though apparently a simple one 
 required exi>erience and judgement, so that the mould might ' 
 
 Fl(i. 4. UAND-MOri-l) (CLOSED). 
 
 be well filled, and the letter perfect in body and face wliei 
 finished. To perform this, the mould is filled with the meta 
 
TYPE-CASTINa 
 
 5 
 
 o 
 
 Vic. ."). rviM'; 
 win I lAfj. 
 
 lit'iited up to a given degree, and with a peculiar jerk of the 
 It ft hand, wliieh hekl the monkl, the metal was sent right 
 home into the very inmost portions of the mat- 
 rix, thus giving a perfect cast of the letter. The 
 )ii('tal cooling ver}^ quickly, the mould was 
 opened, and the letter turned out, with a tag of 
 metal at the foot technically called a " hreaJ:,'' 
 fig. 5. This action was repeated until the re- 
 ((uired number of letters was made, the matrices 
 1 icing changed as often as a fresh letter was 
 1 1< cded. The superfluous metal was then broken 
 olf. and the letter rubbed, dressed, and grooved 
 at the foot, after being set up in long lines; 
 most of these latter details being executed by 
 bovs. 
 
 TIk^ ])r()duotion of type requires the work of 
 many different persons, but the most important 
 l»art is that which is performed at the outset — the puiuli- 
 cutting. 
 
 The mechanical appliances for type-casting have b(^<'n 
 im]^roved from year to year. These machines 
 are propelled l)y means of either hand or jtower. 
 The same matrices can be used, and a mould 
 adapted for the machine is the only difference. 
 The letters are delivered in a constant stream 
 as cast. Machine type can usually be identified 
 by tlie round ijin-marh, fig. 6, on the top side 
 of the letter. Some machines profess to turn 
 llu' type out already dressed, but we do not re- I'k^'. f>- ii><- 
 commend them ior absolute finish, especially if i"^"'"-'* ''^ '*''• 
 the type is to be used for really first-class book-piinting. 
 
 In the type-caffhuf machine, fig. 7, the furnace is situated 
 at the foot, and the metal is kept fluid in the pot situate<l 
 above. Susj>ended over this pot is a piston or what may be 
 termed a ]>lunger. Each revolution of the crank gives this 
 
() 
 
 Jr'KiJNTiJN^ 
 
 pluDger a sudden thrust, which injects through an aperture 
 sufficient of tlic molten metal to fill the mould and the 
 
 k^FlC. 7. TVPE-CASTINO MACIIIXE. 
 
 HKili-ix, lliis matrix being held in position hy a lever. 
 Directly the mould receives the metal, it opens at a some- 
 what low angle, similar to a door Iiuhl;- on hiuLi-es, At the 
 
THE ROTARY TYPE-CASTER 7 
 
 I 
 
 I • _ _ 
 
 jsamo moment tlic pressure on the lever, l)in(lin;j,- the nuitrix 
 
 3lose to the moukl, is released, and then the matrix springs 
 
 backward. The type is held in the iij^per half of the mould 
 
 by a pin, and when it rises by the aid of a rod connected 
 
 with the apron, the stool hits the face end at the back, and 
 
 Idislodp^es the type. As the type is released the mould closes 
 
 of its own accord, and the plunger squirts a fresh supply 
 
 i>f the metal which is then thrown out exactly as before, a 
 
 1 ast printing tyi>e. 
 
 The Rotanj Type-casting MacMne which was invented by 
 the late Frederick Wicks was acquired by the Blackfriars 
 Type Foundry, Ltd., where several machines are in daily 
 lis.'. To give an idea of its great capacity the following 
 ili'scription is necessary. 
 
 The machine itself, fig. 8, is mounted on a substantial 
 bedplate. Secured to this is a cast-iron tire-box which carries 
 a metal pot in which the pump is fitted. The pump body 
 is immersed in type-metal, which is kept in a molten state 
 l>y gas burners beneath the metal pot. The pump is also 
 driven by a belt from the same underground shafting whicli 
 (li'ives the casting machines. The pot is of a somewhat larger 
 si/e than is customary with type-casting machines, and holds 
 •"» iwt. of metal. These metal pots are fitted with pyro- 
 , meters for maintaining a regular temperature. 
 
 Tlie pump consists of a body in which four plungers 
 I work, driven by eccentrics ; the molten metal is sucked in 
 through inlet valves and delivered into a pipe fitted with a 
 device for regulating the fluid pressure at the nozzle. 
 
 The machine consists of a mould wheel, having radial 
 grooves forming the moulds and with matrices going to and 
 fro in the moulds between the central shaft and the peri- 
 }»liery, with the orifices of the moulds a}>pearing on the 
 jieri[»liery at intervals of about half an inch between them. 
 The mould wheel is a disk of cast iron on which tlie moulds 
 are built out of separate pieces of steel in such a nuiniK'i- 1 liat 
 
PRINTING 
 
 llic slots formed l)y these are accurate for the size of type 
 to l)e produced. The wheel and segments form three sides of 1 
 the mould. In the moulds the matrices slide and form the 
 eud of the mould uearest the centre of the wheel. As 
 the wheel revolves on its vertical axis the entrances of the 
 moulds are in turn presented to the orifice in the sliield 
 
 FrC. S. THE i;OTAi;V TVPK-rASTKl^ 
 
 against which the stream of molten metal is playing. For 
 some three inches each side of this casting point the moulds 
 ]»ass under a top cover, which forms the tifth side of the 
 mould, the sixth being formed by the shield itself. The 
 moulds are filled as they pass the casting point, and sub- 
 sequently, as the wheel rotates, the matrix is acted on by 
 cams which cause it to advance towards the periphery of 
 the wheel and so eject the type from the mould. In the latest 
 
THE ROTARY TYPE-CASTER 
 
 form of machine the types are cast with one or more dee}) 
 nicks, an improvement upon the earlier practice. When 
 the type has been ejected about one-sixteenth of an inch 
 it passes in front of a nickino- saw, wliich cuts tlie nick in 
 tlie foot ; after rotatiuo- some distance, other nicks are cut 
 if desired, by saws revolving- on a horizontal axis; following 
 the type farther round the wheel, the ejection continues, 
 and when half a revolution has been completed it has been 
 I received on the delivery chain, from which it passes under 
 a retaining cam which prevents its return into the mould 
 with the matrix, and having left the wheel entirely it pro- 
 ceeds with the chain into the delivery galley. On each 
 wheel 100 moulds are formed of different sizes corresj^ond- 
 ing with the inset of the letters, and the varying demand 
 for letters of the respective sets as ascertained from tlie 
 bills of fount. The delivery chain consists of 100 links in 
 which sliding leaves are fitted, which rise up to receive the 
 typo and support it on both sides until it arrives in the 
 galley. When the type has been delivered on the chain, it 
 proceeds between these leaves until it enters the delivery 
 galley, when the leaves fall and the type is pushed along 
 the galley. 
 
 Thus the machine casts 100 types of all S(^rts and sizes 
 at a single revolution, delivering them finished and arranged 
 in line ready for use. No heating up is required, finished 
 type being produced at once. The machine can be stopped 
 immediately, and then re-started without damaging tyj>c. 
 This is because the moulds are maintained cold. As a mat- 
 ter of fact, metal from an alloy pot heated to 700 Fahr. 
 becomes a finished type in a fraction of time — 1,000 of 
 these being tnrned out in one minute. 
 
 The chief characteristic of this machine is the rapidity 
 witli which the finished type is produced in line, thus 
 evolving some theory for the abolition of distribution. In 
 the case of founts in smaller demand, although the process 
 
10 
 
 PRINTING 
 
 of casting' is equally ocoiiomical, yet tlic labour of fountiiig 
 is similar in the case of this machine as in others. The 
 abolition of distribution can be arrived at only where the 
 worlv" to be done is sufficiently large to justify the organiza- 
 
 Fk;. ?». :\i()ri,i) whekl ok the rotary tvpe-caster. 
 
 tion necessary to manipulate the output, as, for instance, in 
 the production of various newspapers, where the utility of 
 the machine was first demonstrated by supplying roughly 
 a million types per day at a cost that made distribution 
 unnecessary. Distribution at a speed of 5,000 types per 
 
 I 
 
 I 
 
TYPE-METAL 11 
 
 hour is quite siiporfluous if a niacliiiie (.'an produce 60,000 
 per hour of all sorts. 
 
 The mould wheel a, fi<^^ 9, consists of an arrangement of 
 moulds B revolving on a centre column c, and having a 
 stationary top cover d, under which the wheel is free to re- 
 volve, the top cover thereby providing a top side to each 
 mould in turn. The moulds b are each provided with a matrix 
 E operated by cams. A nozzle f communicates with a metal 
 pump, a shield g being provided to insure the correct 
 delivery of the molten metal to the matrix e, and also to 
 facilitate the return of surplus metal through the chute h, 
 and thence back to the metal pot. Each matrix is brought 
 into position to receive its charge of metal by the casting 
 cam I ; it is then slightly ejected by the cam k for the 
 purpose of groove cutting in the foot, and finally ejected by 
 the cam l, the type being ejected on to the chain m, which is 
 operated by the teeth n on the mould wheel. The chain m 
 delivers the type into the receiving galley o. After ejecting 
 the type on to the chain the matrix is brought back again by 
 the withdrawal of cam p into a suitable position to engage 
 with the casting cam i. Two wheels Q are provided to 
 guide and adjust the chain m. 
 
 Type-metal. — The component parts are generally lead, 
 tin, and antimony; this last is used to obtain the re- 
 quisite hardness and clearness of face, while the tin has 
 the effect of imparting additional toughness to the metal. 
 Tlie proportion of these metals varies according to the 
 size and character of the type to be made. Different 
 fouuilers have their own })articular quantities of each kind, 
 sometimes also introducing other metals, but to a very 
 limited extent. Of course the metal used for quadrats and 
 " leads " is of a lower standard in composition — lead form- 
 ing the greatest bulk in all instances, and especially so in 
 tlie latter. In the so-cjilled hard metals, the proportion 
 of tin and antimony is increased, and somctimrs copjU'r 
 
12 FEINTING 
 
 is added, but very sparingly. For ordinary purposes the 
 following recipes for type metal will be found serviceable: 
 
 Moxon : 
 To 28 lb. metal, 25 lb. lead and 3 lb. of iron and antimony 
 mixed. 
 
 Befiley : 
 100 lead, 30 antimony, 20 tin, 8 nickel, 8 copper, 5 colialt, 
 and 2 bismuth. 
 
 Various others: 
 .55 lead, 227 antimony, 22-3 tin. 
 61-3 lead, 18'5 antimony, 207 tin. 
 
 ()9*2 lead, 195 antimony, 9-1 tin, and 17 coj^tper, according 
 to the amount of hardness desired. 
 
 The composition of metals used for linotype, monotypi\ 
 and stereotype work is different from tliose given above. 
 
 Selection of Ti/pes. — For good wear and tear, the following- 
 points are recommended for consideration: (a) That the 
 metal is of such hardness as not to be brittle, and that 
 attention is j»aid to the size of the type in proportion to 
 the thickness and thinness of its lines, (h) That there is a 
 good depth in face; cheap founts of type offered by some 
 founders are sometimes cast from electrotyped matrices, 
 and not from those which are struck from i)unches, and 
 therefore are more shallow in face, (c) That the body 
 is perfectly square and even. {<J) That there is a good 
 nick or nicks to the fount, to prevent possible mixing 
 witli other types, and for facilitating composing, (e) That 
 the whole fount, roman and italic, is perfect in ranging: 
 and in ordering additions from time to time, see that the 
 different letttM's are also in line. (/) That the overhanging 
 or kerned lett<M's are well supported from the shank of the 
 letter, to }>revent l)reaking oft' when giving an imjiression. 
 
 Founts of type are made u}> to certain scales, called 
 '' bills" ]>y type-founih'rs. Taking :i ('om])lete roman fount 
 
FOUNTS OF TYPE 13 
 
 of say 1 ,U00 11). weight, the lower-case vowels would be made 
 up iieeordiug to tlie average use in the English language 
 for an ordinary work; the consonants would be leased on 
 this phm too, and the ca}>itals and figures in i)roportion. 
 Quadrats and italic would be included in a complete fount 
 to the extent of ten j^er cent. each. There are also schemes 
 for French and other foreign languages. This obviates 
 the possi])ility of having any great number of letters left 
 on hand when the type has been set uj), unless the matter 
 composed is of an excej^tional nature. If such is the case, 
 '* sorts " must be ordered to level the fount. The following 
 list comprises all the sorts usually supplied with a roman 
 fount; other letters would be extra, and come more pro- 
 perly under the head of " signs " or '' peculiars ": 
 
 Capitals, A B C D E F G H IJ K L ]\I N P 
 Q R S T U V \\ XY Z M QL 
 
 SlIKlll Capitals. A B C D E F G II I J K L U N o V 
 QKSTUVWXYZ^ECE 
 
 Figures. 1234567890 
 Accents, diaeresis, iieiuli 
 
 ,, acute, a 6 i 6 li 
 
 ,, grave, aeioii 
 
 ,, cir cum flex, ac i 6 li 
 Reference marks. * f .t § || ^ 
 Lower case, a b c cl e f g li i j k 1 m n o p q r s t ii a ^\ 
 xyza3oefifl'flffiffl 
 
 Points. ,.;:!?'-()[] — ... •_ 
 
 Miscellaneous. & £ / 9 ^W 
 
 Spaces. Hair, thin, iiiiddlino", thick. 
 
 Quadrats. En, em, one, two, three, and four ems. 
 
 o 
 
14 PRINTING 
 
 Fractions and additional accents are sometimes added, 
 but these are best apart and laid in separate cases. Italic 
 founts as a general rule do not have small capitals, and the 
 figures are usually the same as the roman, mth some few 
 exceptions. 
 
 Fractions are generally cast in two ways—" whole " and 
 " split." The former are fractional figures cast in one 
 piece, :r i f ' ^^^ ^^^^ latter those cast on half bodies, 
 ^ J ^TT ''j, etc. The split method allows of many combina- 
 tions which are hardly possible when the figures are cast 
 in one piece. 
 
 Accents, beyond those given in the synopsis of an ordinary 
 fount, consist of many varieties. Some of those in most 
 general use are : 
 
 Long, a e I o li 
 Short, a e 1 o li 
 Various, a ^ lii n j] p q, etc. 
 
 Signs are of different kinds too numerous to mention 
 in detail. They are grouped under the heads of com- 
 mercial, astronomical, mathematical, algebraical, geometri- 
 cal, etc. The explanation of these is outside the scope of 
 this work. 
 
 All these signs and peculiars can be obtained in most 
 bodies. The utmost care should be taken of them: they 
 should be kept distinct and in separate cases. 
 
 Boolc'fonnts may be classed generally as of three kinds, 
 namely, (a) the old faced; (h) the revived old style, of some- 
 what lighter face and more regular apj^earance; (c) the 
 modern face. Each variety has its distinctive character of 
 italic, and the modern faces are subject to a great number 
 of designs, some better than others. Again, the work of 
 the Kelmscott Press has created many imitations, some of 
 which are not always happy in their design. We here give, 
 in pica, an average example of the three classes: 
 
BOOK-FOUNTS 15 
 
 Old face. ABCDEFGHIJKLMNOPQRST 
 
 uvwxYZ^.o: 
 
 A R C D E F G H I J K L M N O P Q R S T U V W X Y Z .*: (E 
 
 1234567890 
 
 abcdefghijklmnopqrfstuvwxyzaeoe^lfrflft 
 ABCBEFGHIJKLMNOP^RST 
 
 UVWXTZMCE 
 ahcdefghijklmnopqrjstuvwxyz^ecefifjjlftjhjlj 
 
 Old Style. ABCDEFGHIJKLMNOPOR 
 STUVWXYZ^Gi 
 
 ABCDEFG1IIJKLMN0^QRSTUV^YXVZ^CE 
 1234567890 
 
 abcdefghijklmnopqrstuvwxyzeeoefifftl 
 ABCDEFGHIJKLMNOPQR 
 STUVWXYZ^CE 
 
 abcdcfgJiij klmnopqrstiLviuxyzcnv flffjljjl 
 
 Modern. A B C D E F G H IJ K L M N P Q R S T 
 
 UVAVXYZtECE 
 abcdefghijklmnorqrstuvwxyziece 
 1234567890 
 
 abcclefgliij klninopqrst u v w x y z lecufi fffl 
 ABCDEFGIIIJKLMNOPQRS 
 
 rUVWXYZ^CE 
 abcdefghijJdmnopqrstuvwxy z ce cefjfjlJl/U 
 
16 PRINTING 
 
 The difference in the f(jures should be particularly 
 observed — the old face and old style having the quaint 
 ascending and descending strokes, the modern ranging at 
 the to}) and bottom: 
 
 1234567890 
 
 12 34567890 
 
 Occasionally the old figures are used with modern founts, 
 but we think it advisable that they should be kept as dis- 
 tinct as possible, although, in a mass, the old face figures are 
 decidedly more readable. 
 
 It is somewhat interesting to remember, with regard J 
 to italic, that these characters were invented by Aldus t 
 Manutius, a Venetian printer who flourished about 1449- 
 1515, and that roman capitals were first used with the italic 
 lower-case. The italic used by Aldus is usually supposed by 
 some authorities on the subject to have represented the hand- 
 writing of Petrarch, and assumed a much more running or 
 scroll-like character than that used nowadays. 
 
 The following types of Messrs. Caslon and Co. give an 
 idea of some of the old italic founts, with the tails and .H 
 flourishes : 
 
 ^'B C'D e F g H rj i^L m CNi o t^'JI 
 
 S T' UV fV X r Z M (E 
 
 a b c d e f g h i j k^l m n p q r s t // > iv x y z cC tv 
 
 The somewhat fanciful capitals Avere sometimes called 
 " swash " letters. 
 
 Black-letter next requires our consideration, and the five 
 samples added here will give some idea of the different 
 faces of that character in use : 
 
BLACK-LETTERS 1 7 
 
 Caxlon, \^)th mitnry. 
 
 Old Hjiiglish, IGth century, 
 
 a () c D c f f) i I ft I in n p q v 1 u « to r p J 
 
 Tudor, 17th century. 
 
 tl B C 3) 25 jf G lb 3 Ik X fiD 111 IP 
 
 © II? s ^ in D M J L^ X 
 abcbcttjbiJfUmnopqrstuvwy^jjrcc 
 
 O/'Z Flemish, l^th century, 
 
 % % € ^ € if <e> ^'B, ^i TE an n 
 
 ^ f (1% li ^ vC II f> JP ): 13 ^^ 
 a lu b c f a Ij i i \i i m n a y ij u g t u li b x i^ 5 
 
 Modern-faced Black letter, 19th ccntnrij. 
 
 a 33 i3 15 j; e. li? K 3i B ?t i« N 
 
 (D \i a 3.\ s ^ 21 17 211 V Y Z- 
 a r iJ £ f Q 1 J U I m n p q v s t u l) tu v y ) (T n: 
 
18 PRINTING 
 
 The dates given are ouly approximate, but the types 
 shown on the preceding page convey a good impression of 
 the black-letters that came into use at various times. 
 
 The first specimen shown here is that of the Caxton 
 period, the type w^hicli that printer probably brought with 
 him from Bruges. Artistically, the set;ond is really the best, 
 and is practically a copy of the pointed black-letter used 
 for the Gutenberg 42-line Bible, whicli is said to be the first 
 book printed from movable types. It was copied with some 
 uiodifications later on, and used by Wynkyn de Worde, 
 Caxton' s successor. 
 
 The tvpe used in the third example is a revived form of 
 the round Gothic or black-letter character, similar to tluit 
 used by Gunther Zainer of Augslmrg at the end of the 
 fifteenth century, and exhibits at a glance the transition 
 of the Gothic character to roman letter. 
 
 The fourth specimen is of Flemish origin, and was-j 
 designed by Fleischman in 1743; it is somewhat more 
 ornate in design than the accepted form of black-letter. 
 The fifth and last example is a specimen of modern black- 
 letter, but of a somewhat degenerated character; it certainl\ 
 is not to be compared with the others for beauty, and should 
 be avoided as far as possible. 
 
 Johhuiij tifjio^ are to be obtained of aU kinds, some good, 
 others bad (»i- indifferent, and we propose to show only ;i 
 few of those faces mostly in demand, which may fairlv be 
 considered to meet with general approval. Unfortunately 
 the fanciful names applied to these types cannot always be 
 relied on, for some letter-founders may have the same or 
 similar characters in their specimen-books, but designated 
 bv an entirely differtnit nanu\ Broadly speaking, the 
 thicker- faced tyj)e used in dictionaries to give emphasis to 
 the reference word is classed as " Clarendon," whei'eas the 
 older and uglier form of fat-faced letter is termed 
 "Egyptian." But what one founder would call "Clarendon," 
 
JOBBING FOUNTS 19 
 
 anotlicr ptThai>s would name "Antique," and this apjdies 
 to many of the fancy or jobbing founts in use at the present 
 day. Some of these founts have lower-case allied to them, 
 but, in order to make the difference more plain between 
 some of the ditt'erent styles, we give overleaf the capitals 
 only in most instances, including again the Caslon old face, 
 revived old style, and plain modern face roman capitals, as 
 a comparison. 
 
 Judgement must be exercised in acquiring these founts. 
 It is a good rule to order a whole series of one class of 
 face rather than to be inconvenienced by the sole use of one, 
 or even two sizes of any particular character. Select all 
 tyjx'S from those made by the well-known firms, and thus 
 avoid the possibility of having founts cast from electrotype 
 matrices. 
 
 It is most helpful if these jobbing founts are on point 
 bodies, for it is in this class of work that much time is saved 
 if all types used for jobbing are cast on some rational 
 system ; this remark applies even more to this class of work 
 than to bookwork. Care must, however, be taken to see that 
 the i^rticular system of point bodies adopted is really a 
 good one, for already there has been much discussion and 
 much ink not wasted over the rival systems. Otherwise, 
 the difficulties created by the old bodies are likely to be re- 
 peated in the new. 
 
 As before said, fancy types are oifered in all conceivable 
 shapes and sizes, and it is not possible, even if it were advis- 
 abhs to give here specimens of every variety to be had in the 
 open market, but the few shown on the following pages will 
 give a general idea of the principal styles, but, as before 
 mentioned, the names of the various examples now quoted 
 must not be accepted as being definite, because some 
 founders call the same founts by dillerent names, which is 
 Confusing. 
 
20 PRINTING 
 
 Caslon old face. 
 
 abcdefghijklmnopqrstuvwxyza: 
 
 Revived old style. j 
 
 ABCDEFGHIJKLMNOPORSTUVWXYZ 
 
 Modern face. 
 
 Al'.CDEFGlIIJKLMNOPQRSTUVWXYZ.E 
 
 Old reman. 
 
 ABCDEFGHIJKLMNOPQ.RSTUVWXY 
 
 Latiu elongated. 
 
 ABCDEFGHIJKLMH0PPSTUVWXYZ;E(E 
 
 Clarendon. 
 
 ABCDEFGHIJKLMNOPaRSTUVWXYZiE(E 1 
 
 Egyptian. 1 
 
 ABCDISFCrHIJKLIVINOPQRSTUVWX"^ ^ 
 
 Antique Old style. 
 
 ABCDEFGHIJKLMNOPQRSTUVW i 
 
 Antiqjie. 
 
 ABCDEFGHIJKLMNDPQRSTUVWXYZvE 
 
 Sajis .erif. 
 
 ABCDEFGHIJKLMNOPQRSTUVWX 
 
 Ornamented. 
 
 ABCDEFGHIJKLMNOPQRST 
 
JOBBING FOUNTS 21 
 
 Flemish. 
 
 . ABCDEFGHIJKLMNOPQRSTUVWXYZ 
 
 Antique roniait. 
 
 ABCDEFGHIJKLMNOPQRSTUVWX 
 
 Aiitiqne italic. 
 
 ABCDEFGHIJKLMNOPQRSTUVWXY 
 
 Venetian. 
 
 ABCDEFGHIJKLMNOPQRSTUVWXYZ 
 
 Monarch. 
 
 ABCDEFGHIJKLMNOPQRSTUVWX 
 
 ' Plantin. 
 
 I ABCDEFGHIJKLMNOPQRSTUVWX 
 
 De Vinnc. 
 
 ABCDEFGHIJKLMNOPQRSTUVWXYZ 
 
 Elsni ere. 
 
 ABCDEFGHIJKLMNOPGIRSTUVWXYZ 
 
 Sans serif italic. 
 
 ABCDEFGHIJKLMNOPQRSTUVWX 
 
 Granijc. 
 
 ftBCDEFGHUKmNOPQRSTUVWXYZ 
 
 Bold Edina. 
 
 ABCDEFGMlJKLA\NOFQR.ST 
 
22 
 
 PRINTING 
 
 These types, where classed as ''jobbing'," are frequently 
 made up in small founts on the " Aa" plan, that is, assuming- 
 it is what is called a "4A 20a" size of fount, the re- 
 maining capitals and lower-case letters would be given in 
 proportion, thus: 
 
 
 4A 20 
 
 a Fount. 
 
 1 
 
 
 36A 
 
 70a Fount. 
 
 
 A 
 
 ~T 
 
 a 
 
 20 
 
 1 
 
 5" 1 
 
 A 
 
 36 
 
 a 
 
 70 
 
 1 
 
 16 
 
 13 
 
 2 
 
 b 
 
 8 
 
 2 
 
 5 ! 
 
 B 
 
 16 
 
 b 
 
 24 
 
 2 
 
 12 
 
 C 
 
 3 
 
 c 
 
 12 
 
 3 
 
 4 
 
 C 
 
 22 
 
 c 
 
 34 
 
 3 
 
 12 
 
 I) 
 
 o 
 
 d 
 
 IG 
 
 4 
 
 4 
 
 D 
 
 20 
 
 d 
 
 36 
 
 4 
 
 12 
 
 ]•] 
 
 5 
 
 
 
 35 
 
 5 
 
 4 
 
 E 
 
 42 
 
 e 
 
 1»2 
 
 5 
 
 12 
 
 F 
 
 2 
 
 f 
 
 8 
 
 6 
 
 4 
 
 F 
 
 18 
 
 f 
 
 24 
 
 6 
 
 12 
 
 G 
 
 2 
 
 8" 
 
 8 
 
 7 
 
 4 
 
 G 
 
 18 
 
 ^ 
 
 24 
 
 7 
 
 12 
 
 n 
 
 3 
 
 h 
 
 IG 
 
 8 
 
 5 
 
 H 
 
 22 
 
 h 
 
 44 
 
 8 
 
 12 
 
 I 
 
 4 
 
 i 
 
 20 
 
 9 
 
 4 
 
 I 
 
 36 
 
 i 
 
 70 
 
 9 
 
 12 
 
 J 
 
 2 
 
 j 
 
 5 
 
 
 
 6 
 
 J 
 
 10 
 
 j 
 
 16 
 
 
 
 ir, 
 
 K 
 
 2 
 
 k 
 
 6 
 
 £ 
 
 1 
 
 K 
 
 10 
 
 k 
 
 12 
 
 £ 
 
 •J 
 
 L 
 
 3 
 
 1 
 
 16 
 
 & 
 
 5 ! 
 
 L 
 
 22 
 
 1 
 
 44 
 
 & 
 
 Kj 
 
 M 
 
 3 
 
 m 
 
 12 
 
 fi 
 
 i 
 
 ]\I 
 
 20 
 
 m 
 
 32 
 
 fi 
 
 7 
 
 N 
 
 4 
 
 n 
 
 20 
 
 ff 
 
 — 
 
 N 
 
 36 
 
 n 
 
 70 
 
 ff 
 
 7 
 
 
 
 4 
 
 
 
 20 
 
 fl 
 
 — 
 
 
 
 36 
 
 
 
 70 
 
 fl 
 
 5 
 
 P 
 
 3 
 
 P 
 
 12 
 
 ffi 
 
 
 P 
 
 20 
 
 P 
 
 26 
 
 ffi 
 
 4 
 
 Q 
 
 2 
 
 q 
 
 5 
 
 ffl 
 
 — 
 
 Q 
 
 8 
 
 '1 
 
 10 
 
 m 
 
 4 
 
 u 
 
 4 
 
 r 
 
 20 
 
 ) 
 
 20 
 
 R 
 
 36 
 
 r 
 
 70 
 
 ) 
 
 5<J 
 
 s 
 
 4 
 
 s 
 
 20 
 
 j 
 
 4 
 
 S 
 
 36 
 
 s 
 
 70 
 
 ) 
 
 14 
 
 T 
 
 4 
 
 t 
 
 2<J 
 
 
 4 : 
 
 T 
 
 36 
 
 t 
 
 7u 
 
 
 12 
 
 U 
 
 2 
 
 u 
 
 12 
 
 ^ 
 
 20 ; 
 
 U 
 
 20 
 
 u 
 
 34 
 
 , 
 
 50 
 
 V 
 
 2 
 
 V 
 
 8 
 
 . 
 
 8 i 
 
 V 
 
 10 
 
 V 
 
 12 
 
 . 
 
 18 
 
 W 
 
 o 
 
 \v 
 
 8 
 
 > 
 
 8 i 
 
 W 
 
 12 
 
 AV 
 
 2() 
 
 > 
 
 2t 
 
 X 
 
 2 
 
 X 
 
 1 
 
 1 
 
 4 
 
 X 
 
 8 
 
 X 
 
 ]o 
 
 ! 
 
 14 
 
 Y 
 
 2 
 
 y 
 
 8 
 
 ? 
 
 O 
 
 Y 
 
 12 
 
 y 
 
 24 
 
 p 
 
 12 
 
 Z 
 
 2 
 
 z 
 
 4 
 
 
 
 Z 
 
 8 
 
 z 
 
 in 
 
 
 
 JE 
 
 1 
 
 03 
 
 1 
 
 
 
 ^ 
 
 3 
 
 ve 
 
 4 
 
 
 
 CE 
 
 1 
 
 CO 
 
 1 
 
 
 
 CB 
 
 3 
 
 ce 
 
 4 
 
 
 
 Returning to the subject of book-founts, there is one im- 
 portant consideration in purchasing a new fount, that is, its 
 
DETAILS OF TYrES 23 
 
 thickness. A fount is considered of fair si/e when the whole 
 ali)hal)et of twenty- six letters, lower-case a to z, extends to 
 ! or exceeds twelve ems of its own body, thus: 
 
 abcdef ghi j Ivlninopqrstiivwx yz 
 
 If the al[>hal)et conies within the twelve ems, an extra 
 charge is involved, according to a provision in the scale of 
 prices for composition, and it consequently ranks as a " thin 
 fount." Therefore it is necessary that a j)urchaser should 
 be careful in selecting a new fount, in order to obviate this 
 extra charge being made. 
 
 In type-founder's language each jtortion of a single letter 
 has a distinctive name, as shown in the following sketch, 
 fig. 10: 
 
 B 
 
 Fig. 10. TAKTS OF A J'VI'K NA.Mi:i). 
 
 A The body or shank. f The feet. 
 
 B The belly or front. c^ The groove. 
 
 c The back. h The shoulder. 
 
 D The face. i The bevel or beard. 
 
 E The nicks. k The pin-mark. 
 
 A lu'Vti is that part of a letter which overhangs its i»ody, 
 as in a lower-case f. This is frequently m<;t with in italic 
 founts, owing to the sloping nature of the characters. 
 *S'er/y*s are the fine lines on the top and bottom of letters; 
 the two samples show respectively a letter with and without 
 serifs: 
 
 H H 
 
24 PRINTING 
 
 The faces of letters, taking lower-case as an illiistratiou, 
 are classified into fonr divisions: 
 
 Short letters. 
 ace in n o r s ii v ^v x z 
 
 Lone/ letter. 
 j (this occupies the whole depth of face). 
 
 Ascending letters — iipstrohes. 
 b cl f h i k 1 t 
 
 Descending letters — doivnstroJces. 
 
 gpqy 
 
 The capitals, and figures too (in a modern fount), would 
 be described as ascending letters, whereas the small capitals 
 would be classed as short. The only exception to these 
 rules would be the capital Q, which would be a long letter, 
 as in the case of the lower-case j. 
 
 Bastard founts, or founts in which the face is of one size 
 while the body is of another, are sometimes cast to obviate 
 the necessity of leading works. They economize the cost of 
 composition, because in casting-up, supposing the type has 
 a snuiU pica face on a pica body, it would reckon as only 
 small pica in width, but pica in depth. It is usual to have 
 the face one remove only from the size of body, but of 
 course there are exceptions to this rule. 
 
 Nicies in English types are on the front or belly of the 
 letter, but the system of the French and most other conti- 
 nental nations is to have the nick on the back, and their 
 standard as regards "height to paper," i.e., the height as 
 the letter stands from the feet to the face, is slightly higher 
 than ours. Indeed, our heights vary slightly according to 
 
TYPE STANDARDS 25 
 
 the several foiiiiclers, but the difference is infinitesimal. It 
 is a matter for reij^ret that the de]>ths of bodies are not always 
 the same in this country, but this state of affairs is now 
 being gradually remedied. Roughly speaking, the height 
 of type is equal to that of a shilling standing on its edge. 
 But it must be borne in mind that usually the types cast 
 by the Scotch foundries are of a slightly different height 
 from those of the English houses, but some firms cast both 
 to English and Scotch heights according to order. This 
 variation also applies to the types emanating from foreign 
 foundries. 
 
 Some of the types in use at the Oxford University Press 
 are cast to different standards in height, which is due to 
 the fact that its collection is so varied. 
 
 Taking the five leading founders of the present day,^ we 
 find the standard of pica is about the same, 72 to the foot, 
 but the other sizes vary, especially the long })rimer, as the 
 following will show: 
 
 Caslon and Co. . . . 89"5 to the foot. 
 
 Figgins (R.H.Stevens &Co.) 90 
 
 Miller and Richard I „ 
 
 Stephensim, Blake, and Co. / 
 
 Reed and Sons . . .92 ,, 
 
 The remaining sizes are dependent very largely on these 
 variations in long primer. 
 
 The following specimen page of types of Messrs. Miller 
 and Richard's old style will give the difference in face of 
 most of the sizes enumerated later on; the exact depth of 
 body, old standard, is given at the side, by the insertion of 
 a single letter of the same fount in each line turned upside 
 down. 
 
 ^ Caslon and Co.; W and .J. r'ig.uins; Miller and Kicliard : 
 Stephenson, Ulake, ajid Co. ; and Sir Charles Keed and Sons, now 
 inooriionitcd willi tlie linii of Messrs. Stei)lionson. Ulake, and Co. 
 
26 PRINTING 
 
 JCanon is the 
 
 "Two-line Great Pr 
 
 ■ 
 
 JTwo-line English is 
 
 "Double Pica is the size of 
 
 "Great Primer is the size of this typ 
 "English is the size of this type, which is 
 
 ™Pica is the size of this type, which is equivalent 
 
 " Small Pica is the size of this type, which is equivalent 
 
 ^ Long Primer is the size of this type, which is equivalent to 
 
 ^ bourgeois is the size of this type, which is equivalent to two of 
 
 " Ijievier is the size of this type, which is equivalent to two of Gem, or 
 
 2^ Minion is the size of this type, which is equivalent to one half of English, or 
 
 ~ Nonpareil is the size of this type, which is equivalent to one half of Pica, or one 
 
 ~ Ruby is the size of tliis type, which is equivalent to one half of Small Pica, or one quarter o) 
 
 !^ Pearl is the size cf this type, which is equivalent to une half u( Luiij; Primer, or one quarter of 
 
RELATIVE SIZES OF TYPES 27 
 
 The following table gives the names of the book-founts 
 (old bodies) ill L;viieral use, with their nominal relation tocaeh 
 other. Where blanks are left there are no real equivalents: 
 
 '5 « 
 
 
 
 O) 
 
 5 ^ 
 
 c 
 
 
 n 
 
 O cS 
 
 
 >% 
 
 
 
 c3 rt 
 
 ,^3 
 
 o 
 
 .-5 2 ^ O 
 
 C Ph « ^ 
 
 
 
 
 t4H M-l (4-1 M-l 
 
 o o 
 
 C 
 
 n 
 
 o o o o 
 
 
 
 
 
 
 
 
 U -^ i^ ;^ 
 
 !i 13 ;i 13 
 
 To to 
 
 Tfi 
 
 "^n 
 
 o o o o 
 
 
 
 
 t^-l t4H t+H «+-i 
 
 o) a* 
 
 (ii 
 
 o 
 
 {^ 
 
 
 
 
 
 o 
 
 
 
 
 ^ .^ "o •? jv *o .;5 CL 
 I -I I 3 I ^ o § 5 ,Si 5 ^ = = ^ 
 
 o 
 
 O .7 
 
 O -=^ P^ p:^ ;^. S P2 ^ c/i Ph <^ C^ ^ 'Vi' 
 
 t+H«+-IU-lM-|tJ-lt4_(t(-|t(-l" 
 
 oooooooo 
 oooooooo 
 
 ooooooo'o'o'ooo 
 
 =1 ;i :s 
 
 o c c 
 
 2 
 
 .2 Q^ 
 
 
 
 (U 
 
 c3 
 
 
 
 d 
 
 
 
 
 'r^ 
 
 ^ 
 
 
 ^ 
 
 P. 
 
 O 0) 
 
 
 • i£ 
 
 -M 
 
 11 
 
 c3 O 
 
 
 if 
 
 
 Ph 
 
 ;5 
 
 ^-^ 
 
 ^ P 
 
 
 
 c o o c 
 
28 
 
 PRINTING 
 
 Larger sizes of type are made, hut they are clesiguated by 
 the number of picas the body is equal to, such as five-line, 
 six-line, etc. Founts aro generally cut in wood when they 
 reach eight or nine lines of pica in depth of body. 
 
 Spaces of various degrees, used generally to divide words, 
 and quadrats to fill u^) short lines, which are cast to regular 
 sizes, complete a fount in the ordinary way. Hair spaces, 
 the thinnest of all, are cast perha])s eight to an em of their 
 own body; sometimes they are made thinner or thicker. 
 Taking long primer, in which this work is printed, as our 
 standard, the spaces here shown give the width: 
 
 laii- space 
 
 thin space 
 
 middling space 
 
 1 
 
 1 
 
 1 
 
 1 
 
 8 to em 
 
 5 to era 
 
 4 to em 
 
 thick 
 
 space 
 
 3 to cm 
 
 Quadrats of the same body 
 en em 2 em 
 
 3 cm 
 
 4 ctn 
 
 The following suggestions may be of service: 
 Hints on Ordering Sorts. — The following table contains 
 a rough estimate (taking Brevier as a standard) of the 
 amount which the respective boxes of the regular full-sized 
 lower case will contain; the first two columns give the 
 letters and weight only, the last two columns the letters 
 and number that will weigh a pound. 
 
 Letters. 
 
 I Weight to 
 I Box. 
 
 a c d i s m n h o u t r 2 lb. 
 
 f bl vgy p w 15 oz. 
 
 k j z X q and figures 6 oz. 
 
 e I 3 lb. 
 
 Cai^itals I 5 oz. 
 
 Letters. 
 
 No. 
 
 Letters 
 
 to lb. 
 
 abdghknopquvxyz 582 
 
 c 6 r s t 682 
 
 m 398 
 
 fijl ; 850 
 
 Periods and Commas 1400 
 
FINDING WEIGHT OF TYPE 29 
 
 Wt'l((hf of Type required for a Joh. — To find this, divide 
 the area of the page expressed in pica ems by 144. The 
 answer i^ives the number of pounds weiglit in the page. 50 
 per cent, for small founts, and 30 to 40 per cent, for large 
 founts, shovild be added to allow for sorts, etc. 
 
 Edcample: I have to set fifty pages of Brevier, octavo, the 
 size of the page in pica ems being 20 x 34. What weight 
 of tyjie should I order? 
 
 The area of each page is 20 x 34, equal to 680 ems pica ; 
 divide by 144 and multiply by the number of pages, 50. 
 The result is, say, 236. Add 40 per cent., and the sum will 
 be about 330 lb. Am. 
 
 Another method is to take four scpiare inches of type, set 
 solid, to the pound, as an approximation. If leaded the 
 diiference must be allowed for, and the number of leads 
 deducted according to the poundage scale for leads on 
 page 49. 
 
 Tliere was a time when book-founts were considered 
 fairly large if they consisted of a 1,000 lb. weight, but the 
 present day rec|uirements demand founts sometimes of 
 several tons in weight; in fact, a fount of 10,000 lb. is 
 by no means a large one, and can only be considered of a 
 medium size. A firm undertaking bookwork is frequently 
 expected to get a complete work in type at one time, even if 
 it makes two or three volumes, and, moreover, the printer 
 often has to keep it standing indefinitely; so that any one 
 establishment may have many volumes standing at the 
 same time. 
 
 To give an idea of the weiglit employed in an average 
 volume, take a crown octavo novel of 10 sheets of 32 pp. = 
 3'20 pp. in all, as an instance; it may be assumed that 
 }»ractically a ton of type would be required for such a vol- 
 ume if set solid. 
 
 A Square Iiirli of Tij[>c. — It is not always, when asked 
 for an estimate, that the pciiiler hjs at hand tlir means of 
 
no PRINTING 
 
 making it. He has mislaid his graduated scale, or the 
 matter to be cast off is in awkward batches. A ready 
 means, however, has been suggested. It has been calculated 
 that a square inch of pica contains 36 ems; of small pica. 
 49 ems; long primer, 56 ems; brevier, 86 ems; minion, 
 100 ems; nonpareil, 144 ems; and ruby, 196 ems. Any 
 fractions in the calculations should be considered as being 
 in favour of the printer. 
 
 Ordering Sorts. — The twelve square boxes directly in 
 front of the compositor, containing the letters a, c, d, i, m, 
 etc., will hold about 2 pounds each. The boxes half tlie 
 size of the *'a" box will hold 15 ounces each, containing 
 the letters f, b, g, 1, p, etc. The small square boxes contain- 
 ing the letters k, j, q, etc., will hold 6 ounces each. The 
 " e " box 3 pounds, and the cap. case 5 ounces to the box. 
 The best way to order sorts for display type is to do so l>y 
 " irons." A typefounder's iron is about 20 pica ems long. 
 
 Special Sorts. — Where do they all go to — such as fractions, 
 reference marks, accents, italics, etc. ? Every employer who 
 has had much book or news work that called for any quan- 
 tity of these sorts has had the problem put plainly to him 
 by the frequent demand for fresh supplies. On inquiry, he 
 has traced their disappearance to the laziness of some 
 employes, who, not thinking that these sorts are likely in 
 an emergency to be very valuable, either throw them into 
 the quad box, or scatter them promiscuously and recklessly 
 about in the upper case, a practice to Ite condemned. 
 
 Tlie following plan gives some of the type bodies at a 
 glance, Messrs. Miller and Richard's standards for old 
 bodies being used. Every fifth line is numbered, and each 
 column is two ems wide of its own body. From this diagram 
 it will be seen that English, Long Primer, Brevier, and 
 Minion bear no precise relation to the other sizes. On the 
 other hand founts cast on the point system bear a definite 
 proportion to each other. 
 
ci - 
 
 ! «« 
 
 y 
 
 
 
 .— 5 
 
 5 
 
 10 
 
 -10 
 
 — 5 
 
 -10 
 
 -10 
 
 —10 
 
 ! — 10 
 
 10 
 
 10 
 
 15 
 
 15 
 
 15 
 
 -20 
 
 —15 
 
 —15 
 
 15 
 
 i— 20 
 
 -20 
 
 -20 
 
 -25 
 
 —10 
 
 — 6 
 
 -10 
 
 -15 
 
 — — 2o': 
 
 — 20! '-25 
 
 —25! 
 
 —20 
 
 —30 
 
 -30 
 
 -35 
 
 -30 -35 
 
 —40 
 
 -15 
 
 -20 
 
 20 -25 
 
 !— 251 
 
 -30 
 
 — 45i 
 
 30 
 
 —35 
 
 —40 
 
 '— 2.J 
 
 —45 
 
 -40 
 
 —30 
 
 35;- 
 
 -50 
 
 -.30 
 
 1—40 
 
 —CO 
 
 —65 
 
 20—25 
 
 —3; 
 
 -40 
 
 -05 —70 
 
 45 
 
 ^0 -35 
 
 -50 
 
 I— fiO -70-75 
 
32 
 
 PRINTING 
 
 The Point System is gradually, uay fast coming iuto use 
 in this country, and is an ideal one for type bodies, fig. 11. 
 Without going into decimals, the system may be explained 
 as follows. Pica, which is roughly seventy-two to the English 
 foot, is the basis of twelve points. The smaller sizes are 
 graduated by half points, the middle sizes by one point, and 
 the larger by two or more points. For jobbing purposes 
 the system allows of a very ready justification of one body 
 with another, and it is in that particular branch of work that 
 it has been largely adopted. At the same time it simplifies 
 all composition of book-founts, and has the effect of co- 
 ordinating the various bodies which have hitherto been a 
 source of vexation to the ^^I'iuter. 
 
 The following table gives approximately the equivalent 
 bodies under the old and point systems. 
 
 Old System, 
 Excelsior . 
 IJiil Meant 
 Semi lirevier 
 Diaiiioiid . 
 Pearl . . 
 Agate . . 
 Nonpareil . 
 Minion . 
 IJrevier . . 
 Bourgeois . 
 Loni;' Primer 
 Small Pica. 
 Pica . . . 
 '2-lino Million 
 English. . 
 2-line Brevier 
 (Jreat Primer 
 
 Point System. 
 S-point hody. 
 
 4 
 
 ^ 55 55 
 
 *2 55 55 
 
 '> 55 
 
 oh ,5 
 
 G 5, 55 
 
 i 5 5 5 5 
 
 '^ 5 5 5 5 
 
 Q 
 
 •-' 55 55 
 
 10 „ 
 
 11 5, 
 
 12 
 
 3-line Nonprl. j 
 
 IG 
 \ 
 
 Ol(f System. Point St/stem. 
 2-line Lg. Prim. ^ 
 Paragon . . j ' 
 2-line Sni. Pica '21 ,, ,, 
 2-line Pica. . 24 ,, 
 2-line English. 28 ,, ,, 
 
 5-line Nonprl. 80 ,, ,, 
 
 3-line Sni. Pica i 
 4-line Brevier, j ' ~ " 
 2-lineGt. Prim.^ 
 
 36 
 
 3-line Pica 
 Dhl. lWa<;-on . 40 
 7-line Nonprl. 42 
 4-line Sm. Pica ^ 
 
 44 
 
 18 
 
 Canon . 
 4-line Pica . . 48 
 5-line Sm, Pica "^ _ 
 9-line Nonjyrl. j ' 
 5-line Pica . . GO 
 G-line Pica . . 72 
 
 Two other features in connection with the point system 
 are those of the Standard Line and Unit Set, as applied to 
 
THE POINT SYSTEM 
 
 :> TolNT. 
 
 1'2 rolNT. 
 
 RO rinvT. 
 
 :;i.. I '.MM. 
 
 1 I'.ilNl-. 
 
 4V, I'OINT. 
 
 5 I'm NT. 
 
 •)1.. I'min 
 
 .">1.. I'olNl-, 
 
 ♦i I'dlNT. 
 
 ♦ J I'oINT. 
 
 7 I'dint. 
 
 S I'DINT. 
 
 « PdlNT. 
 
 Hi ToINT. 
 
 IS ToiNT. 
 
 IS I'OIXT. 
 
 20 Point. 
 
 •J2 I'OINT. 
 
 40 IN) I NT. 
 
 44 PoixT. 
 
 48 Point. 
 
 24 Point. 
 
 !t I'd I NT. 
 
 !• I'dlNT. 
 
 !» I'i.INT. 
 
 lo Point 
 
 Kl I'OIN- 
 
 11 Point. 
 
 11 Point. 
 
 •JS Point. 
 
 30 P(JiNT. 
 
 o'2 Point. 
 
 60 Point. 
 
 , J Pol N r. 
 
 Fig. II. I'oiN'i' i:((i)ii-:s on iiik a.mi:i;han s\sii;m. 
 
 D 
 
34 
 
 PTJINTTNG 
 
 all tli<' It-tiers cniiijd-isiiiLi- any one size of lt(»«ly : suiiu.'- { 
 limes founts unclei' this system are callefl C'liitiKctisnnihle > 
 Tijiies. The staudtird line refers to the eiiual tilignmeut of 
 the different faces on any one l)ody, so that these various 
 faces rani^-e at the foot, whether of the ordinary roman or 
 
 Unit Set 
 Example. 
 
 1 
 
 bhou 
 
 y 
 
 dk 
 
 Pv 
 
 B 
 
 gnqlx 
 
 F 
 
 
 ^ 
 
 nil 
 
 111233123312312312312345678999999990 
 
 iiiiiin nil iniiiniiniiiiiiiii 111111 iiiiinii 
 
 ii89iio 1 ii23ii45ls67ii 
 
 till 231114561117891110 121tt345tll 
 
 1 1 234^5678^90 1 2^456^7890^ 
 
 1 234567890 1 234567890 1 234567890 ! 23456 
 •••••••••••••••••••••••••••••••••••• 
 
 ♦ hlihhhlililMMMMMMMM 
 #kkkkkkk ssssssssssssssss 
 "►niiiiiiiiiiiiliuiiiiiiinniininm 
 
 yyyyyyyy 
 
 xxxxxxxx 
 
 bbbbbhbl 
 
 WAVAVWWW IIIIIIH 
 
 eceeeeeef eeelrrrrrrrl 
 
 Example of tlie Standard Line System. 
 
 The Splash of a Drop. By Prof. Worthington ...1/6 
 
 The Birth and Growth of Worlds. By Prof. GREEN, M.A., F.R.S. - I'- 
 Aquila non capit muscas An eagle does not catch flies (Latin) 
 
 1.0XD0N,Whitechapel Rd., E. 6 ST. LUKE'S, Old St., E.G. 12 
 Poplar, 9, Barking Rd.,S.E. 4 Dextal, Leicester Square 17 
 
 J This line shows nine faces of Standard Line Types. J 
 
 Thizse Tj^pcs are Cflsf on Standard Line. 
 
 These Types are not on standard Line. 
 
 I'k;. 12. KXAMl'lJ: 01-' STAXDAltm. INK AND I'NIT SET LETTERS, j 
 
 \ 
 
 of the clareudon order. Tlie unit set refers to the precise 
 lateral width of each letter of the alphabet, or, rather, any !i 
 letter of a given fount, each different [^letter being cast to 
 a specified number of units, these units being points or 
 fractions of points both in alignment and^n width, fig. 12. 
 By the adoption of these three methods the standard- 
 ization of types is rendered an easy matter, and thus allows 
 
STANDARD LINE AND UNIT SET 35 
 
 !i^f a pcrt't'ct just ifi(':i1i(»ii (»i oiu' size witli aiiotlicr, \\n{ oulv 
 ill depth lull also in widlli. Tliat (Iir poiut svsii'iii, as i";ir 
 : as tlu' (lf[»tli ot" bodies is coiiceruod, is an ideal one will l>c 
 || admitted by all; but we venture to think that perhaps the 
 I standard line and luiit set methods are not of such ini])ort- 
 i ance, for these definite measurements must somewhat limit 
 
 the artist's scope in designing any alphabet. 
 j The old l)odies of type often necessitated the use of leads 
 and sometimes pieces (.f card to make justitication possible, 
 (but at the best it was an unsatisfactory means to an end. 
 In starting new printing offices it is strongly advisable to 
 have everything in connection with the composing depart- 
 ment, including furniture, leads, brass rule, borders, and 
 • •riianients of all kinds, on this point system, as much 
 I trouble and vexation will be avoided, for under the old 
 I system the same sizes of types by the various foundries 
 differed as already shown, which created endless confusion 
 whtui the same nominal bodies were used together. 
 
 This chapter on hand-set types should be found interest- 
 
 : ing to the student, but, as already pointed out, owing to the 
 
 i improved conditions for machine composition, that method 
 
 is now l)eing more used for bookwork, and doubtless its 
 
 I'uiployment in the future will be even greater. 
 
COMPOSITION AND DISTEIBUTION 
 
 CHAPTER II 
 
 Materials, Tools, and Appliances used — Varieties of Fraiiies and 
 Cases — Different kinds of Coniposin^u' Sticks, Settin*; Kule, and 
 Galleys — Leads — Brass llules of Plain and Fancy I'liaracter— 
 Furniture, Wooden and Metal — Quoins — Patent Locking-up Ap- 
 paratus—Mallet, Planer, anil Shooting Sticks — Chases, Imposing 
 Surfaces, Forme and Letter-lJoard Racks — (lalley Proof Presses 
 — Rule and Lead Cutter — Bodkin, Tweezers, and Shears. 
 
 BEFORE proceeding to the matter of type-setting by 
 hand, it is necessary to give the student some idea of 
 the materials, tools, and other appliances required in this 
 department, and the illustrations here given, with short 
 descriptions, will make clear the use to which they are j^ut. 
 
 To commence with, we have the comjjosing frames of 
 various kinds. The old kinds are usually made of deal, and 
 stand breast-high, forming a stand to hold the type-casos 
 at a proper angle for the most comfortable position in 
 picking-up types, the upper case lying at a more acute angL 
 than the lower case, in order that the compositor may easily 
 reach the topmost boxes in the upj^er case without having to 
 stret(di too far. The best kinds are those which are made 
 in sections and bolted together. These frames are generally 
 made with a rack to hold the cases not in immediate use, 1 »ut 
 likely to be required. 
 
 The ihnihle frame, tig. 13, holds two pairs of cases, and has 
 two sets of racks for cases, which hold five pairs in each, 
 making a total of twenty in all. This is a good and service- 
 able frame where rack- room is a consideration. 
 
COMPOSING FRAMES 
 
 37 
 
 The n-Jinlc j'rdnh', tio-. 14, however, is one more in i^'eiieral 
 iis<'; it has only one case-rack, which liokls five pairs, and 
 ilic frame-stand itself is somewhat sliorter. The remain- 
 in<4' ])ortion of the frame is occupied by a shelf called 
 the " bed of the frame," which is very handy for sur[>lus 
 
 Vu.. i;i. iioriM.K ki;amk. 
 
 "sorts" turne<l out in distrilmtion, and for various other 
 thino-s. This frame holds two pairs of cases up for immediate 
 use, as <lo('S the double Iranu'. Sometimes, when these 
 larger traiix's are standino- back to back, as is usual in a 
 laro-e |.riiitiiiL; ..Hkc, the space between th.- two is utilized 
 for p;al ley -racks. 
 
 The llirrr-ijimrlrr I'nniir, li--. 1"). is a litllc Icu-cr than 
 
38 
 
 PRINTING 
 
 Uk' lialf-traiiK', ;iik1 holds up one pair of casos, haviiiLC a 
 case-rack for five pairs not in actual use. They may also he 
 made with galley- instead of case-racks. 
 
 The half-frame, fig. 16, is simjily a small stand for one ' 
 pair of cases up, with no case-rack, but it has a good sized ^ 
 shelf or bed to it near the foot, useful for many pur^joses. 
 
 V\c.. 14. w iioi.K ki;a.mi;. 
 
 This frame is handy for holding italic cases on, because it 
 can stand in any out-of-the-way corner, where there is not 
 sufficient room for a three-quarter or double frame. Tlierc 
 are, in addil ion to these, several other kinds of frames made 
 foi" makiitg-U]» pur]M»scs. callt'd ran<Ji>iii fraur's, aii<l others 
 with sjM'cial drawei's or cuiilttKirtls constructed t(» onh'i', 
 according to the re(|uir('iiicut s of any }»ar(icular oflice. 
 
COMPOSING FRAMES 
 
 39 
 
 111 riH-onl vtnirs niaiiy improved frames and otlior appli- 
 auces have come into use wlii(;li are economical as regards 
 space occupied, and have the eU'ect of keeping the type- 
 cases and other things dust-proof to a great extent. Many 
 of these innovations are due to American enterprise, and 
 are well worth consideration, especially for new offices. 
 
 I*;. 
 
 r». iiiKKixirAi; ri;i; iiiam 
 
 The [»riii(ipal (»l)jcct is, as said ijefore, both space and 
 labour saving. For instance, we have the so-called Neic 
 York frame, fig. 17. of wliich kiiid thrrt' arc many otlicr 
 varieties to be obtaiii('<1. 
 
 Tile one sliowii OH ]>. 11 is a < | ua(lrii|>lt' rraiiif with 1\vt> 
 «loiiit|t' casc-i'acks. Il will be iml ir.'il t hat 1 lir stands oranns 
 for the cases are niailf ol' iron brackets instead ol' wnofb 
 
 Tij[ii'-cii>irfi themselves are usuallx nia<le ol" teal\, and the 
 
40 
 
 PKINTING 
 
 botioni l)u;ir<l ut" the case is liued with smooth white paper 
 before the divisions forming the boxes are fastened on. By 
 tliis means the cases are kept cleaner, and made more com- 
 fortable for ]>i(lcinLi' up the type when the letter is set h)w. 
 There are t>ther cases with special features in their manu- 
 facture, such as three-ply bottoms, which impart great 
 
 Fk;. Ki. HALF i"ka:me. 
 
 strength to the case. Tlie res])ective corners of the diiferent 
 boxes are also fastened with a small brass clamp which has 
 a pin driven right tlirougli, thus junning tlie partitions 
 hrmly to the bottom of the cas(\ 
 
 Tlicrc ai'c 1 wo cases use<l for t»rilinai'v liookwoi-lccall.d 
 iijtjH'r an<l /o/rr/- case, which (.(Uilain ihc ca]>itals and llie 
 smaller letters resj>ectivelv. 
 
 ThoughEuglishcasesarealwavsmadewiili the same nuin- 
 
TYPE-CASES 
 
 41 
 
 I ber of boxes or divisions, the " lay," of which we shall speak 
 j)rest'utly, varies accordiiii;- to fancy and re<iuirenient for any 
 particularclass of work. The uppercase has981>oxes, and the 
 ;jl lower ease 53 boxes. To the letter e is allotted the largest 
 il box in the lower ease, and the other vowels and consonants 
 I most frequently used are placed in the next size of division. 
 
 Vic. 17. XKW voi;k (»rAiii;ri'r.K kiiami:. 
 
 These Itoxcs are situated accordin*^' to the demand for the 
 different letters in settinu' u)» ordinary worlds. For instance, 
 the ciiiiiiMtsilor stands at the centre «>1' liis case, and ol 
 c(Mirse il is rea-;<>iialile In suppose tliat tliose letters most 
 fie(|iiint 1\ in use, as th«' vowels <i r / n, and the consonants 
 / // </ //, slioiild be nearest to his iMckin-' n)t hand, in (tj-der 
 to save time in couveviiiu tli<' letler from the box to 1 he 
 
42 
 
 PRINTING 
 
 coinposing stick. The diagrams, figs. 18 and It), show the 
 plan of the ordinary upper and lower eases. The " lay " 
 will be dealt with later on. 
 
 Fk;. 18. ui'i'Ei; case. 
 
 For jobbing purposes, when the founts ha[)pen to lie 
 not very large, special cases are user], and, amongst others, 
 
 Fig. 19. EowKi: cask. 
 
 double cases, upj)er and lower cases combined, fig. 20, and 
 treble cases, similar to three uj^per cases all in one, fig. 21, are 
 
 V]i.. "Jo. holl'.I.E CASK. 
 
 niinmracl iir«'<l, and Inuiid \('V\ useful. Other varieties are 
 made for four or six founts in one case, and some for brass 
 rule and leads. Hebrew, Greek, and other lani;ua^es having 
 
CABINETS 
 
 43 
 
 sj.L'cial chariictors require cases of different eonstriutiou as 
 regards the boxes. These will be dealt with in Chapter XI. 
 
 - A M~ A--- 4 
 
 4-1 
 
 -TT- 
 
 4^ A 4 A 
 
 A-i-4-l^ J^ /T^^T^ J^ jTJjrA 
 
 'WTWJ^W P^WW^^^FT^ 
 
 IhTT^TTJ- 
 
 ^WW, 
 
 J^/A 4^PA A /f^ A- M^ A' A J> A- 
 
 ^'^M rA-- ^/if^'ip 
 
 -ir~ii' 
 
 'T^A^J^A- i- i 
 
 Fig. 21. treiu.e case. 
 
 There are also various other suggestions for eabiuets so 
 that leads, reglet, or furniture may be kept in their separate 
 
 ^^^^^^^^LO N^%^£^^ 
 
 l-'i<;. '2'2. I ri:\i'n III", c ai'.in'KI'. 
 places, as well as in llicir respective sizes, wliidi ivpiv- 
 sents a -ivai savin- ..I' lime Fi-'. -I'l is a S(.-callc<l lal-'iir 
 
44 
 
 PKINTING 
 
 saving t'uniilurc cabinet, and thr idea should be sufficiently 
 obvious to even the most unpractical ])erson. 
 
 Fig. 23 represents one of a pair of lead and reglet cases 
 intended to stand together, and marked with the various 
 measures or lengths in pica ems. These too are equally 
 serviceable. 
 
 V\i.. -J."}. I,1:A1) ami RIKiLKT ( A 111 NKI". 
 
 Tin i-tiui ixtxiiitj sficl-, figs. 24-28, is the toed used for 1yi»e- 
 setling. Tt is nia<h' in various metals, but generally <»f iron 
 or gun-uiclal for bookworlc. For newspaper work short 
 mahogany sticks, fig. 27, are sometimes employed; they arc 
 linod will) metal (usually brass), and the measure is oL' 
 course lixcd. Kor jtoster or broadside work long sticks. 
 
COMPOSING STICKS 
 
 4.5 
 
 tii;'. 2(S. iiiinic cnl irclv (»r a li;ir<I wotxl ar<' iis«,'<l. To t lie iiicia I 
 b»->ok\vi»rk coinixtsiiiL:' sticks a iii«>\ nMc .sli<l(' is altadird. 
 
 Fk;, 21. STICK WITH sloj'tkd sckkw. 
 
 which can he adjusted to any measure within tlie len^-th of 
 tlie stick. These slides are fastened usuallv bv means of a 
 
 Fk;. 'Jo, stick with lkvei;. 
 
 slotted liead-screw, as in tig. 24, but for joidjini;- ])urposes a 
 lever, fig. 25, or thumb-screw, tig. 26, is sometimes substi- 
 
 FlC. 2(). STICK WITH THCMMSCIIKW 
 
 tuted ; these allow of more rapidly changing the measure. 
 The illustrations now given show the many varieties in use 
 at the present time. 
 
40 
 
 PPtlNTINO 
 
 111 onlvv to set ii]» tlio type easily aud smootlily we liave 
 in connect idii with llic eoinposini^ stick the seftitaj rule, 
 tiii". '2\K wliicli is [»1;ic(m1 witliiii the stick for the ivpe U} lie ! 
 
 Fk;. 27. WOODEN stick, .mktvl i.im:i>. 
 
 a<?ainst as it is beiu<^^ set. It is generally made of fonr-to- 
 j)i<-a brass rule Avith a nil) or nose-2:>iece usually at one end, 
 
 Jl-—^=^ 
 
 \_9 :• -9 « Mt^ t>- -• 
 
 :J6' --0 '>Ji£;«' --K^:* -:^ '^ :'W . •; 
 
 Fig. 28. broadside stick. 
 
 but sometimes at l)otli ends, to allow of its being more 
 readily lifted out aud placed in front of the line just set and 
 
 Fk;. 29. setitn*; i;iij;. 
 
 justified. Its use is to facilitate the setting of the type, as 
 it ])erniits the letter, when placed in the stick, to slide more 
 readily into its position, and as each line is composed it is 
 placed in front of the one just finished. It also assists in 
 emptying the type out of the stick on to the galley — especi- 
 ally when the matter is set "solid," I.e., without leads. 
 
GALLEYS 
 
 47 
 
 It may Ix' said liore that " matter" is aiiotluT \V(>r(l for 
 comi»os('(l Ivpi', ami also that " settiii!^- " is the Icrm apjilicd 
 I to the act of composing. 
 
 Wlieu the stick is full, it has to be emptied on to 
 a gcill^y, fig- 30. These receptacles are generally made of 
 mahogany for bookwork, and for newspaper work or slip 
 matter of brass, or more frequently of zinc. In the wooden 
 kinds we have slij), octavo, quarto, and folio galleys. It is 
 desirable that well-seasoned wood be obtained, for they are 
 
 FlC. 80. VARIOUS GALLEVS. 
 
 very apt to get twisted or warped. Old wainscoting makes 
 an admirable galley in all respects. Type matter for distribu- 
 
 I tion should never be wetted whilst on wooden gallevs; metal 
 
 ! ones should be used for that purpose. 
 
 I The patent metal column gcilley irifh quoins, fig. 31, shown 
 on the next page, is certainly an advantage for slij) matter, 
 
 j and especially so for newspaper or magazine work. Tlie 
 quoins are made of metal, and are fixed into an angular 
 slot at the side of the galley — furniture, metal or wood 
 
 j being used in 'place of the ordinary sidestick. As Avill Ik- 
 
 i seen, the slot gives ample room for loosening or tiglitening 
 
48 
 
 PT^INTING 
 
 IIk' <(iinius, (»i' wliich llircc arc siil'- 
 tiriciit for caeli galley. Practically 
 this patent is a seli-luckiiiL;- galley, 
 aucl is made in both brass and zinc, 
 and in all sizes. By the use of these 
 galleys much time is saved. 
 
 Leads, tig. 32, are sli2)s of metal 
 of different thicknesses and cut to 
 various lengths; these are used for 
 placing between the Hues if the work 
 is required to be " leaded." They are 
 made of less brittle metal than type, 
 and are therefore more pliable. They 
 are cast, so many in thickness to a 
 l)ica, from four to sixteen to a single 
 em of pica body. 
 
 Nonpareil lead m^a^^^s^mmma 
 
 (<)-l)oiiit) 
 
 Thick lead ^^^^^^^^^i^h 
 
 (3-poiiit) 
 
 Six-to-pica lead ^^^— i— ^^— — 
 
 (2-point) 
 
 Eight-to-pica lead — — .^— . 
 
 (li-point) 
 
 Fig. 32. some lkads. 
 
 Technically speaking, a thick lead is 
 four to pica ; a thi/t lead eight to pica ; 
 and hair leads perhaps fourteen to 
 sixteen to a pica. Besides these sizes 
 there are twelve, ten, and six to pica 
 leads. Leads are cut to pica ems in 
 length, except in the case of special 
 half-measures, that is, a given num- 
 Ijcr of ems with an en added for 
 double column matter of a narrow 
 measure. The following schemes are 
 handy for ordering (]uantities: 
 
 ^ 
 
 I'ATEM' (; ALLEY. 
 
LEADS 
 
 49 
 
 ISLMCKU UF J J r: ALLS IN A ruUND. 
 
 Lcngtiis. 
 
 4 to 
 Pica. 
 
 6 to 
 Pica. 
 
 8 to 
 Pica. 
 
 288 
 
 Longtlis. 
 
 4 to 
 Pica. 
 
 .).) 
 
 6 to 
 Pica. 
 
 S to 
 Pica. 
 
 4 ems 
 
 144 
 
 216 
 
 26 ems 
 
 44 
 
 5 ems 
 
 112 
 
 i(;,s 
 
 22 t 
 
 27 ems 
 
 21 
 
 31 
 
 42 
 
 6 ems 
 
 90 
 
 144. 
 
 J92 
 
 28 cms 
 
 20 
 
 30 
 
 40 
 
 7 ems 
 
 82 
 
 123 
 
 16)4 
 
 29 ems 
 
 20 
 
 30 
 
 40 
 
 8 ems 
 
 72 
 
 108 
 
 144 
 
 30 ems 
 
 19 
 
 29 
 
 38 
 
 cms 
 
 64 
 
 96 
 
 12-S 
 
 31 ems 
 
 19 
 
 28 
 
 38 
 
 lo cms 
 
 56 
 
 84 
 
 112 
 
 32 ems 
 
 18 
 
 27 
 
 36 
 
 11 cms 
 
 52 
 
 78 
 
 104 
 
 33 ems 
 
 17 
 
 26 
 
 34 
 
 12 emF 
 
 48 
 
 n 
 
 96 
 
 34 cms 
 
 17 
 
 25 
 
 34 
 
 lo ems 
 
 44 
 
 m 
 
 88 
 
 35 ems 
 
 16 
 
 24 
 
 32 
 
 14 ems 
 
 41 
 
 61 
 
 82 
 
 36 ems 
 
 16 
 
 24 
 
 32 
 
 15 ems 
 
 MS 
 
 57 
 
 7Q 
 
 37 ems 
 
 15 
 
 23 
 
 30 
 
 1() ems 
 
 36 
 
 54 
 
 72 
 
 38 ems 
 
 15 
 
 22 
 
 30 
 
 17 cms 
 
 :]4 
 
 51 
 
 68 
 
 39 ems 
 
 15 
 
 22 
 
 30 
 
 18 ems 
 
 32 
 
 48 
 
 64 
 
 40 ems 
 
 14 
 
 21 
 
 28 
 
 11' ems 
 
 30 
 
 45 
 
 60 
 
 41 ems 
 
 14 
 
 21 
 
 28 
 
 20 ems 
 
 28 
 
 42 
 
 56 
 
 42 ems 
 
 14 
 
 21 
 
 28 
 
 21 cms 
 
 27 
 
 40 
 
 54 
 
 43 ems 
 
 13 
 
 2U 
 
 26 
 
 22 ems 
 
 26 
 
 39 
 
 52 
 
 44 ems 
 
 13 
 
 19 
 
 26 
 
 23 ems 
 
 25 
 
 37 
 
 50 
 
 45 cms 
 
 13 
 
 19 
 
 26 
 
 24 ems 
 
 24 
 
 36 
 
 48 
 
 46 ems 
 
 12 
 
 18 
 
 24 
 
 2o cms 
 
 23 
 
 34 
 
 46 
 
 47 cms 
 
 12 
 
 IS 
 
 24 
 
 Weight of Leach Eequired for a /a6.— Multiply the 
 number of Hues iu a page by the uumber of pages to be 
 le?ided,and divide the product by the uumber of leads of the 
 measure required that weigh a pouud. 
 
 Emm pie: I have to lead (8-to-pica) 24 pages of uiatter 
 set to 21 ems pica, there being 35 lines to the i)age. How 
 many pounds of leads shall I want? In the table I find 54 
 8-to-pica leads, 21 cms long, weigh a ]Mmnd. Therefore 
 I divide 35 x 24 by 54 and get 15 ll». 1(> o/. Aii^. 
 
 Note: It WcllM be as well In ol-'ler 2<» 11»., (Ill t.. tllf 
 
 riglit measure, lo be siii'e ••!" liaviiiL:' sutheient. 
 
 E 
 
ry{) PUINTING 
 
 JWXVVXVVVVVVVVVVVVVVVVVVXVVVVVVVVVVVVVVVVVVVV^XXVXVVXVV^ 
 
 ^AAAAAAAAAAAA, 
 
 Fk;. 'So. I'l.AIN AM) I ANCV laj.KS. 
 
BRASS RULES 
 
 r.l 
 
 Brax.^ n(h'f<, iiy". o'S, are thin strips of rolled brass luado 
 tvpe high usually in lengths of 18 and 24 inches, and in 
 various thicknesses and |)atterns. In addition to the faces 
 ^dven, many other varieties can he had, and many combina- 
 tions can be made by using two or more patterns together. 
 
 Column rules are sometimes made on large bodies, such 
 as pica; this ol)viates the use of leads in forming the white 
 on either side of the rule — an advantage in newspaper work. 
 For siiort lengths the special case, fig. 34, is recommended. 
 
 1 
 
 
 
 1 
 
 1 
 
 )> 1 i6 
 
 1 4^1 ' 
 
 U 
 
 -1 
 
 47 
 
 
 r; 1 44 ; 
 
 i^ 
 
 i 
 
 4i 
 
 
 ly- 1 ><: 1 
 
 1 IJ 
 
 4<: 1 42; 
 
 41 \ 
 
 vi; 1 ii; 
 
 < ' 1 - ' 1 -I 1 < 
 
 i:.\ ■-;; 1 :f,i 1 4n: 
 
 ij 1 1 '■ 1 " 
 
 -.1 '•, 1 r; 1 ."..' 
 
 .--■i I 'S 1 '^ \ S 
 
 - 1 ": 1 23i 1 ii; 
 
 37 1 _J 1 '/ 1 J 
 
 J, I (■; 1 24i 1 371 
 
 S6 1 J) 1 '6 1 ^ 
 
 y, 1 'y ! :5; ! W 
 
 35 
 
 I oe 
 
 1 '.■> 
 
 1 « 
 
 y, 1 <-; 1 2y, 1 35i 
 
 34 
 
 
 1 " 
 
 1 7 
 
 7i 1 
 
 i>; 1 
 
 2'! 
 
 i^; II 
 
 33 1 
 
 ?> 
 
 1 13 
 
 1 *■ 
 
 y, 1 <}\ 1 :v' 1 3v, 1 
 
 1 32 1 
 
 3') 
 
 1 '- 
 
 9 
 
 ?; 1 '2; ■ 1 2-^; 1 i^; 1 
 
 i 3, 1 
 
 30 
 
 1 " 1 
 
 10 
 
 'W 
 
 1 ny 1 
 
 30i 
 
 1 3„ II 
 
 Fk;. ;U. lUt.VSS IJULH CASK 
 
 Fnyniture and /v^j//e^ l)oth wood and metal, are used for 
 forming margins round the ])rinted matter of a book, and 
 to assist in bulking out the pages when imposed in the chase. 
 
 Wooden furniture is, ])erhaps, more generally used. It is 
 made of well-seasoned oak, and supplied by the nuinu- 
 facturers in yard lengths, or cut to given measures which is 
 "labour-saving." The term "furniture" is applied to 
 that of the larger kind, from three ems thick and upwards. 
 Reglet is made in various thicknesses, the same lengths as 
 furniture,andgencrallyef|uivalenttothebodiesof tyi)esfrom 
 Nonpareil up 1.. 'I'wo-Iine (ireat Primer. Confusion is likely 
 to arise if 1(>«» many sizes are used, as the edges are sure 1e 
 wear rouii.l .iui<kly, and tlien it is a dillicull mailer 1o 
 distinifuish the tliickn.ss. 'I'lie Im'sI for g.-ncial use are 
 
52 PEINTINa 
 
 jj 
 Nonpareil, Long Primer, Pica, Great Primer. Duul)le Pica, ( 
 
 Two-line English, and Two-line Great Primer. 
 
 For obtaining register, i.e., accurately adjusting the posi- 
 tion of pages, which are printed hack to back, ticahhoard is 
 used, made of wood and of the same thicknesses as leads. 
 Furniture is manufactured in three picas (technically called 
 
 Fk;. .S.'). saw AM) i;i-ocK. 
 
 narrow), tour picas (broad), six picas (double narrow), 
 stjven }>icas (]»road and narrow), and eight ]iicas (double 
 broad). Both reglet and furniture, if bought in yard 
 lengths, are cut up as required by means of saw and hlocJc, 
 tig. 35. 
 
 Great advantage is derived from using metal furniture, 
 tig. 36. In addition to securing greater truth and soliditv, 
 
 FlO. 86. MKTAT, FCHMTUni:. 
 
 a considerable return is made for the old metal when 
 broken or battered. It is, however, not advisable to use too 
 murh metal in any one forme; the introduction of a little 
 wooden furniture here and there will serve to iiuike the 
 whole more Itinding. Metal furniture is generally made from 
 a low gi'ade of ty^je-metal, but steel furniture has recently 
 
FURNITURE AND QUOINS 53 
 
 licoii iiil nxluced. Its first cost, liowcvor, is soiiicw liat 
 i^realiT, i)ut llic first uullav will repay itself in t he 1<»iil;- iim. 
 All t'lirnituro wliieli lias Ixcoiiie defeclive l>v wear and 
 tear or wiirjnui;' slionld be (lisear<le(l, l>oeause it is likely to 
 give trouble in obtaining register, and also prevents the 
 ] forme from being locked-up securely or squarely. 
 
 Foot- and side-stichs, fig. 37, are also classed under the 
 general head of furniture. Wooden ones are usually made 
 
 Fifi. 87. FOOT- OK SIDE-STICK. 
 
 I of oak, but sometimes metal is used, and then chiefiy 
 iron. These last are cast and planed on the side which is 
 placed nearest the type, and made to sizes. Wooden ones 
 are made in long lengths and cut down as required, the 
 thin end being cut at an angle of say 45 degrees, and the 
 extreme edges of the two outer ends just 
 pared or chamfered to prevent the corners 
 being sjJit up. As seen in the diagram, 
 one side only is sloped, to allow of the 
 quoin, which has a corresponding slope 
 on one side, being fastened squarely and ^ ..^^ ..Qry 
 tightly when locked-up. 
 
 Quoin.'i. — Those used for general work are made of wood 
 — usually sycamore; they are sold by the thousand, and each 
 bag contains an assortment of various sizes. These assort- 
 ments are still further divided or classified respectively 
 as jol)l)ing, book, and news — the last-mentioned containing 
 those of the larger kinds, whereas the others run smaller on 
 the average. As ex})lained before, one side of the quoin, fig. 
 38, is S(]uare, and the other sloped to correspond with ihe 
 same anule of the si(le- or foot-stiek, the corners being also 
 
rA 
 
 PT7TNTING 
 
 very sliL;]il]y pared or cliamfcved. The sliapc niav Ix- lilvciiod 
 1(» a nii('-si(l»'(l wedn'c. Quoins aro employed t<> "lock up " 
 or fasten llif pain'cs in llic cliasc, thai it may lilt as a "t'orme." 
 To use two (pioius together is wrong-, l)eeause the two would 
 praetieally form a square, so if it l)e requisite to fill out to 
 the chase, one quoin and a piece of furniture should be used. 
 See also figs. 84 and 85. 
 
 There are many mechanical appliances for locking-up on 
 the market, and'they are recommended especially'^for works 
 of a regular size, but the j^rices of these improved systems 
 
 rS h t-^ f^ 
 
 Fig. 39. SCREW chases. 
 
 iiro somewhat exclusive for general work. For news-W(^rk 
 ficrcir rlinftcft are veiw handy, and these are made in special 
 sizes, each to hold a single news page, fig. o9. Threads 
 tapped in the edge of the chase allow of screws b»Mng 
 placed in and fastened up to the side- or foot-stick. 
 
 Tlie Mariuoiil system, fig. 40, consists of a nut tightened 
 up by means of a key; its aj^plication can be seen at a 
 glance. WaiuVfi pafpiit, figs. 41 and 42, is of an entirely 
 ditferent kind, the fastening-up being obtained by tlie 
 old method of mallet and shooting stick. The ordinary 
 
)n 
 
 LOCTaNG-TTP ArPTJANCES 
 
 iiK'tal side- or foot-s1 iclc is ust'<l. and <lir (jiioii) is |-('all\ 
 
 I-'k;. 40. AiAiMNoxi (,•! orx. 
 another stick of similar leiii^th, but cast as it were like a 
 
 ^A^RillL DA^/ LONDON 
 
 3S1 SI0t-9TICK 
 
 Fk;. A'2. \VAi;i»s i'atiat (^hoin, and sidi'.-stkk. 
 
 scries of connected (juoiiis. 'J'liis plan L;-ivcs a more c(|iial 
 pressure all alouL^', I>u1 care sli<tuld l»e exercised in tirst 
 
56 
 
 PRINTING 
 
 starliiiL;' IIh' ln(kiii^-ii|>. oi- uikIiic pn-ssuiv may !•(• n'ivcii at 
 llio (IriviiiLC viu\. All lliese piiteiilod ap])tinilu« aiv made of 
 iron. AiiotluT patent qnoin is called the WicJi'cn^haiii, 
 fig. 43, and is made of steel on the three-disk-cam principle. 
 It is sold in two sizes, the smaller being in more general 
 use; it is said to stand a pressure of 600 ]1>. It will he 
 
 FlU. 43. WICKERSHAM (^HOIN. 
 
 seen from the engraving that it is placed in between the 
 furnitnre as an ordinary quoin, but, the two sides being 
 parallel, no bevelled side-stick is required. A simple turn 
 of the key is all that is requisite to fasten the forme. 
 
 As before said, for miscellaneous work the old-fashioned 
 wooden quoin is still very useful, and it is an open ques- I 
 tion whether the formes are not really more secure with 
 them if ]»r(>]»('rlv fitted aii<l locked-iip -provided the formes y 
 
T:vrroRTNo toolr 
 
 ji aiv Nvcll l<t(»l,c(l al'lcr in li<tt weal lici'. liccaiisc woiHlfii (|Ut>iiis 
 
 I arc tlu'ii a}»i to shrink. 
 
 ' I^^)r Irvcllinu' and t'aslcniiiL;' np ilic Ivpc in diascs snndrv 
 
 Fi<i. 44. :MAT,i>i:'r. 
 
 Flii. 4"). IM.AXKI!. 
 
 f tools art' used, auioiig tliom tlio mallet, fig. 44, and plaiipv, 
 \ fig. 45. Shoothif/ sticks, fig. 46, or " sliooters," as tlifv are 
 I called for shortness, are of various kinds. We give a few 
 
 IJ(: 
 
 Vic. 40. \- AiMors snooTiNc sikks. 
 
 varieties: a, h, and r are of boxwood with gun-uietal tips, 
 '/ is of iron entirely, and c is the original form of shooting- 
 stick, niad<» of boxwood only. This last is the best for 
 locking-n]» on tlie old inijiosing surfaces made of slouf. as 
 
r,R 
 
 rT7TNTTNa 
 
 iiidal i'\\>s arc liaMc 1o chiptlio snrftafo, hni on iron surfaces 
 llic L;uii-iii<'tal 1 i}>s wmiM liaM- ii(» cffcrl. Tin- one Icllrn'd d j; 
 is a vcrv narrow otic being lulaptcd i'or nnlockinjL;- formes 
 Avlu-n tlic qnoins are verv small, but care nuist Ite exercised 
 that the stick does not injure the surface. 
 
 Chases are rectangular frames used for placing round 
 pages of type in imposing, and are made both in cast and in 
 wrought iron ; although dearer in the first ]dace, the latt< r 
 are much to be preferred, because the cast ones are likely t<» 
 
 FlO. 47. CAST-TI!OX CUASE — FIXKl^ I'.AIIS. 
 
 ]»eeome cracked or broken in usage if not handled with care. 
 "Purtlier, they are not always true, thus making the register 
 oi' backing of pages in printing a difficult matter, and at the 
 same time a difficulty always repeated whenever the chase 
 is used. There are many varieties of chases, and Ihese are 
 classed under three heads, as news, book, and jobluug. TIk^ 
 first two kinds are not only made in single chases, but in 
 double and quadruple sizes, called folding chases, so as to 
 ])ermit of their being placed close together on flic machine 
 in printing a. large 'sheet. These chases are often divided 
 
CHASES 
 
 no 
 
 ^ or sulMliviMrd into fidio or (|U;ii'1<> 1>\ iikmiis of d'oss-lcirs. 
 Ill ciisl irmi clmscs, li---. \7 , these Imrs are li\e(l, IhiI in 
 
 1m(;, 4S. wi;()r(;ii'i'-ii;()X ciiAs!: -:\i(t\Ai'.i,i; i:ai;s, 
 
 rroiiijlit-irou, fig. 48, tliey are usually moval)]e; tlins, as 
 
 / ^^ 
 
 Fir;. 49. .i()i;ia\(; en asks. 
 
 ^vill lie seen from llie vacant slots on tlie inside, allowiiiL;- of 
 
 llie eliase Itein 14' adapted I'ov eitlier twelvemo oi- ci^jitecinilo. 
 
60 
 
 PRINTING 
 
 Cliast's arc iiiKstly made to iv^'ular sizes, to suit llu- iV(|Tiire- [ 
 mollis t»t pajM'i', I.e., (Iciiiy, i-oyal, doultlc l"<»(>lscii{». etc, \vith 
 their res2)eclive duul)l(' aii<l <|ua(lru]i]<' ('(|iii\ alciits, tliesei 
 larger sizes being* in secti<.)ns. 
 
 JohhiiKj chases are of many varieties, tig. 4i>, and ditt'er 
 greatly in sizes and shapes. They are used for 1>roadsides, 
 slips, or headings, cards, and jobs of all kinds. 
 
 The following, fig. 50, is a handy chase for locking-up 
 small formes on press or machine. It is fitted with mov- 
 
 -TXSTJ- 
 
 FlG. oO. LOCK-UP CHASE FOR .JOBS. 
 
 able l)ars, which can be placed at different intervals accord- 
 ing to the size of the job imposed in the smaller chase. 
 This method obviates a cjiuantity of furniture being used. 
 and, further, is far more secure in fastening the forme to a 
 given position. 
 
 Platen machine chases belong to the same class — tlic 
 larger sizes sometimes having one or even two cross-bai's 
 in order to give rigidity to the forme, and at the same time 
 obviating the tendency to "spring" in locking-up a largr 
 surface of type. 
 
BIPOSING SURFACES 
 
 61 
 
 Iiiijiosliii/ surfacei^, lig. 51, or f<toncs, us they an- mnrr 
 (tt'ton culled, from the fact tluit these surfaces were origin- 
 ally made of stone, and sometimes marble or slate, are 
 made of cast-iron slabs planed on the surface. These are 
 mounted on strong wooden stands, bolted and screwed to give 
 additional strength. They are made in several sizes, such 
 as double or quad (.-rown. or larger if required, having 
 drawers placed underneath to hold quoins and furniture. 
 Sometimes the s])are space below is utili'zed for forme-racks 
 or other receptacles, where space is an object. 
 
 FlC. .31. IMI'OSINC SIKIACK. 
 
 Funne-wcJiS-, fig. 52, are made, as a rule, distinct, and of 
 ditferent heights to take the standard sizes of chases. They 
 ure made of deal, with battens top and bottom to prevent the 
 formes from rubbing or touching each other, thus forming 
 a series of grooves; the s[>ace between the bottom ])attens 
 is lined with hooji-iron — to allow^ the formes to be more 
 easily ]>ush('d in and drawn out than they otliorwise w(»uld 
 bf if Hot so lined. Tlit'se rricks can ulso he obtaiin'd ol' aii- 
 otli<'i' Ivind, and we show the two systems us u|»pli<''| to 
 lioldiui;- various sizes of formes. The second is culled llie 
 
62 
 
 PRINTING 
 
 " Universal" forme-raek, fig. 53, and is made of a number 
 of inclined boards with grooves at the bottom lined with 
 iron. In placing these racks it is advisable to select one 
 that leans back from the direction in which the best light 
 is given, as the face of the type would then be exposed to a 
 
 IC. 'y2. KOIMlK-ltACk. 
 
 better view when searcliing for any })arlicular foruie. These 
 receptacles are made in any size or length ; if only one rack 
 in lieiglit, the t(»]> can l)e used as a bench or 1>ulk. .Care 
 uiust be used botli in pusliing in and taking out tlie fornics 
 from these racks, or tlie face of tlie ty])e is likelv 1o he 
 rubbed against the inclined boards. 
 
FOKME-iiACKS 63 
 
 TIr'v call also be made in tiers as here shown, the 
 
 Vn:. ,1:5. r\i\i:i;s \i. ioumi: i; \(k. 
 
 smaller size l»ciiiL;' topmosi, so llial il is |)(>ssil)l(' lt> 
 t'onnes in or out without uii«lue strain. 
 
64 
 
 PRINTING 
 
 Uii]l:.< ;iR' nioviiMc l)oxes witli llic front open. Ikivihl;- 
 batteus to form a letter-hoard rack, fi<^. 54. These are demv, 
 royal, or double crown in width, and are g'enerally ]>laced 
 at the end of the composing frames. The letter-boards ,^ 
 contained in these racks are for holding matter for distri- 
 bution, or for laying-up formes for the same purjmse, the 
 
 Fk;. r)4. I'.iLK Foi; lktikk-I'.oaijds. 
 
 top of the bulk being also utilized to place that board on 
 which is immediately in use. Some composing frames have 
 a small bulk attached to them in the shape of a single shelf 
 with legs; this is useful for putting pages on as made-up, 
 or superfluctus sorts turned out of the oases. 
 
 Cafip-rai'l-tt are also made apart from llic tVames. Tliese i 
 arc fixed in convenient })laces, usually holding fourteen 
 pairs of cases in a rack six feet six iiiciics liigli. and arc for 
 
CASE-RACKS 
 
 65 
 
 \f the storing- of cases not iu inniiediate use. Tliey are made 
 !^ sing:le, or in pairs, or even in series, aeeordino- to space at 
 
 Frr;. 5."). case-rack. 
 
 e.^niniand. The ilhistratiou here given, fig. 55, shows a 
 ; bracket arrangement for hohling a case wlien only a line 
 I or two are required to be set, and is a useful addition. These 
 
 F 
 
66 
 
 PRINTINa 
 
 racks are sometimes made seven feet in heiolit, and will 
 hold sixteen pairs or thirty-two single cases. Tall case-racks 
 are sometimes made on the dust-proof principle — that is, 
 the cases fit absolutely close together, but this necessitate 
 two metal handles to each in order to dra^v the cases out 
 of the rack. This system, however, demands the use of 
 composing frames made on the American principle, he- 
 cause these handles will not fit on the ordinary wooden , 
 frames. 
 
 Fl(i. 56. GALLEY-RACK. 
 
 Fig. 57. cylinder galley-press. { 
 
 Another receptacle is the gaUey-racIc, fig. 56. These racks 
 can be obtained singly to stand in any corner, or between two 
 composing frames which back each other. For larger spaces ■ 
 they are made in rows or tiers as room will permit. Othti 
 arrangements are to be had for holding galleys, such a> 
 brackets or arms fastened to a wall. 
 
 In newspaper establishments, or those wherein work if> 
 executed which necessitates slip proofs, a galley-press is a 
 necessary adjunct. There are tw^o kinds of these to be ob- 
 tained, viz., cylinder, fig. 57, and one on the platen principle. 
 
 J 
 
GALLEY PRESSES 
 
 r.7 
 
 Tlioy 0(_'caij\v ;i very small space, and require but little ex- 
 
 ;perieuce in manipulation. 
 
 I Still another [irovini;- press, or rather maehine, is the 
 Uilhtnitnj proof press, fiy-. 58, which has been in use during 
 the past few years. As will be seen from the illustration, it 
 
 \ is practically a small sing-le cylinder machine, very compact 
 
 P^IG. 58, I-KJHTNIXii I'ROOF-PKKS.S. 
 
 and occupyino- little space, with an over-feed board and 
 lutomatic inking complete. The press has two beds, the 
 lower one fixed and the upper one movable. By means of 
 A'<lges the upper bed can be raised or lowered so that 
 . 'ither galleys or formes''of plain type can be pulled. This 
 jilteration is accomplished by turning a small handle 
 it the side of the machine. This is a useful press for 
 
68 
 
 PRINTING 
 
 pulling special proofs or even for running off jobs of short 
 number. 
 
 For cuttiuLi" brass rule or leads, small maeliines are used. 
 
 Fig. 59. CUTTING machine for leads and brass. 
 
 A good serviceable one is the old-fashioned cutter, but that 
 with a lever arrangement, tig. 59, is an imj^rovement. 
 
 Fig. 60. bowra cutting machine. 
 
 Another form is very compact, having a spring handle, fig' 
 <)0, with a guide to the right indicating the length beiu^ 
 cut off. This machine is termed the " Bowra." 
 
ADDITIONAL IMPLEMENTS 
 
 61» 
 
 Pcnjc-cord, used for tyiug-up pages or portions of tyj^e, 
 
 [is ci net twint'. Ordinary twine will not stand water, there- 
 
 ,' fore the }>roi»er kind must be obtained. Its a})[Jieatiou 
 
 faeilitates the lifting of matter from the galley to the ini- 
 
 i posing surface. 
 
 Fk;. (jl. BODKIN. 
 
 Fit;, (j-2. TWEEZEKS. 
 
 FlO. 63. SHEARS. 
 
 A few other implements complete for the present the 
 general outfit of a composing room. Among these are a 
 hodkiii, tig. <*)!, and hrt'e?:erf<, tig. (j'2; the former for correcting 
 I' ordinary matter, and the latter especially useful in table- 
 [' work for lifting tigures out of columns. A pair of if/iears, 
 i fig. 63, is sometimes necessary for cutting odd pieces of eitlier 
 j lead or brass rule. Other articles in use will be referred to 
 f as required. 
 
CHAPTER III 
 
 Position and Asj3ects of a Composing lloom, with Plan — Learning i 
 tlic IJoxes — Lays of I>ook and News Cases — Reversed Print - 
 Attitude in Comi)osing— Spacing and Justifying — Coniiiosition — 
 ]\Liking INIeasures— Rules for Sjjacing — Emptying the Stick — |j 
 Punctuation, Capitalization, and Lidentations — Chapter Head.-. 
 
 HAVING now gained some insight into the general 
 aspects of the composing department, as well as the : 
 materials, tools, and other appliances used therein, it is 
 necessary for the student to acquire a knowledge of the 
 boxes of the upper and lower cases respectively. 
 
 It is absolutely necessary, in the first place, that a good 
 light should be obtained for the composing frames, and, if 
 possible, tlie light should be on the left of the oj^erator as 
 he stands at his case, but if the frames are placed back to 
 back in order to economize room, it is onlv everv other 
 compositor who will obtain a left-hand light. For offices 
 of a medium or large size, the best situation for a com- 
 posing room is at the toj:* of the building, on account oi 
 the better light ; if the room is square with windows on . i 
 both sides, the plan shown, fig. 64. is a good one. It may ' 
 be mentioned here that during the past few years much im- 
 provement has been made in the planning out of printing 
 houses in a general way, and some very fine offices lia^f 
 been erected, not only in London, but in the provinces too, 
 light, ventilation, and sanitation having been especially 
 studied, to the great advantage of the worker. Economy in 
 space with labour-saving materials and j^lant should be 
 made a feature in the equipment of all new offices. 
 
PLAN OF COMPOSINO KOOM 
 
 71 
 
 AssiimiiiL;-, then, that tlio room is square or oblong-, willi 
 ainplc light on either side, (a) woiikl represent the frames 
 placed baek to back, two men (d) working shoulder to shoulder, 
 but at oi)posite ends of the frames, in order to give each 
 
 Fig. 04. J'LAN OF COMI'OSINO KOOM. 
 
 other more room; (c) represents the tall case-racks, holdiug 
 eases not in use; the imposing or correcting surfaces (b) 
 are j^laced in the middle of tlie room. The other openings 
 or spaces woul<l allow suflicient room to move about freely. 
 Unfortunately, such a good situation cannot always be pro- 
 cured, and other arrangements have to be made according 
 
72 
 
 rRINTING 
 
 to civciunstaiices. By all means keep the composing rooms 
 quite distinct fronl the other departments, as the noise or 
 bustle of any one department is disturbing to another. 
 
 A 
 
 B 
 
 c 
 
 D 
 
 E 
 
 F 
 
 G 
 
 A 1 B 
 
 c 
 
 D 
 
 L 
 
 I- 
 
 c. 
 
 H 
 
 I 
 
 K 
 
 L 
 
 M 
 
 N 
 
 O 
 
 II ! 
 
 K 
 
 L 
 
 M 
 
 N 
 V 
 
 
 
 w 
 
 P 
 
 Q 
 
 R 
 
 S 
 
 T 
 
 V 
 
 W 
 
 
 Q 
 
 R 
 
 S 
 
 T 
 
 X 
 
 Y 
 
 Z 
 
 JE 
 
 CE 
 
 U 
 
 J 
 
 X 
 
 Y 
 
 z 
 
 /E 
 
 c£ 
 
 u 
 
 J 
 
 I 
 8 
 
 2 
 
 9 
 
 3 
 
 4 
 
 5 
 
 6 
 
 7 
 
 a 
 
 e 
 
 i 
 
 6 
 
 u 
 
 § 
 
 + 
 + 
 
 t 
 
 o 
 
 /■ 
 
 / 
 
 
 — 
 
 fi 
 
 e 
 
 i 
 
 6 
 
 u 
 
 II 
 
 a 
 
 a 
 
 1 
 
 o 
 
 u 
 
 9 
 
 k 
 
 a 
 
 e 
 
 i 
 
 o 
 
 u 
 
 % 
 
 1 
 
 Upper Case. 
 
 — 
 
 ] 
 
 C€ 
 
 oe 
 
 ) J 
 
 c 
 
 Thin and 
 Mid. Spaces 
 
 -' 
 
 p 
 
 1 
 
 ; 
 
 
 11 
 
 & 
 
 b 
 
 C 
 
 d 
 
 I 
 
 s 
 
 f 
 
 g 
 
 
 {{ 
 
 ffl 
 
 
 \\ 
 
 ffi 
 
 H,.ir 
 Space 
 
 1 
 
 111 
 
 11 
 
 li 
 
 O 
 
 >• 
 
 P 
 
 ) 
 
 w 
 
 •a 
 
 n 
 
 5 
 
 3 
 
 Z 
 
 V 
 
 
 t 
 
 Thl.k 
 
 a 
 
 
 ^1 
 
 
 
 X 
 
 
 
 
 
 • 
 
 
 
 Lon'cr Cixsc. 
 Fk;. 65. PLAN OF IJOOK CASKS. 
 
 We now return to the subject of learning the 1 »oxes. There I 
 are several systems in use, and we give two methods. 
 Fig. 65 shows the plan generally used for laying the letters 
 for book work. News hands adoj^t a different lay, and that 
 
PLANS OF CASP]S 
 
 73 
 
 shown ill tig. 66 is the one used by suiiic of (he leading 
 London daily papers. This system no doul)t facilitates the 
 composition of news-work. 
 
 a 
 
 C 
 
 1 
 
 6 
 
 "U 
 
 9 
 
 # 
 
 A 
 
 B 
 
 c 
 
 1) 
 
 i: 
 
 V 
 
 (J 
 
 a 
 
 c 
 
 i 
 
 6 
 
 u 
 
 ^ 
 
 t 
 
 H 
 
 I 
 
 K 
 
 I. 
 
 M 
 
 N 
 
 u 
 
 a a 
 
 (J c 
 
 i i 
 
 6 6 
 
 a u 
 
 
 + 
 + 
 
 P 
 
 Q 
 
 R 
 
 s 
 
 ■i- 
 
 V 
 
 \v 
 
 X 
 
 Y 
 
 Z 
 
 /E 
 
 CE 
 
 U 
 
 J 
 
 X 
 
 y 
 
 Z 
 
 .K 
 
 <!■: 
 
 u 
 
 J 
 
 I 
 
 1 
 
 1 
 
 
 
 4 
 
 5 
 
 6 
 
 7 
 
 A 
 
 B 
 
 C 
 
 D 
 
 E 
 
 F 
 
 G 
 
 8 
 
 9 
 
 o 
 
 S 
 
 
 § 
 
 /" 
 
 1-i 
 
 ' 
 
 K 
 
 L 
 
 M 
 
 N 
 
 
 
 I 
 
 4 
 
 I 
 
 3 
 
 4 
 
 J 
 
 1 
 
 ^ 
 
 k 
 
 r 
 
 Q 
 
 R 
 
 S 
 
 T 
 
 V 
 
 W 
 
 Upper Case, 
 
 — 
 
 ] 
 
 ae 
 
 oe 
 
 ) 
 
 J 
 
 c 
 
 Thm and 
 Miti. Spaces 
 
 ) 
 
 ■> 
 
 I 
 
 ; 
 
 ... n 
 
 & 
 
 b 
 
 c 
 
 d 
 
 i 
 
 s 
 
 f 
 
 t> 
 
 
 ft" 
 
 ftl 
 
 
 ll 
 
 M,,ir 
 
 1 
 
 ni 
 
 n 
 
 h 
 
 
 
 >■ 
 
 V 
 
 1 
 
 w 
 
 ■2 
 
 5' 
 
 tu 
 
 z 
 
 X 
 
 V 
 
 u 
 
 t 
 
 ■111-,. '^ 
 
 a 
 
 r 
 
 q 
 
 - 
 
 1 
 
 I-'k;. (i(>. I'LAX Ol" NKWS CASKS. 
 
 On page 74 we show thf new registered lay, tig. 67, as 
 issued and made by Messrs. Caslou and Co., Ltd., which is 
 a distinct departure from thr orthodox plan of cases. The 
 boxes of the lower case in mure constant use are brought t(» 
 
74 
 
 PRINTING 
 
 the right haud of the compositor, which saves a deal of un- 
 necessary travelling of the hand in passing from one end 
 of the case to the other. Anotlier i)oint is that the spaces 
 more generally in use are grouped together just under the 
 
 .[ 
 
 ? 
 
 lb 
 
 @ 
 
 .% 
 
 R> 
 
 < 
 
 • 
 
 t 
 
 1 
 
 « 
 
 h 
 
 f 
 
 ty 
 
 ^^ 
 
 2-em 
 
 3.em 
 Braces. 
 
 4-em 
 
 2em 
 
 3em 
 Bules- 
 
 4-em 
 
 i 
 
 § 
 
 1 
 
 i 
 
 i 
 
 J 
 
 1 
 
 • 
 
 « 
 
 J 
 
 n 
 
 Cl 
 
 - 
 
 J 
 
 X 
 
 Y 
 
 / 
 
 n. 
 
 CE 
 
 U 
 
 J 
 
 » 
 
 B 
 
 c 
 
 D 
 
 f 
 
 f 
 
 c 
 
 A 
 
 B 
 
 c 
 
 
 
 t 
 
 F 
 
 ^' 
 
 H 
 
 • 
 
 « 
 
 I 
 
 M 
 
 - 
 
 o 
 
 H 
 
 1 
 
 K 
 
 1 
 
 M 
 
 N 
 
 o 
 
 P 
 
 
 
 D 
 
 ^ 
 
 ' 
 
 V 
 
 . 
 
 P 
 
 Q 
 
 e 
 
 s 
 
 T 
 
 V 
 
 Vf 
 
 ' X 
 
 OB 
 
 7 
 
 ! 
 
 ApOS. 
 
 
 k 
 
 1 
 
 q 
 
 ii 
 
 (( 
 
 II 
 
 111 
 
 III 
 
 Upper Case. 
 
 ) 
 
 & 
 
 
 
 ♦ 
 
 p 
 
 u 
 
 
 
 I 
 
 — — ~ ^1 
 
 C 
 
 i 
 
 i 
 
 } 
 
 V 
 
 m 
 
 h 
 
 
 / 
 
 I 
 
 - 
 
 e 
 
 
 
 j 
 
 f 
 
 I 
 
 2 
 
 3 
 
 4 
 
 5 
 
 IB 
 E 
 £ 
 o 
 u 
 
 1 
 
 
 6 
 
 7 
 
 8 
 
 9 
 
 
 
 b 
 
 a 
 
 n 
 
 6 1 
 
 I 
 
 
 
 Hair 
 Space 
 
 a 
 
 3 
 
 o 
 
 c 
 
 c 
 2 
 
 Thick 
 Space. 
 
 \ 
 
 
 
 
 g 1 
 
 ^ i 
 
 Lo'cver Case. 
 Fig. 67. the new lay. 
 
 operator's hand, thus facilitating or expediting the justifi- 
 cation of lines. 
 
 The same remarks, in a measure, iipply to the lay of the 
 upper case, and it is claimed that the new lay is a distinct 
 saving of time in the composition of ordinary hookwork, and 
 still grccater results are to be obtained in work of a tabu- 
 lated kind, ])ocause the tigures are placed in a much more 
 
COMPOSITION 75 
 
 accessible position in the lower case, and only the less used 
 lower-case letters relegated to tlie upper case. 
 
 For Greek, Hebrew, and some other languages cases of 
 special make and complicjated nature as regards the lay are 
 required; these will be referred to in their order. 
 
 Having learned the boxes, it is advisable that the learner 
 sliould have some experience in setting-up before attempt- 
 ing distribution. There are certain letters which are rather 
 puzzling at tirst glance to the novice, and he has literally 
 to mind his i)'s and q's, and also his b's and d's, in his 
 first attempts at composition. In order to print correctly 
 when impressed, the faces of the types are reversed in the 
 
 i^ uj^l pG aglX bcLbjeziuS 4:0 ^pe uoaigg* 
 ij! lu ^jj^^ bo8i|:iou^ 4:ponSp^ ^r^ ^he^ Sj^ugg* 
 J^pG gKg 8OOU pGGOUJGg ^Gcng^oiuGg ^o LG^q 
 GOUjbo8i4:oL yAonjq LGtrq i^ lu ^pe lug^:^]' 
 j^pig ^IhG 18 uo/A bi.iu^Gq Gzycql ^8 qjG 
 
 Fig. 68. WORDS as kead in the metal. 
 
 metal; therefore the practised compositor is accustomed to 
 read the type backwards and upside down. This, of course, is 
 due to the manner in which it is set in the stick, the nicks 
 being placed u])permost. The reversed j-)rint, fig. 68, illus- 
 trates the tirst difficulty, which is, however, soon overcome. 
 There are a few elementary rules to be impressed on 
 the learner. The most important is that he should acquire 
 a correct and easy attitude in composing. If this is neg- 
 lected at first, bad habits will grow, and then become 
 no easy matter to shake oft". Let the <)])erat<)r clioose a 
 standing position; a seat sliouM not l)e allowed exceitt 
 in the case of physical inability to stand for any length 
 of time, and, if this is necessary, a sitting j.osture should 
 
76 FEINTING 
 
 be adopted for distributiou rather than c()mi»osing. If a 
 stool is requisite, one with a single leg is best, l)eeause 
 it allows more freedom, and the body will move or turn more 
 easily. As before mentioned, the frame should be breast- 
 high, so as to bring the lower case to a level with the elbow, 
 as this is the most comfortable height at which to compose. 
 In the case of a short lad, a platform or stool must be used 
 to bi'iug the arms up to the required level. If the person is 
 above the average height, the cases can be made sufficiently 
 high by putting one or even two pairs of cases under that in 
 use. The body should have little or no swing in it ; still, total 
 rigidity is to be avoided. In picking each letter up separ- 
 ately, the hand holding the composing stick should be ad- 
 vanced a little to meet it. No false or unnecessary move- 
 ment should be made in picking u}> or conveying the 
 letters to the stick; the left thumb should touch the letter 
 when placed in the stick by the right hand, each separate 
 type being allowed to fall into the stick with a very gentle 
 click. We have at times seen compositors make a very 
 laboured action in picking-up — throwing the arms about, 
 and, in dropping the letter into the stick, quite stutter or 
 stammer, as it were, over that very simple operation. Be 
 sure, then, that a graceful and easy method is acquired in 
 starting, and all will be well in the end. The centre of the 
 case, where the cross-bar is, should be the correct place to 
 stand. In order to avoid the character of being slovenly, 
 always read the lines as composed. This should be done 
 as soon as they are finished and before spacing out; in 
 time the habit will become so fixed, that in spacing out, 
 or even in composing the line, the eye will wander over 
 the words, and detect any letterals. Sometimes a quick 
 type-setter who does not read his lines as advised will, 
 wlum a week's w^ork is done, be behind the more painstak- 
 ing man who does, even thouiih the latter niav be slower in 
 composing. 
 
COMPOSITION 77 
 
 Spaeiiiy^ and justifying are two very important factors in 
 good composition. When not executed correctly, the former 
 is offensive to the eye which can ajtpreciate careful and 
 even spacing, and the latter increases the risk of the forme 
 falling out if not properly justified. Spaces are so gradu- 
 ated that no excuse can possibly be made for bad and un- 
 equal spacing; nothing mars the appearance of a prose 
 work so much as a want of uniformity in this respect. 
 Bearing in mind the respective relations of the different 
 spaces to their own body — thin (five to em), midrUing (four 
 to em), ihiclx (three to em), and en quadrats (two to em) — 
 the spacing can be so finely graduated (more or less) as to 
 be really imperceptible to sight when printed. For very 
 particular works the spacing may be humoured to a cer- 
 tain extent. For instance, two words ending and com- 
 mencing with either descending or ascending letters would 
 require a little more space between them than two words 
 ending and commencing with short letters, as in: 
 
 a h 
 
 bad ])oy nice child 
 
 These two pairs of words having precisely the same space 
 between them illustrate what we mean : that a would take 
 more sj^ace than h if the spacing is to be equalized so closely. 
 Then, again, letters with a kern, as the lower-case f, would 
 certainly take more, whereas after a comma the space could, 
 if necessary, l)e slightly reduced. Unless a work is excep- 
 tionally well leaded, the thick or three-to-em space is con- 
 sidered the average, and it is this which the comj^ositor 
 uses when setting-up. Poetry works, with the exception 
 mentioned, always have this space between each two Avords, 
 the end of the line being filled up with quadrats and 
 justified with spaces. In i>rose works, the same space is 
 used, and if at the end of a line something must be done in 
 
78 PRINTINa 
 
 order to fill it up, the circuinstauce of its Leiiiy a solid or 
 a leaded work should be considered. For solid or unleaded 
 works, or even those with a thin lead, adopt a closer space, 
 and for leaded works select a wider, if any choice is given at 
 the end of a line, supposing that it falls short of the measure. 
 Taking a thick space as our standard, the following will give 
 the spaces for getting in or driving out a line: 
 
 For increasing — For decreasing — 
 
 Thin and middling. Middling sj^ace, 
 
 En quadrat. Thin space. 
 
 Thick space and middling. Hair space 
 
 Two thick spaces. (as a last resource). 
 
 Justifying a line should 1)e performed by sjmcing each line 
 out with ecpial tightness, but not to such a degree as to pre- 
 vent the stick being emptied easily. Good justification, so 
 as to allow a handful or page of type being lifted without 
 dropping a single letter, is evidence of the careful workman. 
 
 Let the learner now place himself at the frame and take 
 the composing stick, which has been made up to the required 
 measure, in the left hand. It should be laid loosely in the 
 palm of the hand, the thumb touching the brass setting 
 rule placed against the bottom of the stick. 
 
 Measures are determined by pica ems, and usually placed 
 in the stick thus — 
 
 It is a bad plan to make up these measures to pica quadrats 
 or leads of the length desired. One particular fount of pica 
 should be selected for making measures for all in the same 
 establishment, to obviate any variation of body. An odd en 
 quadrat is sometimes used for narrow or half-measures in 
 bookwork, but only when the full measure demands it. 
 
 In commencing to set type, a few words of the copy 
 lying on the upper case in front of the operator should be 
 
COMPOSITION 70 
 
 conimitted to menioiy. Assuming that a frosli i)aragrapli 
 is begun, an em quadrat is first placed in the stick to form 
 the reijiiired indentation. He should then take a eaj[>ital 
 letter for the commencement of the word, placing it nick 
 uppermost in the stick, the left thumb receiving it from 
 the right hand and gently letting it slide into its position, 
 fig. 69, these actions being repeated till the word is com- 
 pleted and a space inserted from the thick space box. In 
 placing spaces in the stick, they may be put in regardless 
 of the nick, as also quadrats; but the habit is so firmly 
 acquired that one gener- 
 ally puts the nicks up- 
 permost, uniform with 
 the letters. In picking 
 each separate letter out 
 of the case, the com- 
 positor should fix his eye 
 on some one of his let- 
 ters, observing which Fio. 69. settinc; tvpi:. 
 way the nick is, and in 
 
 conveying it to the stick dexterously turn it to its proper posi- 
 tion l^efore it arrives there. Probably at the start he will 
 seize the first letter that conies to his fingers, and look at it, 
 turning it to the required side before he drops it in the stick. 
 In course of time he will be enabled to " spot" his letter as it 
 lies in the case, and thus expedite the setting. When the first 
 word is completed, and space inserted, the same process has to 
 be gone through till the line is finished. The copy, of course, 
 is read off as required, and the time occupied in picking up 
 the space is a favourable opportunity for doing this. At th<' 
 end of the line, supposing it is not filled out and there is 
 not sufticient room for the next word, the rule laid down as 
 to reducing or increasing the spacing according to the 
 soHd or leaded character of the work must be considered. 
 Dividing words by means of the hyphen should not often 
 
80 PRINTING 
 
 be resorted to if the line can be fairly spaced without having 
 too much or too little between the words. In wide measures, 
 supposing the tyj^e is not a very large one, there should be 
 no excuse for dividing words; where necessary to do so in 
 narrower measures, if possible, do not break words in two 
 following lines. It is also bad to divide a word at the end 
 of the last line on any one page. When the line has been 
 spaced and justified, put the lead in, if the work be leaded, 
 and lift the setting rule out, placing it in front again pre- 
 paratory to setting another line. 
 
 Certain extra spaces are required -after the double points, 
 to give, as it were, emphasis to the value of these punctua- 
 tion marks; thus, an en quadrat should be placed after a 
 semicolon (;), note of admiration (!), note of interrogation 
 (?), and colon (:) — these points should have a thin space in 
 front of them if they are cast on a thin shank, but a hair 
 space only if there is a slight beard on the inside, and no 
 space at all if there is an extra large beard; also, if the 
 spacing of the line has to be altered more or less, the spaces 
 after, but not in front of, these points should be altered too, 
 proportionately. Commas and full points (as full stops or 
 periods are called) should be placed quite close up to the 
 last letter of the word. An em quadrat is placed after a 
 full point in a run-on sentence. The last line of a jxiragraph, 
 if a short one, is spaced out with quadrats. Commas should 
 only have the usual thick space after them. Parentheses () 
 and briickets [] are usually placed close up at either end, 
 and the second (or closing) one is formed by simply turning 
 it round — the nick to the back. Inverted commas ("), used 
 for ((notations, are made, as the term implies, by reversing 
 two commas, placing a thin space after tliem; the marks 
 used at the end of a quotation are formed by two ap<^- 
 strophes ("), usually without any space before them if pre- 
 ceded by a comma or a full point; in other cases they 
 require a thin space. 
 
COMPOSITION 81 
 
 When the stick has been filled line bv line it must be 
 emptied. This is a difficulty to the novice, and it is best 
 that he should practise with a half-filled stick for a while. 
 To execute this jn'operly the stick should be 2)laced cross- 
 wise on the case, head upwards, and the top t^rasped by the 
 forefingers of each hand and the bottom by each thumb — 
 the remaining fingers can then help to clasp the sides, thus 
 holding the wdiole together. If the matter has not been too 
 tightly justified it can be lifted out easily, fig. 70, and 
 carried in that position, face outwards, and nicks down- 
 wards, to the galley on which it 
 is to be emptied. When this has 
 been done successfully several 
 times a full stick may be tried. 
 
 In all instances the setting rule \ "^^^^^^^^ ^ --' 
 
 should be used to give additional ^^=<^j2s 
 
 support to the handful; this is, ^,^^, .^_ ,,ip.,viN.; thk stk k. 
 of course, actually necessary in 
 absolutely solid type, that is, set without leads. 
 
 The reading of each line must be borne in mind before 
 spacing out, and certain other rules are to be followed in 
 good com[>osition. These are the styles and customs of the 
 house. In wx'U-ordered establishments it is l)est that a few 
 brief regulations should be drawn up and printed for the 
 benefit and guidance of the case department. Different 
 offices have their own methods for the capitalization of 
 words, spellings, and other matters, therefore only general 
 rules can be laid down here. Of course, all proper names 
 should be commenced with a capital, and it is a good plan 
 also to adopt the same rule for any direct refei-ence to the 
 State, Church, and words used in relation to the Deity, such 
 as He, Him, His, Me, Mine, My, Thine, Thou, Thy. Other 
 details should be determined by the custom of the office. 
 We give in Chapter XV a few hints which may be taken 
 as a basis for formulating some sets of rules to govern Itoth 
 
8-2 PRINTING 
 
 compositors and readers, and wliicli, if adoi:)ted, will obviate 
 much friction between those dej^artments, and be for the 
 re2)utation of the establishment. 
 
 Wide measures of bookwork take 1:1 or even 2 ems in- 
 dentation of their own body, and in the case of the first para- 
 graph of a fresh chapter or section the first word is generally 
 set in CAPITALS and Small Capitals, and when this is 
 so, it is set full out to the measure without indentatiou. In 
 manuscrij^t copy the usual signs to indicate capitals, small 
 capitals, and italic are: 
 
 CAPITALS - three underlinings = 
 
 Small capitals = two „ _ - 
 
 Italic = one underlining 
 
 In spacing out poetry or short lines with quadrats, always 
 place the quadrats at the end of the measure, and any spaces 
 requisite to justify the line should be placed between the first 
 and second, if more than one quadrat is used. This plan 
 prevents the spaces from falling down in the event of their 
 being placed next to the last word, should it be necessary 
 to lift that word out for correction; if only one quadrat is 
 needed, 2)lace the space, if any, immediately after the last 
 word and before the quadrat. 
 
 Manuscrijjt copy requires far more judgement in compos- 
 ing than a mere dead reprint owing to the way it is usually 
 written. Most authors and writers ignore punctuation and 
 use capitals too freely ; it is, therefore, the duty of the com- 
 positor to point his matter as he proceeds, and, in the 
 absence of sj^ecial instructions to the contrary, to follow the 
 rules of the house as regards capitals and other details. For 
 this purpose an extra i)rice is provided in the scale of charges 
 — three farthings per thousand ens being considered the 
 equivalent value (see y>. 178 for revised scale, 1915). But 
 iu our estimation it is often insufficient for the average 
 class of manuscript copy sup2)lied. Reprint works generally 
 have to be followed litcrallv save for obvious errors. 
 
COMPOSITION 83 
 
 Cross-lines or cliapk'r lieads set in capitals or small 
 capitals siioukl be justified iu the centre of the measure by 
 putting; equivalent quadrats and spaces at either end of the 
 line; if the matter of a thin sjtace is left to be divided at 
 the last, put the extra space in the first part of the line; 
 this will help to counterbalance the comma or full point 
 that may be placed at the other end, as these punctuation 
 marks, in a large type especially, usually appear to throw 
 the line (Hit of the centre. 
 
 We have now shown the method of setting-up for 
 
 ordinary straightforward book work. With the help of the 
 
 r(>marks on spacing, justifying, and emptying the stick, 
 
 the learner may proceed till the type in his case has been 
 
 exhausted. But it is very necessary not to forget the advice 
 
 given as regards position and movement in comjiosing, and 
 
 we repeat it. Avoid all unnecessary movements iu picking- 
 
 ui», and drop the letters in the stick deliberately but quietly. 
 
 I Experience will soon teach the nearest and l>est way to the 
 
 boxes, and back again to the composing stick. Bad habits 
 
 j and ungraceful movements are easily acquired but difhcult 
 
 i to discard, therefore it is of the greatest importance that 
 
 I a free and not formal manner should be acquired. The 
 
 \ wrist must be used as much as possible, and the elbow^s kept 
 
 square, and at the same time the body should have little 
 
 or no movement. All feints iu picking up the letter or 
 
 flourishes with the arm must be avoided, and the left hand 
 
 containing the stick should be moved a' little in the 
 
 direction of the other hand to meet it, as it were, but care 
 
 should be taken that it is not stretched too far, or it will 
 
 counteract the advantage which might otherwise be gained. 
 
CHAPTER IV 
 
 rreparing Type for Distiibiition — Method of Distribution — Odd 
 Sorts and Peculiars— The Jigger — Tlic Sticking or Caking 
 together of Type. 
 
 THE letter — as type is called sometimes iu a collective 
 sense — having been all set up, the operator may now 
 proceed to learn something of distribidion. He will have 
 acquired a good knowledge of the boxes by this time, and 
 will be able to drop the different letters into their respect- 
 ive boxes with a far greater degree of certainty than if he 
 attempted this part of the work in the first instance. It is 
 marvellous to observe the rapidity with which a practised 
 compositor distributes the type into his case; this being 
 only attained by long practice. Clean matter and proofs 
 being desired, much depends on proper and correct distri- 
 bution, therefore it is necessary to cultivate a very careful 
 mannei' in distributing, and too much haste by a beginner 
 should be deprecated. 
 
 Distribution is a term applied both to the matter itself 
 as a wdiole and to the act of distributing the same. The 
 type may be obtained from the store-room, or from formes 
 of the work in hand — technically called "its own" — ^or 
 those of a similar nature in the same fount. Under any 
 circumstances, the com]>ositor should see that the type is 
 quite clean, and if not, he must w^ash it. Assuming he has 
 to take a forme of type for his distribution, and it requires 
 washing, it should be placed on a board, washed over with 
 
 84 
 
DISTRIBUTION 8.^ 
 
 lye, and rinsed with cold water; then the forme should be 
 unlocked and receive a second rinsing, by which the water 
 will run between the lines and sjiaces, thus renderini;," the 
 whole more couA^enient for the separation of the letters, 
 which would not be so easy if manipulated in a dry con- 
 dition. This last wetting is 2>erhaps better done witli a 
 sponge usually kept for the purpose. Though this treatment 
 assists the distribution by making the letters separate more 
 freely, it at the same time, curiously enough, has the effect 
 of binding the whole matter together when handled in bulk. 
 Take, for instance, a page left standing naked on the 
 imposing surface or board^ — ^that 
 is, stripped of its surrounding 
 furniture. If dry, the letters on 
 the outside edges of the page 
 would most i^robably fall over on /\ 
 their sides, but if wetted they 
 would keep their position whilst ' 
 
 any moisture was retained. In Fio, 71. DisTRinuTiNr;. 
 fact, if a forme has to be re-im- 
 posed or re-arranged on tlu' ston(\ it is always best to damp 
 tlie edges slightly with a s})onge. This prevents a possible 
 accident to the type, which might l)e overlooked in the |)roof . 
 To commence, the operator would take a handful of 
 matter, say about a stickful in depth, taking care that the 
 bottom line has either a lead or setting rule against it to 
 ]>revent breaking or "pieing" — *'pie" being a technical 
 term for "Ijroken" or mixed type. The piece should be lifted 
 with both hands and placed, nicks uj^permost, in the hollow 
 of the left hand, the type lodging on the three fingers, and 
 the forefinger grasping it round the back; the thumb would 
 ihen steady the left side of the handful, fig. 71. The right 
 hand is thus free to commence. With the second finger of 
 this liiuid i>usli t]i.' tii-st word of the right -liaiid md of th.' 
 line up, then sci/.e it also with the forefinger and thunil*. 
 
86 
 
 PRINTING 
 
 The word is now grasped between the thuinl) and the 
 first two fingers of the right hand; as this is done, the 
 word should be read, and each letter dropped singly into 
 its own hox. The separation of the letters is easy, and it 
 will be found, when the word is held in the fingers as 
 described, that a little pressure or squeeze of the fingers, 
 especially with the second finger, will serve to divide each 
 segment of the word. When the word is all put into the case, 
 repeat the action till the case is filled. In time the learner 
 will become quite expert, and able to take two or three 
 words at a time, according to the size of type in use — the 
 
 Fl(i. 7'2. .TKiOER FOR ODD SORTS. 
 
 smaller the better, provided it is not too minute. Carefully 
 discriminate between the spaces, and throw them into the 
 proper receptacles, because it will save mucli time after- 
 wards in composing. The average speed for distribution is 
 from three to four times that of composing. 
 
 Odd sorts and peculiars, which have no place in the cases 
 in use, as likewise occasional words of italic, should be put 
 aside for after-distribution into their proper cases. 
 
 A handy article to hold these sorts temporarily is a, jigger, 
 made of quadrats and leads combined, a piece of stout paper 
 being wrapped round the back to form a bottom, and the 
 whole lieing tied round with page- cord. Tlie accompanying 
 diagram, fig. 72, will give some idea of what we mean. 
 Wooden boxes on the same principle ean l)e obtained of 
 the material manufacturers. It is a slovenly jdan t»> allow 
 
DISTRIBUTION 87 
 
 tliesti sorts — oftou valiiaMc l<> accuiinilalc. aiul possil)lv 
 be tlirown in the l»ack or unused boxes of the upper case. 
 They create tliere a mass of i)ie, and canuot be found wlien 
 wanted. The quadrat box should also be kept scrupulously 
 free from all extraneous sorts or spaces. 
 
 Another consideration of tyj^e for distribution is that 
 new founts, or type laid by out of use for a long period, is 
 apt to become stuck together, " caked " or " baked." There 
 are certain remedies to counteract this evil, for it is as- 
 suredly one, as those who have experienced it will testify. 
 If distribution is attempted under those conditions, the 
 type will probably cut the fingers if it is new, and, if old, at 
 least will make them very sore and unfit for composing. 
 Hot lye is sometimes used to wash the type over to assist 
 the separation; glycerine also may be tried witli good 
 results. Another remedy, if the type is not very much 
 caked, is to have the steam -cock of the boiler turned on 
 to the face of it. 
 
CHAPTER V 
 
 Makiii^-ni) into Pages —Different Styles of PTeadlines^Detei- 
 niining the Length of ]\age — Page Gauges — Footnotes, Sideiiotes, 
 and Cut-in notes, with their Reference Marks — Rules for the 
 Setting of Preliminary and A])pendix Matter — The Printer's Ini- 
 l)rint — Tying-up Pages — Signatures. 
 
 TAKING bookwork as our standard for the moment, 
 it will be seen that books are most frequently 
 divided into chapters or sections. Sometimes these com- 
 mence with a fresh page, and in such instances usually 
 with a "dropped head"— that is, they will begin about 
 one-third down the page. Sometimes, on the other hand, 
 they are '' run on," by which we mean that the new chapter 
 or section commences on the same page, with a suital)le 
 amount of white or space between it and the end of the 
 preceding chapter, provided the last chapter does not end 
 very low down on the page. "Whichever plan is adopted, 
 uniformity is to be desired throughout as regards sj^acing 
 and display of chapter heads. 
 
 Hea dlines of .the pages are set in various styles. Pam^^hlets 
 may perhaps have a plain folio only, but works, i.e., longer 
 books, will have a headline which may be dependent on in- 
 structions. Italic capitals, italic lower-case, roman capitals, 
 and small capitals are all used in turn, and sometimes with a 
 rule under. Further, the subject-matter of the headline is 
 often determined by the nature of the work. Some volumes 
 
 have the fixed left-hand headline bearing the name of the 
 
 ss 
 
MAKING-UP FNTO PAGES 89 
 
 volume, aud the riglit-liand one containing the subject of 
 the chapter. The amount of white or leading after the head- 
 line, too, is regulated by the style adopted, and the solid 
 or leaded character of the work. 
 
 Tlie length of a page depends of course on the width of 
 matter, and the size of paper to be used. Roughly speak- 
 ing, to form appropriate margins to a page, there should 
 be a trifle more margin on the top and bottom of a page 
 than on the two sides (see pj:). 105-110), Sidonotes, and 
 runners down the sides of pages, are thrown into the margin 
 entirely if the former are not very heavy. Footnotes are 
 therefore |>referal>le where possible, as full sidonotes do not 
 improve the appearance of a ])age. 
 
 I-'k;. 73. r.\(iE-(iArGE. 
 
 The length of a page having been determined, a (jauije, 
 tig. 78, should be made to tlie size, a piece of pica reglet with 
 a notch cut in it serving as the mark for length. Eacli page 
 should have a white line of quadrats at the bottom — this 
 line to be over and above the length determined on in 
 making tlic limit of the page, ])ut included in the gauge. 
 This white line serves two purposes — first, it protects the 
 last line of type, forming, as it were, a bulwark; secondly, 
 it contains the signature of the sheet when required. It is 
 also useful in certain exigences of making-up, such as having 
 to make a pag(» a line long, in which case the removal of 
 the white line obviates the necessity of altering the furui- 
 iur»'. When this occurs it is desirable to have the facing 
 ]^age, be it odd or even, equally long. In ]>aging matter, 
 never lui'n tlie break (»i' eii<l line of a ])aragraph over to the 
 
90 PRINTING 
 
 top of the next page, and if possible do not commence a 
 fresh paragraph — being indented — at tlie bottom line of a 
 page. 
 
 Where footnotes are voluminous and numerous, much 
 trouble is sometimes caused in putting the notes to their 
 proper pages, especially if the references happen to fall 
 near the bottom. Under these circumstances it is permiss- 
 ible to carry over a portion to the next page. Reference 
 marks for notes are of three characters : the signs * t + 1| § ^ 
 are used occasionallv, and when further references are 
 required on the same page, these are repeated, ** ff and so 
 on. Superior figures ^ ' ^ and letters '* ^ *" also are used, bul 
 more frequently the figures. Sidenotes as a general rule dc 
 not have references, as their parallel position indicates the 
 reference. Footnotes are nearly always set in type twc 
 sizes (or removes, as they are called) smaller than the text : 
 if this is leaded, the notes should have a thinner lead. Side- 
 notes and cut-in notes are frequently put into type three or 
 even four removes smaller. 
 
 With regard to the preliminary matter of a volume, 
 avoid using fancy types in displaying, and set the title in 
 good round types of the same character as the body of the 
 work. Condensed type does not look well unless it is for 
 an exceptionally long line which would suffer more in 
 dividing. To be consistent and yet effective a title-page 
 should be set up all in one kind of type. A mixture of 
 several founts should not be tolerated in any circum- 
 stances. Contents images, if not very full, should be set in 
 capitals and small capitals, and the dedication neatly dis- 
 played in even small capitals, with the name of the person to 
 wliom the work is dedicated put in full capitals. Prefaces 
 and introductions, if not long, should be set in type one 
 size larger than text, but tlie old-fashioned way of putting 
 them in italic looks well. If these parts of tlie ]>reliminary 
 matter are extensive, the text type may be used, with a 
 
COMPOSING PRELIMINARY MATTER 91 
 
 slightly thicker lead between the lines than that used in the 
 book. If the text- is solid, use only a thin lead. All these 
 pages should be expressed by Roman numerals — not figures 
 ■ — in roman lower-case, commencing with the half or bastard 
 title. Indexes are, as a rule, set in type two sizes smaller than 
 text, in two columns, and the pagination continued on from 
 the text. The style to be adopted in setting these depends 
 on the nature of the index to be composed. 
 
 The printer's Imprint should always appear at the end of 
 the work, and might also be placed at the back of the title. 
 By Act of Parliament (32 and 33 Vict., ch. 24) the printer 
 
 FlC. 74. TYIXO 11' A VXC.E. 
 
 is com]iollcd, under a penalty, to affix his imprint to all 
 books printed by him, and, in the event of an action at law, 
 he may be non-suited if his imprint has been omitted. 
 
 Having considered these methods of composing the pre- 
 liminary and appendix matter, we will follow the making- 
 u]^ ov paging of the work. As the pages are completed 
 they should be tied up with i)age-cord, fig. 74, this cortl 
 being sufficiently long to go round the page at least three 
 times if the page is small — for a large one, four times or more 
 to give additional security. Place the end of the cor<l a short 
 distance beyond the left-hand to]) corner, and carry it to 
 the riglit, drawing it tightly; when the whole })age has been 
 ciiciiclcd once, and the overlapping portion at tlie <(»ni('i- 
 crossed, ]»ull the coi-d rather more tight ly, first of ;ill |»Ia«'ing 
 
 k 
 
92 PRINTING 
 
 the left hand on the face of the page to prevent it from 
 springing on pulling the cord; wlien the end is reached, 
 simply tuck it in with the bodkin, leaving the extreme end 
 out in order that it may the more easily be untied. See that 
 it is 2)ushed down to the centre of the type, as the page may 
 spring when lifted if the cord is not placed in the middle. 
 After this is done, the pages may either be lifted to the 
 imposing surface one by one, or, in the case of large pages, 
 slid oif the galley on to the surface by sharply drawing the 
 galley from underneath, care being taken to keep the pagr 
 as square as possible, otherwise the type will be sent off its 
 feet, and be difficult to jmt right. When a sufficient quantity 
 of pages have been made up — the size of the page of type 
 and paper governing the number of pages to the sheet, ?.e., 
 folio, quarto, octavo, sixteenmo, etc. — the imposition (see 
 ]^). 97-105) must be so arranged that the pages when 
 Itrinted shall fall correctly on the sheet when folded. 
 
 Each sheet should hav^ a letter, called the siynatnre, at 
 the foot of the first page, so that the folder may readily 
 identify the particular sheet; these signatures are usually 
 set in small capitals, and serve as a means of identification 
 by the printer. They should be in sequence except for certain 
 omissions as indicated .Itelow. Pat signature b on page 1 
 of the text; the preliminary matter, usually put into ty)>e 
 after evervthino- else, is distino-nished as a rule bv ifalir 
 lower-case letters, a h c d, etc. The printer's alphabet 
 usually consists of 
 
 B C D E F G H I K L M N O P Q R S T U X Y Z AA BB, ctc, 
 
 A or i(, with the subsequent letters in italic lower-case, 
 being reserved, as just remarked, for the preliminary matter. 
 Some few printers put signature a on page I of the text, 
 in a small capital, and the preliminary matter is signatured 
 l>y the use of italic lower-case letters, commencing again 
 with n imd so (»n. T1 will be observed that the letters J v w 
 
SIGNATURES 93 
 
 are omitted. Some printers use a second signature for tlie 
 opposite corner of the sheet, i.e., the third pa<j;e; this is 
 denoted by b 2, c 2, d 2, etc. In twelvemo and eii^hleenmo 
 this is an actual necessity, and the insets should l)e marked 
 with a signature answering to the one on the first page. 
 For instance, sig. b in twelvemo half -sheet work should have 
 B 2 on the fifth page. 
 
 If a volume extends over three or more alphabets, express 
 the second and other signatures thus, 2 a or 3 a, etc. It 
 should be noted that these signatures are differentiated from 
 the inset ones by the figures being placed in front of, and 
 not after, the letter. If only spread over two alphabets the 
 double letters may be used, aa, bb, cc, dd, etc. 
 
 If a work makes more than one volume the number of 
 the volume should also be indicated in left-hand corner of 
 the signature line by the use of small capitals, thus: i, ii, 
 III, etc. 
 
CHAPTER VI 
 
 Imposition — Outer and rnner Formes— Delinitions of Sizes of Books 
 ^Table of Signatures and Folios — Schemes of Imposition — 
 Margins of r>ooks — Making- Alaroins— Ty[»e Measures or Scales 
 — Furniture — The proper method of using C^uoins — Furniture 
 Gauges. 
 
 THE placing of the pages in their respective positions 
 ju'evions to working the sheet is called imjJo.^iiKf them. 
 The appended schemes of imj^osition will give all the 
 varieties required for bookwork. But first a few technical 
 terms must be explained. In sheet work there are two 
 formes — the outer is the one Containing the first page and 
 the signature; the f/iwer forme is the backing one, contain- 
 ing the second page. Sizes of books are determined by 
 the number of times a sheet is folded, be it demy or any 
 other size. A sheet folded once or in half is called /o/?'o ; 
 folded into four, quarto -, into eight, octavo; twelve, duo- 
 decimo or twelvemo; sixteen, sixteenmo; eighteen, octodecimo 
 or eiijhteenmo, and so on. 
 
 The methods employed for imposition after all are really 
 simple, and only require a little forethought on the part of 
 the student, by committing to memory a few very element- 
 ary rules which will help him much in laying the pages 
 down in their correct order. For instance, the first page of 
 any one section is always laid down at the near left-hand 
 corner, the last page of the signature being placed next to it. 
 Unless it be an insetted signature, such as a twelvemo or 
 
 94 
 
IMPOSITION 95 
 
 eighteen mo, all other deuomiiiatious, whether quart «>,ueliiv(), 
 or sixteeunio, the two eeutre pat^es of the same section will 
 always he head to head with the first and last pages just 
 mentioned, thus forming a scpiare four pages, so that when 
 folded lip to its given size those pages will fall correctly 
 into their respective positions. A few other i)oints are 
 that certain impositions in half sheets are the same as 
 in sheets; for instance, a sheet of folio is laid down as a 
 half sheet of cpiarto, and again, sheets of quarto and octavo 
 are laid down in the same way as half sheets of octavo and 
 sixteenmo respectively, and so on. Further, that any forme 
 is laid down incorrectly is often detected at a glance by the 
 fact that the folios of any two pages next to each other may 
 not he at the extreme or opposite corners of that section of 
 two pages, because the folios of both left- and right-hand 
 pages must always appear on the fore-edge of the volume. 
 
 Besides the set schemes of imposition given in the follow- 
 ing pages there are many variations that will suggest them- 
 selves to the student upon reflection. On c(msideration he 
 will soon find some other method of laying pages down to a 
 given number helpful in dealing with certain exigences that 
 do often arise in the imposition of bookwork, and this ap- 
 plies to jobbing work too in many instances. The great 
 point is to test any proposed imposition by folding and 
 cutting up a sheet of paper to the size and number of pages 
 of the required section. A little practice will enable any one 
 to disi>ense with reference to the formal schemes which by 
 the uninitiated are frequently considered a difficulty — but 
 this is more imaginary than real if any one is in earnest and 
 desirous of learning for himself. 
 
 The annexed table of signatures and folios will be found 
 useful for reference purposes, the folios being compiled for 
 sheet work. In half-sheet work the number of i)ages here 
 given must be halved, e.g., signature r in octavo sheet work 
 is p. 241, but in half-sheet octavo it should be \). 121. 
 
96 
 
 PRINTING 
 
 Tadlk of Signatures and Folios. 
 
 No. 
 
 B 
 
 Folio. 
 
 1 
 
 4to. 
 1 
 
 Svo. 
 
 1 
 
 121110. 
 
 1 
 
 16nio. 
 
 1 81110. 
 
 1 
 
 24mo. 
 
 1 
 
 1 
 
 1 
 
 2 
 
 C 
 
 5 
 
 9 
 
 17 
 
 25 
 
 33 
 
 37 
 
 49 
 
 3 
 
 D 
 
 9 
 
 17 
 
 33 
 
 49 
 
 65 
 
 73 
 
 97 
 
 4 
 
 y. 
 
 13 
 
 25 
 
 49 
 
 73 
 
 97 
 
 109 
 
 145 
 
 5 
 
 F 
 
 17 
 
 33 
 
 65 
 
 97 
 
 129 
 
 145 
 
 193 
 
 6 
 
 G 
 
 21 
 
 41 
 
 81 
 
 121 
 
 161 
 
 181 
 
 241 
 
 7 
 
 H 
 
 25 
 
 49 
 
 97 
 
 145 
 
 193 
 
 217 
 
 289 
 
 8 
 
 I 
 
 29 
 
 57 
 
 113 
 
 169 
 
 225 
 
 253 
 
 337 
 
 9 
 
 K 
 
 33 
 
 65 
 
 129 
 
 193 
 
 257 
 
 289 
 
 385 
 
 10 
 
 L 
 
 37 
 
 73 
 
 145 
 
 217 
 
 289 
 
 325 
 
 433 
 
 11 
 
 M 
 
 41 
 
 81 
 
 161 
 
 241 
 
 321 
 
 361 
 
 481 
 
 12 
 
 N 
 
 45 
 
 89 
 
 177 
 
 265 
 
 353 
 
 397 
 
 529 
 
 13 
 
 
 
 49 
 
 97 
 
 193 
 
 289 
 
 385 
 
 433 
 
 577 
 
 14 
 
 P 
 
 53 
 
 105 
 
 209 
 
 313 
 
 417 
 
 469 
 
 625 
 
 15 
 
 Q 
 
 57 
 
 113 
 
 225 
 
 337 
 
 449 
 
 505 
 
 673 
 
 16 
 
 K 
 
 61 
 
 121 
 
 241 
 
 361 
 
 481 
 
 541 
 
 721 
 
 17 
 
 s 
 
 65 
 
 129 
 
 257 
 
 385 
 
 513 
 
 5,77 
 
 769 
 
 18 
 
 T 
 
 69 
 
 137 
 
 273 
 
 409 
 
 545 
 
 613 
 
 817 
 
 19 
 
 U 
 
 73 
 
 145 
 
 289 
 
 433 
 
 577 
 
 649 
 
 865 
 
 20 
 
 X 
 
 77 
 
 153 
 
 305 
 
 457 
 
 609 
 
 685 
 
 913 
 
 21 
 
 Y 
 
 81 
 
 161 
 
 321 
 
 481 
 
 641 
 
 721 
 
 961 
 
 22 
 
 Z 
 
 85 
 
 169 
 
 337 
 
 505 
 
 673 
 
 757 
 
 1009 
 
 23 
 
 AA 
 
 89 
 
 177 
 
 353 
 
 529 
 
 705 
 
 793 
 
 1057 
 
 24 
 
 BB 
 
 93 
 
 185 
 
 369 
 
 553 
 
 737 
 
 829 
 
 1105 
 
 25 
 
 CC 
 
 97 
 
 193 
 
 385 
 
 577 
 
 769 
 
 865 
 
 1153 
 
 26 
 
 DD 
 
 101 
 
 201 
 
 401 
 
 601 
 
 801 
 
 901 
 
 1201 
 
 27 
 
 EE 
 
 105 
 
 209 
 
 417 
 
 625 
 
 833 
 
 937 
 
 1249 
 
 28 
 
 FF 
 
 109 
 
 217 
 
 433 
 
 649 
 
 865 
 
 973 
 
 1297 
 
 29 
 
 GG 
 
 113 
 
 225 
 
 449 
 
 673 
 
 897 
 
 1009 
 
 1345 
 
 30 
 
 HH 
 
 117 
 
 233 
 
 465 
 
 697 
 
 929 
 
 1045 
 
 1393 
 
 31 
 
 II 
 
 121 
 
 241 
 
 481 
 
 721 
 
 961 
 
 1081 
 
 1441 
 
 32 
 
 KK 
 
 125 
 
 249 
 
 497 
 
 745 
 
 993 
 
 1117 
 
 1489 
 
 33 
 
 LL 
 
 129 
 
 257 
 
 513 
 
 769 
 
 1025 
 
 1153 
 
 1537 
 
 34 
 
 MISI 
 
 133 
 
 265 
 
 529 
 
 793 
 
 1057 
 
 1189 
 
 1585 
 
 35 
 
 NN 
 
 137 
 
 273 
 
 545 
 
 817 
 
 1(»89 
 
 1225 
 
 1633 
 
 36 
 
 00 
 
 141 
 
 281 
 
 561 
 
 841 
 
 1121 
 
 1261 
 
 1681 
 
 N.IJ. Ill this tahlc signature r. always coiiinienoes with page 1, and 
 the letters A, .1, \', and w are not included. 
 
SCHEMES OF IMPOSITION 
 
 SCHEMES OF IMPOSITION 
 
 Half Siiket of Folio. 
 
 Sheet of Folio. 
 Outer Foi^.ne. Inner ForrAe> 
 
 Half Siifrt of Quakto. 
 
 H 
 
98 
 
 PRINTING 
 
 Sheet of Quarto. 
 Outer Forme. Luicr Forme. 
 
 Half Sheet of Octavo. 
 
 
 
 
 
 
 
 
 ^ 
 
 
 e 
 
 
 9 
 
 
 S 
 
 1 
 
 B 
 
 
 8 
 
 
 7 
 
 
 2 
 
 Sheet of Octavo. 
 Outer Forme. Lnicr Forme. 
 
 8 (3 
 
 :i e 
 
 I II 01 
 
 1 
 
 
 Ui 
 
 
 i:! 
 
 
 4 
 
 n 
 
 
 
 
 
 
 
 14 
 
 15 
 
SCHEMES OF IMPOSITION 
 
 99 
 
 Half Sheets of Twelves. 
 With offcut. To fold without cnttin(j. 
 
 t- 
 
 
 (i 
 
 
 1)1 
 
 
 !•• 
 
 
 t- 
 
 
 G 
 
 
 III 
 
 
 ,, 
 
 1 
 It 
 
 
 L-i 
 
 
 11 
 
 
 •> 
 
 
 1 
 
 
 1 
 
 11 
 
 
 - 
 
 Sheet of Twelves {ivith offcut and one signature). 
 Outer Forme. Inner Forme. 
 
 ;:i 
 
 91 
 
 sa 
 
 01 
 
 lu 
 
 
 fl 
 
 
 II 
 
 8 
 
 
 :f 
 
 
 ( 1^ 
 
 
 ,. 
 
 
 9 
 
 
 Gl 
 
 
 s^I 
 
 
 I 
 
 I'l 
 
 
 I'l 
 
 
 ■1 
 
 
 3 
 
 
 22 
 
 
 _■■ 
 
 L_ 
 
100 
 
 PRINTINO 
 
 Half Suket of Sixteens. 
 
 s 
 
 
 er 
 
 
 n 
 
 
 « 
 
 7 
 
 
 10 
 
 
 11 
 
 
 6 
 
 8 
 
 
 6 
 
 
 SI 
 
 
 S 
 
 1 
 E 
 
 
 16 
 
 
 13 
 
 
 4 
 
 Sheet of Sixteens. 
 Outer Forme. Inner Forme. 
 
 f 
 
 
 (5S 
 
 
 8S 
 
 9 
 
 
 Z?: 
 
 
 Of: 
 
 13 
 
 
 2U 
 
 
 21 
 
 
 12 
 
 
 11 
 
 
 22 
 
 
 19 
 
 
 14 
 
 91 
 
 
 il 
 
 
 To 
 
 
 C 
 
 
 01 
 
 
 {:o 
 
 
 81 
 
 
 fl 
 
 1 
 
 
 132 
 
 
 2.') 
 
 
 s 
 
 
 7 
 
 
 2li 
 
 
 ;u 
 
 IJ 
 
 
 
 
 
 
 
 
 
 
 
 
 
SCHEMES OF IMPOSTTIOl^ 
 
 101 
 
 Half Shfet of Eighteens (ivith offcut, transposition, and 
 
 one signature). 
 
 
 
 TM 
 
 
 
 
 
 
 
 
 
 n 
 
 
 ' 
 
 
 01 
 
 
 () 
 
 
 9 
 
 
 f:l 
 
 V 
 
 
 eT 
 
 
 n 
 
 
 I 
 
 
 91 
 
 
 8 
 
 
 
 
 
 1 
 
 
 irf 
 
 
 ii 
 
 
 8 
 
 
 17 
 
 
 2 
 
 B 
 
 
 
 
 
 
 
 
 
 
 
 Wlion one side of the paper is worked, the following 
 transpositions must be made : pages 7 and 12 to take the 
 places of 11 and 8; and 11 and 8 the places of 7 and 12 
 respect iv el J. 
 
 Half Sheet of Eighteens (without transposition, ivilh 
 offcut and two signatures). 
 
 
 
 
 
 
 
 
 
 
 
 5;!i 
 
 9 
 
 
 L 
 
 
 SI 
 
 
 Ll' 
 
 
 8 
 
 
 — ■' — 
 
 1 
 
 
 (■) 
 
 
 91 
 
 
 ^n 
 
 
 01 
 
 
 ." !1 
 
 
 1 
 I! 
 
 
 1-' 
 
 
 i:! 
 
 
 11 
 
 11 
 
 
 2 
 
 
 
 
 
 
 
 
 
 
 
 
102 
 
 PRINTINO 
 
 SnKET OF EiGHTEENS (until offctit and three signatures). 
 Inner Forme. 
 
 z 
 
 
 ^' 
 
 
 n 
 
 
 
 
 
 
 3 
 
 
 lu 
 
 
 15 
 
 5 
 
 
 8 
 
 
 17 
 
 b2 
 
 
 
 
 C2 
 
 CS 
 
 
 9S 
 
 
 eg 
 
 
 
 
 
 22 
 
 
 27 
 
 
 34 
 
 20 
 
 
 29 
 d2 
 
 
 32 
 
 0?^^er Forme. 
 
 1 
 
 9 
 
 
 » 
 
 
 SI 
 
 
 GI 
 
 
 oe 
 
 
 TS 
 
 f- 
 
 
 6 
 
 
 91 
 
 
 IS 
 
 
 8S 
 
 
 po 
 
 1 
 
 
 12 
 
 
 1.", 
 
 
 21 
 
 
 2.') 
 
 
 .'iO 
 
 B 
 
 
 
 
 c 
 
 
 
 
 1) 
 
 
 
SCHEMES OF IMPOSITION 103 
 
 ElAf.K SlIKirr OF TWKNTV-FOURS {irltliout aitHliq), 
 
 r. :i 
 s i;" r.r. ■: ;» c.i 
 
 11 
 
 
 14 
 
 
 1.". 
 
 
 1(1 
 
 
 1 
 
 
 1^ 
 
 r.\ 
 
 
 CI 
 
 
 it I 
 
 
 I'l 
 
 
 ' 
 
 
 n 
 
 1 
 
 
 21 
 
 
 21 
 
 
 4 
 
 
 f) 
 
 
 20 
 
 u 
 
 
 
 
 
 
 
 
 i; ;; 
 
 
 
 Half Sheet of Twenty-Fours (ivifJi three sigiratnres). 
 
 r. 
 
 
 I 
 
 
 01 
 
 
 c-1 
 
 
 >I 
 
 
 ,._ 
 
 Ii2 
 
 
 t> 
 
 
 11 
 
 C2 
 
 
 u 
 
 
 lit 
 
 J) 2 
 
 
 " 
 
 T- 
 
 
 e 
 
 
 ri 
 
 
 ;.i 
 
 
 0" 
 
 
 \r. 
 
 s 
 
 
 'J 
 
 
 ]•; 
 
 
 17 
 
 
 2 1 
 
104 
 
 PRINTING 
 
 Shf':i':t of TwENTY-Founs. 
 Liner Forme. 
 
 z 
 
 
 IT' 
 
 
 9f 
 
 
 Z'J. 
 8 
 
 
 9 
 
 
 CI' 
 
 *■*' 
 
 
 20 
 
 
 27 
 
 
 2'' 
 
 
 1.1 
 
 
 ;:0 
 
 fl 
 
 
 (■f; 
 
 
 \i 
 
 
 t'l 
 
 
 SI 
 
 
 l!.' 
 
 11 
 
 
 ■M 
 
 
 ;!'.• 
 
 
 lu 
 
 
 7 
 
 
 •12 
 
 Outer Forme. 
 
 -\ 
 
 
 is 
 
 
 01- 
 
 
 6 
 
 
 8 
 
 
 If 
 
 l"> 
 
 
 3l3 
 
 
 V.?, 
 
 
 U 
 
 
 17 
 
 
 ;;2 
 
 
 
 er. 
 
 
 s'" 
 
 
 I- 
 
 
 Of-; 
 
 
 ('o 
 
 1 
 
 
 48 
 
 
 ■1') 
 
 
 1 
 
 
 
 
 
 •11 
 
 B 
 
 
 
 
 
 
 
 
 ]:3 
 
 
 
 
 
 1 1 
 
 
 
 
 
 
 ,_. 
 
 
 
SCHEMES OF IMPOSITION 
 
 105 
 
 Half Sheet of TniKTY-Twos. 
 
 l;! 
 91 
 
 
 
 
 So 
 21 
 
 
 g 
 
 
 9 
 
 11 
 
 01 
 
 
 Lr, 
 v.r. 
 
 
 19 
 81 
 
 
 
 
 1 
 
 
 ' '" 
 
 
 "■ 
 
 
 8 
 
 
 7 
 
 
 2(] 
 
 
 ••il 
 
 
 2 
 
 Other impositions are required occasionally. These, we 
 rej)eat, may be determined by folding a sheet of paper into 
 1 the required number of leaves, and then niarldno- with a 
 peneil the i)ages in order. This should then be opened out; 
 one side Avill give one half or side of the sheet, and the 
 reverse side the other half. Of course the pages must be 
 laid down in reversed order compared with the sheet so 
 marked; then an impression from these pages of type would 
 be the same as the folded sample. 
 
 Mahincj of margins. — A chase or chases of a suitable 
 size must be selected. In large formes it is requisite to 
 have as many bars as possible, because they give addi- 
 tional security to the forme, and prevent the rising or 
 sj)ringing of the type when loclvcnl-up. Some ])rinters aim 
 at centring the pages of printed matter on each leaf of 
 paper, allowing a little on the outside edges for the (fitting 
 of the book bv tlie l)inder iifterwards, but this plan is 
 
106 
 
 PRINTING 
 
 certainly wrong". The correct idea of a good margin to a 
 page is that the fore-edge and tail should be greater than 
 the back and head margin. From a binder's point of view, 
 the surrounding margins of a printed page of a book are 
 somewhat defined as shown in fig. 75. 
 
 From a printer's standpoint, taking a sixteenmo as our 
 example, the marginal portions of a sheet, simply for 
 
 Fin. 7'). >iAr.(iiN« of a page. 
 
 the convenience of gauging the furniture, are named us 
 in fig. 76. 
 
 Some printers call the hach the gutter and the lonfj fro.«.< 
 the back, but we prefer our method, as the back here quoted 
 is really the back of the book. The long and short crosses 
 respectively are where the long and short cross-bars of the 
 chase fall. 
 
 Margins, to look well and to he proportionate, should be 
 arranged somewhat on the following principles. Books, 
 
MARGINS 107 
 
 esj^eeially good oues, issued in cloth, are likely to be re- 
 Ixmiid in leather at some future date, and, if cut agaiu, 
 would suffer most on the fore-edge and tail, where, conse- 
 quently, a larger margin is desirable. This, too, allows of 
 wear and tear, which occurs more generally on these edges 
 of a book. Further, if old books are studied in this re- 
 spect, particularly those of the famous presses, English and 
 foreign, and even MSS. of an earlier period, it will be found 
 
 ' ' ' 
 
 I JOl J ^ 
 
 QACK < BACK ,„ 
 
 UJ U) 
 
 , , r-. , 
 
 1 ill ) O 
 
 ' 'I I ct: 
 
 : : : : o 
 
 L...... I I __..-_J 
 
 LONG CROSS 
 
 '^ ""' i^ ": H 
 
 I w • < _ 
 
 L iQi J o 
 
 BACK < BACK I 
 
 ( luir-- 1 ^r\ 
 
 I I I I ' 
 
 ! ; : : 
 
 I I L J 
 
 1 
 1 
 
 
 ■1 
 
 1 
 1 
 
 r < 
 
 1 1 
 
 1 
 
 
 1 
 1 
 
 1 
 
 1 ; 
 
 r- 
 
 BACK 
 
 BACK 
 «■ 1 
 
 
 
 t 
 
 1 
 
 1 t 
 
 1 
 1 
 
 
 .i 
 
 L 1 
 
 
 LONG 
 
 CROSS 
 
 1 
 
 - -- ' 
 
 ■1 
 
 r 1 
 
 i> 
 
 SACK 
 
 1 
 1 
 
 t 
 
 1 ' 
 t J 
 
 BACK 
 
 1 
 
 
 f * "1 
 1 1 
 
 1 
 
 L. 
 
 
 1 
 
 1 
 .J 
 
 1 ' 
 L J 
 
 FlfJ. 76. MAR(!INS OF A SHEET. 
 
 that this idea was frequently carried out, possibly with a 
 view to allow of annotations in the margins. Bearing in 
 mind what was said a little way back, that the length of a 
 l)age on paper should be regulated by its width, the head 
 margin should be alittle more than theback,and rathermorc 
 margin at the tail than on the fore-edge, because, by sonic 
 optical illusion, an ec^ual margin generally looks less in the 
 head, jtcrhaps caused by the two o|)cn backs of the book. 
 Fifty per cent, more margin on the fore-edge an<l tail tlian 
 
108 
 
 FEINTING 
 
 1 
 
 i 
 
 1 
 1 
 
 i § 
 
 type \ % 
 • 1 
 i 
 
 margin i\ picas 
 
 
 2j picas 
 
 
 2 
 
 'a. 
 
 ?4 
 
 type 
 
 3 picas 
 
 
 3| picas 
 
 i 
 1 
 
 Fkj. 77. tvpp: as to paper. 
 
 FlO. 78. MARCJIN PROPORTIONED. 
 
 
 
 
 
 type 
 
 
 
 
 
 1 
 
 
 
 • 
 
 type 
 
 
 KJ<;. 7'J. PAGE CENTRED. FiG. 80. PA(iE WITH PROPER MARCUN. 
 
MARGINS 
 
 109 
 
 (111 ilie back and head respectively looks well, and i1 ran, 
 of course, be made more or less according to taste. The 
 diai4Tams opposite, figs. 11 and 78, will show the proi)or- 
 tions worked out. 
 
 We also give a centre, or equal, margin round a page, 
 tig. 1^, for comparison with the one we suggest, fig. 80, 
 
 iyv^ 
 
 type 
 
 prper 
 
 4^ 
 
 vj^ 
 
 Fig. 81. ADJUSTING MARGIN. 
 
 which, we contend, gives a better proi)ortioii than the 
 other. 
 
 An easy way to fix these margins, supposing the book is an 
 octavo, is to fold the sheet into four, or quarto, and measure 
 the length and width of two pages, as in fig. 81. Then 
 calculate the spare margin between the arrows, and if the 
 rule we laid down as regards proportion be adopted, place 
 two-fifths in back or head, and allow three-fifths for fore- 
 edge and tail. When this is done, it must be made out to 
 
110 
 
 PRiNTma 
 
 pajK'i* at the cross, where the fore-edge of the book will 
 fall when the sheet is folded up, fig. 82. 
 
 By thus adjusting the furniture the sheets, when dealt 
 
 type 
 
 type 
 
 type 
 
 type 
 
 paper 
 
 -•> 
 
 ( 
 
 Fig. 82. adjusting fore-edge margins. 
 
 with by the binder, come out w^ith equal margins on the 
 fore-edge for octavo. In other sizes, with a greater number 
 of pages, the sheet should be turned the 
 other way and made out lengthwise jjrecisely 
 in the same manner. 
 
 Type measures. — For measuring purposes 
 ii pica-gang e or type-scale, fig. 83, marked with 
 pica ems, should be used. These may be ob- 
 tained either in ivory or boxwood of the 
 material- maker or type-founder; they also 
 
 Fig. 83. type scale. 
 
 contain the marked ems of other bodies. A home-made one 
 can be manufactured by the pica ems being marked on a piece 
 
IMPOSING m 
 
 of l\>ur-to-pioa brass rule. In purcliasiui;' a ineasuiv, how- 
 ever, it is best to procure oue which has the standard 
 bodies of those founts in use, as some of the types other 
 than pica v^ary somewhat, the true remedy for which would 
 be the adoption of the point system. 
 
 The furniture to be placed round the forme is the next 
 thiny' to be considered. The terms " dressini'" " or " clothino- " 
 a forme are sometimes used — a forme laid up for distribution 
 and stripped of its furniture is expressed by the opposite 
 term, i.e., "naked." Assuming that we have a sixteenmo 
 forme to " dress," it is best that all the furniture used 
 lengthwise should be a little longer than the page itself 
 — say a couple of picas at least. That used in the Avidth 
 should not exceed the measure of the work, and care must 
 be taken that it is not too long, or else it will cause a " bind." 
 The furniture down the length of the page being longer 
 obviates the possibility of any lines slipping, provided it has 
 Ijeen placed j^roperly, so as to include both ends of the page. 
 The side- and foot-sticks should be a little longer than the 
 parts they have to secure, but just sufficient to prevent 
 overlapping each other either one way or the other. When 
 this is done, the page-cords may be removed from the pages, 
 the inner pages being untied first, and, as each i^ge is re- 
 leased, the surrounding furniture must be pushed up so as to 
 l)rotect it. As the cords are removed, be careful not to get 
 them entangled ; place them round the neck temporarily, 
 and when done w^ith hang them on a nail for future use. 
 The quoins may now be fitted ; in doing this, supposing there 
 is a large amount of space to fill up, do not use two quoins 
 together, as in fig. 84, but use short lengths of furniture 
 kept for locking-up purposes, as distinct from that used for 
 making margins between the pages, which should be perfectly 
 sound and not damaged in any way. Using two quoins to- 
 gether is extravagant, and will not permit of the forme being 
 locked-up tightly or squarely, as a moment's reflection will 
 
112 
 
 PRINTING 
 
 show, on coinparin*^ a quoin and a side-stick together, 
 fig. 85. The use of leads in qiioiniug-up is to be deprecated 
 as a wasteful and slovenly habit. We repeat that furni- 
 ture which is worn and not good enough for placing be- 
 tween pages to form margins is of service in quoining-up; 
 therefore the use of good furniture for this purpose should 
 be forbidden. When formes are sent to press or machine 
 
 Fu;. 84. WRONG USE OF (iuoixs. Fig. 85. eight use of (,>roix. 
 
 great care should be exercised in straight-edging after 
 gauging-up the margins, and one scaleboard at least should 
 be placed on either side of the cross-bars ; this will allow of 
 correct register being easily obtained if the pages do not 
 back proj^erly. When the first forme has been approved 
 for margin, 'd furniture gauge should be made, say of card, 
 in order that all the successive sheets of the same work 
 may be made quite uniform. 
 
I 
 
 CHAPTER VII 
 
 Loekiii.ii-up l-'onnes — Pulliiii; tlie Proofs — Making' Corrections in 
 tlie Mt'tal — Tiie S[>aoe l*a[»(M' or l>ox — Siijjns and Marks nsed l>y 
 Headers in Correcting Proofs — Clean Proofs — Tlie Forme Carriage. 
 
 AFTER quoining-up the forme and seeing that the 
 furniture is in its proper position, the type may be 
 lii^'htly planed down with the planer, fig. 45. Let each 
 ; stroke with the mallet hit the planer firmly and flatly, and 
 [ do not drag or push it over the surface of the type. In 
 locking-up, always tap the foot of the pages up first; this 
 ! prevents the s[»ringing and bending of the leads, if a leaded 
 ? work; but, in uulocking a forme, unfasten the sides first for 
 
 I the same reason. The whole forme should be locked-uii 
 
 f 
 
 I equally all round, and not too tightly, as much pressure 
 
 ; will cause the pages to S2:)ring. This fact can always be de- 
 
 j tected in re-planing down after lockiug-up, for if the type 
 
 I is on its feet, as it should be, the slightest touch will make 
 
 ] it apparent. Should the forme have sprung, unlock it and 
 
 put it square or on its feet again — by no means attempt to 
 
 force it down by the use of the jdauer. After the planing 
 
 has been performed satisfactorily, the forme should be raised 
 
 very carefully, just a little, to see if the whole lifts. Should 
 
 it not, it may be due to bad justification of lines, " binding " 
 
 of furniture, or imperfect gauging of pages or furniture. 
 
 All being well, the proof can be taken and passed over t(» 
 
 the reading department for comparison with the <'opy; this 
 
 proof being termed a "first" proof. 
 
 iiii I 
 
114 
 
 PRINTING 
 
 When the j^roof has been corrected by the reader, the 
 forme should be laid upon the imposing surface and un- 
 locked in the manner already described. 
 
 MaJi'lud corredions. — The compositor should have a fipace 
 ho.r, fio\ 86, a small tray usually containing six divisions; 
 
 these hold the sj^aces of the 
 
 Fic. 
 
 type to be corrected. 
 
 Assuming the corrections 
 are not very heavy, gather 
 the necessary letters in the 
 fingers, and when as many 
 have been collected as can be 
 comfortably held, place them 
 l^etween the first and second 
 86. SPACE BOX. fingersoftheleftliand,fig.87; 
 
 then, with the help of a bodkin, proceed to correct the errors 
 as marked in the proof. In substituting other letters be care- 
 ful to see that the alteration leaves no difference in the 
 j ustification ; if it does, space the line out again as before. In 
 the case of any omissions or repetitions of words — called re- 
 spectively "outs" and " doubles "—it is best to lift out 
 that portion of the matter likely to be affected by the error, 
 place it on a galley, and put it 
 through the stick again ; this 
 insures better justification, ^, 
 and will facilitate the correc- 
 tion in the long run — do not 
 attempt to do it in the forme. 
 Certain signs and marks are 
 used by the readers in cor- 
 recting the proofs; the two samples given at pp. 115-116 
 will give the usual characters in vogue in most offices. It 
 is perhaps best for the learner to compare each separate 
 mark with the corrected page (p. 117). The following is an 
 explanation of some of the signs : 
 
 Fk;. ST. UOLDINCJ CORRECTIONS. 
 
CORRECTIONS 115 
 
 Synopsis of Readers' Marks. 
 
 [n This indicates that the line has to be indented one cm 
 
 of its own body. 
 A full-stop or full-point has to be inserted. 
 Trs. A transposition of a word or words. 
 Ital. Change roman into italic. Also indicated by under- 
 lining the word or words to be in italic. 
 I. c. A capital or small capital to be changed to a lowei*' 
 
 case letter. 
 Rom. Change italic into roman. 
 Gap. A lower-case or small capital letter to be changed t^ 
 
 a capital. 
 Sni. Gap. A lower-case or capital letter to be changed to 
 
 a small capital. 
 X A bad or battered letter. 
 Stet. Matter wrongly altered shall remain as it wns, Dotf 
 
 are usually placed under the matter in question. 
 ; A space has to be inserted. 
 L Space to be reduced. 
 <^ A turned letter. 
 
 New 'par. or n. p. or [ Commence a fresh line. 
 liun on. Sentence not to commence a new line, but to 
 
 follow on previous matter. 
 S Delete or expunge. 
 
 J[_ A space or quadrat standing high to be pushed down. 
 w.f. Denotes a wrong-fount letter. 
 Equal. Equalize spacing throughout the line. 
 5 The matter has something foreign between the lines, or 
 
 a wrong-fount space in the line, causing the types to 
 
 get crooked. 
 y When a superior letter or inverted comma is required to be 
 
 inserted in the matter, it is usually written over this sign. 
 3 The words or letters over which this is marked to be 
 
 joined. 
 
lir, PKTNTTNG 
 
 Page showing corrections, 
 
 J ^Do not try to correct the faults of hurried raaking-ready/by ^ 
 ^a weak impression, and by carrying an excess of ink to (nide 
 ^the weakness/ Excess of ink fouls the rollers, clogs the 
 type, and makes the printed work smear or set off. A good ^^^ 
 print cannot be had w hen the impression is bo weak that the 
 Oz^> paper Uonches^ barclylthe ink on the types and is not pressed J 
 
 against the types. There must be force enough to transfer y. ^ 
 the ink not only on to the papei^^but into the paper. A firm ,/ ^f 
 ' c/ impressyln shnuj-^ be had, even if the paper be indented. / 
 ' The amount of impression required will largely depend on 
 
 the making-ready. Mjth careful(raaking- ready, ^mpression t^ L. 
 ^ may be light; rougliiy*and hurriedly done, it must be hard/ *J 
 C .J^idcntation is evidence of wear of ty])e. * Jhe spring and / \ 
 
 ^resulting friction of an el/stic impression surface is most felt 
 ^ 7 where there is least resistance — at the upper and lower ends 
 of lines of/ype, where they begin to round off. It follows 
 • that the laving of time that may be gained by hurried and 'Tt/ 
 rough mak ing- ready must be offset by an increased wear of ' "^ 
 ji/l type. 'fThat impression is^esc for preventing wear of type the I C 
 which,is confined to its surface and never Taps over %iUA its (37 
 edges. But this perfect surface impression is possible only /; 
 . on a large forme with new type, sound, m£^ packing, and -774 
 ' «^ ample time for Apakingjkady.^ If types are worn, the in- ^^-^J 
 
 / dentation of the paperby impression cannot be entirely 
 //, preventec^^ ^ood press work does not deperj^d entirely upon y 
 ,/ ' the/press^r machine, neither on the work man, nor on the <Vf ' 
 ^ materials. Nor will superiority in any ««iCpoint compensate ^ (^ 
 
 /for deficiency in another : new type will suffer from a poor / | 
 . /roller, and careful making-rea^y is thrown a way if poor ink 7/- ^ 
 t // be usec^ It is necessary that all the m ateria ls shall be ^ 
 ' good, that t/ey should be adapted to each other and fitly » 
 / used. A good workman can do much with poor^materials, L 
 '^V^ but a negle'ct to comply ^vith one condition ofteiTproduces 
 / as bad a result as tne neg^lcct of allT^ 
 
 Tl tPt Cil the ibrcgoing facts are caret Lilly studied raafiy difhcul- ^ 
 tics will be overcome in obtaining really good work- 
 
 4/j 
 
COKRECTIONS 117 
 
 Page as corrected. 
 
 Do not try to correct the faults of hurried making-ready 
 by a weak impression, and by carrying an excess of ink to 
 hide the weakness. Excess of ink fouls the rollers, cloirs the 
 type, and makes the printed work smear or set off. A good 
 print cannot be had when the impression is so weak that the 
 paper barely touches tho ink on the types and is not pressed 
 against the types. There must be force enough to transfer 
 the ink not only on to the paper, but into the paper. A firm 
 impression should be had, even if the paper be indented. 
 The amount of impression required will largely depend on 
 the making-ready. With careful making-ready, impression 
 may be light ; roughly and hurriedly done, it must be hard ; 
 indentation is evidence of wear of type. The spring and 
 resulting friction of an elastic impression surface is most felt 
 where there is least resistance — at the upper and lower ends 
 of lines of Type, where they begin to round off. It follows 
 that the saving of time that may be gained by hurried and 
 rough making-ready must be offset by an increased wear of 
 
 type- 
 That impression is the best for preventing wear of type 
 
 which is confined to its surface and never laps over its 
 edges. But this perfect surface impression is possible only 
 on a large forme with new type, sound, hard packing, and 
 ample time for " making-ready." If types are worn, the in- 
 dentation of the paper by impression cannot be entirely 
 prevented : good presswork does not depend entirely upon 
 the press or machine, neither on the workman, nor on the 
 materials. Nor will superiority in any point compensate 
 for deficiency in another: new type will suffer from a poor 
 roller, and careful making-ready is thrown away if poor ink 
 be used ! It is necessary that all the materials shall be 
 good, that they should be adapted to each other and fitly 
 used. A good workman can do much with poor materials, 
 but a neglect to comply with one condition often produces 
 OS bad a result as the neirlect of all. If the forejjoing facts 
 
118 
 
 PRINTING 
 
 Clenn irruofs. — Wlieu llic j^roof bus l)een corrected, it is 
 customary, in the absence of other instructions, to \^\\\\ two 
 clean revises to send out to the author or customer, but 
 should the compositor have failed to make good all the 
 errors in his first proof, he would have to correct the forme 
 at his own exj^ense the second time; therefore it is to his 
 advantage to use every care in his corrections, especially if 
 he is a 2)iece hand. 
 
 The different stages here enumerated, viz., com2)osing, 
 distributing, making-up, making margins, imposing, and 
 correcting, are those applied to bookwork. The same 
 operations also apply to jobbing and newsj^aper work to a 
 great extent. 
 
 A useful carriage for moving formes about is the forme 
 troll ey, fig. 88. Rubber tyres are sometimes placed round 
 the wheels to render them noiseless, and to in-event injury 
 to the floors. 
 
 FJG. 88. FORME TROLLEY 
 
CHAPTEK VIII 
 
 J()l»l»iii^' AVoik -The (-'haiiieter of Types used — Wood Types and 
 tlieir Receptacles — To Preserve Wood-letter and Cuts — Urna- 
 nieuts, liorders, and Brass Pules — The Classiiication of Faces — 
 Tlie Adjustment of Border Pules — Curved Work. 
 
 SOME amount of taste and practice is required in the 
 setting-up of commercial or johhing ivorlc. This is a 
 large subject, embracing all kinds of small work, such as 
 circulars, cards, programmes, invoice and memorandum 
 forms, etc. 
 
 Jobbing types may be obtained in three classes, so to 
 speak — plain, fancy, and grotesque or fantastic. The last 
 variety is to be shunned if really good taste is to be dis- 
 played, and this rule is applicable to the type ornaments 
 and borders of the same kind. Over-ornamentation or 
 elaboration is to be avoided in displaying, for nothing 
 after all is so effective as boldness and simplicity. A. few 
 S2)ecimens of jobbing or fancy types have already been 
 given. Whilst sim]dicity is recommended, it is not desir- 
 able that a printer should never add new faces to his stock. 
 Curved lines and an excessive amount of rule-work, we 
 venture to think, are not in keeping with letterpress prim- 
 ing; such work is more in harmony with lithography. 
 Special cases for jobbing types are made by the printer's 
 joiners, and double and treble cases have already been shown, 
 tigs. 20 and -21. The selection of these, however, sln.uld be 
 determined l»y the size of type and the (quantity to be in 
 
 110 
 
12U 
 
 pRiNTma 
 
 circulation. Wood-type, used for broadside aud similar 
 Avork, should l>e kept ou trays or special shelves for the 
 purpose — the plau sliowu here, fig. 89, is a convenieut oue. 
 To Preserve Wood-Letter and Cuts. — To prevent warping 
 iu blocks aud wood-letter used in large bills, they should 
 be placed in a zinc basin, provided with an air-tight lid, 
 and then thoroughly saturated with paraffin oil; after 
 being left thus for about four days, they should be wiped 
 
 Fig. 89. TKAYS FOE WOOD-LETTEU. 
 
 with u clean, dry rag. Prepared in this way, when new, 
 wood-letter is said to resist the effects of lye, petroleum, 
 turpentine, and atmospheric changes if not very extreme. 
 Care should be exercised that wood-letter is not allowed to ' 
 become too wet in cleaning, but dried as much as jjossible 
 with the aid of rags. Again, avoid placing near steampipcs 
 or standing in the heat of the sun. 
 
 Ornaments, borders, and brass rules of the different 
 varieties should all have their proper places. The special 
 case given in the earlier portion of this work is a useful 
 
JOBBING WOKK 121 
 
 artiek', especially for short leugths. These may iuehide the 
 short fancy or " French " ndet^, tig. IM.l, used for disphiyiug 
 purposes. 
 
 =-^^ 
 
 ■***■ 
 
 Fk;. 1)0. "FRENCH'" RULES. 
 
 Jobbing work involves a great deal of display as a rule, 
 but (.'ach class of jobbing requires a different treatment; 
 what would be effective in a poster would be vulgar for a 
 smaller job, such as a small show-bill. Regard must be 
 given to a customer's taste and the nature of the work. 
 Having taken these two things into consideration, the next 
 point is to study the copy and find the most important 
 lines requiring prominence. In setting, do not mix indis- 
 criminately old face, old style, or modern faces, but keep to 
 one class as far as possible. Use extended or condensed 
 founts only where absolutely necessary, such characters 
 being out of place when used sim^jly for the sake of eff'ect 
 rather than necessity. For commercial announcements 
 perhaps a bolder display is required, but for private work, 
 such as circular letters or invitation cards, a more sim[)le 
 style may be adopted. Where ornamentation is used, do 
 not crowd the lines in order to make room for the design, 
 but rather use ornament as a secondary consideration. In 
 selecting these do not mix the style, but keep to the same 
 character as the type, for it is inconsistent to use, say, a 
 gothic kind of ornament with light and modern types. If 
 fancy types are ado})ted, use them sparingly. A golden 
 rule to be observed is that a job is best disi>layed all in 
 one character of type, and in as few sizes as possible. 
 
122 
 
 PRINTING 
 
 Where rule borders care required, it is best to iiiitre the 
 corners in order tliat they may join correctly. For this 
 ])urpose special mitring machines may be obtained, but if 
 the brass rule to be used is not thicker than four-to-pica, 
 it may be filed at the ends to an angle of forty-five degrees 
 
 Fig. 91. metal corners. 
 
 to allow of a square border being obtained. In selecting 
 brass rule it is best as far as possible to confine the choice 
 to one thickness, for it is very confusing to have several 
 thicknesses in general use. Where rule-borders are required 
 for a series of images, it is, however, best to have thicker 
 
 Fk;. 9'J. OXFORD CORXER. 
 
 brass, for the stouter it is the better it will join when locked- 
 up, ])rovided the mitres are true. Metal corners, fig. 91, 
 are very useful in mitred rule-work, making it easy to obtain 
 a perfect join at the corners, especially if placed both inside 
 and out. They are cast the same height as quadrats. 
 
 Oxford corners, fig. 92, may be made in two ways — by 
 giving the full leugtli one side, and carefully cutting and 
 
JOBBING WORK 123 
 
 justiryiiiL;- tlio small odd ]»ieco of the oilier eoriicr, or V)v 
 tiikiug a riband file of the prt)2)er thickness and mortising 
 slots at the ends, a little below the centre of the height — 
 of course reversing half of the rules first. When finished, 
 tliey can be fitted in over each other, thus forming a i»erfect 
 and fixed frame. 
 
 If curved or circular lines are really required in certain 
 jobs, there are various ways of making them. Sj^ecial pieces 
 
 FlC. 98. .METAL CLKVES. 
 
 of metal can be obtained, somewhat of the nature of the 
 above designs, fig. 93, cast to different widths and sizes, 
 and there are other methods invented and sold by the 
 different type-founders, but for general and miscellaneous 
 work they may be inipr(»vised with a little ingenuity. Brass 
 rules, of a soft calibre, and leads may be adopted for this 
 purpose. After determining the shape and extent of tlie 
 curve, bend your material to the si/,o. Two corres2)onding 
 ]»i<'ces of the curving material will Ix' rccjuired to hold the 
 line on eithor si<le in its position. If only a small <iirvf is 
 
124 PRINTING 
 
 ueedecl, ii ciiii be built u\) in the composing stick, but if a 
 large one, it must be boxed in on the galley by means of 
 furniture j^laeed round in order to keep it in its define«1 
 position. After the line is set, it must be gradually squared 
 up by means of the lines of type on either side of it, with 
 quadrats of various bodies to assist it. If the angles an 
 too sharj), and more solidity is wanted, plaster of Paris may 
 be used to fill up the interstices, care being taken not to 
 make it too lii^uid, as it will take a long time in drying and 
 setting hard. 
 
 i 
 
 1 
 
 Fic 9-i. ]]i;as.s circle. 
 
 For the printing of certain designs, brass circles, fig. 91. 
 and oval shapes of various sizes can be obtained. Those 
 cast on square bodies are recommended for simplicity in 
 justifying with masses of type. 
 
CHAPTER IX 
 
 iColoiir Work — Selection of Suitaltle Typos f(»r Kuldicated Lines — 
 Underlaying for Different Colours — Methods of making Skeleton 
 Formes — Tint Blocks, how tliey can he made. 
 
 THE subject of colour irorh to some extent comes iinclev 
 the head of jobbing. Supposing there are a few lines 
 't red in a job, those lines should be set in a good Ixdd 
 lace, otherwise red lines look thin and meagre, more es- 
 |M I ially tn a short line. Avoid having two red lines close 
 lo-t'ther: distribute them over the page, balancing the top 
 witli the bottom; should the page be a large one, have, if 
 possible, a red line in the centre. If an initial letter has to 
 he rubricated, do not use electrotype letters, because copper 
 lias a deteriorating effect on the red ink, but have nick«d- 
 tact'd or white metal letters. 
 
 It is customary to prepare colour formes for the hand- 
 I it'ss by one of two methods. The first is by drawing the red 
 lines from the forme, and substituting a line of quadrats 
 of the same body as that withdrawn. When the blacdc is 
 I'l inted, these white lines are lifted out, and the red lines 
 <lro])ped in their exact places, the lines first being under- 
 lai<l bv means of a thick lead cut to the width of the type in 
 IhmIv. This plan raises the lines that height above the first 
 fornix printed. The impression of the jn-ess being altered 
 will allow of this additional height, and only the raised lines 
 \\ ill be printed by the second w»)rking, if made ready ]>ro- 
 "liv. The other process, which mav be adojdcd both lor 
 
 Vl'o 
 
126 FEINTING 
 
 the hand-press and for the machine, is to make a skeleton 
 forme up entirely of the lines to be printed in colour, suj*- 
 posing there are many, or that there are difficulties in thr 
 way of printing. In the first place, the lines in coloui- 
 should he withdrawn as iu the former plan, and lines of 
 quadrats of their own bodies substituted. But before this 
 is done, it is better to have a proof taken of the forme on 
 dry paper, in order that the skeleton forme may be madf 
 up correctly. The dry paj)er obviates any shrinking which 
 would occur in the case of a damped sheet. The diiferent 
 lines would then be spaced out to the desired distances 
 as in the proof, which may be folded for the purpose 
 All justification material in this forme should be as soli<l 
 as possible — more metal than wood, as the latter gives in 
 locking-up, and is subject to variation through atmospheri» 
 conditions. The latter method is preferable for colour worlv 
 where there are many lines to print in the second colour. 
 or other complications, and it is also best for machine work, 
 The first method is recommended especially for hand-press 
 work, and particularly when there are but few lines to 
 print. We have assumed, in giving these directions for the 
 sake of illustration, that the work is a two-colour job, and 
 a red and black one, but the same rules apply to any colour. 
 or any number of workings — each colour being a distiuci 
 printing. For the formation of tinted backgrounds in Avorl\ 
 ing, the folloAving hints may be found useful. 
 
 Blocks for Tinted Grounds. — These may be made d 
 various materials, such as brass, type-metal, box or other 
 wood, celluloid, etc., and a printer in any great commercial 
 centre is always able to satisfy his requirements almost ai 
 a moment's notice. A provincial printer may be seriouslv 
 inconvenienced when one of his customers takes a fancy to 
 colours. The way small Grerman printers help themselves 
 may, therefore, be read with advantage. They take a very 
 smooth and even glazed board, such as is used in pressing 
 
COLOUR WOEK 127 
 
 and i^lazing the paper after printing, and cnt two or three 
 pieces out of it, a little larger than the desired tinted l)lock. 
 Similar pieces are cut out of common pasteboard, well sized 
 and smooth, and the whole is then formed into a layer with 
 best glue, and stuck, also with glue, on a solid wooden board 
 — oak will suit best — so as to form a type-high block. This 
 done, the block is put into a glazing press, or into a letter- 
 copying press, or one may simply put boards and heavy 
 weights on it, just to let it dry under severe pressure, care 
 being taken that the pasteboards are well united to each 
 other and to the wooden block, as the result depends on this. 
 When the wood and paper block is com])letely dry, the trans- 
 fer may be made. The forme to which the tinted block is to 
 fit is locked-up in a frame, as is also the block itself, the 
 latter being disposed so as to fit in the composed matter as 
 exactly as possible. Then this last one is lifted on to the 
 press or machine, and, after being well inked, one pull is 
 made from it on to a sheet fixed on the tympan or cylinder. 
 This done, the formes are changed, the block forme taking 
 the place of the comj^osition forme, after a sheet of thin 
 pasteboard, of the thickness of common Bristol board, has 
 been put on the bed of the press, to raise the block a little 
 above type height to give more effect to the pull. Tlie 
 tympan, still bearing the impressed sheet, being now 
 brought down and a pull taken, a negative copy of the 
 contents of the forme will be obtained on the glaze-board 
 block, the cutting of which may now be proceeded with. 
 That operation is best effected with a thin penknife, or 
 even with a small chisel, care being taken to cut in an out- 
 ward slanting direction, so as to give the printing surface of 
 the l)lock a larger and stronger l)ase. When the cutting is 
 finished, the block is ready for printing; but should the 
 number of copies to be printed from it be large, it is better 
 to give it a coating of varnisli first. A coating of shellac, 
 diluted in al<<>]iol, ;i]>plit'd twice, will prove most effective, 
 
128 PRINTING 
 
 and staucl the printing of a very large number of copies 
 before any change is to be observed. In cleaning, lye must 
 be avoided, and a little petroleum or turpentine rubbed over 
 it with a smooth rag. When the tinted ground is to show 
 a pattern, this may be obtained by sticking embossed paper 
 on it, first taking care to fill the indentations of the paper 
 well with stiff glue, and to paste it thus on the block. 
 When dry, it maybe varnished and printed from as before 
 stated. 
 
 The method of trichromatic or three-colour printing is 
 one which is much in evidence at the present time, and,. as 
 this is a matter affecting the printing department rather 
 than the composing room, it is dealt with later on in 
 Chapter XXIV. 
 
CHAPTER X 
 
 Ncws|);q)cr WOrk — The (^Uialiliciitioiis necessary lor Xews-hauds — 
 Makiiij;- even — Composing' Machines iii the Market — The Lino- 
 type, Mon()ly])e, 'ry])oi;raph, and Thctrne ^Fachines descrihed. 
 
 IN neWi^paper work, where hand work still prevails, the 
 ordiuary compositor performs a somewhat perfunctory 
 ] 'art, composing and distributing alternately being his task 
 all the year round. The charge of and the giving out of 
 ' "py, the making-up, and in fact the entire control of a 
 paper, is in the hands of the "printer," as the responsible 
 person is called, with his subordinate. The payment is 
 determined bylines and galleys — a galley being dependent 
 '»n size of type. Minion is almost exclusively adopted for 
 news-work. It is requisite that all compositors employed in 
 1 his class of work should be expeditious and careful in their 
 work, a clean j^roof being a great recommendation for a 
 news-hand. A mere tyj^e-lifter, one regardless of errors, 
 would soon be despatched about his business. 
 
 To suit the exigencies of the early issues, and otherwise 
 to exi)edite the composition, copy is given out in very small 
 " takes"; each man has to " make even " in the absence of a 
 ]»aragrapli ending, therefore good spacing has very largely 
 ti> be sacrificed. Bad si)acing can be obviated to a great 
 extent by j>ractice and foresight on the ]>art (»f the eoni- 
 l>ositor. In the case of most newspapers, at any rate those 
 of a medium or large circulation, the formes, as soon as 
 made ui> into the re<juired pages, are sent to the stereotyping 
 
 11!.. K 
 
130 PliTNTENG 
 
 department, and it is astonisliini4- liuw qiiiekly finished plates 
 can be turned out fur printing purposes. For short numhers 
 perfecting machines are mostly used, whereas for the longer 
 ones I'otary machines, requiring stereotype plates curved or 
 bent for attachment to the type cylinders, are made, and 
 these are printed from a continuous web of paper, perha[)S 
 two, three, or more miles in length. These machines have the 
 necessary appliances for damping, reeling the i>ai>er, and 
 cutting and folding in very many instances. The necessary 
 laying- on and taking-off are purely mechanical, aiid thus 
 the Avhole is automatic. These machines will be referred 
 to in due course. In the ordinary way there is nothing 
 particular in the production of newspaper work, beyond its 
 wonderful resources for turning out great numbers of copies 
 in a short time, but this applies more to the actual printing 
 operation, whilst the mere composition is a bare repetition 
 day by day, and therefore does not call f(n' any particular 
 description. 
 
 As a matter of fact, most newspaper type-setting, and 
 much of magazine work too, is done by mechanical means. 
 The machines are of various kinds, and it is appropriate 
 here to give an account of some of the principal ones in usi 
 at the present time. 
 
 It is without question that machine composition ha^ 
 " come to stay," and that the different machines are admir- 
 ably adapted for work of the kind just mentioned will lu 
 admitted by all. Although some extremely good specimen s 
 of work are offered showing the capabilities of the different 
 methods, we think the time is hardly ripe for their general 
 employment in bookwork — at least not for the best class of 
 such work. 
 
 That the time will come there is not a shadow of doubt,! 
 especially as tlie various details of the different inacliines! 
 are fast being improved from time to time. Both newspapeAi 
 and magazine composition is all straightforward work, andBitji 
 
LINOTYPE COMPOSING MACHINE l;;l 
 
 thus phiiii sailing, but l>oolv\vork demiiiids lliu Ijcsl ol' t.ype 
 laces, and a large range of sizes. Each l)ouk, as a rule, 
 unless oue of a series, is laid down ou different lines, and 
 altliongli the changing from one fount to another has 
 been very much siuiplitied lately, the facilities and varieties 
 offered are not yet quite sufficient for the bookprinter de- 
 siring to turn out all-round work, although adapted for the 
 more ordinary class. But we repeat that it is only a matter 
 of time, and indeed that time is not far distant when hand- 
 composition will be a very limited method of jtroduction. 
 
 The Linotype Composiiuj Machine we will take as our tirst 
 example. It is not a type-setting machine in the ordinary 
 sense of the word, but is a machine which, being operated 
 by tinger-keys, like a typewriter, ])roduces type matter ready 
 for use on the press or stereotyping table. 
 
 The machine marks a departure from the ordinary 
 Uiethod of using single type. It produces and assembles, 
 side by side, metal bars or slugs, each of the length and 
 width of a line of type, and having on the upper edge the 
 type characters to print an entire line. These bars have the 
 appearance of solid lines of type and answer the same pur- 
 pose. When assembled side by side on a galley, they are 
 ready for making \\\> into a forme, presenting the same ap- 
 pearance as if composed of ordinary type, and adapted for 
 use in the same manner. After being used, the slugs are 
 returned to the melting-] )()t to be re-cast into other lines, 
 thus<h)ing away with the cost and labour of distribution. 
 
 The Linotyj>e machine contains, as its leading members, 
 a large number of small brass matrices, consisting each of 
 ; a flat plate, having on its vertical edge characters in 
 intaglio or matrix proper, and in the ujtper end a series of 
 teeth, used for selecting and distriV)uting the matrices to 
 their proper [)laces in the magazine. A magazine fount 
 includes a number of matrices for each letter, or charactt.T, 
 represented on the keyboard. The magazine contains a 
 
LSJ PRINTING 
 
 scries of grooves, down wliieli the nuitrices slide, iiiid i'roiii 
 the lower ends of which they drop one by one when re- 
 leased by the operation of the keyboard. 
 
 The machine is organized to select matrices bearing the 
 re([uired characters, and set them up in line side by side 
 witli intervening spaces, in the order in which they are 
 to appear in print, and thereafter to j^reseut the line 
 to a mould, so that the slug may be cast against and into 
 the line of matrices and spaces at one operation. 
 
 These operations are effected by a mechanism which re- 
 2)resents in outline the principal parts of the machine. 
 
 In fig. 95, A, is an inclined stationary magazine, contain- 
 ing channels in which the assorted matrices are stored. The 
 matrices tend to slide dow^nward out of the magazine 
 by reason of their gravity, but they are held in check by 
 escapements b, one at the mouth of each channel. From 
 these escapements, rods c are extended downward to a 
 series of finger-keys d. There is a key for each charac- 
 ter or letter. The keys are depressed by the operator in 
 the order in which the corresponding characters are to 
 appear in print. Each time a key is acted upon, it permits 
 a matrix, bearing the corresj^onding character, to fall out 
 of the mouth of the magazine and downwards through 
 the channels e, to an inclined travelling belt f, by which 
 the matrices are carried downward one after another and 
 delivered into the slotted assembling block g, in which 
 they are set up, side by side, in a line or row. 
 
 A stationary box h contains a series of sj^ace-bands i, 
 and a delivery device is connected with tinger-ke}' J, by 
 which the spaces are dis(,*harged and caused to fall into the 
 line at their proper places. Thus, by operating the keys, the 
 required matrices and sj>aces are delivered one after another 
 and assembled in line in the block g, until it contains all the 
 characters necessary to complete one line of type. 
 
 After the line of matrices is thus (H>ni})0sed, it is trans- 
 
LINOTYPE COMPOSINd MACHINE 1 I:; 
 
 tVrivd to llie iaee ol' a vcriical iiioukl wIrvI k, (lirou^h 
 wlik'h a slot extends troiu the front tu the rear faee. 
 
 DISTRIBUTOR 
 
 I'^ic. !)."). I'lii; l,I^<»■r^ I'K, 
 
 Whil.' til." line of niairiccs and sj.acc-hands is in frotil 
 of til.' nioiil.l, th.' \ve.lov-sha|..'.l spacc-haii.ls an- t'.»nv<l up- 
 
134 PRINTING 
 
 wards, and in this iiiauiier exact and iiistaiitaiicous jiisti- 
 ticatiou is secured. 
 
 The entire row of characters in the matrix line is thus 
 presented directly opj^osite the face of the mould or slot, 
 and when the mould is filled Avitli metal to produce a com- 
 posite line of type, the metal will flow into the matrices, 
 which produce their respective type characters in relief on 
 the edsje of the casting. 
 
 Behind the mould wheel there is arranged a pot m, in 
 which type-metal is maintained in a molten condition l)y 
 a flame from the gas-burner thereunder. The pot has a 
 delivery mouth, or channel, ada})ted to fit against and close 
 the rear face of the mould. Within the pot there is mounted 
 a mechanically -operated pump plunger. 
 
 After the line of matrices is presented and locked against 
 and across the face of the mould, the mouth of the i>ot is 
 closed against the rear side of the mould, and the plunger 
 then forces the molten metal from the mouth of the pot into 
 the mould, in which it solidifies, completing the slug. 
 
 After the slug is thus produced, the mould wheel makes 
 a ]^artial revolution, turning the mould slot from the hori- 
 zontal position occupied during the casting oj^eration, to the 
 vertical position. 
 
 While the mould stands in this position, a horizontal 
 pusher, having a blade attached, advances from the rear 
 and pushes the slug forward out of the mould and be- 
 tween the trimming knives into the galley on the fn^nt 
 of the machine. A vibrating arm advances the slugs one 
 after another into the galley, in which they are thus 
 assembled side by side in column form. 
 
 In order to secure absolute accuracy in the height and 
 thickness of the slugs, knives are arranged to plane them 
 at the foot, and to trim the sides during their course to the 
 galley. 
 
 After the assembled matrices have answered tlK^ir pui'- 
 
LINOTYPE COMPOSING MACHINE 18r> 
 
 pose ill front oi" tlie moiikl, it is nccossary to (list rihulc ;iii»l 
 ivliini them to tlic magazine, from wliicli lliey are aL^ain in 
 due lime diseliarged for use in sueceeilini;- lines. The line 
 of niatriees is first lifted vertieally, and then laterally until 
 the teeth of the matrices engage the ribs of the bar r. 
 This bar then rises, lifting the entire line of matrices to the 
 distributing mechanism at the top of the magazine. The 
 spac(^-bands remain behind when tlie matrices are lifted to 
 tlic distributor, and are transferred laterally to the box or 
 li older H, to be used again. 
 
 The distribution of the matrices to their proper channels 
 is effected by mechanism of extreme simplicity, as follows : 
 
 Each matrix has the teeth in its upper end arranged in 
 a peculiar order, or number, according to the letter which 
 it bears. In other words, a matrix bearing any given letter 
 differs, as to the number or arrangement of its teeth, from 
 a matrix bearing any other letter, and these teeth are relied 
 upon as the means for effecting the distribution. A rigid 
 steel bar t is fixed in position above the open u})per ends 
 of the magazine channels, and is formed at its lower edge 
 witli longitudinal ribs, adapted to engage the teeth of the 
 matrices and hold the latter in suspension. The ribs of the 
 distributor-bar vary in number and arrangement at differ- 
 ent points in its length, in correspondence with the varying 
 teeth of the different matrices. 
 
 Tlie matrices to be distributed are pushed horizontally 
 upon the bar at one end, so as to be suspended therefrom, 
 and then moved by longitudinal screws u along it over the 
 in<»ullis (»f ili(' cliannels. Each matrix will remain in en- 
 gagement with and be sus^^ended from tlie bar until it 
 arrives over its proper channel, where the arrangement of 
 teeth j^ermits the mati-ix to disengage so that it falls directly 
 into its own channel. The movement of th«' matrices, as 
 aln'ady mentioned, is effected by means of longitudinal 
 Screws r, wliidi lit- ])elo\v tlie dis1i-ibutoi--Ii:ir in p<»sitioii to 
 
186 PRINTING 
 
 engage the edges of the inatriees and slide them ah)iig the 
 bar. It will be observed that the matrices pursue a circular 
 course through the machine, starting from the mouth of the 
 magazine, and passing doAvnward to the line in which they 
 are assembled ; thence to the mould, to produce the letters 
 on the slug, and finally back to the distributor-bar, from 
 which they fall into their proper grooves in the magazine. 
 
 It is this circulation of the matrices, and the fact that 
 the operations of composing one line, casting from another, 
 and distributing a third, are carried on concurrently and 
 without interference, that enables the machine to operate 
 at the speed of from eight thousand to twenty thousand ens 
 per hour. 
 
 The mould wheel is fitted to carry two or more moulds, 
 any one of which may be instantaneously brought into 
 use. The universal mould is adjustable for all bodies and 
 measures. Sectional moulds are also provided for casting 
 a series of short slugs in one operation for tabulnted 
 matter, etc. 
 
 Since its introduction in 1886 the Linotyi)e has been so 
 developed that it is now employed in the com2>osition of all 
 classes of tyi^ography. 
 
 The rapidity with which ehanges of type face and body 
 are made in the modern n\ultij>le-magazine models no 
 longer creates astonishment in printing offices, and the 
 Linotype is now an essential part of modern works e.(|uip- 
 nient. 
 
 Tlie Linotype may be installed as a one, two, three, or 
 four magazine machine, each equipped Avith double-letter 
 matrices, ranging from five" to forty-two point. These 
 founts have two characters on each matrix and are made 
 in a variety of combinations, e.g., roman with italic and 
 small capitals or black figures, roman and disj^lay face, 
 display face with own italic or different display face, etc. 
 
 Another feature of the modern Linotype equipped with 
 
LINOTYPE COMPOSING MACHINE 1:57 
 
 limit ii>K' distributors is the ease iiiid security Avilli wliicli a 
 ' variety of type faces uiay l»e mixed at will in the same 
 
 I'k;. !K). a .M()I)j:i;n" unoi^ pk 
 
 line, sueh as roniau with italic, small ca])itals, display faces, 
 etf'., a distinct advantai^-e in the composition of conipliealed 
 hookwork, catalog'ues, an«l work of a similar nature 
 
138 PRINTING 
 
 The LiiiulvjH' uiay also be equipped witli an auxiliary 
 magazine and keyboard, which arraugenient increases the 
 magazine capacity of the machine l>y twenty-eight channels. 
 When so equipped, the operator has no fewer than 236 
 characters availal)le without matjazine change, 
 
 A multiple-magazine Linotype, fig. 96, equipped with 
 three super-imposed magazines, is shown on page 137. 
 
 The Monotype. In describing the " D " pattern keyboard, 
 fig. ^'? , it may be said that it is also somewhat similar to 
 that of a typewriter, and controls 225 characters, each 
 alphabet having the same layout as a typewriter. In the 
 "■ Standard Book and News Layout," the left-hand bank 
 contains the roman upper and lower case, small caps, and 
 figures; the right-hand bank, italic upper and lower case, 
 fractions and sorts, etc., but by means of interchangeable 
 Initton banks, and the corresponding key-bar frames, the 
 latter being intermediate between the keys on the button- 
 banks and the valves, a change can thus be made from 
 the standard layout to seven al2)habets, which contains the 
 above five alphabets with an upper and lower case black 
 face in addition, or any other required in a few minutes. 
 
 The " DD " pattern is a precisely similar machine, but 
 is ecpiipped with two paper towers and two em scales which 
 allow the work to be set in two diiferent body sizes and 
 measures at the one operation; thus a Bible can be set in" 
 Pearl four ems and English fifty-six ems at the one time, 
 every line of each body size being perfectly and auto- 
 nuitically justified. 
 
 Tliirty more keys at the head of the board arc red with 
 white figures — two sets from 1 to 15— and utilized for 
 justifying. At the bottom of the right-hanO Icey-bank ! 
 there is a green key which is used for returning the cal- 
 culating and recording mechanism (for column widths) 
 back to zero at the end of each line. 
 
 When the finger pressure is rcinoN <'<! Ihe keys fly u]) tn the 
 
MONOTYPE COMrOSINa MACHINE 130 
 
 original position, l»iit in tlic ineautinic the released aii- lias 
 forced up one or two |miiclies at the back of the board, and 
 these punches make two small circular perforations in a 
 strip of paper, which is rolled off one spool on to another an 
 eisjhth of an inch at every pressure of a key. The copy is 
 
 l''l<;. 1^17. MoNorVi'K KKN l!OAI!I>. 
 
 thus translated letter hy letter and space bv spaee into a 
 series of combinations of ]>erforations in this pa])er strip, 
 which is automatically r(dled u]» n^uly bu- use on tln' 
 castins^* machine. 
 
 Althoui^di there is only a total of :->l jiunclics, no kry 
 \ drives n|> the same combination, every key liaviin^- its own 
 
 t 
 
140 PRINTING 
 
 special perforation or perforations. One key — the (|iui<l — 
 does not perforate the paper at all. 
 
 "WHiilst these perforations are being made a special ' 
 mechanism is counting the number of spaces in the line, 
 and the number of en spaces occupied by the characters 
 the keys representing which are pressed by the operator. 
 When four ems from the end of a line has been reached 
 a bell rings as an indication to the operator that he is ap- ' 
 proaching the end of a line, and at the same time a drum 
 or justifying scale begins to revolve until the line is com- 
 pleted when the space pointer indicates two numbers, sa\ 
 4 and 15, these representing the red or justification keys, 
 which are to be pressed to bring about a full line: this 
 operation will cause the casting machine to cast the s}>acc.> \ 
 in that line of such an increased thickness laterally that 
 the line will be full and perfectly justified. 
 
 This justification is a simple matter. The figuring on 
 the drum has been arrived at by calculations showing tli<' 
 result of a division of any nvimber of ems less than foiu- 
 over any number of spaces not exceeding twenty, and the 
 figures on the drum are arranged in such fashion that in 
 operation those shown h\ the pointer (which raises one of i 
 twenty such possible elevations for each space key depressed ) 
 at the end of each line are the numbers of those keys whicli 
 will make a combination of perforations on the spool o! 
 paper calculated to dictate on the casting machine the pro- 
 duction, in that individual line, of spaces of the correct si/c 
 to fill out the line. 
 
 The keyboard provides for any width up to 65 ems d 
 any type from Pearl to English. 
 
 Measure is altered instantaueouslvbv moving an indicator 
 backwards or forwards on a graduated scale. 
 
 The justification drum has to be changed with every 
 fresh face, as the necessary calculations naturally differ 
 with every different width of quad, i.e., with every different 
 
MONOTYPE CASTING MACHINE 1 11 
 
 sL't. Couseqiieutly each druiu is marked with ligures re- 
 present in i>- the set size: 8 fur Brevier Modern and 8.1 for 
 Brevier Old Style, and so on. 
 
 It will thus be seen that the oi)eration of the keyboard 
 is to perforate a strip of paper which will afterwards be 
 used on the caster to determine the order in which the 
 various types are to be cast and placed in the galley. 
 
 This strip, when it reaches the caster, fixes for itself the 
 width of column, but a notification written in pencil at the 
 end of the spool instructs the attendant what matrices 
 should be used and on what body-size the face is to be cast. 
 We now turn to the casting machine, fig. 98. Its mechanism 
 is mounted on a heavy base for the sake of stability, and 
 raised to the height of about three feet for convenience of 
 working. 
 
 This machine comprises a mould, for the casting of the 
 type, mounted immediately above the metal pot, which is 
 filled with molten metal — -consisting of certain proportions 
 of tin, antimony and lead, this being maintained at a heat 
 of about 680^ Falir. — and fitted with a high-pressure pumj), 
 the well and delivery channel of which is immersed in the 
 molten metal. This mould is open at the top, so a cover is 
 required to complete the shape of the type to be cast, and 
 this cover is sujjplied by the matrix-case, which is mounted 
 on a compound slide, and is clamj^ed on the top of the mould 
 at each revolution of the machine. A device is j^rovided 
 for first cutting oft' the jet at the foot of the type, and then 
 conveying the new type to the channel into which it is 
 I ejected, each succeeding type pushing the others in the 
 channel leading to the galley, until the operation of the 
 red or justification key perforations sets the special galley 
 mechanism in motion and results in the line of type l)eing 
 conveyed under a lifting gate into the galley, the gate 
 immediately closing down behind the line, and preventing 
 
 from fallinii l):i«-k into the chaiiiiel. Each succeeding 
 
142 
 
 PRINTING 
 
 liue pusht'S ihv iirovkmsly cast lines forward in Ihc i^alley. 
 iiutil ill lurii the galley is tuH, when it is removed, and an i 
 empty yalley is fitted in its place without stopping the * 
 
 
 J-'k;. 98. MoxoTvi'E castixc machine. 
 
 machine. An adjustable galley stop or weight is placed 
 against the first line of tyj^e and moves with it along the 
 galley and prevents the type from falling forwards. 
 
 The type is cooled by means of a continuous current of 
 
MONOTYPE CASTING MACHINE 118 
 
 cold Witter passiug tlirougli a clmuncl siiiToiindiiiL;- IIm- 
 < listing eluiiuber of the mould. The iiiiiount of water ne- 
 cessary is only a triekle, except in the case of Pica, for which 
 a larger supply is recjuired. 
 
 The matrix-case, or magazine, three indies square, con- 
 tains 225 matrices, arranged in fifteen rows of tifteen each, 
 
 I and these are set up in conformity wdth the relative positions 
 of the character keys on the keyboard — if the keys have their 
 positions changed on the keyl)oard, corresponding changes 
 are made in the arrangement of the matrices in the matrix- 
 case. 
 
 If the machine had no other parts than those mentioned, 
 it would cast a given type with every revolution, and place 
 that type in the galley, but it is necessary for the tyi>e 
 to change with each revolution in accordance with the 
 requirements of the comj^osition, spaces or character ty])es 
 following each other in ra]>id succession. The matrix-case 
 must therefore change its position on the mould so that 
 the precise character of type required may be cast, and 
 
 I this is done by the use of the spool of perforated paper. 
 
 The operator sees that the spool necessitates the use of 
 a set of matrices, say Brevier Old Style on the Standard or 
 13ook Layout ; that it is to be cast on a Long Primer mould 
 
 I so that the matter will aj^j^ear leaded with a six-to-pica lead. 
 Accordingly he inserts the proper matrix-case, and puts 
 
 i on a Long Primer mould. He places his spool in a basket, 
 and the end of the paper strip under an air ])ressure l»ar, 
 and starts his machine. With each revolution the i)a}ier 
 advances one marginal perforation, thus bringing tlie com- 
 binations of character perforations under the pressure bar 
 one at a time. Under this pressure bar, which is suj'plied 
 with compressed air, is a row of. thirty-one* holes leaduig 
 into tubes, and as each combination is presented air gets 
 
 I through the perforations into the tiil>es immediately undei- 
 them. Of these thirtv-one tul»es fourteen are cai-ried to a 
 
144 PRINTING 
 
 castiuir behind the matrix-case, fourteen to a similar castinfr 
 at riffht ansrles to a line drawn between the first castlny- 
 and the matrix-case. These castings are fitted with fourteen 
 pistons, which are blow^n up wdienever air gets under them, 
 and when up stop the travel of a rod governed by mechanical 
 devices attached to the matrix-case. In each case the four- 
 teen pistons and a zero stop give fifteen positions, in which 
 this rod, and therefore the matrix-case, may be arrested, and 
 multi})lying fifteen by fifteen gives the 225 positions neces- 
 sary to enable any one of the 225 matrices in the matrix-case 
 to be held over the mould orifice whilst a type is cast. This 
 explains the use of the two perforations — one dominating 
 the movements of the matrix-case from front to back, and 
 the other its movements from right to left. 
 
 There are still three tubes to account for. These are 
 carried to small pistons in the centre of the machine, and 
 when blown up cause certain rods to engage in a lifting 
 arm, one resulting in the casting of a characterless space 
 type, and the other two being utilized to regulate the size 
 of the spaces, and to put the galley motion into action at 
 the end of each line. 
 
 Accurate alignment is obtained by clamping the matrix 
 on to the mould, a conical jjointed steel pin descending 
 into a cone-hole at the back of each matrix, and holding it 
 in position to a tenth of a thousandth part of an inch. 
 
 It will easilv be understood from the foreecoino; that once 
 the spool has been perforated it can be used over and over 
 again — air being blown through the holes will not damage 
 it in any way, only care should be used not to tear the spool 
 in taking it off the casting machine. 
 
 The nature of this machine and its accuracy are apparent 
 to any one making a cursory examination, but the raj^idity 
 of its movements wdll be better imagined wdien one is 
 reminded that 165 times in every minute it carries out the 
 following sequence of operations : 
 
TYPOGRAPH COMPOSING MACHINE 145 
 
 1. The pLTt'orated paper is moved forward one iiiai"L;iiial 
 perioral ion. 
 
 2. Tlie matrix-ease is jnesented to the mould. 
 
 3. Tlie matrix is eeutred hv the coniug-])iu. 
 
 4. The mould blade opens out the amount necessary to 
 enable the particular type to be cast its proper width set- 
 wise, that is, laterally. 
 
 5. The matrix-case is clamped to the top of the mould. 
 
 6. The 23ump injects the molten metal and the type is 
 cast. 
 
 7. The matrix-case is lifted off the mould. 
 
 8. The mould jet-blade cuts the jet off foot of type. 
 
 9. The cross-block throws the jet back iuto the metal-pot. 
 
 10. The type is ejected into the carrier. 
 
 11. The type-carrier carries the type out of the mould. 
 
 12. The type-pusher pushes the type out of the carrier 
 into the channel leading to the galley. 
 
 The functions of composing and casting being thus 
 separated it is necessary to employ one man on the key- 
 board and a boy on the caster, but it is claimed that the 
 system results in greater efficiency for quality, quantity, and 
 I range of work, and the extra cost is minimized as the caster 
 
 I' attendant efficiently supervises the running of two casters. 
 Special attachments may be supplied to the casting 
 ■ machines enabling the printer to cast his own display type 
 ifrom 14 point to 36 point with leads and rules in 2, 3. (>, 
 'or 12 jwint sizes, the length of rule being automatically cut 
 off to any required measure. 
 
 The use of the Typograpli, although it has l>een largely 
 employed on the continent for some years, has, since the late 
 war, and owing to its origin, gradually declined through 
 ithe difficulty of oljtaining new machines or even renewing 
 worn or liroken parts. As ju'evious editions of this l)ook 
 ontained an account of it, it is sufficiently interesting to 
 •etain a description of it. Fiikc the Linotype it is not an 
 
 l4 
 
 :' 
 
146 PRINTING 
 
 orclinarv type* settiiii;' macliiiio, but one which ]»ro<liKvs lines 
 in solid slugs. Ayain, the distribution of the niatriees ]s 
 purely automatic. 
 
 This machine, fig. 99, consists of a base carrying the 
 justifying and casting mechanism, a keyboard, and a 
 magazine — which consists of a frame mounted upon a 
 rock shaft, supporting a series of 84 steel runners. The 
 lower ends of these runners converge at the point of as- 
 sembly, where they form two parallel vertical tiers, while 
 their upper ends are spread out in the shape of a fan. The 
 matrices are suspended at the upper ends of the runners, 
 and retained by escapements, each escapement being con- 
 nected by a rod to its corresj^onding key on the keyboard. 
 The escapement is of the shears variety; the pull on the 
 rod caused by depressing the key raises the front escape- 
 ment blade and releases the first matrix after the second 
 matrix has been checked by the rear blade. On the return 
 of the key, the second matrix is allowed to come forward 
 to the place previously occupied by the first matrix, after 
 the front blade has descended far enough to check it- 
 further movement. Each matrix, as it is released, slide- 
 rapidly down its runner to the assembling channel. The 
 line of matrices thus assembled presents their character 
 faces to the mould, an adjustable gauge on the side of the 
 assembling channel showing the operator when the line is 
 of the requisite length. The starting key is then depressed, 
 setting in motion the justifying and casting mechanism. 
 
 Justification is effected by circular spacebands, made u\> 
 of three pieces: the main piece is plain on one side and on 
 the other is formed with a helical face and a cylindricn 1 
 boss ; a loose plate with a projecting arm turns freely on 
 this boss; the portion of this plate which acts in making 
 up the varial^le space is also made helical on the face next 
 to the main part so that the outer face is parallel to tlu 
 back of the main part when both helical surfaces are in 
 contact; the plate is retained on the boss by a cover plate , 
 
TYPOGRAPH COMPOSING MACHINE 14 
 
 i-iv('H<'(l i(» tlio luain }>oriion. The spacebaiids are jn'o- 
 x'ldrd with a S(|uaiv liok' in ihc eciitrc of tlic main i»aii 
 
 Fu;. 99. THE TvrociiAi'ii. 
 '•'A\\i\ llu-cadrd upon a square shaft, wlii.li is mtated Ity a 
 
148 FEINTING 
 
 simug-projA'llcd rack eii^uging with a spur gear upon tlu' 
 end of the shaft, the projeotmg arm of the plate Leing 
 held in a slot. The matrices on each side of a spaceband 
 are thus wedged aj)art by the action of the helical surfaces, 
 and as all the spacebands in the line are rotated simul- 
 taneously, it is obvious that the space between all the 
 words is absolutely even. During the process of justifica- 
 tion the line of matrices isMocked in the vice, which is 
 adjustable to any desired measure. 
 
 A curved steel bar of square section equal to that of the 
 spaceband shaft forms a magazine for the spacebands. In 
 the normal position of the shaft relatively to the bar, the 
 spacebands can be made to slide freely from the one to the 
 other in either direction. 
 
 The matrices having been justified and aligned, the 
 mould advances and presses against them and the molten 
 metal is forced into the mould by a spring-propelled pum[>. 
 The slot formed b}^ the various portions of the mould for 
 the body of the slug is plain and rectangular, there being 
 no beads, grooves, or projections in this portion; the back 
 is recessed to a small depth, but only over a part of the 
 length and width, so that the tang joins the slug below 
 the level of the surrounding portion. The tang is formed 
 by a separate tang-plate interposed between the mould and 
 the mouthpiece of the metal pot. The tang-plate moves 
 upwards after the slug is cast, and the metal pot and 
 mould have receded, shearing oft' the tang. The shearing 
 is actually effected by the steel tang-plate against the type- 
 metal of the recess in the slug, and thus wear is avoided. 
 The slug is then ejected and delivered into a galley. The 
 mould is encased in a water jacket, which prevents over- 
 heating. It sets all sizes from 4 to 14 point — a complete 
 change of face, body, and measure being effected in a few 
 moments. 
 
 As soon as the line has been pistilied and cast (which 
 
THOKNE COMPOSING MACHINE 1 l!> 
 
 o[)L'nitioii is c'oiu2)leted within two seconds after d(_'[»ivssini;' 
 the starting key) the n)agazino is tilted back, automat ieally, 
 thereby reversing the angle of the runners, and the 
 matrices immediately slide by gravity to their respective 
 phices behind the escapements. When the magazine is 
 tilted back the escapements, Avliich are carried on a separate 
 frame, are raised clear of the runners by a lever having an 
 eccentric movement, so that the matrices can return freely 
 to their normal position. The escapement frame comes 
 back into position on commencing the return movement of 
 the magazine, so that the escapements are in place before 
 the runners reassume a horizontal position. The operation 
 of distributing the matrices also ensures the return of the 
 
 I spacebands to their magazine. 
 
 ' There is also an ingenious arrangement of two-letter 
 matrices, one character above the other, which enables 
 the operator to set up italics, or small capitals, or black- 
 letter, etc., in the same matter, by the movement of a 
 lever which raises the matrices sufficiently high to cast 
 
 I the alternative word or words of a second fount. 
 
 For convenient operation the Typograph requires a floor 
 S])ace of 6 ft. by 6 ft. Where a number of machines are 
 installed an average floor space of about 3^ square feet per 
 machine is sufficient. The extreme height of the machine 
 is 4 ft. II in., and it weighs complete about 900 11». 
 
 The driving of the Typograph can be effected by utdizing 
 existing shafting, or by separate motor ({ h.p.). If several 
 Typographs are driven by one motor and line shafting, 
 I h.}>. per machine suffices. 
 
 Although not so much used nowadays, it is well to have 
 a reconl of the Thortn- Type-setting an<l Pislril)utiug 
 Machine, wliidi is a good r('|>res<'ntative of tlir older 
 machines employing moval)le types, specially ni(kc<l; its 
 features are a keyboard and two vertical cylinders having 
 the same axis, the u])]>er one resting on the lower. Both 
 ylinders are cut with vertical gro(»ves t»f such a form as 
 
150 PRINTIISG 
 
 to receive the type, wtiieli is to be first distributed uiid 
 then reset. There are ninety of these vertical grooves in 
 each of the cylinders, sufficient to contain enough char- 
 acters for ordinary purposes. When a key is depressed 
 the letter corresponding Avith it is ejected from its proper 
 groove in the lower cylinder upon a circular and revolving 
 table which has the same axis as the cylinder, but is of 
 larger diameter. A number of types may thus be ejected 
 from the grooves at each revolution of the disk, and all are 
 thus brought round in their proper order to a point of de- 
 livery where they are conveyed by a travelling band and 
 carried continuously to a setting stick in front of the key- 
 board and thence to a galley. The necessary justifying is 
 done by a second operator, who sits opposite a small case 
 containing spaces, quadrats, and so forth. The control of 
 the types is effected by forming on the side of each char- 
 acter recesses somewhat like the wards of a key, the arrange- 
 ment, of course, being different for each different character. 
 The grooves in the lower c^dinder are provided with pro- 
 jections corresponding with those on the types, so that no 
 type will fall into any groove other than that for which 
 it is intended. This arrangement aj) plies only to the 
 cylinder, wdiicli does not revolve. The grooves in the dis- 
 tributing cylinder are large enough to receive all the types 
 iudifterently that are supplied to them. Distribution is 
 effected as follows: An attachment to the side of the upper 
 cylinder enables the operator to place the galley contain- 
 ing the type to be distributed in contact with the cylinder, 
 and, by a very simple device, line after line of type is fed 
 into the cylinder until every groove is nearly tilled, and the 
 upjier cylinder is caused to revolve upon the lower one, 
 with which it is placed in contact. As the columns of mixed 
 type pass over the heads of the shaped grooves of the lower 
 cylinder, each separate letter falls into its [»ro}>er groove 
 as the nicks in the types tind their (•()rresi)onding wards. 
 
CHAPTEK XI 
 
 ( 'l;i>->ical ami oilier Laiigiiago— The ( "ase.s used for (Jrcek, Hebrew, 
 and German, with Plans of Lays in general use — Rules for Coni- 
 jiosition in these Panguages — (Jernian Handwriting. 
 
 IN coimc'ctiou with composition the cdassical or foreign 
 languages which require special cases, as also some 
 amount of experience in setting, must not be forgotten. The 
 languages which a compositor has to deal with more gener- 
 ally are Greek, Hebrew, and German. For those different 
 ^ from English, but set in roman types, the ordinary cases, 
 jdans of which we have already given, are used. The schemes 
 of the Greek and Hebrew cases are somewhat complicated, 
 especially the former, but if the learner has some superficial 
 idea of the language he proposes to set, or at least is con- 
 versant with the alphabet, lie will find either circumstance 
 a good stepping-stone to an easy acquirement of the know- 
 ledge he seeks. The accents are very confusing at first, but 
 a little perseverance will soon overcome the apparent diffi- 
 culties, which are more imaginary than real. 
 
 GREEK 
 
 The plan of Greek fa^-e.s- shown, tig. lO(>, is one generally 
 in use, but offices wliioh make their speciality in printing 
 
 these languages ail"]. t liirii- own lay, ami tV(M|iiciilly have 
 
 cases of a fliff'in'ciil make. 
 
 i.'.i 
 
15-2 
 
 PRINTING 
 
 
 
 
 
 
 
 
 
 ^^_ 
 
 ^^ 
 
 
 
 >■«■ 
 
 ..^^ 
 
 
 ,^^ 
 
 
 
 a«^ 
 
 ^^ 
 
 ^^ 
 
 ^■M 
 
 
 
 ^MV 
 
 ^i^ 
 
 
 ^mm\ 
 
 A 
 
 B 
 
 r" 
 
 A 
 
 E 
 
 z 
 
 (1 
 
 (1 
 
 u 
 
 u 
 
 a 
 
 a 
 
 (i 
 
 c'l 
 
 ii 
 
 a 
 
 a 
 
 T 
 
 a 
 
 CI 
 
 d 
 
 a 
 
 
 
 I 
 
 K 
 
 A 
 
 M 
 
 N 
 
 S 
 
 t 
 
 i 
 
 i 
 
 i 
 
 f 
 
 i 
 
 £ 
 
 I 
 
 t 
 
 * 
 
 
 i 
 
 i 
 
 i 
 
 
 
 n 
 
 p 
 
 V 
 
 T 
 
 Y 
 
 'I' 
 
 »'/ 
 
 V 
 
 rt 
 
 V 
 
 'J 
 
 ri 
 
 ») 
 
 fl 
 
 rj 
 
 T 
 
 »} 
 
 >i 
 
 »'i 
 
 ') 
 
 X 
 
 4' 
 
 a 
 
 *> 
 
 « 
 
 ? 
 
 1 
 
 1 
 
 7 
 
 t 
 
 / 
 
 a 
 I 
 
 ? 
 
 1 
 
 * 
 t 
 
 
 7 
 
 V 
 
 t 
 
 i 
 
 
 ^ 
 
 u 
 
 
 
 
 o 
 
 6 
 
 5 
 
 6 
 
 6 
 
 6 
 
 o 
 
 o 
 
 
 
 T 
 
 
 
 o 
 
 
 
 6 
 
 
 
 8 
 
 » 
 
 s 
 
 8 
 
 n 
 
 8 
 
 8 
 
 S 
 
 * 
 
 8 
 
 8 
 
 
 
 
 V 
 
 V 
 
 \j 
 
 V 
 
 1/ 
 
 v 
 
 V 
 
 c 
 
 V 
 
 u 
 
 
 b; 
 
 V 
 
 1/ 
 w 
 
 - 
 
 ' 
 
 _ 
 
 " 
 
 '' 
 
 " 
 
 
 T 
 
 IT 
 
 •" 
 
 ■' 
 
 • 
 
 (1) 
 
 OJ 
 
 w 
 
 w 
 
 w 
 
 w 
 
 w 
 
 b* 
 
 
 (I» 
 
 fa; 
 
 Upper Case. 
 
 a 
 
 { 
 
 V 
 
 o 
 
 1/ 
 
 w 
 
 Thin and 
 Mid. Spaces 
 
 (T 
 
 C 
 
 4' 
 
 p 
 
 p 
 
 ^ 
 
 g 
 
 7 
 
 g 
 
 ( 
 
 1 
 
 5 
 
 e 
 
 <p 
 
 X 
 
 K 
 
 A 
 
 fi 
 
 1' 
 
 O 
 
 n 
 
 9 
 
 p 
 
 ■a 
 S 
 O 
 
 c 
 U 
 
 5 
 
 ■a 
 
 3 
 
 c 
 
 E 
 u 
 
 p 
 
 
 K 
 
 
 
 Thick 
 Spaces 
 
 a 
 
 w 
 
 • 
 
 • 
 
 
 
 
 
 
 
 - 
 
 
 
 Lowe}- Case. 
 Fl(i. 100. PLAN OF (HtEEK CASES. 
 
 The iLl})liabet on page 15o, aud also the one shown on 
 page 161, together with tlie following rules and suggestions, 
 will, it is hoped, help the student in acquiring a knowledge 
 of the alphabet and accents used in the comjjosition of both 
 CTre<'lc and ?rel)rew\ 
 
GEEEK 
 
 153 
 
 GUKKK ALlMIABIiT. 
 
 Chara 
 
 cters. 
 
 Name. 
 
 rower. 
 
 
 Capitals. 
 
 Small 
 Letters. 
 
 Numerals. 
 
 A 
 
 a 
 
 Alpha 
 
 a 
 
 1 
 
 B 
 
 /^g 
 
 Beta 
 
 h 
 
 2 
 
 r 
 
 7 
 
 Gramma 
 
 g 
 
 3 
 
 A 
 
 a 
 
 Delta 
 
 d 
 
 4 
 
 i: 
 
 £ 
 
 Epsilon 
 
 c short 
 
 5 
 
 z 
 
 4 
 
 Zeta 
 
 z 
 
 7 
 
 H 
 
 V 
 
 Eta 
 
 e long 
 
 8 
 
 e 
 
 6B 
 
 Theta 
 
 th 
 
 9 
 
 I 
 
 I 
 
 Iota 
 
 i 
 
 10 
 
 K 
 
 k 
 
 Kappa 
 
 k or c 
 
 20 
 
 A 
 
 \ 
 
 Lambda 
 
 I 
 
 30 
 
 M 
 
 H- 
 
 Mu 
 
 Tn 
 
 40 
 
 N 
 
 r 
 
 Nu 
 
 n 
 
 50 
 
 ^ 
 
 k 
 
 Xi 
 
 X 
 
 60 
 
 () 
 
 
 
 Omi'cron 
 
 short 
 
 70 
 
 n 
 
 IT 
 
 Pi 
 
 V 
 
 80 
 
 p 
 
 P V 
 
 Eho 
 
 r 
 
 100 
 
 V 
 
 T e 
 
 Sigma 
 
 s 
 
 200 
 
 T 
 
 r 
 
 Tail 
 
 t 
 
 300 
 
 Y 
 
 V 
 
 Upsllon 
 
 u 
 
 400 
 
 cl) 
 
 
 
 Phi 
 
 Jill 
 
 500 
 
 X 
 
 X 
 
 Chi 
 
 ch 
 
 GOO 
 
 Y 
 
 •^ 
 
 Psi 
 
 2}s 
 
 700 
 
 ft 
 
 u; 
 
 Omeg'a 
 
 long 
 
 800 
 
 Vowels, Diphthongs, and Consonants. 
 
 The Greek ali)liabet consists of twenty-four letters — 
 seven vowels and seventeen consonants. The vowels are 
 a, f, 71, I, o, 10, V. 
 
 There are twelve diphthongs, viz. — - 
 
 Proper: at, av, a, ev, o/, ov. 
 
154 PRINTING 
 
 Improper : ^, ;/, w, ?/u, vt, wt — tlic point under tbese 
 vowels denoting that wta (<) is subscribed. 
 
 Because capitals have no subscripts, the i is put in lower 
 case to the caf)ital letters. 
 
 The consonants are divided thus — 
 
 Gutturals. Labials, Livffuals. 
 
 K, y, X- TT, /3, ({), /i. r, ^, 0, X, r, /), a. 
 
 Again, according to the form in which the organs of 
 speech act in their formation — 
 
 Liquids. Sibilant. J\fntcs. 
 
 X, f.1, r, p. a. TT, K, T, i\ y, ^, 0, x, 6- 
 
 These mutes are also divided — 
 
 Soft. Hard. Aspirated. Sound. 
 
 Gutturals K ... y ... X '•' ^' 
 
 Labials ir ... fi ... (p ... p. 
 
 Linguals r ... ^ ... ... t. 
 
 In compounds, when the first word ends in s, the final 
 form of the Sigma (g) may be used. This form g some- 
 times becomes t, when it is equivalent to ar (st). 
 
 Accents. 
 
 Accents are supposed to have been introduced into the 
 language to facilitate its pronunciation for strangers. 
 The ancient Greeks never used them, and it is not an 
 easy matter to tell when and why they were first intro- 
 duced. 
 
 Accents, by the Greeks called tuioi, tones, are the 
 rising or falling of the voice in pronunciation ; which may be 
 considered either separately in distinct syllables, or conjunc- 
 tively in the same syllable. 
 
 There are three accents: two simple, viz., the acute, 
 
GREEK 155 
 
 o^vQ, figured tlms ('), wliicli denotes tlie eleviiliuu of the 
 voice; and the grave, (ja/oitr, shaped thus ('), to signify 
 the falling or depression of the voice ; and the circumflex, 
 7repi(T7rwjii£yo(j, which was formed tir.st of these two lines 
 or points joined together, thus ("), and afterwards was 
 changed into a round sort of a figure like an inverted 
 Upsilon, thus (n), but at length came to be figured like 
 an s drawn cross ways (~). 
 
 The Acute (') raises the voice, and is only used upon one 
 of the three last syllables of a word. 
 
 The Grave (') depresses the voice, andean only be used 
 upon the last syllable of a word. 
 
 The Circumflex (~) lengthens the sound, and occurs 
 either upon the last syllable of a word, or the last but 
 one. 
 
 The Greek vowels allow of two Spirits, or breathings : 
 the Asjjer ('), which the Greeks use instead of the letter h; 
 and the Lenis ('), which denotes tlie absence of the h. 
 
 All vowels beginning a word have a Spirit over them ; 
 but Upsilon (v) allows of no other than the asper. 
 
 "When the letter p begins a word it has an asper over it ; 
 and where two p's come together in a w^ord, the first has a 
 le)tis, and the second an asper ; as, oppuc. 
 
 The Apostrophe (') is used for striking out the vowels 
 a, £, I, 0, and sometimes the diphthongs at and oi, when 
 they stand at the end of a word or syllable, followed by 
 iinother vowel beginning a word or syllable. PJlision takes 
 place in all the prepositions, except rrepi and Trpo. Some- 
 times it unites two words. 
 
 The Diferesis ( ") is used to separate one vowel from 
 another, and to prevent their being taken for diphthongs. 
 
 Every vowel in Greek is pronounced as a separate 
 syllable. 
 
 Pin'iifs. — The comma, the period, nnd the exclamation 
 in Greek are the same as in English ; but the interrogation 
 
156 
 
 PRINTING 
 
 (;) is our semicolon ; and the colon is a point at the head 
 of a letter, as (•) — nothing more than an inverted period. 
 
 Aspirates and Accents. 
 
 Lenis. 
 Asper. 
 Acute. 
 Grave. 
 Lenis acnte. 
 Lenis grave. 
 Asper acute. 
 
 Asper grave. 
 Circumflex. 
 Circumflex lenis. 
 Circumflex asper. 
 Diaeresis. 
 Diaeresis acute. 
 Diaeresis grave. 
 
 Compositors who are not Greek scholars should pay 
 attention to what has been said above relating to the proper 
 situations of the spirits and accents, as by attending to this 
 many faults may be avoided. The following rules should 
 be committed to memory : 
 
 No word can have an accent, except over one of the three 
 last syllables. 
 
 No spirit can be placed over a vowel, except at the 
 be^-innino^ of a word. 
 
 The Grave (') over the last syllable of a word ; and 
 
 The Asper Grave (*) and Lenis Grave (*) over a few 
 monosyllables. 
 
 The majority of words in the Greek language have an 
 accent, and rarely have more than one ; when there is a 
 second, it is an acute thrown back upon the last syllable from 
 an enclitic, which is not accented, except it be followed by 
 another enclitic. No word can have an acute accent over 
 the last syllable but in this case, except before a period, 
 colon, or interrogation, when the gra.ce is changed to an 
 acute — an occurrence which has led compositors, ignorant 
 of the principles for accenting the same word differently 
 in different situations, to imagine that there was an error in 
 their i'Oi>y. 
 
GREEK 
 
 ^r>7 
 
 Ni'Mi:i;.\r,s. 
 
 Numbers arc ex[)ru.ssod by the whole alphabet and tliree 
 symbols, which make them to consist of twenty-seven sorts. 
 They are divided into three cUxsses — units, tens, and hun- 
 dreds ; as — 
 
 No. 1. 
 
 Uh its. 
 
 a 1 
 
 /3 2 
 y 3 
 
 e 
 
 No. 2. 
 
 2'CHS. 
 
 i 10 
 K 20 
 \ 30 
 fx 40 
 
 V 50 
 t, GO 
 o 70 
 
 TT 80 
 
 > 90 
 
 No. 3. 
 
 Hundreds. 
 
 100 
 200 
 300 
 400 
 
 500 
 
 700 
 
 800 
 
 ,/. 
 
 lO 
 
 900 
 
 No. 4. 
 
 ThoHsands. 
 
 1,000 
 
 2,000 
 3,000 
 4,000 
 5,000 
 10,000 
 20,000 
 ,p 100,000 
 ,a 200,000 
 
 P 
 
 .K 
 
 Column No. 1 consists of the eio-ht first letters of the 
 alphabet, with this form <? (^0? called tTrlfrijfioi', which 
 signifies G. 
 
 Column No. 2 contains the eight following letters, with 
 this character ,V, called i^oTnrci, which signifies 90. 
 
 Column No. 3 includes the eight last letters of the alpha- 
 bet, with this additional character 9, called frdrirt, which 
 signifies 900. 
 
 The acute (,) under each letter in column No. 4 stands 
 for a thousand, and the letter expresses the number of 
 thousands signified. 
 
 By compounding the above numerals any number may 
 be expressed; as, t« makes 11 ; kf, 2."); py, 103; /if, 1,00. >. 
 
 Also, the Greeks sometimes use the following six capitals 
 to expi-ess sums, 1 for 1; 11 for T) ; A for !<» ; II for I'H); 
 X for 1,(M)0; and M for l<>,oOO. 
 
 The above capitals may b»' all four times reduplicated, 
 
ir,8 PRiNTma 
 
 oxcopi U; tlins, II for 2; 111,3; HIT t; AA for 20, 
 AAA, 30 ; AAAA, 40. 
 
 Sometimes the Delta, Eta, Clil, and Ma nre enclosed in a 
 great | ] , and then the value of ihe letter is five times re- 
 peated ; as, fA], 5 times 10 are 50; |Xj, 5 times 1,000 
 are 5,000 ; 1"^!] , 5 times 10,000 are 50,000. 
 
 Words in Greek intended to be emphasized or "italicized" 
 are usually hair-spaced. 
 
 Bv following the instructions carefully the student will 
 derive great assistance in composing Greek, and thus avoid 
 a dirty or foul proof. 
 
 In turning out occasional words of this languao-e, or 
 even any other, in ordinary roman distribution, they should 
 be laid aside for the moment, and afterwards returned into 
 their proper cases. 
 
 HEBEEW. 
 
 Hehreiv cases are almost identical with the roman ones, 
 the upper case containing the same number of divisions 
 precisely as the ordinary upper case; the lower case being 
 similar, excepting a few extra divisions to the larger boxes, 
 fig. 101. This, of course, is due to the fact that far fewer 
 accents are used in Hebrew, or rather, we should say, a 
 smaller number of accented letters — the accents themselves 
 are greater in number than in Greek, but used more spar- 
 ingly. The learner, therefore, has an easier task in acquir- 
 ing a knowledge of the cases, but is not called u])on so often 
 to exercise that knowledge, as in the ordinary run of book- 
 work, theological works excepted, Hebrew is less used than 
 Greek. 
 
HEP.P.EW 
 
 ir,!i 
 
 s 
 
 2 
 
 n 
 
 't 
 
 
 b 
 
 ii 
 
 
 3. 
 
 
 i 
 
 
 b 
 
 jj 
 
 n 
 
 ^ 
 
 i 
 
 ■? 
 
 b 
 
 J 
 
 V 
 
 h 
 
 > 
 
 b 
 
 
 b 
 
 3 
 
 
 b 
 
 P 
 
 h 
 
 b 
 
 ^ 
 
 :i 
 
 f 
 
 D 
 
 
 
 b 
 
 h 
 
 ^' 
 
 ■t 
 
 « 
 
 2 
 
 
 T 
 
 
 ID 
 
 u 
 
 - 
 
 ' 
 
 » 
 
 H 
 
 ^ 
 
 V 
 
 ^ 
 
 n 
 
 > 
 
 3 
 
 •? 
 
 
 
 2 
 
 T 
 
 • 
 
 
 ^ 
 
 1 
 
 ) 
 
 « 
 
 - 
 
 D 
 
 P 
 
 
 D 
 
 D 
 
 ^ 
 
 
 
 
 
 
 
 
 1 
 
 
 n 
 
 1 
 
 
 
 
 n 
 
 
 t' 
 
 
 i:»' 
 
 t' 
 
 Upper Case. 
 
 ' 
 
 
 - 
 
 
 
 \ 
 
 
 ' 
 
 T 
 
 2 
 
 I 
 
 =1 
 
 V 
 
 55 
 
 .-1 
 
 s 
 
 ■l 
 
 2 
 
 3 
 
 -t 
 
 n 
 
 , 
 
 ^ 
 
 D 
 
 J 
 
 (3 
 
 □ 
 
 
 c 
 
 
 
 
 
 
 
 
 
 
 n 
 
 
 •? 
 
 
 
 : 
 
 n 
 
 V 
 
 ^ 
 
 E) 
 
 >V 
 
 t' 
 
 ■3 
 
 ■5 
 
 . 
 
 
 
 
 
 
 
 
 
 
 
 
 B 
 
 II 
 
 
 
 
 
 
 
 P 
 
 J 
 
 
 
 r 
 
 ^ 
 
 
 Thick 
 
 
 
 
 
 
 -a 5 
 
 
 
 r 
 
 
 ^1' 
 
 
 V 
 
 s 
 
 
 1 
 
 
 - 
 
 
 
 Lo'^'i'y Case. 
 Fk;. IUI. I'LAN ()i- in:i;i;i;w casks (with i'oints). 
 
 From the plan here o-iven it will ho seen that llic 
 Hehrew cases are laid as near as is p()ssil>le to the EiiL^lisli 
 method now in use. The alphabets have been elassitied and 
 arranged so as to facilitate the comjtosition; that is. tlie 
 three diiferent dotted alphabets in the upper case an- (|iiite 
 •listinct from fuch oilier, sometimes bcin^- sej.aratfd liv ;i 
 
160 PRINTING 
 
 thicker partitiuu, tu lead the eye of the compositor to it 
 with greater certainty. The lower-case letters are also 
 arranged as near to the English ]>lan as is possible. The 
 ^* (a) in the a box; the n (h) in the b box, etc., so that the 
 compositor can go from a pair of English cases to the 
 Hebrew ones with very little perplexity and a great saving 
 of time, instead of looking over a wide snrface of three 
 cases, as formerly, without any classification or arrange- 
 ment whatever. In composing Hebrew without points the 
 lower case only is required, as the final letters and broad 
 letters are brought into it. 
 
 Hebrew is read from right to left, and when it is being 
 set up, the general method is to place the nick of the letter 
 downwards, and when the points are put to the top, to turn 
 the line and arrange those points which come under the 
 letters, taking care to place them in the following order: 
 if the letter has but one leg, the point must be placed 
 immediately under that leg, but otherwise the point must 
 be placed under the centre. 
 
 Annexed is the alphabet, which consists of twenty-two 
 letters, with vocal points, accents, etc. The remarks on the 
 similarity of certain letters should be carefully noted, other- 
 wise the student will find it a difficult task to acquire a 
 knowledge of the cases and the manner of composition. 
 
 ^. 
 
HEBEEW 
 
 161 
 
 Hebrew Alpiiabkt. 
 
 Number 
 
 and 
 Order. 
 
 o 
 
 Name. 
 
 Power. 
 
 
 1 
 2 
 
 2 
 
 Alepli 
 Both 
 
 h, unaspirated 
 r, as in van ; (21) b, 
 as in band 
 
 1 
 2 
 
 . > 
 
 4 
 
 1 
 
 Gimul 
 Daleth 
 
 //, liard ; (;i) gh 
 (/, as in door 
 
 3 
 
 4 
 
 5 
 
 n 
 
 Ho 
 
 h, soft ; (n) h, aspi- 
 rated 
 
 5 
 
 
 
 ") 
 
 Vau 
 
 V or 2y 
 
 6 
 
 7 
 
 T 
 
 Zain 
 
 ,?, as in zeal 
 
 7 
 
 8 
 
 n 
 
 Cheth 
 
 A7/, aspirated 
 
 8 
 
 9 
 
 D 
 
 Tctli 
 
 /, as in torn 
 
 1» 
 
 10 
 
 > 
 
 Lul 
 
 ?/, as in young 
 
 10 
 
 11 
 
 D 
 
 Capli 
 
 /.: or c, hard 
 
 20 
 
 12 
 
 ^ 
 
 L lined 
 
 /, as in law 
 
 30 
 
 18 
 
 •J 
 
 j\[oin 
 
 m, as in manner 
 
 40 
 
 14. 
 
 2 
 
 Null 
 
 v., as in notliing 
 
 50 
 
 1.-. 
 
 D 
 
 Samecli 
 
 s, as in sir 
 
 GO 
 
 IG 
 
 r 
 
 OIu 
 
 ng 
 
 70 
 
 17 
 
 3 
 
 Po 
 
 ■pJi, as in Philip ; (B) 
 |>, as in pint 
 
 80 
 
 18 
 
 jk 
 
 TzaJdo 
 
 /.r, as in liowitzer 
 
 '.to 
 
 r.) 
 
 P 
 
 Kopli 
 
 /.-, as in look 
 
 100 
 
 20 
 
 n 
 
 llosh 
 
 r, as in road 
 
 2u0 
 
 21 
 
 1 ^ 
 
 Shin 
 Sin 
 
 sJi, as in shine ) 
 s, as in sin J 
 
 300 
 
 22 
 
 /I 
 
 Tan 
 
 //i, as in thin ; {Jl) t, 
 as in tin 
 
 ■100 
 
 M 
 
lie. 
 
 Chcth. 
 
 Lamed. 
 
 Mem. 
 
 Tan 
 
 n 
 
 n 
 
 h 
 
 □ 
 
 n 
 
 162 FEINTING 
 
 Capli. Mem. Nun. Pe. Tzadde. 
 
 1 Q ] =1 Y 
 
 Broad Letters 
 arc Tiscd in order to fill np the space and make a full line; 
 as a Hebrew word is never divided as in English, so that 
 a portion of it may be in one line and the remainder in 
 nnother. 
 
 Aleph. 
 
 Compositors should strongly mark the difference between 
 the following characters, which have some resemblance in 
 shaj)e : 
 2, D Beth projects a little at the bottom towards the 
 
 right hand, but Cai^li is rounded. 
 J) J Gimel is open at the bottom towards the right hand, 
 
 but Nun is closed. 
 1 "I Daleth projects a little at the top towards the right 
 
 hand, but ResJi is rounded, 
 n n Jl The left upright stroke of He is separated from 
 
 the horizontal one, but in Cheth it is joined to it; while 
 
 that of Tail has a kind of foot. 
 T 1 ] Zain projects a little at the top towards the right 
 
 hand, but Vau is square ; while the upright stroke of 
 
 Nun final is longer than either Zain or Va7i. 
 ID D Teth is open at the top towards the left hand, but 
 
 Mem is open at the bottom. 
 D D The right-hand corner of Mem final is square at the 
 
 bottom, but Samech is rounded at that part, 
 y iJ Y The tail of Oiu is sloped towards the left hand, 
 
 that of Tzadde is horizontd, and tliat of Tzadde final is 
 
 conveyed nearly straight downwards. 
 
HEBREW 
 
 163 
 
 Capitals arc not used in Hebrew ; therefore letters of the 
 same form, but of a larger body, are used at the beginning 
 of chapters and other parts of works in that language. 
 
 Vowels. 
 
 These points exhibit a system of marks or characterg 
 arranged either above, in the middle, or beneath the 
 consonants. Their names, forms, and powers are as 
 follows : 
 
 Perfect Vowels. 
 
 Name. 
 
 Form. 
 
 Power. 
 
 Kamets 
 
 T 
 
 a 
 
 Tsere... 
 
 •• 
 
 e 
 
 Long Khirik . 
 
 1 
 
 I 
 
 Kholem 
 
 .. T 
 
 ... 
 
 Shurek 
 
 .. 1 
 
 u 
 
 Imperfect Vowels. 
 Name. Form. Poiocr. 
 
 Pathakh ... ~ ... d 
 
 Segol ... * ... ? 
 
 Short Khirik... • ... ? 
 
 Kamets Khataph ^ ... 6 
 
 Kibbuts ... ^ ... li 
 
 Sheva and its Compounds. 
 
 Sheva and its compounds are pronounced very short, 
 and are never regarded as properly making a syllable, only 
 as beginning: or endingr it. 
 
 Name. Form. Power. 
 
 Sheva ... ' ... g 
 
 Khatef Pathakh " ... U 
 
 Name. Form. Poire} 
 
 Khatef S(igol "' ... c* 
 Khatef Kamets ^' ... ^> 
 
 The last three are called the compound Shevas. 
 
 Long Khirik (") is a small point placed before Lnl ('') 
 which it silences. 
 
 Kholem (■) is a small point placed over letters. When 
 put over i that letter is silenced ; but if another point bo 
 placed under Van it is not silenced. 
 
 Shurek (') is only placed in lau, and silences it; but if 
 
164 PRINTING 
 
 another point be placed under Vau, the dot in ^ denotes 
 DAGESii/or^e. 
 
 Short Khirih (') has its place under any letter, but 
 silences none. 
 
 Points. • 
 
 Dagesh (*) and MAPriK (*) are two points put in the body 
 of certain letters. 
 
 Dagesh is either /o?'^e or lene. 
 
 Dagesh forte : Inscribed in any consonant, preceded and 
 followed by a vowel, or preceded by a vowel and has a 
 Sheva, such letters are sounded double. It may have a 
 place in all the letters, except 1 J? 11 H ^^■ 
 
 Dagesh lene has its place only in the letters Jl H) D "T ^ 3. 
 and deprives them of their aspiration, but strengthens 
 their pronunciation in some degree. 
 
 Mappik is placed in the letter H (He final) only, to show- 
 that it retains its power as a consonant. 
 
 Ra-phe is a small dash (") that formerly was placed over 
 Jl 3 D 1 J 3, when they had no Daghsh, to show that they 
 should be pronounced with h aspirate. 
 
 Maccaph is a small dash ("), used to join words together. 
 
 Accents. 
 
 These are very numerous, and are seldom used in any 
 other than theological and grammatical writings, and only 
 in some boolis of the Bible, where they stand for notes to 
 sing by, and are called accentus tonici; others accentus dis- 
 tinctivi, because they distinguish the sense; and others 
 ministri,OY servi non-disti7ictivi,\vhich show the construction 
 and connection of words. They are placed below and above 
 the line of the consonants. There are twelve found below 
 the line; their names and forms are — 
 
GERMAN 165 
 
 S J 
 
 to 
 
 
 I :s =^ .pi := i ^ 
 
 There are eighteen placed above the line, as follows : 
 
 
 
 
 
 
 
 
 
 Im 
 
 
 
 ^ 
 
 
 eS 
 
 
 
 
 
 
 
 
 
 
 
 O 
 
 
 
 cc 
 
 
 C 
 
 ^ 
 
 
 
 
 
 
 
 
 
 
 *r^ 
 
 
 
 cu 
 
 
 s 
 
 
 
 
 r-4 
 
 o 
 
 e3 
 
 
 
 
 •3 
 
 C/2 
 
 ce 
 
 
 '^ 
 
 ^ 
 
 M 
 
 o 
 
 l-H 
 
 o 
 
 1 
 
 c3 
 
 cC 
 
 c3 
 
 rf 
 
 >• 
 
 5 
 
 
 
 
 1r. 
 
 15 
 
 r-> 
 
 
 
 'A 
 
 CD 
 
 
 '3 
 
 
 cS 
 
 w 
 
 O 
 
 N 
 
 N 
 
 CC 
 
 (In 
 
 m 
 
 N 
 
 N 
 
 Oh 
 
 O 
 
 Q 
 
 w 
 
 H 
 
 H 
 
 W 
 
 • 
 
 % 
 
 : 
 
 i: 
 
 .'. 
 
 ^ 
 
 _J_ 
 
 cv 
 
 cv 
 
 _H_ 
 
 r 
 
 rf' 
 
 _H>'_ 
 
 _H_ 
 
 _^_ 
 
 > 
 
 0) 
 
 ^ ce 
 ce Ji. 
 
 One mark is found in the same line with the consonants, 
 — namely, Legarme (') ; Avlien situated under the line, 
 Pesik ("). 
 
 Another mark is sometimes found over words in the 
 Hebrew contents — namely, Kethiv (°), a small circle, in- 
 tended to direct attention to a note in the margin or at the 
 foot of the page. 
 
 GERMAN 
 
 On the whole the use of the German characters (Fractnr) 
 is declining, and that of the ordinary roman ty2)es (Antiqua) 
 is •l)eing substituted. Nevertheless, it is necessary to give 
 the lay and certain remarks on the composition of works in 
 that language, in order that one may be prepared to set uj) 
 German when occasion demands it. Formerly these types 
 were laid in one large double case, almost square — that is, 
 nearly as wide as long — but of late years the ordinary 
 roman cases have been adopted, as being more convenient 
 for composing and less awkwanl wlicii out of use. 
 
166 
 
 PRINTING 
 
 The following scheiiic for lay of German cases, lig. 102, 
 is frequently used,' and is an exceedingly simple i)lan to 
 follow. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 1 
 
 2 
 
 3 
 
 4 
 
 1 
 
 5 1 G 
 
 '-! 
 
 
 
 
 
 
 
 
 8 
 
 9 
 
 
 
 
 % 
 
 .. 1 , 
 
 D 1 Ik 
 
 
 
 
 
 
 
 
 U 
 
 23 
 
 G 
 
 X) 
 
 e 
 
 3 1 (^ 
 
 9Z 1) 
 
 
 
 
 
 
 
 
 ^ 
 
 3 
 
 ^ 
 
 e 
 
 m 
 
 
 
 
 
 
 
 
 ^ 
 
 a 
 
 m 
 
 (S 
 
 z 
 
 ^S 
 
 2B 
 
 
 
 
 
 
 
 
 3E 
 
 ?) 
 
 3 
 
 u 
 
 a 
 
 6 
 
 u 
 
 ' 
 
 ] ) 
 
 
 
 
 
 Upper Case. 
 
 1 
 
 
 
 Sx 
 
 i 
 
 I 
 
 c 
 
 a 
 
 
 
 ii 
 
 ft 
 
 fT 
 
 ^ 
 
 ^ 
 
 cf 
 
 ? 
 
 b 
 
 d) 
 
 t» 
 
 i 
 
 f 
 
 g 
 
 f 
 
 3 
 
 ff 
 
 u 
 
 c 
 
 fi 
 
 p 
 
 n 
 
 p 
 
 I 
 
 m 
 
 n 
 
 1) 
 
 
 
 R 
 
 3 
 
 / 
 
 ID 
 
 T3 
 
 o- 
 
 U} 
 
 5 
 
 E 
 
 q 
 
 u 
 
 
 
 
 
 
 > 
 
 : 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 Lower Case. 
 Fk;. 10-J. I'l.AN OF (I HUMAN CASES. 
 
 On the next page is given the alphabet with the equivalent 
 characters in roman. 
 
 ' Savage's "Dictionary of the Art of Printing "" has again l>een 
 oonsulted for the suggestions here liiven. 
 
GERMAJM 
 
 167 
 
 GeRMAx\ AlI'JIAUKT. 
 
 Cliaracters. 
 
 Signification. 
 
 
 Capitals. 
 
 Small 
 liCtters. 
 
 Capitals. 
 
 Sinali 
 Letters. 
 
 Name. 
 
 % 
 
 a 
 
 A 
 
 a 
 
 All 
 
 35 
 
 b 
 
 B 
 
 b 
 
 Bey 
 
 (5 
 
 c 
 
 C 
 
 c 
 
 Tsey 
 
 T> 
 
 t) 
 
 D 
 
 d 
 
 Dcy 
 
 a 
 
 c 
 
 E 
 
 
 
 Ey 
 
 s 
 
 f 
 
 F 
 
 f 
 
 Ef 
 
 ^ 
 
 0> 
 
 G 
 
 
 Gey 
 
 ^ 
 
 I) 
 
 H 
 
 h 
 
 Hah 
 
 <> 
 
 i 
 
 I 
 
 i 
 
 K 
 
 s 
 
 i 
 
 J 
 
 .1 
 
 Yofc 
 
 ^ 
 
 t 
 
 K 
 
 k 
 
 Kah 
 
 2 
 
 I 
 
 L 
 
 1 
 
 El 
 
 9J? 
 
 in 
 
 M 
 
 m 
 
 Em 
 
 ^n 
 
 n 
 
 N 
 
 11 
 
 En 
 
 D 
 
 
 
 
 
 o 
 
 O 
 
 ?) 
 
 P 
 
 P 
 
 P 
 
 Pey 
 
 a 
 
 q 
 
 Q 
 
 q 
 
 Koo 
 
 9^ 
 
 r 
 
 R 
 
 r 
 
 Air 
 
 @ 
 
 f^ 
 
 S 
 
 f s 
 
 FjSS 
 
 3: 
 
 t 
 
 T 
 
 t 
 
 Toy 
 
 u 
 
 u 
 
 U 
 
 a 
 
 Oo 
 
 ss 
 
 \) 
 
 V 
 
 V 
 
 Eow 
 
 3B 
 
 u> 
 
 W 
 
 w 
 
 Voy 
 
 $ 
 
 V 
 
 X 
 
 X 
 
 Iks 
 
 ?) 
 
 t) 
 
 Y 
 
 y 
 
 Y[)silon 
 
 3 
 
 h 
 
 Z 
 
 z 
 
 Tset 
 
 In addition to the characters of the preceding alphabet, 
 the Germans make use of tliree, which are vowels : 7(c, (i, or 
 a, expressed by the Roman character il, and having the 
 sound of c in irliere ; Oc, 6, or 6, and in the Roman 
 character o, which has the sound of en in the French licnre ; 
 
168 PRINTING 
 
 lie, ii, or II, havin_{^ its reprcscutativo in the Roman i'l, and 
 its expression in the thin ii of the French in vcrhi. 
 
 The Germans also make use of the following- double 
 letters in printing : 
 
 cb ch 
 
 ffi ffi 
 
 fi si 
 
 ft sfc 
 
 Cf ck 
 
 fl fl 
 
 IT ss 
 
 ^ sz 
 
 ff fi: 
 
 U 11 
 
 ffi ssi 
 
 \l tz 
 
 fl fi 
 
 
 
 
 In the printed alphabet some letters are apt to be mis- 
 taken and confounded one with another. To facilitate the 
 discrimination the difference is here pointed out. 
 
 B (S3) and V (^). The latter is open in the middle, 
 the former joined across. 
 
 C ((5) and E (($*). Q. has a little horizontal stroke in 
 the middle, projecting to the right, which (5 has not. 
 
 G (®) and S (@). These letters, being both of a round 
 form, are sometimes taken for one another, pirticalarly tlie 
 © for the (2- But (S has an oponing above, ® is closed, 
 and has besides a perpendicular stroke within. 
 
 K (£), N {^), R (91). ^ is rounded at the top, ^31 is 
 open in the middle, 9ft is united about the middle. 
 
 M (5}?) and ^Y (2S) . '^ is open at the bottom, 5B is closed. 
 
 b (b) and h ((}). b is perfectly closed below, I) is some- 
 what open, and ends at the bottom, on one side, with a 
 hair stroke. 
 
 f (f) and f (f). f has a horizontal line above. 
 
 m (in) and w (U"*). Hi is entirely open at the bottom, 
 W is partly closed. 
 
 r (r) and x (j). )C l^as a little hair stroke below on the left. 
 
 V (l>) and y (xj). \i is closed, \) is somewhat open below, 
 and ends with a hair stroke. 
 
 As will be seen, here too the ordinary roman cases, upper 
 and lower, are used, lig. 102, and owing to the few accents 
 in demand — the diajresis only being used — the lay can be 
 
aEKMAN 169 
 
 easily learned when the characters have been mastered, for 
 one of the threat difficulties in composinj^- this lan^uam'e, if 
 from manuscript, is to master the characters in which it is 
 written; these are harder to decipher than the printed form, 
 it' the compositor is a novice, and the copy not carefully 
 written. The sj^ecimen here given, fig. 103, will assist the 
 learner. 
 
 A a, B b. 
 
 JS • e, F f. G K, W h. 
 
 
 c/'.; ^f^^ ^4 ^4 
 
 I i, J j, K k, LI, 
 
 a. 
 
 , ^... ^v.,//^. 
 
 Fk;. 108. GEUMAN UANDW i;iTIN(;. 
 
 It may he mentioned here that in Germany the black 
 letter character is gradually being superticded by the more 
 legible Roman form of lettering. 
 
OHAPTEE XII 
 
 Type Music— Siiggested Plan of Cases — Some Specimens of Music 
 Founts Avhicli may Ije obtained. 
 
 MUSIC is printed by one of the four following pro- 
 cesses: plate, lithography, photo- zineo, and type, the 
 last method being more generally used for book music. The 
 composition requires some amount of practice, as this class 
 of work is almost distinct from ordinary letterpress j^rinting. 
 The cases used are very complicated, and contain more boxes 
 than are usually required for other founts, foreign or other- 
 Avise, owing to the very large number of pieces used. The 
 cost, too, of music type is very great as comj^ared with other 
 type, which is attributable to the expense of cutting such a 
 large number of distinct pieces, and also to the smallness of 
 the demand. Firms which make a speciality of music printing 
 are very chary in printing from their type, on account of 
 the great initial outlay, and usually stereotypic it first,^ the 
 quantity of fine lines being liable to a larger amount of wear 
 and tear iu printing direct from the type. 
 
 The exact details of settiuo- this class of work are v«'rv 
 difficult, and perhaps hardly within the scope of this book, 
 but the suggested plan of cases submitted, fig. 104, may be 
 of interest. Nearly every office has a special lay. requiring 
 cases of ditt'erent make. 
 
 ' 'Ihe plaster process is preferalde for tliis purpose, the chief 
 reason being that tlie necessary beating in mouhling by the paper 
 process is ih'trimciital tn tbc kerned n(»tes. 
 
 17(1 
 
TYPE MUSIC 
 
 171 
 
 -r-r 
 
 - 
 
 ( ^ 
 
 - 
 
 JV 
 
 fU 
 
 s 
 
 
 
 1 
 
 1 ^ 
 
 - 
 
 ■^ 
 
 'X\ 
 
 
 
 ' 
 
 1 
 
 v^ 
 
 
 i&. 
 
 fA 
 
 
 
 n 
 
 1 
 
 m 
 
 s - 
 
 1 
 
 Ill 
 
 ei 
 
 a 
 
 H. 
 
 a 
 
 II 
 
 n 
 
 IH 
 
 u 
 
 
 JCl 
 
 jt 
 
 ]U 
 
 ^ 
 
 m 
 
 Ji 
 
 t 
 
 •=• 
 
 VL 
 
 n 
 
 ^ 
 
 m 
 
 ja 
 
 
 *•*■ 
 
 m 
 
 Jft 
 
 jft 
 
 Ul 
 
 JI 
 
 ^M 
 
 i 
 
 <^l 
 
 
 r 
 
 r 
 
 ( 
 
 ( 
 
 1 
 
 1 
 
 t 
 
 # 
 
 ( 
 
 ( 
 
 ( 
 
 <! 
 
 r 
 
 i 
 
 i\ 
 
 i 
 
 ([ 
 
 t 
 
 ^! 
 
 V 
 
 u 
 
 a 
 
 
 
 (f 
 
 (f 
 
 ( 
 
 d 
 
 i 
 
 n 
 
 II 
 
 ( 
 
 ( 
 
 i 
 
 <t! 
 
 II 
 
 i» 
 
 XK 
 
 /C 
 
 H. 
 
 V. 
 
 H- 
 
 (T 
 
 M 
 
 %x 
 
 ^ t^ 
 
 00 
 
 - 
 
 p^ 
 
 X 
 
 Jt\ 
 
 a 
 
 ■^ 
 
 - 
 
 ^> 
 
 
 1_ 
 
 id 
 
 oa 
 
 -/C 
 
 10 
 
 »? 
 
 
 r 
 
 list 
 
 XI 
 
 1 
 
 - 
 
 c 
 
 V 
 
 •• 
 
 -S»- 
 
 •'ti 
 
 y 
 
 ■<c 
 
 * 
 
 ^ 
 
 •1 
 
 nrr 
 
 ct:! 
 
 i 
 
 CO 
 
 < 
 
 gs- 
 
 • 
 
 irrr 
 
 CM 
 
 i 
 
 CI 
 
 c 
 
 ^ 
 
 - 
 
 ari 
 
 T+H 
 
 t 
 
 1 ■ 
 
 c. 
 
 v^ 
 
 + 
 
 ai.1 
 
 5^ 
 
 1/ 
 
 / 
 
 \ J 
 
 1 
 
 / 
 
 
 ]/. 
 
 1 
 
 \ 
 
 \i 
 
 1 
 
 / 
 
 
 ^ 
 
 / 
 
 \ 
 
 ^1 
 
 1 
 
 # 
 
 
 / 
 
 i 
 
 • a! 
 
 \ 
 
 \ 
 
 \ 
 
 
 / 
 
 7 
 
 /I 
 
 \ 
 
 \ 
 
 \ 
 
 
 / 
 
 J 
 
 '1 
 
 \ 
 
 \ 
 
 Y 
 
 
 \ 
 
 1 
 
 1 
 
 1 
 
 
 J 
 
 
 N Q 
 
 a 
 
 J 
 
 J 
 
 i J 
 
 y 
 
 
 
 i 
 
 1 
 
 J 
 
 J 
 
 J 
 
 y 
 
 Li.liJ 
 
 1 
 
 a. 
 
 a 
 
 (D 
 
 -i 
 
 , 
 
 1 
 
 >! 
 
 a 
 
 fl 
 
 :k 
 
 - 
 
 - 
 
 ki 
 
 Q 
 
 Ji 
 
 J_ 
 
 L 
 
 *L 
 
 (Dl 
 
 1 
 
 n 
 
 u 
 
 em and en 
 
 Space*. 
 
 Mtuc Qiiftd). 
 
 ii. 
 
 
 1-cin ftn(l4-cm 
 Quads. 
 
 1 
 
 u 
 
 — 
 
 Quads. 
 
 - 
 
 n 
 
 — 
 
 
 JL 
 
 LI 
 
 - 
 
 = 
 
 1. 
 
 ij. 
 
 - 
 
 = 
 
 — 
 
 « 
 
 jj 
 
 - 
 
 r 
 
 • 
 
 « 
 
 IL 
 
 
 
 I 
 
 1K. 
 
 N 
 
 Jl 
 
 « 
 
 i 
 
 « 
 
 *l 
 
 a 
 
 a. 
 
 i (5 
 
 
 
 Q 
 
 #^ 
 
 • 
 
 Cj 
 
 s 
 
 Fk;. 104. IM.AN OF MISIC CA.SKS. 
 
172 
 
 PRINTING 
 
 Founts of type music are very limited in number; we 
 m'ive a few sj^ecimens, fig. 105, of those in general use. 
 
 
 ( 
 
 Ruhy. 
 
 =i- 
 
 -0m 
 
 f=T- 
 
 1^* 
 
 — p^^— -p-- 
 
 -1— • s 
 
 ^*=pi=P=!:a£ip 
 
 fc:^ 
 
 d— f- 
 
 Dianiond. 
 
 l^^^iy^^^^^ 
 
 Senii-Nonjjareil. 
 
 
 y«.j.j...jF^ 
 
 
 trcmolc 
 
 -^• 
 
 -Z^ -^ 
 
 Fl(i. KV). sriiCIMHNS OV TVl'E MUSIC. 
 
CHAPTER XIII 
 
 Table and Tabular Work — Definitioiis^Coiuposition — Pedigrees. 
 
 BOTH fahJe and tahular work are somewhat difficult 
 classes of compositiou, and the setting of these, 
 especially table work, requires a good deal of judgement. 
 
 Table work set in a series of four columns with headings, 
 or five columns or more w^ithout headings, is charged at 
 double prices. 
 
 That set in three columns with headings, and four 
 columns without headings, is charged at half as much again 
 as ordinary composition. 
 
 In receiving copy for such work instructions should also 
 be given for the limits of the table. In selecting the type 
 for this the compositor must be guided by the number of 
 lines in his copy for the depth and width of his columns. 
 To settle this he should select the fullest line of each 
 column, and set each in his stick. It is best, supposing 
 the various columns are narrow, to make the measure of 
 each up to ems (or even ens, if imperative) of the fount in 
 which he is composing. This greatly facilitates the justi- 
 fication of each segment. Supposing a small type has to 
 be chosen in order to bring the width within a certain 
 compass, the length must not be lost sight of, or lie 
 may experience some difficulty in filling up the page to 
 its proper dej^th. If this occurs, he can allov/ the width 
 of the columns to be pinched a little, and sometimes a line 
 can l»t' luriR'd over to nuike two, if necessary. Should this 
 
 173 
 
174 PRINTING 
 
 phiii be followed, the turn-overliiie would have tobe balanced 
 by a white line in each of the other columns, so that the 
 next line of the table may ran<^e across in reading. 
 
 The headings of the table should be left till the last, and 
 may be set in a smaller type. It is permissible also to set 
 the table oblong, though the shape of the work may be 
 upright or bookwise. The cross-rules used in the columns 
 should be metal ones of the fount in which the table is set, 
 but the column rules should be of brass. Using metal cross- 
 rules for the column greatly simplifies the justification, sav- 
 ing the cutting and dressing of brass rule, which in short 
 lengths is both troublesome and unsatisfactory. 
 
 Another class of work is that of Pedigrees; this work is 
 also paid for at double the composition price of ordinary 
 matter in the scale of charges. This is owing to the difiicult 
 character of the work, and very many of the suggestions 
 given for table matter apply to the setting up of pedigrees 
 in order to approximate the size of the whole. This is par- 
 ticularly imj^ortant for large ones, often designated as 
 genealogical trees, otherwise the pedigree may assume in the 
 finished state a somewhat unsightly sha]K\ 
 
CHAPTER XTV 
 
 Scale of Prioe:^ as paid in TiOndon — Method of Castin,i;'-np Value of 
 Work — Leni;tlis and Widths for ordinary Bo<dvwork — Nnmher 
 of Lines per Thousand — How to Cast-off Copy for (Quantity — 
 Etjuivalent of fiPads to Tyi>e liodies — Comparative Sizes of Types 
 — Nuniher of Words in a S<iuare Inch of \arious Ty[>es. 
 
 BEFORE closing this section of the work, the scale of 
 prices in vogue in London, and the various extras 
 allowed bv usage and custom, will be of service. A pro- 
 ]»ortion of the labour in this de}>artmeut of the printing office 
 is still paid for bj piecework, whereas in the provinces, where 
 wages are generally lower, the reverse is the rule, and it is 
 generally newspaper hands who are paid by result. The 
 basis of the present scale was formulated about a century 
 ago l)y a joint committee of employers and men, and the 
 l>rice per thousand has been increased from time to time, 
 the last arrangement, except for some recent and slight 
 alteration as regards casual engagements, being in 1915. 
 
 Since the previous edition of this work was published, 
 and owing to the war, many changes have tahen place in 
 ihe wages of both piece and establishment hands. In 
 1915 the hours were fifty a week and the wages of 'stab 
 liands increased to forty-two shillings a week. The pre- 
 ceding piece scale was also increased by one halfpenny a 
 thousand ens all round, and there were also a few other 
 details altered in favour of the workman. But since that 
 date various war bonuses have been added so that at the 
 present time (1919) the agreed rates arc tlirer pounds 
 
 175 
 
176 PRINTING 
 
 seventeen shillings and sixpence for 'stab bands for a 
 shortened week of forty-eight hours. The piece hands add 
 5 per cent, on their earnings over the 1915 scale and 
 further, as war bonuses, at the foot of the bill the lump 
 sum of thirty-five shillings and sixpence to bring them up 
 approximately to the wage of 'stal) hands. In addition all 
 bank and summer holiday's are paid for to both 'stab and 
 piece hands. The overtime rate has also been increased. 
 At the present time, as a result of a conference, a joint 
 committee of employers and men is now engaged on revising 
 and bringing up to date the piece scale, which sadly needs 
 it. But the results, however, are not likely to be known 
 before this new edition is issued, so we can only give the 
 1915 scale, which is subject to the extra payment as already 
 stated, for the reduced working week of forty-eight hours. 
 
 Castmg-up. — A thick space is reckoned as equivalent to an 
 en in width, and an en to an em in depth. If the number 
 amounts to 500 ens, 1000 is chargeable; but if under 500 
 ens, they are not reckoned. When the " cast-up " does not 
 amount to threepence, it is not chargeable; but when it 
 amounts to threepence, sixpence is reckoned. Em and eu 
 quadrats at the beginning or end of lines, rarely used now- 
 adays, are reckoned as an em in the width. Placing notes 
 one shilling for folio, quarto, and octavo; one shilling and 
 sixpence for l'2mo; and two shillings for 16mo, 18mo, and 
 above. Mottoes, quotations, etc., in small type to be 
 reckoned as notes. Jobs of one sheet and under j^aid at 
 ninepence halfjDenny per thousand; nonpareil at tenpence 
 half[)enny. 
 
 In 1915 London compositors on the establishment in 
 Society houses were paid not less than forty-two shillings 
 per week of fifty hours {see previous page as to 1919). Night- 
 work was paid fourpence i>er hour extra up to twelve mid- 
 night, after that sixpence. Work set up on the piece is not 
 
SCALE OF PRICES FOR COMPOSING 177 
 
 iiuulc u[» hy II flirker ou tlio csliLblisliinciil. Citrrcctious 
 woiv 2>aid at tenpence per hour. 
 
 There was one charge i>er thousand ens for all sizes, 
 jtu'lusive of Brevier to English ; one rate for leaded and 
 various kinds and eharacters of work. Exhaustive as the 
 scale may have been as regards the number of provisions 
 it contained, there were always questions arising, and these 
 were subject to mutual arrangement between nuister and 
 man. The following are a few of the intricacies of the 
 scale of prices: 
 
 Table work or matter set up in three or more rohnniis 
 depending upon each other and reading across the page to 
 be paid as follows: 
 
 o columns without headings, one-fourth extra. 
 
 columns with headings, or 4 columns w^ithout, one- 
 
 half extra. 
 
 1 columns with headings, and 5 or more with or with- 
 
 out, double the price of common matter. 
 
 Hcddiinj.^ in smaller type than the body, but not ex- 
 ceeding two removes from it, if not more than ^i lines in 
 depth, to be paid 1.^. per sheet extra; if more than 3 lines, or 
 if in smaller type than two removes, to be cast up according 
 to the relative values of the two bodies; the greatest num- 
 
 ' l»er of appearing lines being considered the dei^tli. 
 
 lilduk taMes to l>e cast up double the price of the text 
 
 j type of the work. No extra charge to be made for headings 
 in smaller ty}»e. unless such headings constitute one-half of 
 the table. 
 
 The extra pr^ce for table, tabular, and column matter to 
 be j>aid upon its actual dimensions only, with the following 
 exceptions: Title headings to table and tabular matter to 
 be reckoned as part of such matter; but if they exceed 
 5 ems of the body of the table, etc., in depth, 5 ems only 
 to be charged as talde, the remainder as common matter. 
 
 N 
 
178 
 
 PRINTING 
 
 
 Abstract of London Scale, as a 
 
 greed, 191 
 
 5. 
 
 les. 
 
 
 
 
 
 
 Size of Type. 
 
 1 
 
 Dictionaries 
 
 m?;r ! Catalog, 
 
 Greek. 
 
 
 
 1 
 
 "7 
 
 s 
 
 '5 
 
 o 
 
 a 
 
 o .■:::; a; 
 ptH -?,■'• 
 
 9i 8i 9i 
 10 9 10 
 
 9* 8*' 9* 
 10| 9|lO| 
 
 lOi 9ilOJ 
 11 10 11 
 
 102 92102 
 11*10*11* 
 
 "■/. 
 
 1^ 
 
 <5: 
 
 
 ^ English to ( haded 
 Brevier Xaolid 
 
 8i 
 
 rf. rf. rf. 
 
 8f 8| 9i 
 9i 9^ 10 
 
 d. 
 
 n 
 
 10 
 102 
 
 102 
 11* 
 
 iii 
 
 12 
 
 111 
 12* 
 
 82 
 9* 
 
 9 
 
 92 
 
 92 
 
 101 
 lOi 
 
 11 
 
 102 
 11* 
 
 d. d. 
 
 8 lOA 
 84ll| 
 
 d. 
 12 
 122 
 
 
 ^i-- -IS" 
 
 8 
 8S 
 
 9i 9 9* 
 10, 9|10i 
 
 8i 
 82 
 
 9 
 
 9i 
 
 9* 
 10 
 
 
 
 u 
 o 
 
 3 -, 
 
 ^^-— ^{'sr 
 
 81^ 
 9* 
 
 10 
 
 10 9|10| 
 lOf 10*11 
 
 
 
 1--- IS' 
 
 10* 
 111 
 
 11 
 
 lOi lOf 
 
 11 11* 
 
 
 
 
 
 >^— IS' 
 
 92 
 
 10* 
 
 lofiu 
 
 11*12 
 
 iiiioiiuio 
 
 12 11 12 104 
 
 
 
 Id.amo.b..{^-*«^ 
 
 iii;i3 
 
 12^1 131 
 
 125 13^ 
 13^14 
 
 132 
 14* 
 
 122 
 13i 
 
 13i 12i 13i 
 14 13 14 
 
 12 
 12* 
 
 
 
 ^ English to J leaded 
 Brevier | solid 
 
 7i 
 8 
 
 8 
 82 
 
 8* 
 9i 
 
 8 8* 
 82 9i 
 
 9 
 
 92 
 
 8 1 8*1 7* 
 
 82: 9|; 8| 
 
 8i| 8f 72 
 
 9 1 9i 8i 
 
 9 9* 8* 
 9210| 9| 
 
 9*10 9 
 10^102 92 
 
 10 10^' 9* 
 lOfllilOl 
 
 12 12*114 
 12213|l2i 
 
 8* 
 
 n 
 
 7i 
 72 
 
 921U 
 
 10.^ 12 
 
 
 M--« ■.•IS" 
 ^•0— IS" 
 
 81 82 
 9 9* 
 
 10 
 10 
 
 102 
 
 10* 
 
 11 
 
 112 
 
 13 
 
 132 
 
 82 7* 
 9* 8" 
 
 
 c 
 
 8 
 82 
 
 9^ 
 10 
 
 9 9* 
 9210| 
 
 9*10 
 
 io|i02 
 
 9* 
 
 io| 
 
 10 
 
 102 
 
 104 
 11.1 
 
 12* 
 13| 
 
 H 
 82 
 
 82 
 
 n 
 
 92 
 lU 
 
 m 
 
 
 pi; 
 
 ''^'•^ {solid 
 
 8* 
 9i 
 
 92 
 
 10* 
 
 
 
 I'-^A- 1 S' 
 
 9 lOi 
 9211 
 
 10 10* 
 102 Hi 
 
 12 12* 
 122 13i 
 
 
 
 ."—•■IS" 
 
 11 
 
 m 
 
 13 
 
 
 Reprints not in every respect exact re]>roductions of the orij^inals, 
 are cast u}) ]d. pei- 1000 extra; Beprints vitli MS. insertions, },d. per 
 1000 extra. 
 
 Stereotvjied matter with lii^h spaces is cast np \d. ]»cr 1000 extra; 
 Stereotyped matter with low spaces is cast w\^ Id. per 1000 extra. 
 
 Thin f(»nnts are cast n]» ](l. per 1000 extia for eveiy cii hchtw 12 
 cms of their own hody. 
 
 Bastard founts of one remove are cast up to the depth and width of 
 the two founts. 
 
CASTING-UP COMPOSITION 179 
 
 Pediijrees to be paid double the price of common matter; 
 and the heads and notes npon the same principle as the 
 heads and notes of tables. 
 
 Caatiuij-up. — These examples give some idea of the 
 method of arriving at the value of composition per sheet : 
 
 (a) Nonpareil (solid), at 'did. per 1000. 
 
 Number of ems in dejitli 74 
 
 Xuml)er of ens in width 84- 
 
 296 
 592 
 
 6216 
 Number of i»ages in sheet 24 
 
 24864 
 12432 
 
 Total number of en quadrats ...149,184 
 
 at 9k^. per 1000 = £5 18 
 
 Placing of notes 16 
 
 £5 19 6 
 
 Qj) Long Primer (solid), at 8.\f7. per 1000. 
 
 Number of ems in depth 47 
 
 Nu miter of ens in width 54 
 
 188 
 J35 
 
 2538 
 Number of pages in sheet 24 
 
 10152 
 5076 
 
 Total number of en (piadrats ... 60,912 
 
 at 8. U/. per 1000 = 2 3 
 
 Placing of notes 16 
 
 £2 4 6 
 
 The process of " castiug-u[) " as liere exemplified is the 
 result of multiplication. The number of ems in depth is the 
 multiplicand, and tho number of ens in width is the multi- 
 plier. The number of pages in a sheet is the compouud 
 multiplier, and the total number of ens is the product. 
 
 i 
 
180 
 
 PRINTING 
 
 For approximate purposes this selieine is a bandy one : 
 
 Lenutus and Widths of Pages for Okdinary Book-work, 
 
 With the number of Ens contai)ted in each page, from 
 Pica to Nonpareil inclusive. 
 
 
 ?S 
 
 Size. 
 
 ci 
 
 s 
 
 j2 
 
 S 
 m 
 
 s 
 h4 
 
 jr. 
 
 1 
 
 Brevier. 
 
 
 ID 
 ti 
 
 C 
 O 
 
 Picas. 
 
 F'cap. 
 
 Ens. 
 
 Ens. 
 
 Ens. 
 
 Ens. 
 
 Ens. 
 
 Ens. 
 
 Ens. 
 
 41 
 
 30 
 
 4to. 
 
 2460 
 
 3243 
 
 3825 
 
 4988 
 
 5796 
 
 6900 
 
 9840 
 
 32 
 
 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. 
 
 Crmvn. 
 
 504 
 
 672 
 
 780 
 
 1020 
 
 1184 
 
 1400 
 
 2016 
 
 48 
 
 34 
 
 4to. 
 
 3264 
 
 4290 
 
 5040 
 
 6693 
 
 7696 
 
 9120 
 
 13056 
 
 36 
 
 21 
 
 8vo. 
 
 1512 
 
 1968 
 
 2340 
 
 3060 
 
 3520 
 
 4200 
 
 6048 
 
 32 
 
 16 
 
 12mo. 
 
 1024 
 
 1369 
 
 1600 
 
 2J16 
 
 2401 
 
 2809 
 
 4096 
 
 23 
 
 16 
 
 16 mo. 
 
 736 
 
 962 
 
 1160 
 
 1518 
 
 1715 
 
 2014 
 
 2944 
 
 23 
 
 15 
 
 18mo. 
 
 690 
 
 884 
 
 1073 
 
 1419 
 
 1610 
 
 1900 
 
 2760 
 
 64 
 
 42 
 
 Demy. 
 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 
 
 32mo. 
 
 Roijal. 
 
 501- 
 
 072 
 
 780 
 
 1020 
 
 1184 
 
 1400 
 
 2016 
 
 64 
 
 48 
 
 4to. 
 
 6144 
 
 S140 
 
 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 
 
 IGmo. 
 
 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 
 
 Tlie .'il»ove rij^nrps are subject to tlie sli<;ht variations in founts 
 from (liflVM-eut foundries. 
 
TABLES FOR CASTING-UP 
 
 181 
 
 Another useful tabic is the following : 
 
 NUMIIER OF LlNlOS PKR TjIOUSANI>. 
 
 jl 1 
 
 
 
 
 
 
 
 
 c - 1 
 
 Pica. 
 
 Siii.-ill 
 Pica. 
 
 Long 
 Primer. 
 
 ]}oiir- 
 o-eois. 
 
 Brevier. 
 
 JNIiiiioii. 
 
 Non- 
 pareil. 
 
 ^1 
 
 
 
 
 
 
 
 
 10 
 
 50 
 
 43 
 
 40 
 
 30 
 
 32 
 
 20 
 
 25 
 
 11 
 
 45 
 
 40 
 
 30 
 
 32 
 
 20 
 
 27 
 
 23 
 
 1-2 
 
 42 
 
 30 
 
 32 
 
 20 
 
 27 
 
 24 
 
 21 
 
 1- . 
 
 38 
 
 
 30 
 
 27 
 
 25 
 
 23 
 
 10 
 
 li 
 
 30 
 
 31 
 
 20 
 
 25 
 
 23 
 
 21 
 
 18 
 
 i:> 
 
 33 
 
 29 
 
 20 
 
 23 
 
 22 
 
 20 
 
 17 
 
 10 
 
 31 
 
 27 
 
 25 
 
 22 
 
 20 
 
 10 
 
 10 
 
 17 
 
 20 
 
 26 
 
 23 
 
 21 
 
 10 
 
 17 
 
 15 
 
 18 
 
 28 
 
 24 
 
 22 
 
 20 
 
 18 
 
 10 
 
 14 
 
 i:> 
 
 26 
 
 23 
 
 21 
 
 10 
 
 17 
 
 15 
 
 13 
 
 20 
 
 25 
 
 22 
 
 20 
 
 IH 
 
 10 
 
 15 
 
 13 
 
 21 
 
 24 
 
 21 
 
 10 
 
 17 
 
 15 
 
 14 
 
 12 
 
 22 
 
 23 
 
 20 
 
 18 
 
 10 
 
 14 
 
 13 
 
 12 
 
 2:J 
 
 22 
 
 10 
 
 17 
 
 15 
 
 11- 
 
 13 
 
 11 
 
 24 
 
 21 
 
 18 
 
 10 
 
 15 
 
 i:J 
 
 12 
 
 10 
 
 2r, 
 
 20 
 
 17 
 
 10 
 
 14 
 
 13 
 
 12 
 
 10 
 
 20 
 
 10 
 
 17 
 
 15 
 
 14 
 
 12 
 
 11 
 
 10 
 
 27 
 
 10 
 
 10 
 
 15 
 
 l:} 
 
 12 
 
 11 
 
 
 
 28 
 
 18 
 
 15 
 
 IL 
 
 12 
 
 12 
 
 11 
 
 9 
 
 20 
 
 17 
 
 15 
 
 14- 
 
 12 
 
 11 
 
 10 
 
 9 
 
 30 
 
 17 
 
 14 
 
 l:l 
 
 12 
 
 11 
 
 10 
 
 8 
 
 31 
 
 10 
 
 14 
 
 i;; 
 
 U 
 
 10 
 
 10 
 
 8 
 
 32 
 
 k; 
 
 14 
 
 12 
 
 11 
 
 10 
 
 11 
 
 8 
 
 3:^> 
 
 15 
 
 13 
 
 12 
 
 11 
 
 10 
 
 \) 
 
 8 
 
 34 
 
 15 
 
 13 
 
 12 
 
 10 
 
 \) 
 
 <) 
 
 7 
 
 35 
 
 14 
 
 \-l 
 
 11 
 
 10 
 
 
 
 8 
 
 7 
 
 30 
 
 14 
 
 VI 
 
 11 
 
 10 
 
 «j 
 
 8 
 
 7 
 
 37 
 
 14 
 
 12 
 
 11 
 
 10 
 
 
 
 8 
 
 / 
 
 38 
 
 l:'» 
 
 11 
 
 10 
 
 
 
 
 
 8 
 
 7 
 
 80 
 
 13 
 
 11 
 
 10 
 
 
 
 8 
 
 8 
 
 (3 
 
 40 
 
 : 12 
 
 n 
 
 10 
 
 <.) 
 
 K 
 
 7 
 
 
 
182 PRINTING 
 
 The foregoing table may be used as a means for ascer- 
 taining the value per hour of the number of lines contained 
 in solid composition. Should there be any necessary devia- 
 tion from it as to an increase or decrease in the number 
 given (which may arise from intricate or difficult com- 
 position), such deviation must be decided by mutual agree- 
 ment. When the matter is leaded by the compositor, there 
 is generally a deduction of one line per hour. 
 
 Casting-of copy. — An im2:)ortant consideration is that of 
 estimating the number of pages of a required size which 
 any given copy will make. As copy varies so much, especially 
 when in manuscript, a great deal of perseverance is requi- 
 site, and although entirely exact rules cannot be laid down, 
 the following may be recommended as the result of experi- 
 ence. After having made up a composing stick to the 
 measure proposed for the width of the work, take an aver- 
 age page of the. copy, and set from it until a certain number 
 of lines come out even with a number of lines of type- 
 From this a calculation can easily be made for the whole 
 of the work. Suppose a manuscript of 250 pages, and 31 
 lines in a page, be given for casting-off, and it is required 
 to determine how many pages it will make in Long Primer, 
 the page being 28 ems wide and 40 lines of type in length ; 
 and it is found, by setting up a few lines, that 9 of the 
 copy are equal to 7 of the type. Then • 
 250 pages manuscript. 
 31 lines in a page. 
 
 250 
 750 
 
 7,750 lines manuscript. 
 
 ""^ 9 : 7,750 : : 7 
 
 7 
 
 9 ) 54,250 
 
 40; 6, 02 7 lines of type. 
 151 pages of type. 
 
CASTING-OFF COPY 183 
 
 The number of sheets can be ascertained by dividini^ 150 
 by 8, 16, or 24, according to the size of the signature in 
 which the work is to be printed. 
 
 The equivalent depth of ohl type bodies in leads, given 
 here, will be found useful. 
 
 Pearl One four and one eight-to-pica. 
 
 Ruby One four and one six-to-pica. 
 
 Nonpareil Two fours; three sixes; or four eights. 
 
 Minion One four and two sixes. 
 
 Brevier Two fours and one eight. 
 
 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. 
 
 Great Primer... Four fours and two sixes. 
 
 All types on point bodies can be accurately justified with 
 leads, which shows the great advantage of that system. 
 
 To assist in casting-off a volume in any particular fount 
 of type the following table will be of value. 
 
 CoDiparative Sizes of Types. — The following table gives 
 the number of lines or ems deep of Miller and Kichard's 
 types on old bodies that go respectively to the foot, and 
 also the nearest equivalent bodies on the point system, 
 taking as a basis Pica which has six lines or seventy-two 
 I»oints to the inch. 
 
 01(1 Bodies Point Bodies 
 
 Pica 72 lines Twel ve point ... 72 lines 
 
 Small Pica ... 83 „ Eleven „ ... 78-54 „ 
 
 Long Primer .. . 89 ,, Ten ,, ... 8G-40 „ 
 
 Bourgeois ... 102 5 ,, Nine ,, ... 9G 
 
 Brevier Ill „ Eight „ ... 108 
 
 Minion 122 ., Seven 12:}-42 „ 
 
 Nonpareil ... 144 ., Six 144 
 
 Pearl 178 ., Fiv ., ... 172-80 „ 
 
184 
 
 PPJNTING 
 
 Examj)h()f Ui<e of t/w Tahle: A book set in Small Pica 
 (old body), 21 ems (pica) wide, 36 lines to a page, leaded 
 8-to-pica, occiji^ies 500 pages. If the same book should be 
 set in Brevier solid, 18 ems (pica) wide, 45 lines to the 
 page, how many pages will it occvii^y? 
 
 The proportions are as follows— 111 : 83, 45 : 36, 18 : 21. 
 The fact that one book is solid and the other leaded need 
 wot be taken into account, as the difference is shown in the 
 number of lines to the page. Therefore, the numlier of 
 pages required is 500 x 83 x 36 x 21 divided by 111 x 45 x 
 18 = 349 pages, Ans. 
 
 Note: The faces should be of the same series, that is, 
 proportional. If the Small Pica were a condensed letter 
 and the Brevier an extended, the number of pages would 
 be correspondingly enlarged, and vice ver.'<a. 
 
 This table will be found useful in giving a rough and 
 ready idea of the number of words (English language) con- 
 tained in a square inch of printed matter, leaded and solid, 
 on the old bodies. 
 
 
 ^Uha^l 
 
 S.h'Uil 
 
 Soli,] 
 
 Great Primer 
 
 7 
 
 7 
 
 8 
 
 English 
 
 10 ... 
 
 ... 11 ... 
 
 ... 12 
 
 Pica 
 
 12 ... 
 
 ... 14 ... 
 
 ... 15 
 
 Small Pica 
 
 .. 16 ... 
 
 ... 19 ... 
 
 ... 23 
 
 Long Primer 
 
 .. 20 ... 
 
 ... 24 ... 
 
 ... 27 
 
 Bourgeois... 
 
 .. 24 ... 
 
 ... 28 
 
 32 
 
 Brevier 
 
 . . 29 ... 
 
 ... 33 
 
 . . . 38 
 
 Minion 
 
 .. 33 ... 
 
 ... 37 ... 
 
 44 
 
 Nonpareil... 
 
 . . 40 . . . 
 
 ... 47 ... 
 
 59 
 
 Pearl 
 
 .. 55 ... 
 
 ... 65 
 
 ... 81 
 
 N.T). All fractions have been omitted. 
 
BEADING 
 CHAPTER XV 
 
 C^nalilieations necessary for a Correotor of the Press — Itnles for 
 (niidaiK't^ of the ( 'omjiosiiii;- and Keadinu l)e|tartinents— The 
 Ifudiinentsof Reading- — First-i*roof Keadin*;- — Iteadiiit; for IMess 
 — The Selection of Keading Boys — Books showinu Trouress of 
 Work in hand — Reference Works for nse. 
 
 THIS doj^avtment is usually recruited from the com- 
 posing room. If the "corrector of the press" has 
 techuical experience, with a certain amount of literary 
 knowledge, so much the better for his success as a reader 
 and for the reputation of the establishment. Further, this 
 person sho\dd be gifted with a sharp eye for details — 
 whilst he is looking at one point, say a matter of style, he 
 must not lose sight of his coi»y. A practical printer is to be 
 preferr»Ml hy all means to a non-j^ractical man, though 
 thert' are instances of capable men of the latter class filling 
 responsible ]>ositions as ]»rinters' readers; but as a rule a 
 <'om|)()sitor, if he has re<'eived a fair education and has been 
 noted for clean proofs in type-setting, is the most suitable 
 person. There are so many details and technicalities in 
 printing that it is hardly possible for a non-practical man 
 ever to become thoroughly perfect in picking up deviations 
 of style, — he cannot be expecte<l to know even the element- 
 ary principles of composition. 
 
 It is essential in all large and well-regulated ofhces to 
 have a perfect understanding between Ihe (M)m|M»siug and 
 
 1S5 
 
186 PRINTING 
 
 readiug dejmrtineuts as regards matters of style, spelling, 
 punctuation, capitals, quotations, authorities, etc. If these 
 are not perfectly understood, they should be printed and 
 circulated. Even then the points laid down maybe subject 
 to alteration at the suggestion or order of the customer, 
 who has a right to have his own way to some extent. In 
 cases of this nature, the special instructions should be 
 clearly understood by all concerned. 
 
 The rules now appended may serve as some kind of Ijasis 
 for the formulation of a complete set. 
 
 Queries as to Style, etc. — In case of any doubt on the 
 starting of new works (manuscript and reprint), instructions 
 as to style to be adopted should be obtained from the Read- 
 ing Department. 
 
 Spacing. — For j^rose works, if any choice is given in 
 spacing, adopt the wider for leaded and the closer for solid 
 matter. All matter is required to he fairly spaced. 
 
 Punctuation. — The general rule, in the absence of special 
 instructions, is to adopt a medium style of punctuation 
 rather than a loose or stiff method. 
 
 Capitals. — Direct references to any State, Xing, Queen, 
 or Church, and the words He, Him, My, Mine, Thy, Thine, 
 used in relation to the Deity, to be capitalized. 
 
 BroJi'jn Wonlf^ or Lines must always be encircled in proof 
 in the event of an accident in the metal whilst correcting. 
 Picking of sorts from good formes should be prohibited. 
 
 Division of Words. — Do not divide words if it can be 
 avoided without sacrificing spacing to any great degree, 
 especially in wide measures. Divisions should, where pos- 
 sible, be on an etymological basis, as in 
 
 custom-ary, short-ened, triumph-ant, 
 abs-tract, assist-ance, gener-ally. 
 
 able, ible, ing, ism, ive, sion, tion, are nearly always safe 
 divisions. Surnames should not be divided, and initials 
 (of Christian names) should be in same line as surname. 
 
READING 
 
 187 
 
 Spell iiuj and Conij'outnJituj of Certain Worch. — All eccen- 
 tricities in spelling should be avoided. The following are a 
 
 few instances of recognized customs . 
 
 Advertise. 
 
 Almanack. 
 
 Ankle. 
 
 Artisan. 
 
 Ay, yes. 
 
 Aye, ahvays. 
 
 Basin. 
 
 By -and -by. 
 
 By the bye. 
 
 Calendar. 
 
 Cipher. 
 
 Connection. 
 
 Debatable. 
 
 Dryly. 
 
 Ecstasy. 
 
 Enroll."^ 
 
 Enterprise. 
 
 Envelop, v. 
 
 Envelope, 7^ 
 
 Fullness. 
 
 Good-bye. 
 
 Good-niofht. 
 
 Gray. 
 
 Half-a-dozen. 
 
 Half an hour. 
 
 Historical, an. 
 
 History, a. 
 
 Inclose. 
 
 Inquire. 
 
 Instill. 
 
 Intrench. 
 
 Intrust. 
 
 Jailer. 
 
 Judgement. 
 
 Lovable. 
 
 Naught. 
 
 Negotiate. 
 
 Net (price). 
 
 Nowadays. 
 
 O, voc. 
 
 Oh, int. 
 
 Shakespeare. 
 
 Show. 
 
 Steadfast. 
 
 To-day. 
 
 Villainous. 
 
 Wellnigh. 
 
 Woeful. 
 
 Nnmherf^. — In ordinary works, where numbers are men- 
 tioned, put all such in words, but in works of a technical 
 nature, where numbers occur in isolated cases, put all 
 amounts under one hundred in words, al)ove that number 
 in figures. But if the references be many, and all massed 
 together, i>ut all in figures. Definite measurements (feet, 
 inches, yards, etc.) should always be in figures in technical 
 works. 
 
 Names of Books and Authnrities. — Names of works occur- 
 ring in text to he roman and quoted; authorities at the end 
 of a run-on extract to be in italic. 
 
 Authors' names at the end of, say, a poetry extract in 
 text or notes, to be in CAPS and small caps. 
 
 Fi) reign Word^. — Occasional words in English udrks to 
 l>e in italic lower-case. 
 
188 FEINTING 
 
 First-^iroof readltKf. — In bookwork the rudiments aiv 
 to see that the size and shape of the selected specimen or 
 book are properly followed. The next step is to verify 
 signature of sheet, headlines, and folios throughout. After 
 the first sheet it is necessary to get the connection from 
 signature to signature by checking the last word of the 
 first sheet and the first word of the subsequent one. It is 
 customary, in finishing the reading of a sheet, supposing 
 there is no more ready, to indicate the ending of this 
 sheet on the copy by a bracket mark [ (this side of copy 
 being called the "primer"), at the same time markingthe sig- 
 nature and first folio of the next in order on the margin. 
 As the proofs are sent out to the author or publisher it 
 is best to retain this "immer" for reference purposes in 
 reading the next sheet. The length of pages should also 
 be checked, and uniformity preserved as much as possible in 
 all matters of style. The marks and signs used in corrections 
 should be clearly expressed in the margin without being 
 written too large. It is a good plan to draw an imaginary 
 line down the centre of the page by the eye, and write the 
 corrections belonging to the left-hand portion on the left 
 margin, and on the right for the right-hand division of the 
 page. The method of marking the corrections has been 
 shown on page 116, in the section of this work devoted 
 to composition. The proof should never be read to the 
 lad: ho should read the copy to you; this is the safest 
 course, though the other plan is occasionally adopted. If 
 time will allow, it is best to skim through the proof 
 beforehand for letterals and matters of stylo. In altering 
 the make-up of pages, see that your alteration is an improve- 
 ment, and that it will not make matters worse, either in 
 fi'ont or after your proposed change. As far as possible 
 it is desirable that the same reader should have charge 
 of the same work, and also hav<^ the opportunity of re- 
 vising his own first proofs. Particular attention should 
 
EEADINCr 189 
 
 be paid to ]»i\>]>or iianies as regards spelling-; all dales and 
 aiitliorities should be verified as far as possible, and, if any 
 doubt arises, queries should be marked on the clean proofs 
 sent to the customer. Works of peculiar character or in 
 foreign languages, with which a boy cannot be supj^osed 
 to be sufficiently acquainted, should be conqmred with the 
 coi)y word by word and letter by letter. 
 
 Prexs-p roof rending is a responsible duty, and is usually 
 performed by a separate reader — one generally of superior 
 experience and education. In large offices, specialists as 
 regards hmguage and other qualifications are retained, and 
 the work is divided according to the nature of the subject. 
 An elementary knowledge of Latin, French, and Gret.'k is 
 a great acquisition for a first-proof reader, and those more 
 learned in these subjects are sought after as final or press 
 readers. 
 
 Selection of readhiy hoys. — Only those with clear voices 
 and good articulation should be engaged. The boy should, 
 without doubt, be fond of reading, otherwise he Avill find it 
 a very monotonous task. He should, have good eyesight, 
 and be able to grasp the meaning of the subject in hand. 
 Further, he should have a natural aptitude for deciphering 
 the many varieties of handwriting which are placed before 
 liiiii. 
 
 A worl'-hooJc should be kept containing ruled pages — one 
 to each work — showing its i)rogress, i.e., first-proof reading, 
 revising, proofs out and returned for author's revise or for 
 press, and, finally, when printed off. Such a volume will be 
 found exceedingly useful. 
 
 Worh'i of reference. — One other essential in well-regulated 
 offices is a good library of reference l)ooks. Besides dic- 
 tionaries of various languages, a Whitaker's Almanack, a 
 peerage, and other works of a similar nature, are valuable 
 additions. 
 
HAND-PRESS WOEK 
 CHAPTER XVI 
 
 Definition of Press Work — Description of Presses used— The Stan- 
 hope, Coluniluian, and Albion Presses — Instructions for erecting 
 these Presses — Chill of the Alhion Press — Sizes of Presses deter- 
 mined l)y the Platen. 
 
 PRESS work is generally understood to mean print- 
 ing by hand with a flat or platen impression. The men 
 who perform this part in the production of a book are 
 called pressmen. Owing to the increase of mechanical means 
 of printing, the old school of pressmen is fast dying out. 
 Few lads are apprenticed to this department of the business 
 nowadays (although the hand- press forms an admirable 
 groundwork for a printer's education, if not in actual practice 
 most certainly in theory), as the demand for hand labour is 
 somewhat limited, the great improvements in machinery of 
 various classes allowing of really good work being executed 
 by machinery. The small platen machines, propelled by 
 either foot or steam, have also very largely reduced in late 
 years the amount of work done by the hand-j^rcsses even 
 after the introduction of the larger printing machines. 
 Notwithstanding this, certain classes of work are still exe- 
 cuted by the hand-press, and the exercise of a pressman's 
 calling requires a deal of practice apart from the manual 
 labour bestowed on the printing off. Moreover, it is inter- 
 esting to keep on record the methods formerly emj^loyed in 
 printing by hand. 
 
 An ordinary press, with two men working at it, one rolling 
 and the other pulling, is capable of producing only about 
 two hundred and fifty impressions per hour, even when in 
 
 190 
 
HAND-PRESS WORK 
 
 191 
 
 full swinc^, caud after all the making-ready has been finished. 
 Small numbers, such as for lar^-e-papcr editions, and some 
 lew works in colours, are usually rek'gated to this dei>art- 
 ment. The preparatory stages in getting a forme ready to 
 print are more accessible on the press, and a machine is 
 paying best when running; hence the reason for small num- 
 bers with frequent making-ready going to the press-room. 
 A ]n'essman's educational qualifications may not always be of 
 
 1M(;. 106. THE LEVER OF THE STANHOPE PRESS. 
 
 the same standard as his fellow worker the compositor, but 
 it is requisite that he should be intelligent, and capable of 
 exercising sound practical sense in the performance of his 
 duties. These essentials are only acquired in a proper 
 manner by long experience, and a good workman can always 
 command constant employment. 
 
 The earlier presses were made of wood, and the bed 
 was generally of stone placed in the carriage or, as it is 
 called, the coffin. The first iron press was invented by Earl 
 Stanhope in the beginning of the last century, and became 
 
192 PRINTING 
 
 the l>;isis fur the presses uuw used. The action of tlie levers 
 employed ou this press is shown in fig. 106. Various alter- 
 ations and improvements were made from time to time; it 
 is only necessary to give i)articulars of those more gener- 
 ally in use at the jn-esent day, viz., the Columbian and the 
 Albion. Formerly pressmen were able to erect and take 
 down their jjresses, but this is now generally accomplished 
 by the printer's engineers, though it is essential that the 
 men who work them should have a general knowledge of 
 these operations in case of emergency, and we give here a few 
 hints for this purpose on each kind of press in turn. 
 
 We will first take the Columbian press, fig. 107, as the 
 oldest in make. This press, it is well to mention here, is not 
 so much in use as the Albion, because the latter is better 
 adapted for sizes of double crown and smaller, whilst the 
 Columbian is recommended for larger than double crown, 
 esj)ecially as greater strength is to be obtained by that 
 press. Each part of the press has a distinctive name, and 
 the best way to erect it is to follow the suggestions now 
 offered. 
 
 Erecting the Coliimhian press. — Place the feet on the 
 staple in the positions as marked, and raise it ui»on them; 
 then j^lace the bar-handle in, with the bolt belonging to it; 
 put the princij^al lever into its place, and then the bolt 
 which connects it to the staple; then the angular or crooked 
 part, which has one square and three round holes, through 
 it, into the mortise, which is in the projecting part of the 
 long side of the staple, and place in the bolt which attaches 
 it to the staple. In the extreme edges of the heads of the 
 two before-mentioned bolts you will observe marks, and 
 corresponding marks over the holes through which they 
 pass; put the bolts in so that these marks meet together 
 and correspond, and so on, until you have all the remaining 
 parts in their respective j^laces. The four screws for the 
 platen, which have heads on one side, are intended to attach 
 
COLUMBIAN HAND-PRESS 
 
 193 
 
 tlic |»l;it('ii to the piston, wliicli, being put into their proper 
 |tliiees, are secured hy the four small blocks of iron whicli 
 accompany them. To increase the power, turn the nut in 
 the rod so as to shorten it, and to decrease it, turn it the 
 
 
 Via. 107. COLUMBIAN HAND-IMtESS. 
 
 reverse way. By the nut on the iron screw, which connects 
 tlie main and top counterpoise levers, the rise and fall of 
 tlie i)laten may be regulated, so as to clear the headdiands 
 of the tympans, which is done by screwiiiL;- the iron iiu1 nj' 
 as far as is necessary, fei adjusting tlic platen so as to 
 a]>proach iho forme exactly parall<'l, it is necessary, after 
 
194 PRINTING 
 
 haugiug on the i)lateii and having a forme on the table, to 
 sqnare it to the tympans,then make a pull, and hold the bar- 
 handle home until some one else screws the four platen bolts 
 to an equal tightness. The small holes which communicate 
 with the different bolts require a small quantity of machine 
 oil occasionally. The impression may be increased by put- 
 ting thin pieces of tin or sheet iron, cut to the size of the 
 plate of iron which lies between the platen and the piston, 
 secured by the four screws on the top of the platen, and 
 j^lacing it under the piston; it can then be readily seen 
 whether everything is in its proj^er place, by the perfect 
 ease with which the bar-handle acts. 
 
 By comparing these directions with the illustration of 
 the press the different parts may be identified. As will be 
 gathered, the impression is obtained by means of levers, 
 somewhat on the plan of those used by Earl Stanhope in 
 his press. The power is given by the heavy cross-beam at 
 the head of the press, set in motion by pulling the bar- 
 handle across, which acts on the horizontal rod attached, 
 and also brings the elbow into play, great power being thus 
 obtained. The top cross-rod, on which the eagle is placed, 
 is the counter-weight, which falls back into its original 
 position — having been raised in the act of impression — 
 when the recoil of the bar-handle has taken place. These 
 presses were even made as large as double royal. 
 
 As before said, the Albion, fig. 108, is in more general 
 use, because of its more accelerated movements in printing. 
 
 As in the case of the Columbian, each part has its parti- 
 cular name, and the hints given, with those as applied to 
 the erection of the Columbian press, will be sufficient to fix 
 up one of this kind. 
 
 EreduKj the Albion press. — Place the feet on the staple 
 as marked, and raise it on them; then place the spring and 
 box on the top of the staple, dropping in the long loop bolt, 
 which is connected with it, into the long hole in the staple; 
 
ALBION HAND-rKESS 
 
 195 
 
 Iheii connect the piston by passing the round bolt through 
 Ihe hole in the staple, and fasten with pin and washer; put 
 the bav-luiiidlc in its place Avith bolt, tightening it so as to 
 
 Fif!. 108. ALRION llAXn-l'KKSS. 
 
 allow the bar-handle to be free; then attach on, with the 
 four screw^s, the slides or guide-pieces to piston; then put 
 the chill into the piston, also the tumbler or wedge-shaped 
 ].iece, taking care that the Iniglit or numbered side is to- 
 Wiinls thr bar-handle; then euunect tlic chill with the bolt 
 
19G 
 
 FEINTING 
 
 in the handle, screw up the nut or top of the spring-box 
 sufficiently to draw back the bar, so as to keej) all parts in 
 their j^laces. The wedge and l^rass guard in front of the 
 jjiston are intended to regulate the pressure. The other j^arts 
 of this press may be fixed in the same manner as the 
 Columbian. 
 
 These presses are also made in very large sizes. The 
 "power is obtained by means of levers, which act on an in- 
 clined piece of steel called a chill; by pulling the bar-handle 
 
 Via. 100. CHILL IX ACTION. Via. 110. chill out of action. 
 
 across, this chill is brought from the sloping into a vertical 
 position at the precise moment of impression. On the bar- 
 handle being allowed to go back to its original position, the 
 chill resumes its former inclination, and the platen is raised 
 from the surface of the type by the recoil of a spring con- 
 tained in the box at the head of the press; this then allows 
 the forme to be run out, rolled, and run in again for success- 
 ive impressions, the sheet as printed being first removed, 
 and another laid on its place. The exact position of the chill, 
 figs. 109 and 110, in and out of action, is shown above. 
 
SIZES OP PKESSES 
 
 197 
 
 Presses are iiiacle in various sizes, although nowadays 
 rarely larger than super-royal or double crown, because 
 the power-] tress has largely superseded the hand-press. 
 They are classified, commencing with the smaller, as card, 
 quarto, folio, and broadside, corresponding with the differ- 
 ent sizes of paper used in printing. The size of platen 
 determines the classification, and the same conditions apply 
 to both kinds of presses mentioned. Card or (juarto presses 
 measure something less than the smallest dimensions now 
 ixiven. 
 
 Name of Press. 
 Foolscap folio . . . 
 Post ,, 
 
 Demy 
 
 Foolsca]) broadside 
 Crown ,, 
 
 Demy ,, 
 
 Royal ,, 
 
 Super-royal ,, 
 Double crown ,, 
 Double demy ,, 
 Double royal ,, 
 
 Size of Platen. 
 15 X 9 J inches. 
 16x11 
 18x12 
 19 X 14[ 
 21x16 
 24x18 
 26 X 201 
 29x2l" 
 84x22.V 
 36x23' 
 40x25 
 
 For export purposes, or conveyance to great distances, 
 presses are made of a portable kind, the stajile being in 
 two portions, which is an advantage, on account of the 
 weight of this part of the press, but a disadvantage jter- 
 liaps to its strength. 
 
CHAPTER XVII 
 
 A]ipliances, Tools, and Materials used in connection with Hand- 
 Presses — The Tynipan and Prisket — The Bank and Horse— Ink 
 Tahles — The Braver and Slice— Ink Knife and Sheep's-foot. 
 
 THE most important adjunct of the 2:)ress are the 
 ti/mjjans. They are oblong iron frames, consisting of 
 " inner" and " outer " respectively — the latter is the larger 
 and outside one, as its name implies, and is nearer the type 
 in printing off. When the inner is laid inside the outer 
 the two frames are flush, and are fastened by means of 
 semicircular hooks on the outer, which inclose the studs 
 on the inner tympan. The object of the tympan is, first, 
 to contain a few sheets to receive the impression, and also 
 the making-ready of each forme; when fastened down and 
 turned uj) to its proper position, the sheet to be printed is 
 laid upon it. 
 
 The frishet is a light iron frame attached to the upper 
 part of the tympan by means of a knuckle and pins at 
 either corner. Its object is to keep the sheet in its position 
 when turned down over the tympan, and also to prevtnit 
 the blacking or inking of any part of a forme not to be 
 printed. It is covered with thick paper, an impression of 
 the type is taken on it, and the exact parts to be printed 
 are cut out. It should have been said that the two tympans 
 are neai'ly always covered with parchment — this material 
 being the most durable and less inclined to become loose 
 or baggy. Cambric, or even silk, is sometimes used for 
 
 198 
 
HAND- PRESS APrLIANCES 
 
 199 
 
 t'xceptioucilly tine work, 1»ut of course it does not last long, 
 and is exi)eusive. 
 
 To assist the pressman in <,^etting a proper purchase it is 
 customary to have an inclined wooden i<tool fastened to the 
 llooring- immediately under that part of the ribs which the 
 l>ar-handle would be pulled across. To prevent the frisket 
 straining the knuckle-joints attached to the tympan and 
 
 Vic. 111. 1]ANK, WirU HOUSE. 
 
 falling back too far when "flown," i.e., turned up tor the 
 }'Ui-pose of taking ott" the sheet just printed, it is necessary 
 to have some kind of stay fastened up to the jiroper height, 
 to catch the top part of it — this is generally made with a 
 [»iece of wood fastened from the ceiling. 
 
 Several other things are necessary for the outfit of a 
 [)ress, and the next in importance is a hatik, fig. Ill, an 
 oblong deal table, with an undershelf. This shelf is handy 
 for ])lacing waste sheets on, and for holding the ditt'errnf 
 
200 
 
 PRINTING 
 
 paj^ers for ma king- ready or pulling proofs aud revises. 
 The addition of a small drawer is to lie recommended for 
 lioldincr revises and " colour " sheets. In connection with 
 this bank a wooden horse is used, an inclined stage with 
 a sloping back. The paper to be j^rinted is placed on this 
 horse, as is also the heap when the second side is being 
 worked off. As the sheets are printed they are placed on the 
 end of the bank farthest from the horse. 
 
 Fr;. 112. C^ LINDIIICAL INK TAIJLE. 
 
 ////.- lahles are of two kinds, cylindrical and brayer. The 
 best kinds are those made entirely of iron, because they are 
 more solid aud firm in standing, but under any circum- 
 stances they must be fastened to the floor in the required 
 position, as the suction or lug of the roller is apt to cause 
 them to rock. 
 
 The cyluulrical table, fig. 112, gives out the ink for distri- 
 bution as necessary when the crank handle is turned, but 
 it need not be turned each time fresh ink is taken, as there 
 
HAND-PRESS APPLIANCES 
 
 201 
 
 will ]>c surtieieiit ou the cyliucler for several distributions il" 
 ilie Avork is not a heavy one. 
 
 Kk;. 11;3, JUiAVEii ink taiile 
 
 The hraijer tabic, Hg. Ho, is used thus: a small quantity 
 of ink is placed loosely on the back of the table, and, with 
 a small wooden implement called a hmi/er, fig. 114, the ink 
 
 Fk;. 114. INK i;i;a^ hi;. 
 
 Fk;, 115. INK SLICE. 
 
 is brayed or rubbed out as required. The ink, as it is 
 taken from the can, should l)e lifted l)y the aid of an ////■• 
 slice, fig. Ho. 
 
202 
 
 PRINTING 
 
 The surfaces of these tables should be plaued quite 
 smootli, and also be kept entirely free from dirt or dust. 
 For colour- work irou surfaces must not be used, but slabs 
 
 Fig. 116. PEDESTAL INK TABLE. 
 
 of either porcelain or marble substituted. These may be 
 fastened down on the planed iron table with thick string 
 or some other contrivance. This will prevent jarring, more 
 especially if a few thicknesses of wrapper paper are placed 
 
 Fig. 117. ink knife. 
 
 between the two surfaces, and at the same time possibly 
 obviate a fracture of the top slab. 
 
 A small table, called a jx^dt'^tal table, fig. 11 G, is handy for 
 small j>resses, occupying as it does but little room. 
 
 For the mixing of colours a special knife, fig. 117, is used. 
 Each press should have, in addition, a mallet, shootimj 
 sticl-, and planer, together with a hammer for fastening 
 
HAND-PEESS APPLIANCES 
 
 203 
 
 the foriiu' on llie pivss; if this hitter has a i4a\v it is 
 useful in raising formes on the press. This particular 
 hanniier is called a sheep s-f oof, tig. 118. The pressman 
 
 Fk;. 118. sHEEr's-rooT. 
 
 should also be furnished with a sharp pair of scissors and a 
 cutting-out knife, both of which are employed in making- 
 ready. 
 
CHAPTER XVIIl 
 
 Itollcrs — Vjuioties of Hand Kollors used— The oM-fasliioiied Inkiiij;- 
 liall— llecipes for Uoller Composition — Casting liollers — Various 
 Hints as to Condition and Treatment of Hollers. 
 
 THE rollers, lig. 119, used for press work are made of a 
 composition, the principal ingredients being treacle 
 and glue. They revolve on an iron frame provided with 
 two wooden handles. At the two edges of these frames 
 
 Fig. 119. UAXU -PRESS EOLLEK. 
 
 a j)oiiit is made, which fits into a metal hollow in the wooden 
 spindle on which the roller composition is clothed. The 
 frame is made in two pieces which overlap, and is fastened 
 by means of collars and nuts so that, when these nuts are 
 undone, the two halves oj^en out and thus allow the old 
 roller to be withdrawn and a new one substituted and re- 
 fastened up. The cut, fig. 120, shows the frame itself, with- 
 out the roller. 
 
 Rollers are made to any size required, according to the 
 dimensions of the work in hand, such as demy, royal, double 
 crown, etc. 
 
 204 
 
KOTJ.ET^S 
 
 205 
 
 For small work of a johbini;' character, a roller with a 
 .siuj^-le handle, fi<4'. 121, is siiflicieiit. We also show the old- 
 tashioued inlc'uKj hall, tig*. 122, which was used tor l)eatiuij;- 
 the surface of the type before rollers were made of com- 
 position. These balls are rarely used now, and only for 
 
 Fig. 120. roller frame. 
 
 very special purposes. Wood engravers use them sometimes, 
 ;is they are handier than a roller. The present system of 
 rollino; is far preferable to the old one of beating, which 
 was indeed a laborious task, though it is astonishing what 
 
 Fm;. 121. .lor.mxf; ijoi.lkr. 
 
 FlO. 122. IXKINO P.ALT- 
 
 good results were obtained from the inking balls as regards 
 ♦ 'venness of colour. Without the invention of cast rollers, 
 machinery, w ith its automatic rolling and inking api>liances, 
 would not have made the immense strides it has. 
 
 Rcdlers are made on a large scale, by firms \\li«> make 
 the manufacture a feature, by the aid of machinery, solid 
 moulds nr tubes bcinu" used in all sizes, both in length 
 
206 
 
 PRINTING 
 
 and in circumference. They can be had by the single 
 roller or by the contract system — a definite price being 
 charged, so much per quarter, for a given number of rollers 
 to be kept in working order and renewed as frequently as 
 required. This plan is adopted by many large offices in 
 London, as it is found more economical in the long run 
 than to make their own. 
 
 However, we propose to show how ordinary rollers may 
 be cast, from various recipes given for different com2)ositions. 
 There are some kinds advertised as patented which have 
 
 Fir,. 123. ROLLEl! lOMI'OSITlON KETTLE. 
 
 great lasting properties, but the manufacture of these is a 
 trade secret. To be prepared for any contingency that may 
 arise, good serviceable rollers may be prepared from the 
 following — the figures are "parts," and should be calculated 
 by weight: 
 
 (a) Treacle 12, glue 8, Paris white I. 
 
 (h) Glue 10, sugar 10, glycerine 12. 
 
 (c) Treacle 12, glue 4. 
 
 As will be observed, glue and treacle form the i)rincii)al 
 parts of these rollers. Glycerine and Paris white may be 
 added according to exjierience and fancy. The success of the 
 
CASTING ROLLERS 
 
 207 
 
 roller depeuds largely on the quality of the ingredients used, 
 and it is advisable to use only those of the best kind; the 
 glue in particular should be clear in colour, and also break 
 shortly and crisply. The glue, after being broken, should 
 remain in soak till it is rendered soft, 
 and then be placed in the comiioxituni 
 kettle, fig. 123. 
 
 When sufficiently hot and dissolved, 
 the treacle and otheringredients should 
 be added. It is then necessary for the 
 whole to boil for about an hour. Tak- 
 ing, for example, a royal roller for 
 working at hand-press, the mould 
 should be dry and quite clean, warmed, 
 and anointed with oil : this enables the 
 roller to be delivered more easily from 
 the mould. 
 
 For small rollers the solid mould, fig. 
 124, made in one piece, is well adapted. 
 The drawing here given shows the posi- 
 tion of the roller inside the mould by 
 the dotted lines. For the larger kind 
 we recommend the moulds made in two 
 sections, as in fig. 125, and, to show the 
 method of closing up, fig. 126 wiH 
 suffice. The stock must be fastened to 
 the end-piece, and placed in its posi- 
 tion in tlie mould. In order to turn 
 out a good roller, })Our the composi- 
 tion in slowly without a break, and in 
 doing so avoid pouring it on the sides of the mould, but 
 rather against the stock. Well fill the mould over and above 
 the length of the stock, and tlien stand it aside to cool. 
 When removed I'roni llir mould 1 he rollrr should be kept in 
 an even temperature, protected from dust l>y lieing place<] 
 
 Fk;. 124. 
 
 SMALL KOLLElt MOULD. 
 
208 
 
 PRINTING 
 
 ill a box or cui)boar<.I constriictccl for the purpose. Before 
 doing- this, cut off the suj)erfluous composition at either end 
 of the roller. 
 
 KoUers are very subject to the iiifiuence of cUmatic and 
 atmospheric conditions — the least change affects them, and 
 
 Fig. 125. roller mould (open). 
 
 they require constant attention. In cold weather they be- 
 come hard, and in hot weather soft. 
 
 They should not be too hard or too soft, neither crack nor 
 slcin on the surface, and there should be some amount of 
 
 Fig. 126. roller mould (closed). 
 
 " lif(^ " in them, that is to say, there should l>e a certain 
 amount of " tackiness " when manipulated with the hand. 
 Sometimes they are too fresh or new — "green" being the 
 more familiar technical term; when in this state, they 
 should b(» ]»ut aside to mature. Improper treatment in 
 
CASTING ROLLERS 209 
 
 washiiiL,^ has very tivqiientlv iinicli to do with the bad condi- 
 tion of rollers. Lye should be used sparingly, and only when 
 the roll(>r has been in use some time, in fact, lye would 
 ruin sonic patent kinds of rollers. For washing rollers used 
 in colour- work benzine or turpentine should be employed. 
 
 Many of these suggestions and hints for the manufacture, 
 care, and treatment of rollers will be found useful in emer- 
 gencies. 
 
 T<f Cast Unllers. — See that the roller-mould is perfectly 
 clean ; make a mop and with it oil carefully ever}' p>art of 
 tlie interior of the mould. Now turn some attention to the 
 stock; be quite sure that it is perfectly dry, and if the 
 composition is apt to slip off it, bind some string very lightly 
 u])on it, then place it in the mould, being very careful that 
 it stands true iu the middle; fit on the guide at the top, 
 and fasten the stock down to the mould with string lest it 
 should rise; then warm the mould all over. Meanwhile 
 the composition will have, been melting: take care that it 
 does not boil, and stir it about occasionally. Never re-melt 
 old composition without a good proportion of new, and if the 
 old is very hard, then add some treacle. It is l)est to use 
 one of the special kettles sold by the printer's furnishers, as 
 otherwise there may be some difficulty in getting the com- 
 position to melt properly. When it is quite melted, care- 
 fully pour it into the niouhl, filling it to the level of an 
 incli or two higher than the end of the stock to allow for 
 shrinkage. Let it stand for about twelve hours; then pre- 
 l>are to draw the roller out of the mould. If it will not come 
 readily, one })erson must hold the stock and another the 
 mould, and both must pull without jerking in opposite direc- 
 tions. Pushing upon the lower end of the roller may perhaps 
 be necessary also, but if the mould has been properly oiled 
 there ought not to be mu;-h difficulty in drawing it. When 
 out, trim the ends, and hang it up in a dry, cool place for 
 a day or two before using. 
 
 p 
 
210 PRINTING 
 
 Luhrlfiituifj Roller Moulds. — Sperm and lard oils are the 
 best. If })roperly used, uo trouble will be experienced in 
 drawing the rollers. 
 
 Fads ahont liollers. — The setting of a roller, especially on 
 a cylinder machine, requires care and judgement. Rollers 
 cast from re-casting composition never shrink. The roller 
 trucks should be one-sixteentli of an inch less in diameter 
 than the roller. Glue and molasses rollers should be kept 
 in an air-tight box with a shallow jar at the bottom for 
 water as needed. In damp weather remove the water, in 
 dry weather let it remain. Rollers when out of use for any 
 length of time should be put away with the ink on them 
 to protect their surface from the action of the atmosphere. 
 Several things enter into the choice of composition, such as 
 quality of ink used, climate, class of work, requirements of 
 l^resses, besides other details. The cores should be cleansed 
 by scra2>ing, or, if of wood, by scalding in strong lye or 
 soa])suds, and then dried. New rollers should be washed 
 in sperm or coal oil before use; it will prevent the strong 
 suction. Turpentine is better than benzine for removing 
 coloured inks. Never use lye on new rollers. 
 
 Treatment of Old Boilers. — When rollers have been lying 
 for weeks with a coating of ink dried on to the surface — a 
 circumstance which frequently occurs, more especially when 
 coloured inks have been used — get an ordinary red 2)aving 
 brick (an old one with the edges Avorn away will be the 
 best), place the roller on a board, then dip the brick in a 
 trough of cold water and work it gently to and fro on the 
 surface from end to end, taking care to aj^ply plenty of 
 water, dipping the brick in repeatedly, and in a short time 
 the ink will disappear. Nor is this all; because, if care and 
 patience be exercised, this treatment Avill put a new face to 
 the roller, making it almost equal to new; the coating of ink 
 having, by keeping the air from tlie surface, tended to pre- 
 serve the roller from perishing. Lastly, sponge off clean. 
 
HINTS ON EOLLERS 211 
 
 Good Wearin'i UoUers. — It is said that rollers made from 
 Chinese sugar-cane molasses are far superior to those made 
 from any other kind. The syrup will bear long- hoiling with- 
 out granulation, and when cast into a roller is much tougher, 
 more elastic, and has more suction or tack than those made 
 with the material in common use. 
 
 Rollers out of JJse. — -Rollers put away in an upright ])osi- 
 tion, and allowed to remain idle for a week or longer, are 
 observed to have a smaller circumference near the ends than 
 at the middle. To avoid this it is suggested that the rollers 
 should be placed in boxes lying lengthwise, with a bearing 
 at both ends in the sockets provided for the purpose. 
 
 Arched Hollers. — The arching of a roller is generally 
 caused by the roller becoming dried or hard. When this 
 takes place, and the outside edges bear off the centre of the 
 roller, cut a strip of the composition off each end with a 
 sharp knife. 
 
 FlariiKj a Boiler. — This operation is both dangerous to 
 the roller and sometimes unsatisfactory in its results, but 
 nevertheless we give particulars how to proceed with it, as 
 it is a very favourite device with some pressmen, especially 
 in small offices. It is as follows: Take a sheet or two of 
 waste printing paper, make it up into a loose torch, and 
 wlien lighted flare the roller all over, just sufficient to add 
 a new face to it without melting the composition. This plan 
 will, if successfully executed, close up the fissures caused 
 through l)eing cut by brass rule. 
 
 WKshinfj Rollers. — Rollers must not be washed with lye 
 until they are beginning to wear somewhat. Smothering in 
 common ink and scraping are recommended in ] deference. 
 Old enamel-faced rollers may be washed with turpentine 
 to great advantage, as it makes them sticky, which jiro- 
 duces a slight temporary suction in the roller. Washing 
 with turpentine will soon spoil a good roller, the stickiness 
 produced becoming a dryerorcoating on the facoof the roller. 
 
212 PEINTINa 
 
 Cool'nuj Rollers. — As iee-cliests iire now very common, it 
 may Ite well to warn the printer on no account to put a 
 roller in such a recei>tacle, or it will soon become frost- 
 bitten and utterly useless. It might be thought, when the 
 r(.)ller is almost separating from the stock in hot weather, 
 that almost any mode of cooling it would be desirable. The 
 sudden chill to the surface is, however, quite enough to 
 spoil the roller before the cold has time to penetrate 
 sufficiently deep to harden it. If unworkable, owing to 
 the excessive heat of the atmosphere, hang the roller all 
 night in a cool, dry cellar, or in any cool place where a 
 good current of air can get to it. If it is a small roller, 
 swing it well to and fro for a time before using it. 
 
 Warming Hollers. — If rollers have become too cold, place 
 them in warm rooms, not near the fire, until they recover 
 themselves. When they begin to work, place a candle or 
 gas jet under the ink table — if an iron one, the flame about 
 a foot below the iron — and occasionally vary the position of 
 the light. The table must not be made hot, and the heat 
 applied must be im2)erce])tibly small, as the object is only 
 to remove dampness and the rigidity of the cold. 
 
 Damp or Greasy Hollers. — These may be kjiowu by their 
 printing a dull, dirty gray instead of a proper black. If 
 new, wash them in turpentine; if old, in lye. A far better 
 l)lan is to smother them in common ink-scrape, and sheet 
 them ; this is nearly always effectual. If a damp roller 
 does not recover with this treatment, it should l)e hung uj) 
 in a warm room until it revives. 
 
 Cracked or Cut Rollers. — Caution is necessary in using a 
 cut or cracked roller for colour- work, as the old black ink 
 may ooze out of some of the apertures. When working at 
 press always cut round those parts of the roller-handles 
 which rest u2>on the ink table before commencing colour- 
 work, or the blacli: ink which adheres to them will get on to 
 the slab and deteriorate the colour. 
 
HINTS ON ROLLERS 213 
 
 To Dry or Warm a Boiler at Short Notice. — Hold it a 
 few feet from a moderate fire and keep turning the roller 
 on its axle for five minutes. Or, take some sheets of waste 
 paper and make them as hot as you can, wrapping the 
 roller in them, one after the other. If a new roller be re- 
 quired from a roller-maker, always send a blanket to wrap 
 it in. If rollers are to be sent by train, they should be sus- 
 pended in a box. 
 
 Too Neiv Rolleri^. — Coat the roller by distribution with 
 balsam of capivi and let it hang for two hours ; after which, 
 scrape it. This evil-smelling drug is also very useful if 
 mixed with black or coloured inks when they do not work- 
 satisfactorily. 
 
 Preserving Rollers. — A simple process for preserving and 
 renovating ink rollers, and adding greatly to their longevity, 
 is as follows: A steam jacket is added to the roller closet, 
 and numerous fine jets are so arranged as to play gently 
 upon the rollers within. These jets thoroughly cleanse the 
 surface of the roller, the skin on its face disappears, the 
 body of the roller absorbs a portion of the heated vajiour, 
 and the whole is kept in a fresh, elastic condition, I'oady for 
 work without further prejiaration. Experiments by practical 
 men seem to show that the contrivance possesses consider- 
 able value, and is likely to prove very economical in large 
 printing establishments. 
 
 To Keep Boilers. — In Grermany the following preservative 
 of rollers when not in use is often applied: Corrosive sub- 
 limate, 1 drachm, fine table salt, 2 oz., are put together in 
 half a gallon of soft water. The mixture is then allowed 
 to stand twenty-four hours, and must be well shaken l)efore 
 using. It is app]i('<l with a s])onge after wasliing. 
 
CHAPTER XIX 
 
 Inks — The Management of Inks — Description of various Kinds 
 and Properties of Good Inks for <Ufferent I'urposes — Recipe for 
 Black Ink — Mixing of Coloured Inks. 
 
 THE ink used for printing purposes is generally manu- 
 factured, as is the case with rollers, mainly by outside 
 persons, and the printer is relieved of the trouble of making 
 his own. Perhaps this is for the best, for the firms which 
 make it their business are lietter able to give it their entire 
 attention, and, further, it is produced ander the care of 
 responsible persons with some chemical knowledge. 
 
 Ink is a substance consisting of varnish, with an added 
 colouring matter. Taking black ink as an example, this 
 varnish is generally comj)osed of the best linseed oil, boiled, 
 with the addition of some resin, and occasionally soap — the 
 colouring being obtained by means of lampblack, which 
 should be of the best kind, some makers intensifying the 
 depth by a little indigo or Prussian blue. 
 
 The management of inks seems to be little understood 
 by many printers. Printing ink is substantially a paint tri- 
 turated to extreme fineness. There are occasions, of course, 
 when the least amount of colour which can thus be put on 
 is sufftcient, but it usually needs more, and especially for 
 handbills and j^osters. The first recjuisite in this case is 
 that they shall catch the eye quickly, which cannot be done 
 by hair-line faces or small quantities of ink. They should be 
 charged with colour. Principal lines should have more 
 
 •214 
 
INKS 215 
 
 impression tliaii ^vellkel• oiios; tliis is i;'Oiicrally better aceoin- 
 plislied by imderUiys than overlays, for not only is the im- 
 pression stronger, hut the line will thus take more ink. The 
 more slowly the impression is made the blacker the line will 
 appear, as the ink has then time to penetrate. It is well some- 
 times, when extra solidity of colour.is required, to run a good 
 piece of work through a second time. House-painters do not 
 finish a house at once, but lay on one coat after another until 
 the requisite intensity of colour is obtained. Especially 
 should this precaution be followed for pale or weak colours, 
 such as the various yellows. One great reason why this hue 
 is hardly ever used by printers, except through bronzing, is 
 that it always looks pale and ineffective on paper, and is 
 lost in artificial light. The colour, in its various modifica- 
 tions with red and black, is very effective, as can be seen 
 by looking at the leaves of trees in autumn, which are 
 compounds of green, brown, red, and yellow, the first soon 
 disappearing, and brown being the last to go. 
 
 Inks of various c|ualities, and for different purposes, can 
 l)e obtained. What will suit one class of work is not always 
 adapted for others. Broadsides require a thinner kind of ink, 
 which need not be expensive. Bookwork should be })rint('d 
 with a good quality of ink, and, further, the conditions under 
 which it has to be applied must be taken into consideration. 
 Hand-presses require a stiffer character of ink, whereas 
 machine printing demands a softer kind, that will distribute 
 more easily, and this too depends on the rate of production of 
 the machine. Jobbing inks, of a quick-drying character, are 
 necessary for the speedy turning out of such orders. Illustra- 
 tions, too, have a special make, designated " cut " ink, which 
 is higher in price. Many improvements have been made in 
 the manufacture of ink from time to time, which have tended 
 very greatly to reduce the price, but the printer is strongly 
 urged not to use a cheaj>article for good work, if he is desirous 
 of li is work retaining a permanent colour. Select an ink which 
 
216 . PRINTING 
 
 will work clean, aucl one which is a good black, neither blue 
 nor brown in shade. This can be better seen in the printing 
 of large type, where there is a larger mass of ink. Some 
 inks have a tendency to turn brown in drying, and this 
 should be carefully watched. The drying properties should 
 be noticed — offset, after a reasonable time, being as great 
 an objection as too quick-drying, when used for bookwork. 
 The paper to be used must also be considered, whether wet 
 or dry. Ink which is used on dry pa23er must be naturally 
 more rapid in its action, and a smaller quantity is required 
 in printing on such papers; on the other hand, dampened 
 papers require more ink and need not be so quick-drying 
 for the drying of the paj^er absorbs the ink. Coloured inks 
 are most difficult to manufacture, and necessitate very great 
 care in working. The colours should be well ground and 
 mixed, and varnish of only the very best equality used. Lighter 
 colours are usually more easy to print, l)ut some dark colours 
 are more difficult to work than others of a darker hue. 
 
 Savage, in his book " On the Preparation of Printing 
 Ink," 1832, gives a recipe for a good black ink for ordinary 
 work : 
 
 Balsam of capivi . . , . 9 oz. 
 
 Best lampblack . . . . 3 ,, 
 
 Indigo or Prussian blue . . 1} ,, 
 
 India red . . . . . f ,, 
 
 Tur])entine dry soap . . . 3 ,, 
 
 This makes a total of 17 oz., the whole to be well ground. 
 For the grinding of ink, mUls, fig. 127, are made, but for 
 small quantities the slab and muUer may be used. Under 
 any circumstances, the latter articles should be kept if the 
 ])rinter desires to fall back on his own resources for coloured 
 inks. For this juirpose, too, the prepared varnish must be 
 obtained, and an assortment of dry colours kept in stock 
 fiU' iinmediate requirements. 
 
INK MAKING 217 
 
 In the makiiio- of coloured inks cleanliness and thorough 
 grinding and mixing are absolutely necessary. Avoid add- 
 ing white for reducing colour, as it takes away the brightness 
 —this especially refers to the light shades of colours. The 
 
 Fi(i. 127. TXK (ii;ixin.\(i .miij.. 
 
 addition of a little curd soaj) prevents the ink clogging the 
 face of the type, and also reduces the tendency of tlie to]) 
 jiart of the ink to "skin" when in the can. 
 
 As a general rule ink should be tampered willi as lilllc 
 as possible, for any doctoring of the pigment has a deteriorat- 
 iui-- effect \vlii<li iiiav ulliiiiatclv aiTccf its colour (»i- sliadc. 
 
CHAPTER XX 
 
 Printing by Hand-presses — Method of covering Tympans — Fixing 
 Forme on Press and Making-ready — Cutting the Frisket out — 
 (Jhtaining Register — Fixing the Points — EvenCoh)ur in Working 
 off — Lul»rieating the Press — Difticulties due to Change of Tem- 
 perature — Set-off— Slurring — The Cleansing of Type. 
 
 HAVING obtained a knowledge of the presses gener- 
 ally in use, and acquired some ideas on the subjects 
 of rollers and inks, the learner may proceed to commence 
 operations by covering the tympans, both inner and outer. 
 Each skin of parchment should be selected some two or 
 three inches larger than the frame of the tympan for which 
 it is required. It should be uniform in substance as far as 
 possible, and quite free from holes and other blemishes. 
 Lay one of the skins on a table, or bank, if wide enough, and 
 l^lace the frame on it as near the centre as possible, thus 
 leaving an equal margin all round for turning in or lapping 
 over. The best surface of the parchment should be turned to 
 the side which will be nearest the forme, supposing it is the 
 outer tympan which is being dealt with first. If this be the 
 case, holes must be cut in the margin to allow of the tym- 
 pan hooks being jilaced through, and a piece taken out of 
 the four corners to allow of a neat turning over without 
 being bulky or clumsy. The point-grooves in the frame must 
 be left open, so that the points may be fastened in any posi- 
 tion. When the shape has been cut out, raise the frame, 
 and well paste it, first seeing that it is perfectly clean, and 
 
 21 S 
 
COVERING TYMPANS 219 
 
 that all old paste and parchment is removed from it. After 
 this, well ]>aste the outer edi^v of the parehment that has to 
 he turned over the frame. When this has been done, })ut it 
 into position again, and commence turning over the parch- 
 ment, and tuck in with a folding-stick. In doing this care 
 must be taken that it is not pulled or stretched too much 
 in any particular direction, but pnt on squarely and equally. 
 The edges of the four sides of parchment shoidd be wrapped 
 well round and underneath the frame, first seeing before 
 pasting that the superfluous margin is not too much for 
 this purpose. The covering of the inner ty mpan, being less 
 complicated in its shape, is a much more simple task, and 
 therefore better for the learner to begin with. After the 
 paste has dried, the parchments may be sponged with clear 
 water, and allowed to dry. When completed, the two parch- 
 ments should be perfectly tight, as a drumhead would be. 
 
 The next operations are successively fastening the forme 
 on the press and making-ready for printing. This last ex- 
 ]>rcssion embraces the most important point in the art of 
 ]>rinting, as distinct from composition. Without ])roper 
 making- ready all efforts are thrown away, and therefore it 
 is essential that the utmost pains be taken in the execution 
 of this part of the business. Roughly, making-ready is 
 l)ringing up the type to an absolute level by patching up 
 certain sheets, as explained later on, and making the pages 
 register in the backing or perfecting of the sheet in print- 
 ing. If type is new it should be fairly level; not much 
 trouble will be experienced, and a few sheets only would be 
 required between the tympans. If a fount is somewhat 
 worn, it requires more time and patience in bringing up to 
 a proi>er level; in this case more sheets are required in the 
 tympans, or a blanket of flannel, felt, or rubber may be 
 used. The inequalities of type are counteracted by using 
 thin paper, cutting it away where the impression is high, 
 and where low adding a piece the required shape by pasting. 
 
220 PRINTING 
 
 Practically speakiug, if the type were now and absolutely 
 true, and the platen and forme carriage equally parallel, 
 little or no making-ready would be required ; but, as a matter 
 of fact, this is an ideal never realized. 
 
 Fastening the forme on the press. — The tyj^e surface should 
 ha placed in the centre of the press exactly, and the chase 
 fastened to the corner-pieces of the bed with furniture and 
 quoins. If by chance the forme has to l)e lifted for any 
 purpose after fastening down, the exact position should lie 
 marked on the press with a pencil before lifting. When 
 the forme or chase is a small one, it may be fastened by 
 furniture stuck down with a piece of melted roller compo- 
 sition, the glue contained in this acting as the adhesive 
 power. This, however, is not a reliable method for heavy 
 formes, even if they be small, and an outer chase should be 
 used as a fill-u^). Better still, use one of the special chases 
 now made with movable bars at either end, which fit into 
 slots as shown in an early part of this work; this enables 
 the pressman to secure his forme with a minimum amount 
 of trouble, and with absolute certainty. 
 
 Making-ready. — After all is fast, a few sheets, say six or 
 eight of very thin double crown, about 11 lb. or its equi- 
 valent in other sizes, should be placed in the tympan to 
 take off tlio hardness of the impression. Supposing the 
 impression of the press is somewhat set to a type forme, a 
 proof may be pulled for fiual revision by the reader. At 
 the same time, if the forme is the first one of a new work, 
 a proof should 1)0 taken on its own paper, laid as carefully 
 as possible in the centre, in order that the margins made 
 may be duly certified as correct. These two things done, 
 the ])ressman may proceed to pull his impression sheet 
 without ink. Before lifting the tymi^an up two holes should 
 be pricked with a yiw or needle right through the tympans 
 at both ends, in order that when this sheet has been patched 
 uj> {i.e., made level), it can \m^ ]»laced between Wie tympans 
 
MAKING-READY 221 
 
 ill its exact position by means of tlu- corresponding holes, 
 ]>asting it at the four corners to prevent shifting. After the 
 impression sheet has been pulled, it should be taken to a 
 Avell-lighted place and turned face downwards on an inclined 
 board. By choosing a good light the impression made can be 
 seen by a side glance. Where the type stands high it should 
 be cut away, and wdiere low it should be patched up with 
 the very thin set-off paper — corners and pieces of this paper 
 being torn off to the required shape and pasted on the 
 l)arts which do not come up well — thus equalizing those 
 |)arts which originally stood resj^ectively high and low. When 
 lliis is done, it can be ]>laced in its position as before ex- 
 })lained, and a second and third sheet, if necessary, pulled 
 in the same manner and examined, till the whole forme has 
 been well brought-up. Before pulling the first sheet, it 
 should have been said that if the forme is not a solid one, 
 that is, if any of the outer sides of the type ;i,re short or 
 entirely blank, the absence of printing surface must be coni- 
 l^ensated for by the substitution of a bearer in the shape 
 of anything tyjie-high — a metal clump for preference. If 
 ]>ossil)le, this bearer should be so placed that it will not be 
 impressed on the paper, otherwise it would leave an ugly 
 mark which would not come out in pressing the sheets after- 
 wards. It should be placed just beyond the extreme edge 
 of the paper opposite to the short or blank page; this plan 
 obviates any possi1)le hardness of impression on that pari of 
 the printed sheet. This bearer can either be fastened with 
 the locking-up materials which hold the forme to the press 
 or stuck down with melted roller composition. 
 
 Cuttiwj thefrisl'et. — After the impression has been levelled , 
 tliis may be dealt with next. To pre]>are for it, it is best, 
 in the first place, to paste the frisket frame all over with 
 stout brown paper, and lay it aside to di-y whilst patching 
 up the impression sheets. The frisket being dry can then 
 be fastened to the tympan with the pins supplied for that 
 
222 PRINTING 
 
 purpose, the forme inked lightly, and the frisket and tyni- 
 ]>au turned down over the forme, A lii^ht pull should be 
 taken, or, as some workmen prefer, the whole forme beaten 
 gently but firmly with the palms of the hands. This in- 
 dicates the exact position of the type to be jn'inted. The 
 frisket should then be unfastened and taken off, and all 
 the parts to be printed cut out with a sharp knife or pair 
 
 Fic;. 128. OCTAVO SHEET, SHOWIXt; rOIXT-IIOLES, 
 
 of scissors, care being taken that all the printing surface 
 is eliminated from the frisket, otherwise any superfluous 
 frisket sheet will cause a " bite," or non-printing of the 
 portion which should be printed. This being satisfactorily 
 executed, the frisket can then be re-fastened on. 
 
 Fixhuj the points. — The next o]>eration is to secure proj^er 
 register on the second side of the sheet, whether it be half- 
 sheet or whole- sheet work. Assuming it is an octavo which 
 
POINTS FOR REGISTERING 
 
 223 
 
 Fig. 130. octavo point. 
 
 is on 11k' i)ress l)ot'oi\' us, llie iHiiut-lioles would full ;is indi- 
 ciiled l)v tlio dots iu fii;-. 128, the points being screwed in the 
 i^Tooves by means of the pouit'Screirs, fig. 129. 
 T\wsQ 2>oints are made of two kinds, sj)ring 
 and ordinary. The former are adapted for 
 assisting in throwing the sheet jjartly oif 
 when impressed, which is a helj) to the press- 
 man. They are also made in different pat- y .,y^ 
 terns, according to the size of the work in i>e,iNx sci:i:w. 
 hand. An octavo is that shown by fig. 130, 
 and a twelvemo poiiif (with an elbow), fig. 131, both with 
 a spring attached. The 
 ordinary ones are the 
 same shaj^e 2>recisely, 
 only vvithout the spring 
 tongue. In addition to 
 these points thei*e are 
 
 others, amongst them the ^Jrt.sft^ j^oz/it^-, used for obtaining 
 ] particularly fine or close register; sometimes four of 
 them are used. These are pasted in between the two 
 tympans — the point or spur protruding through the 
 outer parchment; frequently drawing-pins are used 
 for the puri)ose, but care must be taken that they 
 are firmly secured, or all the labour involved in fix- 
 ing them in position will be thrown away. 
 These points, when they fall in the middle 
 of the sheet, and in a corresponding posi- / _ 
 tion to the cross-bar, where one is used in ^ 
 the chase, must fall in the grooves, fig. 
 132, in the centre of the short bar, other- 
 wise the sj)urs will be smashed at the first 
 pull taken. It will l>e observed on the diagram given of the 
 sheet showing the point-holes, fig. 128, that the oft'-side one 
 is somewhat nearer the centre than the near-side one; this 
 is merely to obviate the necessity of the i)ressman reaching 
 
 Fjg. LSI. 
 
 TWELVEMO POINT 
 
224 
 
 FEINTING 
 
 over so far in pointing the second side of the sheet. An- 
 other reason is that a sheet ah*eady printed <^ne side and 
 turned round by accident is easily detected. 
 
 Maknuj reijister. — The sole object of points is to obtain 
 perfect registration of the pages in backing, or printing 
 the second side or " reiteration " of the sheet, as it is called. 
 To arrive at this, suj^posing the forme is correct as regards 
 its furniture and straight-edging, the points must be placed 
 in the dead centre of the sheet. Pull an inked proof, and 
 
 Fm. ]o2. CHASE SHOWING GROOVES EOU POINTS. 
 
 then turn the sheet from top to bottom, and not from near- 
 side to off-side, as would be done in the case of a twelvemo. 
 Half-sheet register should be made, even in sheet-work ; at 
 any rate for the first forme : this ensures more perfect regis- 
 ter. This having been done, the sheet should be held up 
 and examined page by page, to see what is the result of 
 register. If the pages do not fit in with each other correctly, 
 the reason must be found out. Two causes may be respons- 
 ible for it : first, that the furniture has not been gauged up 
 truly, or the pages not straight-edged properly; second, that 
 the points have not been put on in the centre or squarely. 
 
REGISTER 225 
 
 It' the fault is due to the latter, the })uiiit on the siile in 
 which it is out must he gently tapped in the direction re- 
 ijuired to make better register. If the furniture is the cause 
 of the imperfect backing, the forme must be unlocked and 
 altered as necessary, and for this purpose scaleboard should 
 always be placed in the crosses of the formes in making-up 
 or gauging the furnitures for press, this allowing of any 
 slight alteiation in margin being easily made. The bring- 
 iug-up, register, and frisket completed, any j)ossil:>le slurs 
 slioidd be obviated by corks being stuck down on the forme 
 at intervals, and likewise on the frisket, between the i>ages. 
 These pieces of cork should be cut into slices, and wdien 
 fastened dow'n on the furniture should be sufficiently thick 
 to be a shade higher than the ty]>e. They act as bearers to 
 the paper only, and, in the case of any bagging of the tym- 
 }>an or frisket, ]>reveut the sheet from sagging and keeji it 
 Hat. Corks on the forme, placed judiciously, also prevent 
 the roller from jumping or wiping on the extreme edges of 
 t he pages. It is a good plan to have these corks so arranged 
 l>oth on the near-side and off-side portions of the forme, in 
 addition to being placed at the end of each si)ace caused by 
 the gutter or back margins, otherwise the roller will drop, 
 in rolling across, between the line of pages, and deposit an 
 objectionable excess of ink at the edge of the page. After 
 these details have been carried out, and the revise signed, 
 1 h.' necessary paper should be obtained from the warehouse- 
 man; the ink table may then be put into condition for 
 working, and the colour-sheet ajtproved. 
 
 Unlformitij of colour in working is a matter of very great 
 importance, and in maintain this it. is necessary to have 
 proper and equal distrilnition of ink. In brayiug-out the ink 
 do not spread it out too far over the table, or else little 
 room will be left for pro]»er distril)ution. Take little and 
 often, ratlier than large j)o]Mions for bravingout , adding to 
 the roller IVoni time to time (iooil j)icss work should be 
 
226 PRINTING 
 
 free from " iiiuiiks" aud •' friars." The former are blark and 
 dirty patches in auv portion of a sheet, aud the hitter are 
 rotten, or pale, parts in any pa^^e. To give a good aud eveu 
 colour, take fresh ink aud distribute well, and then reverse 
 the roller and redistribute before takiug another supply of 
 ink, each of these actions being separately taken in rotation 
 as the sheets are printed one by one. If the forme is a light 
 one, the reversing of the roller and redistribution can be 
 repeated before takiug fresh ink. Experience will soon teach 
 the pressman when to take more colour, but regularity in 
 these details will insure greater evenness. These remarks 
 are to be impressed on the learner, and cannot be too often 
 dwelt on. If regularity is observed, aud the roller is kept 
 ou the move continuously, being sometimes reversed, the 
 ditheidty will be greatly reduced; especially if the forme, 
 too, is rolled ec[ually each time. Always commence and 
 finish rolling on the near-side. Cleanliness is important, 
 therefore the forme, roller, and ink table should all be ab- 
 solutely clean. The colour-sheet should be kept well in sight 
 for the first side of the printing. This done, the sheet can 
 be laid aside for the time. In checking the colour of the 
 second side or forme, the side first printed can be turned 
 up occasionally for comparison. Having got the roller in 
 order and the paper ready, the lay of the sheet for the first 
 side should be determined by halving the margin exactly, 
 both at top and bottom, and also the two sides of the paper. 
 This lay is made by sticking pins in the tympan obliquely, 
 two for the off-side and one for the foot. After the first 
 side has been printed, these pins should be removed and 
 the second side laid on the S2)urs by the i)oint-lioles made 
 in the sheet by the first im})ression. 
 
 In l)ookwork it is <-ust(»mary for two men to work as. part- 
 ners, each taking it in tnrn lo roll and to ]>ull. It is the 
 duty of the one rolling to straighten the sheets as laid oft*, 
 and to kee}> a look-out for anv deviation of colour, or other 
 
OFF-SET AND SLUKRING 227 
 
 defects. The iiuiii luilliii^^ is fully occupied in huiiio- ou, 
 pulling, and taking ott" the sheets as printed, preparatory 
 to rei)eating the same operations for each sheet. 
 
 Luhricaihuj the presK. — For the proper and easy running of 
 the press it should be kept well oiled. The Inhr leant should 
 not be applied too freely, otherwise the press is likely to 
 become very dirty, apart from the waste occasioned by an 
 excess. Lard oil is a good lubricant, though difhcult to keep 
 liquid in cold weather. 
 
 Extremes of weather occasion difficulties in the })ress- 
 room, through their effect on the rollers and ink. Kollers, 
 as before mentioned, get hard or soft according to temper- 
 ature, and a few hints on this subject have already been 
 given. Ink, too, is difficult to distribute in cold weather, 
 the inking surfaces refusing to take kindly to the ink 
 when chilled. A gas jet attached to a flexible tube may be 
 lighted and jjlaced under the table for a few moments, in 
 order to bring it up to a normal condition. Printing offices 
 are nowadays much improved with regard to more e(|ual 
 temperature, but in olden times it was a frequent occur- 
 rence for the pressmen to be "frozen out" (^vide Moxon). 
 
 Off'-^et and Shn'rhnj. — These are two other matters which 
 should be watched for. The first is caused by the olf-set of 
 the ink of the first side in printing the second, if it has not 
 had sufficient time to dry, and the difficulty is great where 
 the forme is a heavy one and the type carries a deal of ink. 
 To prevent this it is necessary to change occasionally the 
 thin set-off sheets pasted by the four corners on the tym- 
 pan. Oiled sheets are sometimes used for this purpose; 
 home-made ones may be manufactun'(l by washing them 
 over with turpentine — this obviates the necessity of chang- 
 ing frequently. The following suggestions may also 'be of 
 service: 
 
 Wlien the foiMue has been priute<l llir sheets slioiild Im- 
 (xtunted before lifting it otT the pi-ess, in case of "shorts'' 
 
228 
 
 FEINTING 
 
 in the paper, ur spoilages. Printers' reams are made up to 
 51<) sheets; tliis allowance is ample for "overs" and a 
 reasonable amount of spoilage or waste, unless it is for ex- 
 
 Fl(i. 133. roKTAJlLE LVE JAlt. 
 
 ceptional work. For smaller numbers the projiortions of 
 the overs to a perfect ream should be thrown in; thus, for 
 250 of sheet-work 258 sheets should be given out. 
 
 Set-ojf Papers. — Paper saturated with benzine is as good 
 
 l''i<;. 134. ].vi-: tkokju. 
 
 as, and much cleaner than, oiled paper, to avoid a " set-olf," 
 when work has to be printed on both sides. Also a sheet of 
 paper wet with glycerine and used as a tjmpan-sheet will 
 prevent off-setting. 
 
CLE A NSTNG TYPE 229 
 
 If not detecU'cl in time the sot-off of ink will be trans- 
 ferred to the subsequent sheets in i)rintini;\ Slurring, 
 which i»-ives the ju'inted sheet ii double or niackk'd ap])ear- 
 ance, is occasioned by the bagging' of the sheet or sagging 
 of the tympan or frisket, and may be remedied by slices of 
 cork, or springs made of paper rolled up and fastened on 
 tlie frisket between the pages on the part of the slieet at 
 fanlt. Or it may be due to some mechanical defect in the 
 platen, probably the platen bolts require tightening up — ■ 
 under any circumstances the cause must be sought for, and 
 the fault rectified. 
 
 Cleansing type. — Solvents of various kinds, generally 
 called lye, are used, but are only applicaV)le to black ink 
 — colours requiring turpentine. The lye mostly in use is 
 pea^lash, but other chemicals are also in demand. The pro- 
 portion of water to a pound of pearlash should be about 
 a gallon. This is the old-fashioned wash, and, after all, 
 ]»erhaps the best. One pound of potash to four quarts of 
 water is another recipe. To hold the lye, troughs are used 
 and replenished from jars in which it is stored. Ilhisl rations 
 are given of a portable lye jar, fig. 183, and. a trough, fig. 184, 
 in whicli formes may be placed and washed, being taken out 
 for rinsinii" with clear water afterwards. 
 
CHAPTER XXI 
 
 Stereolvi>e Work — ^lethods of Mountinii,' Plates for I'lintiiii;' — 
 Varieties of Stereotv])e aiul Electrotype Plates — Some Hints and 
 Su<;<jjestions on Press Work generally — (.'entrin.f;' the J.ay of a 
 Sheet— Picks — Mode of Payment for Press Work. 
 
 THE printing of s/e7To/7/jr)e work is another snl^ject reqnir- 
 ing explanation, some firms making it a large feature 
 of their business. The plates are monnted in various ways, 
 sometimes on wooden, and at other times on metal blocks. 
 Til ere are various patented blocks of many different kinds, 
 some taking the shape of a bed, the plates being fastened 
 down with catches, or even stuck down by the aid of some 
 composition. Both wood and metal blocks are largely in 
 use, but certainly more metal than wood. 
 
 Metal is to be recommended because of its solidity, which 
 means a sounder and firmer impression. Those of the so- 
 called " French " kind are interchangeable, and can be made 
 ii]> to any shape or size by use of the different pieces. Also, 
 when worn out, there is a considerable return for old metal. 
 The plates on these blocks are mounted and fastened, when 
 lock«^d-up, In' brass catches which fit into the sides and ends 
 of the blocks, a short pin being cast on the inside, which is 
 inserted in the block, keeping it steady, and preventing rising 
 or blacking in printing. When made up they are imposed 
 in the same manner precisely as type, and after the forme 
 has iK'en printed off, the plates are lifted from the blocks 
 whilst on the ]»ress, and another signature laid on in their 
 
 •230 
 
STEREOTYPY PRTNTINCt 231 
 
 stvad, (lie roniic liciiiL;' l;';mil;'(m1 and straii;'lil -('<1l;<m1 lid'orc 
 locking- up. 
 
 To Mount Hh'i-co r/atex. - For lixiiii^- sterec* plates on iype- 
 hii^b stereo cores, thereby saving the expense of the old 
 wood-bloeks and also the labour in fixing, the following plan 
 is a good one: The l)ed is a plain iron surfaee of any stereo- 
 block height. It is i)laced on a steam-chest to be warmed, 
 and is then coated by a brush with cement composed as fol- 
 lows: beeswax, 1 lb.; gum ibus, 1 lb.; Burgundy pitch, 
 ] lb. It is then removed to an iron table to cool. When 
 (jiiite cold, the stereo plates are placed on the dry cement 
 and adJTisted. In order to do this accurately, a light 
 wooden frame is laid over the iron bed, with cross threads 
 stretched at proper intervals to mark the margin. The 
 iron b(^d is then again pushed on the steam-chest, and as 
 soon as the cement is melted, the l)ed is shunted on to the 
 bed of a press. Loose sheets are laid over the })lates to 
 soften the impression, and the table is run under the platen. 
 The pressure is applied till the cement is cold, and then the 
 forme is ready for the machine. The ]»latt>s are removed 
 with a stout knife, or melted oft'. 
 
 Plates are more troublesome to print, as a rule, than ty]>o, 
 because there is more inequality in thickness, even though 
 plates are planed nowadays — fornu'i'Iy they were simply 
 1 uriit'd t»u a lathe,and a first innu'cssion was not very satisfac- 
 tory, as may be imagined. There are three kinds of plates, — 
 electrotyj.e, and stereotype of two descriptions, those made 
 respectively by the plaster and paper processes. The most 
 satisfactory fin* printing purposes, as regards impn'ssion, 
 were plaster j>lates, for they were sharper, and had nuu-e 
 uniformity in thickness. The plaster method of producing 
 plates is, unfortunately, now obsolete except for type music, 
 and, as already stated, allliough good, it was a slow and 
 somewhat expensive nictliod. Pajicr ]>roccss [>la1i's arc <hca|> 
 (an<l nastv, too, sometimes, cspcciallv when used t'oi- [Mtcli-y 
 
232 PRINTING 
 
 works). Ill bcatino- the inoiild, the edges, Ix'iui;- iriv;Li'ular or 
 broken, are liable to become hard, altliougli the ends of the 
 lines may have been imcked-up first. This objection applies 
 also to electrotype plates when used for the same class of 
 work', owing to the manner of moulding, and the evil is 
 increased by the subsequent backing-up of the plate to the 
 standard pica thickness. For poetry the plaster process was 
 really best, as the nature of its production ^vas in favour of 
 a l)etter impression and a sharper ajDpearance, as before said; 
 but as a matter of Avear and tear electrotypes are ju'eferable, 
 plaster plates coming next, and the paper process last in 
 respect of durability. 
 
 If ex2>edition is necessary for their manufacture, the paper 
 ])rocess must, of course, l)e resorted to; for, as an instance 
 of despatch, the plates used on the rotary machines for 
 newspaper work are cast and finished in a few minutes. 
 
 In printing stereotype plates on press, the making-ready 
 is facilitated by pulling an impression sheet, and first under- 
 laving the low parts of the plates before patchiiig-np for the 
 tympan sheets. This is further facilitated if the mounting 
 ))locks are underlaid to one height in the first instance. 
 
 In printing, whether it be type, stereotype, or other plates, 
 there are certain conditions which constitute good work, and 
 these conditions can only be realized bv painstaking worlc- 
 men. The following points a,re evidence of good workman- 
 ship, provided the ap])liances, tools, and materials are good: 
 the impression must be firm without being too hard, and 
 making-ready must be thorough and not hurried. A weak ini- 
 ])ression is sometimes covered up by taking a larger quantity 
 of ink, but this is wrong, Ivcause the ink is simply de])osited 
 on to the paper, and not iinpi-essed into it, thus creating a 
 tendency to off-set. This iipplies to ordinary jjrinting of 
 bookwork on other than su]»er-calendered pa])er. ( )n llie 
 other hand, too mucli imi)ression is aj>t to give the type a 
 smxshel appearance, and i-^ most damaging to the fount [ 
 
HINTS ON PT^ESS WOKK 233 
 
 iiiid disiistrous to stereotype plates. In ])riiitiiii;- off, the 
 type or plates should be [)erfeetly clean, the roller in con- 
 dition, and the distribution and rolling equal throughout. 
 To complete this summary of good work, the following 
 suggestions, which appeared in a previous volume comi»il('d 
 by the ])resent writer, may be thoroughly digested. 
 
 Some Hint.^ on Press WorJc. — Do not try to correct tlie 
 faults of hurried making-ready by a weak impression, and 
 l»y carrying an excess of ink to hide the weakness. Excess 
 of ink fouls the rollers, clogs the type, and makes the printed 
 work smear or set-off. A good print cannot be had when 
 the impression is so weak that the paper barely touches the 
 ink on the types and is not pressed against them. There 
 must be force enough to transfer the ink not only on to the 
 ])aper, but into it. A firm imj^ression should be had, even if 
 the paper be indented. The amount of imjiression needed will 
 largely depend on the making-ready. With careful making- 
 ready, impression may be light; roughly and hurriedly done, 
 it murtt be hard. Indentation is evidence of wear of type. The 
 sj)ring and resulting friction of an elastic impression surface 
 is most felt where there is least resistance — at the upper and 
 lower ends of lines of type, where they begin to round off. 
 It follows that the saving of time which may be effected by 
 hurried and rough- making-ready must be set against an in- 
 creased wear of type. That impression is best for prevent- 
 ing wear of iy]^o which is confined to its surface and never 
 overlajts its e<lges. But this perfect surface im])ression is 
 l)Ossible only on a large forme with new type, sound, h.iid 
 |»acking, and ani|»le time for making-ready. If types are 
 worn, the indentation of the paper by impression cannot be 
 entirely prevented. Good press work does not <lepend 
 entirely upon the press or machine, neither on the work- 
 man, nor on the materials. Nor will sujtcriority in any 
 one }>oint com]>ensate for deficiency in another: new tyj»e 
 will suffer from a ]>oor roller, an<l careful niaking-i'eady is 
 
284 PRINTING 
 
 thrown away if [)oor ink l»e used. It is necessary that all 
 the materials shall he good, that they should be adapted 
 to each other and properly used. A L-'ood workman can do 
 much wdth poor materials, hut a neglect to comply with one 
 condition often produces as bad a result as the neglect 
 of all. 
 
 Printing on Glazed Surfaces. — It is well known that 
 printing ink when used on glazed and enamelled paper 
 dries rapidly and pulverizes easily, so that the work is more 
 or less rubbed off. This is due to the fact that the paper 
 absorbs up to a certain point those elements or substances 
 which enter into the composition of the ink and whose 
 function it is to bind together the solid elements. In con- 
 sequence of this absorption the colour or lampblack rests 
 like dust on the enamel and rubs off naturally with great 
 facilitv. To obviate this inconvenience recourse is had to 
 two different methods: either to modify the paper used or 
 to add some ingredient to the ink which will cause it to 
 adhere better. The latter is the preferable course, for it is 
 the more simple. For printing on glazed or enamelled paper 
 add a varnish rich in resin, such as is used for bronze 
 work. This causes the c^olour of the ink to he somewhat 
 deteriorated, but if care is taken there is not much to fear. 
 
 To Worh Headings at Press. — Have the paper ruled to 
 the desired pattern, and set up the type so that it will 
 register in the com2)artments of the ruling prepared for it. 
 Then make ready the forme and lift a sheet in, as near 
 register as possible on to the tympan of the j^ress — it is im- 
 possible to work headings properly at a cylinder machine. 
 Then get some very long darning needles, the longer the 
 better, and stick them firmly into the tympan so that they 
 are flat to the paper. These needles, if placed as one -svould 
 stick pins in for laying the sheets to, will guide the register, 
 as they must be so placed as to hide lines of the ruling, both 
 at the off side and bottom side <»f the tympan. 
 
HINTS ON PRESS WORK 235 
 
 Ccittninj llic Lift/ (ij (I Slircf.--\u jolt work, wlicii an iiii- 
 [»rossi<)ii is taken on tlic tviiij>an, and the workman wishes 
 a sh<x't to ]»e i)rintod in the eentre, he has only to place the 
 right edge of his pai)er at the right end of the printed line 
 on the tympan, and mark on the sheet at the left end of 
 the same line, and fold the remainder into one-half, mai'k- 
 ing the tjmpan at the left edge of the sheet to he printed. 
 
 Picl-fi. — In working, picks, consisting of pieces of dirt 
 choking up the face of a letter or letters, must be guarded 
 against. The best remedy is to have the forme properly 
 washed beforehand, and to distribute the iidc thoroughly 
 well. 
 
 Pricept of Press Worh. — Pressmen are, as a rule, paid 
 by the piecework system, but there are various scales of 
 charges in vogue in the different ofhces in London, and no 
 tixed scheme can be relied on. The principle is, however, 
 that the work is calculated by means of tokens, which are 
 represented l)y 250 pulls, and the price varies according to 
 the size of the printed sheet and the nature of the work. 
 } The token is equivalent to an " hour"; this average being- 
 arrived at because it is a fair amount for two men to work 
 oif within that space of time when once a fair start has been 
 miide. If they can produce more, the standard of excellence 
 not being departed from, it is of course to their advantage. 
 
ILLUSTEATED AND COLOUR WOEK 
 CHAPTER XXII 
 
 The rrintin.i;- of Illustrated Work — Care of Woodcuts— Tutting 
 Overlays for ( 'ut-Avork — The Degrees of Work in a ( "ut — Process, 
 Line, and Half-tone Blocks — K<dling and Beating for suHicient 
 Colour — Specimen of Cut printed without and with Overlay. 
 
 ALTHOUGH wood engraving as an art is almost ex- 
 tinct, ivoodcut printing, whether on the hand-j^ress or 
 on power machine, is capable of a large amount of treat- 
 ment. To bring out the degrees of light and shade of an 
 illustration which has much work in it is a task which re- 
 quires a great deal of ex2)erien('e; in fact, the w^orkman 
 should possess some artistic qualification to appreciate and 
 to give effect to the artist's design. To ]»rint a wood-block 
 correctly, the system of overlaying must be adopted. This 
 is performed in a similar way to ordinary making-ready, but 
 requires much more judgement and practice. In the first 
 place, though the woodcuts themselves are not always used, 
 a good electrotype taken direct from the original block, pro- 
 vided it has not been printed from, is almost equal to the 
 wood-block; and in the case of an accident on press to the 
 electro, the original cut can be easily duplicated again. 
 
 If original woodcuts are used they are apt to become 
 warped, and the joints, thougli bolted, are liable to open 
 through a variety of causes, such as washing over or 
 ra])id changes in the weather. In any circumstances, when 
 
 •J3ti 
 
CUTTINa OVERLAYS 237 
 
 illustrations arc [»riiited from woodcuts, llioy should be 
 cleaned with turpentine and wiped carct'ulJy with a rag — 
 water must not he used; if left on tlio hand-press for any 
 length of time, they should be run lujderneath the platen 
 with the tympan tirst turned down. Sometimes it is well to 
 pull the bar over and fasten it with a slight inipressi(ni on. 
 In the event of the cuts war]ting or twisting, a good plan 
 is to lay them face downwards on something damj) and run 
 them in under the press, leaving them overnight with a 
 small amoiuit of impression on. 
 
 In preparing an overlay, the engraver's proof should be ob- 
 tained when possible, or, in the case of process blocks, the 
 original drawing or photograph, as these very greatly assist 
 tiie workman in bringing out details, and at the same time 
 giving ]>rominence to the parts required. It is quite j)ossible 
 to give two different effects to any cut by the system of 
 overlaying, if the meaning of the picture cannot be readily 
 grasped; therefore it is very advisable to work by some 
 ]a\»of or copy in (tutting out. The same amount of delicacy 
 cannot always be realized in printing as in an engraver's 
 proof. Perha|)s the latter is taken singly, with a very special 
 ink, and burnished \\\> l)y hand to give the necessary differ- 
 ence in light and shade — even the excess of ink, in light 
 tints, sometimes being partly wiped off. However, the 
 iudia ])roof should be copied as far as practicable in tlic 
 luakiug-ready. 
 
 The work in a cut, assuming it is landscape, may consist of 
 three degrees as regards depth, i.e., solids, light tints, and 
 medium — the foreground usually being the more solid, and 
 1 he backgrotuid the ligliterwork,the intermediate part form- 
 ing the medium shade. This is a general rule, but objects 
 in the background have sometimes to be brought forward 
 by means of overlaying, and the reverse applies to the fore- 
 ground, in which case it is requisite to cut away. Distance 
 must always be allowed for in looking at a ])icture; this can 
 
238 PRINTING 
 
 be increased or decreased in a very great measure by per- 
 severance in the art of overlaying. It is an important thing, 
 too, that rottenness of impression should not be mistaken 
 for light tints, as frequently in cutting away the workman 
 is liable to take too much. All the work must be there, and, 
 as before said, there is a distinction to be drawn between 
 liirhtness and rottenness or broken lines. If the artist or 
 engraver desired the latter, he would not go to the trouble 
 of cutting work which was not to appear. Let your work be 
 sharp and sound, even if very light. This is a great feature 
 in woodcut printing. In cutting away lights skiver or peel 
 away the thickness of paper, and do not make a straight 
 deep cut or the effect will be too sudden. Vignetted work 
 is particularly difficult in this respect, and these remarks 
 chiefly apply to this kind of work. 
 
 Cnltiny overlays. — To commence with the overlay : jniU 
 three or four good sound flat impressions, with not too much 
 ink, on a hard kind of paj^er — cream wove is preferable, say 
 about 24 lb. large post; do not use a laid paper by any 
 chance. When this has been done, they should be put 
 aside to dry. Four is an advisable number to pull in case 
 of accident, but three only will be really required for most 
 cuts. The object now is to blend the three impressions into 
 one overlay, by cutting away certain j^arts of each and 
 pasting together. Let the paste be good and strong, but 
 of a thin consistencv, otherwise the delicacv of vour work 
 will be impaired. Take one of the pulls, and treat this as 
 number one, or foundation for the whole. In this one all 
 the light tints may be carefully cut out — not abruptly, but 
 in a gradatorv manner — bv using the knife in a slanting 
 direction, and consulting the engraver's proof for differences 
 of light and shade. When this has been done thoroughly, 
 the second |tull can be adapted for the solids, by cutting 
 these parts out very clearly and sharply; the edges of these 
 need not be cut out so slopingly, but great care must l)e 
 
CUTTING OVERLAYS 289 
 
 lakrii ill pasting these pieces ou, that tliey lit exactly uu 
 to llic currespoiiding portion of the first impression cut 
 out, because, if by any means they shift, the whole labour 
 expended on the overlay is wasted. If the paste is not suf- 
 ficiently temicions, the pieces are likely to move in print- 
 ing, and the result may be disastrous to the appearance of 
 the cut. Number three of the pulls may be treated thus: 
 cut away the light parts, and retain the solids and medium. 
 In cutting out the last part of this pull the medium parts 
 should be softened down in the cut by slanting the knife. 
 To obviate hardness on the edges of the illustration, the 
 overlay, Avlien all has been pasted together, may be rubbed 
 down slightly, or even skivered. These three thicknesses 
 will be sufficient for most blocks; difficult cuts may have 
 four, if there is a broad difference between the depths of 
 shade comprised in the illustration. Before ])utting the over- 
 lays on, if the cuts are printed with ty2)e, the blocks should 
 be underlaid so as to bring them up to a very slightly 
 higher level than the type. In fastening the overlays up, 
 after the reniainderof the making-ready has been ])erformed, 
 great care must be taken that they are pasted down in their 
 exact position. When they have been fixed, and a trial sheet 
 lias been pulled, they can be further humoured and touched 
 u}). Overlays should be preserved, packed up, and labelled, 
 l»ecause, in the case of reprints, much valuable time and 
 expense are saved by using them again. 
 
 Process blocks in line as distinct from half-tone blocks 
 are generally of a more sketchy nature, and very good 
 specimens of photo blocks with respect to fineness and de- 
 tails of work have been j)roduced. Special papers, as regards 
 finish, are even more necessary for these than for woodcuts, 
 owing to the little depth in the face of the blocks, and dry 
 super-ciilendered papers are thr most suitable i«»r tlieir 
 proju^r production. Very frequently more effect is got out 
 of a fiat pull, su[»posing it has been first carefully levelled. 
 
240 PRINTING 
 
 than l)v ail elaborate overlay. The chief points are to give 
 sharpness to the line lines, and firmness to the solids. A 
 sharp and hard impression, with a suitable paper and good 
 ink, is required. In printing these the original drawing, 
 from which the block is made, is a good guide in making- 
 ready. As dry paper is used for these process cuts, a good 
 drying ink, to work clean, is necessary. For woodcuts the 
 same kind of paper is used, but plate i>aper, or woodcut 
 (semi-plate) paper, is perhaps more frequently in demand 
 for this class of work. 
 
 Half-tone blocks are more in evidence than ever, and here 
 again little or no overlay is required provided the under- 
 laying is first attacked in a workmanlike manner. All these 
 blocks should be made i)erfectly type high all over because, 
 if done unequally, the block would rock. Some printers 
 prefer that the cut should be a shade higher than the tyi)e, 
 but if too high the type would then suffer. If overlay- 
 ing is requisite, use the best and thinnest possible tissue, 
 for the tones already exist in such }>ictures and require but 
 little emphasizing if properly treated as suggested in the 
 early stages of making-ready. It is absolutely necessary 
 that a suitable ink and the proper kind of paper be eiii- 
 l)loyed, otherwise the laljour is in vain. Unfortunately the 
 so-called "art" papers are somewhat objectionable both 
 in handling and to the eyesight, but there is no getting 
 away from the fact that such paper does give the best 
 effect if brilliancy and definition are required. Unsuitable 
 paper and ink yield poor results, such as flatness and want 
 of life in the illustration. 
 
 Pvintimj keavij cuts. — In hand-press work it is necessary 
 to beat the cuts with the roller in order to impart the neces- 
 sary amount of ink. It requires some skill to perform this 
 l^roperly if the blocks are placed in the midst of type. On ; 
 machine, exceptionally heavy cuts are sometimes made a 
 separate working. 
 
W00r>CUT PRINTING 241 
 
 I'J.i'aiiiji/m oj' inindcnt iiniifiini. — For thf siilvO of coiii- 
 parisou wo o-ive overleaf two illustrations. Fii;*. 1 35 is simply 
 a flat jmll without any iuakiuL;'-rea(ly wliatever, and fii;-. 13(.) 
 is printed with an overlay of three pieces cut out and pasted 
 tog-ether. These prints are taken from two separate electro- 
 types of the same wood-block. If these different impres- 
 sions are carefully studied, the result of overlaying will be 
 seen. The exact details of each overlay cannot be shown 
 in print — at least, not in any cut with a fair amount of work. 
 The difference, however, between two prints, one overlaid and 
 the other not, is sufficiently marked to give some idea of 
 effect. 
 
 xV competent person who has an appreciation of pictorial 
 clfect can always obtain mnch better results fromawoodcut or 
 }»rocess block than one who is not gifted with some amount 
 of taste, though the latter may labour at it, and spend con- 
 siderably more time over it. 
 
 Let it then be remembered that the second specimen 
 shown overleaf has been executed simply with three thick- 
 nesses in overlaying, a little subsequent finishing l)eiug aj)- 
 plied when placed in position. Some cuts of more elaborate 
 nature as regards light and shade may take four or even 
 tive thicknesses, but three are sufficient for an average cut. 
 Moreover, it is best to avoid so many distinct and separate 
 }»ieces, as the impression of any great thickness on the sur- 
 face of the cut has a damaging, or at least depreciating, 
 effect on the block' itself after any large number has been 
 struck off. 
 
 Rolling tlie paper, before as well as after printing, im- 
 proves the appearance of illustrations, but the paper need 
 not be glazed in the first instance if it has already a good 
 iiiill-finish, because rolling, unless carefully done, is apt to set 
 up an unnatural surface to the paper, wdiicli detracts from 
 its value. 
 
Fk;. l.S,'). WOODCUT PRINTED WITHOUT OVEKLAV. 
 
Fk;. 180. WOODCUT I'JMMHi) WITH u\ei;lav 
 
CHAPTER XXIII 
 
 Colour Work — Three-rolour Printing- — Method of I^intinji: by Un- 
 ilerlayino- and Skeleton Formes -Hints on Colonr — Selection of 
 Colours to Harmonize — lieo^ister of Colour Work — r>ron/e Work 
 and appliances for same — Some Kemarks on Pron/e Printin.u'. 
 
 COLOUR work, in either printing department, is an 
 important branch. Colour 'printing, in a general way, 
 as far as letterpress is concerned, is confined to works printed 
 in any one colour, usually expressed as being in mono- 
 chrome, or books which are rubricated, or have a red line 
 or border round the pages. 
 
 Three-colour or trichromatic printing, obtained by the use 
 of the three primary colours, is quite another method, and 
 as this process is now much used for the illustration of 
 books and other work, we give in the next chapter some 
 account of the methods employed in that class of printing. 
 
 There are two methods in practice for ordinary colour 
 work, i.e., either by underlaying or by printmg from a 
 second or "skeleton" forme— the latter being adoj^ted where i 
 there is much of a second colour to print, the former when 
 there are only a few lines here and there. This has been 
 explained before in the part devoted to colour work in the 
 composing department. For the rubricating of religious 
 Avorks a red of a vermilion hue is desirable, and a pinky red 
 is to be avoided. Other colours, of course, are dependent 
 on taste; but whatever be selected, let the colours be good, 
 not dirty, and always work them on a slab of marl)le or 
 
 ■J44 
 
COLOUK WORK 245 
 
 ]>oi\'elciiii, as iron has a teiuleiicy to destroy the beauty of the 
 eoloiir. Red ink must not be applied to electrotypes unless 
 brass- or iiiekel-faced, because copper has a chemical effect 
 (»u that particular colour, turning it almost black, or dirty, 
 after a few impressions. The following' is a good, but 
 somewhat slow, method of obviating this particular diffi- 
 culty: 
 
 Red Ink jiriiifiiH/ from Elect roi ijpes.—HuVa one ounce of 
 prei)ared gold size and a quarter of an ounce of the " lake- 
 brilliant" of Cornelissen, and grind them well together 
 with a muUer. Then roll the electro with this preparation 
 and let it stand for twelve hours, when it will be found 
 as hai'd as stone, and the vermilion may be printed from 
 the i)late without the least injury to the block or the bril- 
 liancy of the colour. 
 
 If other than red and black are used, see that the colours 
 liaruionize well, whether two or more kinds, for even two 
 colours mav be antagonistic to each other. The laws of har- 
 niony are fixed and must be studied. The following rules 
 may be consulted: 
 
 Hints on Colour. — Yellow and carmine or deep red pro- 
 duce scarlet or vermilion; carmine and blue produce deep 
 lilac, violet, and purple; carmine, yellow, and black produce 
 a rich Ijrown ; yellow and l)lack, a bronze green; yellow, blue, 
 and l)lack,deep green; carmine and white, i)ink of any shade; 
 ultramarine, white, and carmine, deep tones of lilac; violet 
 and white, pale lilac or lavender; cobalt and white, lively 
 pale blue; and Chinese blue, deep bronze blue, chrome, pale 
 lemon, any tone of emerald green. Amber is made from 
 pale yellow, chrome, and carmine. Red brown is made from 
 burnt umber and scarlet lake. Light brown is made from 
 burnt sienna shading with lake. Blue and Idack are made 
 from deej) blue or deep black. Salmon is mad«' from burnt 
 sienua and orange, shading with white. On the next Jtage 
 are given certain combinations of colours. 
 
246 PEINTINO 
 
 TWO CULUURS WHICH HARMONIZK WELL. 
 
 Scark't rctl ami deep green. ( 'lioiMthile aiul l)ri;^lil l»luo. 
 
 Light Itlue and deep red. Maroon and wann green. 
 
 Orange and a i(det. C'lKK-olate and pea-green. 
 
 Yellow and Idne. Claret and bntt'. 
 
 lilack and light green. Violet and pale green. 
 
 Dark and light bine. Deep blue and golden l>r()A\ n. 
 
 Carmine and emerald. Deep red and gray. 
 
 Ived and black. I^eep l)lne and i)ink. 
 
 ]>laek and warm brown. Maroon and tleep lilne. 
 
 Violet and light rose. I»laek and warm greeiL 
 
 THliEE COLOURS. 
 
 Orange, black, and light bine. Dark bro^n. orange \ello\\', and 
 
 Light salmon, dark green, and bine. 
 
 scarlet. Crimson lake, gieenish _\ello\\ , 
 
 ]]rown, light oiange, and pur- and l)lack. 
 
 ])le. Ked, yellow, and blue. 
 
 FOUR COLOURS. 
 Black, green, dark red, and si- Ultramarine or coljalt blue, 
 
 enna. vermilion, hnm/.a green, and 
 
 Scarlet, dark green, lavender, lilac. 
 
 and Ijlack. Sienna, blue, led, and black. 
 
 We add here some further remarks on the choice of 
 colours : 
 
 The Selection of Colours. — The folk)wiii^- table will be 
 found useful in choosing the various tints, as, by examining 
 them in the order here given, the eye will at once detect j 
 the slio'htest differences of shade. To refresh the eve 
 
 Look lit Cireens biforc cJioo.sIikj IUmIs. 
 
 ,. Jilues ,, Oranges. 
 
 ,, \ i(dets ,, Yellows. 
 
 ,, Ivcds ,, (Ireens. 
 
 ,, Oranges ,, JUnes. 
 
 'S'ellows ,, Violets. 
 
 Tints ,, Browns. 
 
 ,, Ilrowns ,, Tints. 
 
 Register is an important item in colour work. Extra 
 points can be used, in the shape of the paste-points already 
 
r>RONZE WORK 
 
 247 
 
 inontioncil, iiiadc <>£ dni\s'iii^--[)iii8, [)UslK'd tliroUi:;li tliotviu- 
 paii from inside, and pasted over on the l)aek Avitli paper 
 iu order to prevent tlieni from shifting. The holes made 
 by these points are very fine and are not so conspicuous 
 as the ordinary points, the pins of which are generally 
 larger. Four points used of this character will insure greater 
 accuracy. 
 
 lironzc Work conies under the general head of colour 
 work. The bronzes can be obtained of gold and silver. The 
 part to be printed is rolled and pulled with an almost colour- 
 less varnish preparation, the bronze then being applied with 
 
 Fk;. 1.S7. UKONZK luu'.sn. 
 
 wadding, and the superfluous metal brushed oif with the 
 same piece. They should receive a further cleansing after- 
 wards with afresh piece of the material. The bronze portion 
 of a forme should be printed first, as the bronze is likely 
 to adhere to any part of a sheet printed in another colour 
 if it has not had time to dry. Tliis is the old way of per- 
 forming the operation, and is only satisfactory for small 
 and occasional w<.»rk. 
 
 Bronze hrttsht't!, fig. IS7, have been made recently, willi 
 a receptacle to hold the powder, which is liberated as the 
 l»rush passes over the required part. The i»roper amount 
 can Ije regulated by the use of the screw at the end of 
 the brush. This powder is injurious when inhaled to any 
 
248 
 
 PRINTING 
 
 extent, aud a kind of respirator is necessary if uiiieli work 
 has to be done, as the bronze has a tendency to float about. 
 Mechanical apphances have also been lately introduced, 
 adapted for bronze work in large quantities. An illustra- 
 tion is here sfiven, fi<?. 138. The sheets are fed in at one 
 end as in a rolling machine, and are turned out at the other 
 end bronzed. 
 ^:;E,ijlling^is a decided improvementin bringing the bronze 
 
 Fig. 138. BPvONziNG machine. 
 
 up, as it gets rid of the somewhat granulated aj^pearance 
 which bronze always gives as distinct from leaf printing. 
 The latter method is not usually adopted in letterpress 
 printing. 
 
 Another method is the following: 
 
 How to improve Bronze jprintiiKj. — Bronze work is very 
 seldom thoroughly satisfactory. Its failure, as a rule, rests 
 in the inability to fix it iirmly on the j'taper. Of course 
 roUino- is the most reliabk' reniedy, but it" voii do not 
 
BEONZE PRINTING 249 
 
 lia})i)en to have a rollin<^ uiaeliiue, or the inclination to in- 
 vest in one, adopt tlie following method : Work the forme 
 with gold size and ap])ly the bronze in the usual way; when 
 the number required is completed, simply take all the rollers 
 off the machine, clean the forme, but do not disturb it, and 
 run the sheets through the machine again off the clean 
 fornie. The appearance of the work is greatly improved by 
 this process, but it is needful that the lay on each occasion 
 should be accurately made. 
 
 It may be mentioned here that there are -various regula- 
 tions issued under recent provisions of the Factory Act 
 which apply to those offices where much bronze printing 
 is carried on, and a perusal of those provisions is recom- 
 mended. 
 
CHAPTER XXIV 
 
 Tluec-Colour or Trichromatic Printing— Tlie Pitssecting Filters — 
 The Need of really good Blooks—Suitahle Tnk^ — Working-otF— 
 Pai)er necessary for Printing-oti" — Suggestions. 
 
 A S already explaiued, the art of three-colour printing, — 
 i JL termed trichromatic printing in a general way, is a 
 method very much in fashion just now. That it has been 
 much improved on during recent years cannot be denied, and 
 commercially it is a success, but artistically, perhaps, not so, 
 although there are enthusiasts who cdaim for it perfection. 
 Without doubt it has obtained almost high -water mark in 
 the reproduction of certain subjects, but we hesitate our- 
 selves in claiming for it absolute perfection, for no mech- 
 anical means of reproduction can hope to rival in all its 
 beauties the full effect of a painted picture, whether in oils 
 or in water-colour, although we do admit that some very 
 good effects are obtained by this method of reproduction. 
 
 With great care proofs may give almost faithful results, 
 but absolute tidelity in comparison with the original cannot 
 be guaranteed in bulk, when the subject is on machine, and 
 in course of running oft: a large number of copies. More or 
 less of any one of three pigments is ajtt to upset the proper 
 l)alance of colours, and thus alter the effect as a whole. 
 
 The researches of Ives and others in the field of photo- 
 graphic optics have demonstrated that it is possible to 
 construct photograj^hic i)0sitives which will discriminate be- 
 tween natural colours. The photographer does this by mak- 
 ing negatives in register on specially prepared sensitive 
 
THREE-COLOUR PIIINTING 251 
 
 plates, so arraiii^vd thai eucli one shall automatic-ally select 
 ouly a sympatlietii: colour, and reject any other. In this 
 way a negative may be obtained from any object which 
 shall reproduce only so much of it as is yellow, another shall 
 rejtroduce the red, and another the blue. If half-tone blocks 
 are madefrom these and are i)rinted in pii»-nients corresi)ond- 
 ing as closely as possible with the colours selected l)y the 
 respective negative filters, a fairly satisfactory result may 
 1 "c obtained. It is clear, however, that any such result is an 
 ap}>roxiniation only, and its success depends largely upon 
 the character of the subject to be reproduced. 
 
 In practice, coloured films or fluid tanks are used as light 
 filters. They are used in conjunction with the lens, and the 
 function they discharge is to absorb rays of similar coloured 
 light and to permit the passage through the lens on to the 
 sensitive negative plate only of complementary light rays. 
 So three negatives are made, one of which gives all the red 
 transmitted from the original, another all the yellow, and 
 the third all the blue, and these can be either continuous 
 tone negatives from which positive transparencies are made 
 to be used in the subsequent p>roduction of the screen nega- 
 tives, or the screen negatives may be made directly from 
 the original. 
 
 Just as with half-tone blocks intended for printing in 
 one colour the gradations of light and shade are expressed 
 by means of dots, the size of which is primarily determined 
 by the (|uantity of light transmitted to the sensitive negative 
 l»late, and to a lesser extent by their subsequent reduction in 
 area during the process of fine etching, so in the case of half- 
 tone blocks intended for colour })rinting it will be noticed 
 that in the first instance far more of each colour is found 
 than is necessary to ol)tain the desired result. There must 
 be no sui>erimi»osition of colour, otherwise a degraded 
 and muddy print results, but the jtrocess worker will have 
 arranged his screens at such angular distances for the 
 
252 PRINTING 
 
 respective colours that no decrease in the luminosity of 
 colour arises from the intercrossing of the rows of d6ts. 
 
 For work of commercial character it is admirably adapted, 
 but, as indicated, one must not expect absolute fidelity in 
 the re]>roduction of works of art. Full credit must, however, 
 be ii'iven to all concerned in this class of work for the results 
 obtained so far. In the first place, it is essential that really 
 good blocks be produced, and this initial difticulty is one 
 very largely dependent on the photographer and his apjjli- 
 ances, in dissecting the various colours. The next important 
 thing is the ink employed, and it seems to be an open 
 question as to what precise three shades of yellow, red, and 
 blue constitute the real three primary colours. Occasion- 
 ally a fourth colour, usually a neutral such as gray, is 
 employed to improve a difficult subject. 
 
 Every process firm has its own colour scheme of analysis 
 to which certain pigments correspond, and the printer 
 should be careful to ascertain exactly what ink and what 
 particular make of ink has been used in pulling the colour 
 proofs, and if he has to w^ork more than one subject on 
 the same sheet he ought to satisfy himself that the same 
 colour scheme has been applied to their production, other- 
 wise endless trouble is in store for him. 
 
 That these inks should be good, full bodied, permanent, 
 and absolutely transparent, goes without saying; for if they 
 were in any way opaque the results would be disastrous. 
 The printer should not attempt to make these colours for 
 himself, but ])urchase them of any firm making a speciality 
 of these inks. Let him use the best kind, for any other 
 quality only means trouble, vexation, and disappointment 
 in the end. The introduction of aniline colours into inks is 
 but a snare and delusion. They certainly impart brilliancy 
 for the time being, but lliey will not retain permanently 
 their brightness, for these colours are of the fugitive order. 
 
 The making-ready of these blocks for printing requires 
 much the same treatment as that accorded to the ordinary 
 
Fig. 1.39. TRICHIIOMATK" COLOUR CHAHT 
 
THREE-COLOUR PRTNTTNO 253 
 
 luill-toiu' illust nitioii, i^ucxl rci^'istrr hciiii;- an all-ini|M)rl;iiit 
 factor in the satisfactory ]»riiitiiiL? ol" llnvc-coloiir work. 
 Again, it is iui]»oiliint that one colour should be fairly set 
 and dry before another is sui>erimposed on it. If, however, 
 the first or second }»rinting is allowed to stand too long, a 
 difficulty of another kind is created, and the precise psycho- 
 logical moment is best realized by actual experience of a 
 l^i'actical nature, rather than by any rule of thumb. 
 
 Paper forms another important element in the success- 
 ful working of this process. The blocks being screen-made 
 and of an extremely fine and graduated grain, the so-called 
 art papers are necessary if brilliancy of effect is desired. 
 This, of course, is a point to be striven for; otherwise, the 
 results will be disappointing by the completed picture turn- 
 ing out flat and lifeless. 
 
 The best shades of inks for the purpose are (a) primrose 
 yellow, (h) crimson red, (c) cyan blue for the three primary 
 colours. By the use of these inks, and given properly dis- 
 sected blocks with the necessary tones, the secondary and 
 tertiary colours will be obtained by careful working. As will 
 be seen from the accompanying simple colour chart, fig. 137, 
 the superimposition or overlapping of the three primaries, 
 yellow, red, and blue, gives orange, green, and violet as 
 secondaries. Citron, russet, and olive are the tertiary col- 
 ours, the other divisions following in the natural order; all 
 of which may be saddened or diluted by the addition of gray 
 and white in their composition. The usual order of working 
 is, (a) yellow, (h) red, and (c) blue. 
 
 For further information on this subject, which is an ab- 
 sorbing one, the student is referred to special ,text books 
 giving fuller details. It must, however, be borne in mind 
 that to insure the best results in printing, the blocks must 
 be carefully made in the first instance; secondly, the ink 
 must be good and pure; and the paper must be suitable. 
 
 Given all these conditions, and the necessary experience, 
 the printer sliouhl be able to turn tuit fairlv ^ood work. 
 
MOTIVE PO^YEE 
 CHAPTER XXV 
 
 Motive Power: Steam, Gas, Oil. Water, and Eleetricity — I>eain. 
 Horiz(HitaI, and Vertical Steam Engines — Shaftinjj:, Rijijiers. 
 Speed Pulleys, Brackets, etc., for Driving; Purposes — Horizontal 
 and Vertical CJas and Oil En<;ines— Suction (Jas Plant — Electric 
 Motors. 
 
 BEFORE eomniencing the important section devoted to 
 machine printing, motive pou-pr must lirst be con- 
 sidered. This power is derived from several different 
 sources, viz., steam, gas, oil, water, and electricity. In a 
 general way the first is perhaps the hest for driving a 
 large number of machines; for a few% gas is admirably 
 adapted, even if two or three engines are laid down. Water 
 jtower is used in two ways, according to circumstances; in 
 the country a passing stream can be utilized, and machinery 
 driven by the water-wheel — a system applied to other fac- 
 tories at the water's edge. Another form of water-power is 
 the Backus motor, but this is only available for very small 
 requirements, as the pressure of water in town suj^plied l\v 
 the different companies is not equal to any great demand. 
 Since this work was first issued, in 1890, eleetricity has, 
 as was foretold in that edition, come very largely into use 
 not only for lighting purposes, but also f<n' power. One 
 great advantage is that it is adapted both for small and large 
 offices, because every machine may be driven independently, 
 each one having its own motor. By this means a certain 
 
 25i 
 
MOTIVE POWER 
 
 25:, 
 
 amount ot" slciuliiiesis indriviui;- is insured, and I lir unsii;litly. 
 and frequoiitly dangerous, shafting and belting neeessary 
 for steam or gas power are dis})ensed with. 
 
 Where steam engines are still employed the choice de- 
 ] lends largely on the number of machines to be driven; 
 lli(' nature of these also must be considered, as some 
 machines require more driving power tlian (»iliers of an 
 
 VU'.. 140. r.KAM STKAM i:\(;lNK. 
 
 «'(|ual si/t". l-Jefore placing an engine, a perfectly sound 
 foundation must be secured for it; therefore it is best to 
 liavc il in the basement, to obviate any vibration in driving. 
 The boiler (Cornish ones are more usually adoj>tcd) sliould 
 be situated as near as possil)le to it, because steam does 
 not lose so much force in passing from the boiler to the 
 engine if there is only a short distance to travel. The differ- 
 ent steam engines may be classified as follows: (a) ]»eam, 
 
STEAM ENGINES '2o7 
 
 (//) liurizoulal, (r) vertical, {J) table, (c) euiiibiiied vertical 
 eUL;iiie and boiler. 
 
 The beam tv/(///<t', tig. 1 iU, is preferable it' a large; iiuiiil)er 
 
 Fin. 142. VERTICAL STEAM ENGINE. 
 
 <«r macliiues liave to \>c driven, and jiarticularly if they are 
 of dift'erent kinds. This difference in character of machine 
 (vliiidi-ical (»i- [ilatcii iiii|-i-cssion — imisl be allowed lor 
 l>y counter-shafting, ot licru ise an c<[iial power will n«»i !•»■ 
 niaintainc<l if driven fnnii the main shall. If there ttre many 
 
258 PRINTING 
 
 lUiicliiDes of platen make, drive them from a eoimter- shaft, 
 that is, a small shaft connected by a band from the main. 
 These engines consume rather more fuel, and are more ex- 
 pensive than the other kinds, but are recommended for 
 steadiness in driving and for greater power. 
 
 The horizontal engine, fig. l41, comes next; this is, per- 
 haps, in more general use, as it occupies less room than that 
 of the beam kind, and is sufficient for ordinary recjuirements. 
 In very large offices, where a beam engine is used, a hori- 
 zontal engine is advisal)le as a reserve in case of a break- 
 down. It is also as well to have an additional boiler for 
 the same purpose. 
 
 Another reason for 2:)lacing these in the basement is be- 
 cause they can be farther apart from the machine-room, 
 even if the l)asement is used for machinery, because the 
 atmosphere of a boiler-room is not conducive to the comfort 
 of the employes, the care of rollers, or other conditions affect- 
 ing good work; but, on the other hand, it must once more 
 be borne in mind that the engine too far removed is a dis- 
 advantage, because, with long belts in driving, power is 
 lost to some extent. 
 
 Two other varieties, the vertical, fig. 14*2, and the rom- 
 hined engine and holler, fig. 143, are haiidy for smaller power, 
 and where only limited space is at command. The same 
 remarks apply to the table engine for still smaller [►ower and 
 space. 
 
 Wlieu fixing on the position of the engine, choose a dry 
 situation ; it is also important that the boiler should be 
 examined occasionally, the fines and tubes being kei»t quite 
 clear and clean. Governors and steam-gauges should be 
 tested periodically to insure perfect safety. The incrustation 
 wliich forms inside Ihe boiler must be removed from time 
 to time. 'I'licir ;ire many adjuncts f(n' the purpose of econo- 
 mizing fuel; two important ones are, first, the covering of 
 the boiler and steam-japes with a coating of special composi- 
 
I-'k;. \i:\. coMiiiNKi) sii: AM i;n<;im; am> iKUi.ki; 
 
260 
 
 PRINTING 
 
 tiou which keeps the heal in and reduces the ieiiiperalure 
 of the boiler-house aud engine-room very considerably, and 
 the other an apparatus for the automatic pumping- into the 
 boiler of hot water instead of cold; this in itself is a great 
 saving, as the existing quantity of steam in the boiler is not 
 depreciated when a fresh supply is taken in. 
 
 Shaft uKj, riggers, etc. — Before leaving the subject of steam 
 we append a few illustrations, fig. 144, on the next page, of 
 the different parts used in connection with the driving power. 
 Luhricators. — A good one is the needle 
 luhricator, fig. 145; it can easily be at- 
 ^^4\ tached, and requires little attention. 
 LuB^.afiry With these appliances and the aid of 
 belting the necessary jwwer can be im- 
 parted to the machinery. In driving by 
 steam, good stoking is another important 
 matter as regards the amount of fuel con- 
 sumed. The care of a boiler is also a 
 consideration, in minimizing the risk of 
 explosion; therefore it is requisite to aj)- 
 point a reliable and practical man to look 
 after these engines and boilers. Another 
 point is the coal used; smokeless Welsh 
 is the best undoubtedly, as it burns better and the flues and 
 tubes do not rec^uire so much attention. 
 
 GtiH enyines are very largely -used for providing power 
 in printing works, and are very satisfactory from all 2X)ints 
 of view, particularly with respect to working costs. With 
 the smaller sizes, up to say 15 horse-power, it is advisable 
 to run them on town's gas, but for larger sizes, and in 
 l)laces where a town's gas su])])ly is not available, con- 
 siderable economy can be etfected by installing a suction 
 gas plant to work in connection with the engine. 
 
 In laying down engines, of steam, gas, and oil, power 
 should be provided in excess of what is actually required. 
 
 Fk.. U.'). 
 LriiiticAroK. 
 
GAS ENGINES 
 
 261 
 
 so as lo allow a. marL;iii and to ]»itv('1iI ovrrloa<liii!4- llic 
 cnn-iuc. A l;"(>o(1 plan is to ordci- the ciii^iiic from a tinii of 
 
 
 >^ 
 
 
 ;5 
 
 0) 
 
 
 4-> 
 
 j; 
 
 
 a 
 
 *— H 
 
 
 0) 
 
 r^ 
 
 a; 
 
 5 
 
 3? 
 
 
 ^; w O cc 
 
 5 
 
 -j J i I i'- 
 
 H J^ :5 M 
 
 makers of o-ood repute, and aefM'])t tlieir advice as to tlu- 
 best si/«' and type of engine to !><' installed. 
 
2Cr2 PRINTING 
 
 Modcru i;cis ciii^iucs require very little attention, tuxl 
 ciiii be very easily and (jiiiekly started and stopped. The 
 smaller sizes can be }>]a('( d in any convenient [>art of the 
 machine room without detriment, but it is a good plan to 
 have them boxed in with olas^ framework, so as to keep 
 them free from dust and dirt. The princi]>le of working is 
 the same in all sizes, viz. a mixture of gas and air is drawn 
 into the cylinder on the outstroke of the piston; on the 
 return stroke this mixture is compressed and at the end of 
 this stroke is ignited — bv a hot tube in the older engines, 
 
 !'[(;. 14G. (KOSST.EV TOWNS CAS ENGINE. 
 
 and l>y an electric spark in modern engines. This ex- [ 
 plosion of the mixture forces the piston outwards again 
 and is the power stroke; on the return, or second inward ' 
 stroke, the burnt gases are expelled from the cylinder 
 through the exhaust valve. The impetus given to the fly- 
 wheel carries the piston outwards again, drawing in a 
 further supply of gas and air mixture and the cycle is 
 repeated. 
 
 The illustration, fig. 146, shows the Crossley gas engine 
 of 7-15 brake horse-power for working on town's gas. 
 
 Oil Enffines. — Oil Engines provide a cheap and reliable 
 source of power, and are often used where coal is scarce 
 
OTL ENGINES 
 
 208 
 
 and (Iciir. EiJL;ijR's are niadc liotli in vertical and lioi'i- 
 /ontal ly])es, tlie former bein;^- preferred wliere ll(>(»i" sj.acc 
 is restricted. Oil engines work <»n pa ratlin, pet rol. crnde oi' 
 residual oils; small size engines mostly use paraffin or 
 petrol. Of recent years there has been considerable de- 
 velopment in oil engines to work on the cheaper crude and 
 residual oils, and one of the best known is the Crossley, 
 illustrated in fig. 147. The economy of these engines is 
 remarkable, the oil consumption being only .! lb. of oil ])er 
 brake horse-power hour. 
 
 I'K; 14(. NEW TYPE CROSSLEV OIL KNOIXK. 
 
 The following table gives the cost of running a 1<> B.H.P, 
 enu'ine with various fuels: 
 
 Fl KL. I'lMCE. 
 
 'rown Oas -i.v. i»<M- I.O(K»tV('t 
 
 Kfliiicd <>il . . . . ~iL per li'allftM 
 
 ( 'iiitlc ( )il \\d. ]ier ,i;;dl<ni 
 
 Anthracite Coal '17^s. per ton . 
 
 ( OS r I'Ki: iioi i;. 
 
 . . 4.V/. 
 
 . . 4.U/. 
 . . '1(1. 
 
 . . 1 V/. 
 
 In larger installations, say above 12 brake horse-})ower, it 
 would pay to put down a gas engine to work with its own 
 l)roducer gas i)lant. This Avoidd effect a still furtlicr 
 economy, especially in those cases where coke is easily pro- 
 eural»le. This can frequently be obtained at 2.5,<?. per ton, 
 wlii<'li is eipiivaleni ft) 7 bra Ice hors<'-po\\cr f<>r a penny. 
 
264 PRINTING 
 
 ^Villl R'L;"iir(] 1«» Siicfidii Gas Flai/ls wlicrr coal is the hasis 
 of power, producer gas used in gas engines is the best and 
 the most economicah Many dift'erent types of i>hints are 
 made to use anthracite, coal, coke, wood or indeed ahnost 
 any fuel. It is only attemjjted here, however, to describe 
 Crossley's Suction Gas Plant, which is extensively used for 
 working Avith engines of all powers, from 5 to 500 brake 
 horse-power or more. It consists mainly of: 
 
 1. The generator or gas jn'oducer. 
 
 2. The coke scrubber for cleaning the gas. 
 
 3. An expansio7i box to take the place of the gas bag 
 ordinarily used with the pressure system. 
 
 As shown in fig. 148 the generator consists of a cylindrical 
 mild steel chamber lined with firebrick, with a hopper at 
 the top through which the fuel is fed, and firegrate at the 
 bottom. If good and consistent quality of gas is to be 
 maintained, it is necessary to keep the fire clean and 
 bright by poking at intervals, and removing the ashes and 
 clinkers. In the Crossley plant the firegrate is of the oj^en 
 hearth, or stepped firegrate type, so that the base of the 
 fuel bed is accessible from all sides for this purpose, and 
 is always open for inspection, a great advantage over other 
 tvpes with a closed firegrate, which are only partially ac- 
 cessible through fire doors in the generator casing. The 
 open hearth firegrate provides for continuous working of 
 the plant, and uncertainty on the part of the attendant as 
 to the state of the fire is overcome. 
 
 Producer gas is obtained by passing air and steam 
 through incandescent fuel. Two simple reactions take 
 place expressed by: 
 
 .,c + o, = .,co 
 
 C + H,0 = CO + H, 
 
 That is to say, the oxygen of the air combines with the 
 carbon of the fuel to form carbon monoxide, and the steam 
 
SUCTION GAS PLANT 
 
 265 
 
 1(>l;('I Iicr willi more r;irl)()n ioi'ins iut»iv ot" tlic monoxide 
 and live liVMlroi^vn. Jii a<l(lili(»ii to this iieorlaiii aiiiouiil ol' 
 marsh L;-as, CH, and carbon dioxide, CO.,, are lornu'd, so 
 that tlie ultimate composition of the nas is — eombustibk'S 
 CO, A^., aud CH,, dihited with the noii-eombvistibles CO.. 
 and N,. 
 
 In the Crossley Suction Gas Plant the requisite steam 
 is raised in a vapoi'izer placed between th<' uenerator 
 
 Fk;. 148. cHossi.Ev srcTiox cas plant and knoink. 
 
 and the coke scrubl)er. In the vaporizer an automatically 
 controlled supply of water is passed through a series of 
 filled tubes around which the gas passes on its way to the 
 scrubber, generating the steam and cooling the gas. The 
 steam is led l)y a distribution pipe around the fire of the 
 producer, and through a number of sjniced holes under 
 the firegrate, and passing through the fire combines with 
 the carbon and oxygen, and thus enriches the quality of 
 the gas. 
 
 The gas is then cleanc*! and cooled by passing upw^ards 
 tlu'ough a chamber containing several layers of coke over 
 and throuuh which water is sprayed. 
 
266 PETNTING- 
 
 The Suction Gas Producer Plant re<]uire.s very little i 
 attention. It will luive to lie fed everv three hours, more : 
 or less, according to the nature of the fuel, and the fire 
 will want occasional attention to keep it free from clinker 
 and ashes, but, as already explained, this is now made quite 
 a simple matter by the use of the Crossley 0])en- hearth 
 firegrate. 
 
 Where anthracite coal is not available, and charcoal or 
 coke can be obtained, they can be used with excellent re- 
 sults. Plants are also made to burn waste j^i'oducts, such 
 as waste wood, sawdust, and various vegetable refuse, 
 giving power with, practically no cost for fuel. 
 
 Fig. 148 shows a combined Crossley Suction Gas Plant 
 and Engine, and illustrates the extreme simplicity of a 
 standard arrangement and the small space occupied. 
 
 The Suction Gas Producer previously described has also 
 other applications besides that of power production. 
 
 The gas can be used for practically every ]»rocoss to 
 which town's gas is applicable, such as melting the type 
 in linotype and monotyjDe machines, and heating hot plates 
 in printing works. 
 
 By means of an exhauster the gas is sucked away from 
 the plant, and delivered under pressure to the required 
 points of consumption, so that the same plant can simul- 
 taneously supply both the engine and the linotype ma- 
 chines, etc., with considerable economy over that of town's 
 gas. 
 
 Electric Power. — Gas and oil engines are most suitable 
 for driving dynamos for generating electric power, modern 
 engines giving perfect regularity of speed required by 
 ]n'inting machines. 
 
 Atten (1 a nre.— -The attendance required to run gas or oil 
 engines is considerably less than that required by a steam 
 plant. 
 
 Wecfririfi/, as alreadv said, is much in favour, for its 
 
ELECTPJC ]\TOTOTlS 
 
 '2(\7 
 
 a<l vantages are many. One a(lvantai;-e is tliat a iniinher of 
 [ smiill iiiacliiiH'S may l)e driven in a L^ruup from one molor 
 \ by the ai.l of a eounter-sliaft, whilst the hirs^er machines, 
 ' often of a varying size and <1 iff ering requirement of i)Ower, 
 , may be driven l)y separate motors, fig. 14J>, whieh dispenses 
 I' with a deal of unnecessary and frequently dangerous shaft- 
 ing and belting. This 
 I independent method 
 ' also ensures a greater 
 steadiness in driving, 
 wliich is not possible 
 
 wliere tlie power is ^^^g^^^j^^HMI^^^^Hp^: jil'-'^**'^^ 
 derived from one fcT'^ i^^MBn i 1^^^^^-- 2 111 ;. J..,^.._J 
 soiu'ce only, sueh as ^WI^^^KSMHl.^^^^B^feJii f^MM*^ 
 a single steam or gas 
 engine for tlie whole 
 department, and the 
 madiines are of vari- 
 ous Icinds and sizes. 
 r»esides, it must not 
 
 ]..' forgotten that a T'"- ^-^•'- KLECTRi.Momi:. 
 
 certain amount of pow^er is lost by the fact of having to 
 drive a shaft, sometimes a heavy one, even if electricity is 
 employed, and one motor has to do duty in driving several 
 large machines. This is an important feature to l)ear in 
 niiml in installing this system. 
 
 The first cost of a good motor will compare favourably 
 
 with that of gas engines or other bu'ms of motive power. 
 
 I As they have very few wearing parts, with ordinary care in 
 
 liandling it will be f(»nnd that the cost of repairs is not a 
 
 large item. 
 
 They occupy little floor-space, and deveU)p a large amount 
 of ]»ower in proportion to size and weight. A motor of ^^ brake 
 li.p. will occu]>y a floor-space of only about three by two 
 feet, and wei^h altout MM) lb. These figiu-es relate 1o 
 
268 PRINTTNa 
 
 in;i('liiii('s riiiiiiin;^' ;il iivera^'e speed. Where Ix'll-drive is 
 (l('sii-c(l ai)<l iio il(H)r-s|»;i('<' is iiviiilable, the motor ciiii l>e 
 easily fixed tu eeiliiij:;' or walls. 
 
 For direct gearing to ])resses a motor is unequalled l»y any 
 other form of power, and with a little eare in design can be 
 so installed that it takes u]) a very small space outside the 
 press. They also run wdth very little or no noise or vibration. 
 The last point is of great ini])ortance wiiere there is difficulty 
 in putting in a solid foundation, because the attachment of 
 direct motors obviates the need for such. 
 
 With regard to control, motors can be started and stopped 
 almost instantaneously, so they need only be worked when 
 actually required, thus saving the waste wdiich other f)ower 
 sometimes causes, ow'ing to the time occupied in starting " 
 which means some loss. They can also be easily regulat«'(] 
 to give very large speed variations if required. 
 
 The push button system of control has been much de- 
 veloped. By this means the actual starting and stopping 
 of the motor is quite automatic, and the plant is operated 
 entirely by the pressing of buttons. 
 
 Current for power purposes is now available in all indus- 
 trial districts at a price W' liich will allow' of easy competition 
 wath other forms of power. It should also be remembered 
 that one B.O.T. unit is equal to 1.30 horse-power for one 
 hour. 
 
 For driving rotary newspaper machines electricity is 
 rapidly taking the place of all other forms of powder. The 
 principal advantages in this case are the ease with wdiicli 
 a slow " inching " speed for making ready can be obtained, 
 and the slow and steady manner in which the machines 
 can be gradually run up in speed from, say, 6 revolutions 
 to 600 revolutions per minute of the printing cylinder, thus 
 obviating the risk of breaking the paper in starting. The 
 ])ush button system can be adopted so that the machine may 
 be started, st(^])ped, and, if desired, speeded u]> or down 
 
ELECTRIC MOTORS 
 
 269 
 
 ; from uiiy iiumlier i>t" [H>iuts. Those l)ult<>iis ruii be (•oiiuecied 
 
 ^ so as to ring a bell a few seeouds before the inaehine starts. 
 
 We are indebtea to Mr. Howard Marryat, M.I.E.E., for 
 
 the following tables showing the horse power re([uired for 
 
 motor driving, together with the average speed in running. 
 
 WllAKFKDAbKS 
 
 NaiiU' of .M;uliiiu'. 
 
 Dc'iiiy l"'oUo 
 
 ('row 11 
 
 Demy 
 
 Hoyal 
 
 I )(iul>le Crown 
 
 Doulilo Demy 
 
 I )ou1>le Royal 
 
 <i>na<l Crown 
 
 Ivxtra (^hiad ( "row ii 
 
 ((>na(l Demy 
 
 lOxtra (^hiad Demy 
 
 (i>uad Koyal 
 
 Iv\tra (^>nad lloyal 
 
 Kii^lit Crown 
 
 Extra Ei.ulit ( 'rown 
 l-'.i-ht Deiiiv 
 
 Maximum 
 
 >'y/A' of sheet 
 
 ]iiiiite(l. 
 
 17\xlll 
 20 X 1,-) 
 22A X it;, 
 25 x20 
 30 x2() 
 3o x22A 
 40 x2r)' 
 40 x80 
 45 x80 
 45 X 85 
 50 xST 
 .50 x40 
 o~} X 42 
 «)0 x40 
 (•>5 x40 
 70 x45 
 
 Jiorse 
 Power. 
 
 h-l 
 
 l-l 
 
 " 1 
 
 1 -L", 
 
 1 -2 
 
 2 -.8 
 2 -4 
 
 2 -4 
 
 3 4 
 :) -5 
 
 4 -5 
 4 -() 
 
 4 -() 
 
 5 -6 
 5 -() 
 5 -8 
 
 MIEU LE TW( )-lJEV( >LrTI()N 
 
 N. 
 
 N;iiin' of Miii'liiiie. 
 
 1 
 
 00 
 ( )00< > 
 
 .N];ixiiiiuiu 
 
 .size of slit'i't 
 
 l)riiited. 
 
 30 x43 
 
 36 x52 
 
 40 X oo 
 
 42 x60 
 
 Horse 
 l*u\ver. 
 
 4 
 4 
 5 
 5 
 
 PERFECTING M ACHIN ES 
 
 N.inu' of Mnrliiuo. 
 
 1 )oulile I )eiii\ 
 I )ouitle itoyal 
 C*uad ( 'rown 
 (^nad Demy 
 C^nad Royal 
 Ei^lit < "row II 
 
 Maxinuiiii 
 
 M/.t' of Sllt't'l 
 
 printed. 
 
 35 x22A 
 
 40 x25" 
 
 40 X .30 
 
 45 X 35 
 
 .50 ; 40 
 
 (.0 Id 
 
 Horse 
 I'ower. 
 
 Iiiiinession.- 
 per hour. 
 
 2,(MK) 
 M'.OO 
 I,4(K» 
 l,2.-)0- 
 1,2.50- 
 I.IOO- 
 1,(».50- 
 1.000- 
 1,000- 
 !),")0- 
 <>,50- 
 9(M> 
 <M)0- 
 8(M»- 
 
 7.-)0- 
 550- 
 
 3,000 
 2.400 
 2,2(H> 
 1,!)00 
 1,1)00 
 1,700 
 1,000 
 1,500 
 1,5<I0 
 1,400 
 1.400 
 1,.300 
 1,300 
 1,200 
 1,1(M> 
 S(MJ 
 
 Iinju'essioii- 
 per liour. 
 
 2,200 
 2,000 
 1,000 
 1,7<KI 
 
 Imjjressious 
 P'or lK)ur. 
 
 l,0.50-l,(i(M» 
 1,(HH)-1,.")00 
 1).")0-1,4.~)0 
 9.")0-l,4(K) 
 90(t-l,.3(M) 
 ,S(MI I.JOO 
 
MACHINE FEINTING 
 CHAPTER XXVI 
 
 Mucliiiie Printing — Methods of Impression, Platen and Cylindrical 
 — Classitication of Printing Machines — Some Hints on Laying- 
 down Machines as regards Foundation and Light — Cleanliness, 
 and Lubrication — Systems of Making-ready by Hard and Soft 
 Impression. 
 
 IN dealing with this subject it must not be forgotten that 
 our mission was to describe more particularly those 
 machines used in relation to bookwork, but the appliances 
 in use for jobbing or newspaper work also claim attention. 
 
 Since this work was first issued there have been many 
 improvements made in all classes of printing machinery, and 
 j^articularly those of the two-revolution character, of which 
 more will be said later on. 
 
 Printing by mechanical means is now effected by two 
 methods of impression, i.e., flat and round, the former termed 
 the platen, and the latter tlie cylindrical. The platen im- 
 pression is allied to the hand-press, but, owing to rapid 
 improvement in the more true manufacture of the cylinders, 
 the system of flat impression is fast dying out, except in the 
 case of hand-presses or the ]»laten small jobbing machines. 
 Again, as distinct from t he t W(» methods of impression, there 
 are two kiii<ls of printing sui-faces, i.e., flat an<l round ; and 
 although there are a few rotaries which print from the flat 
 bed, the round printing surfaces are confined to those of the 
 
 27(» 
 
MACHINE PRINTING 271 
 
 i(»larv kind, all others Leiug worked from the Ihit priiiliiiij;' 
 siiri'tiee. 
 
 Glassijication of machines. — The following list will sufhee 
 to give some idea of the various machines actually in use, 
 an<l the class of work for which they are best suited: 
 
 Platens. 
 Johhimj machines, worked by foot or power, in various 
 j small sizes up to ]>ost broadside, or even larger. 
 I • Single and douhle platetis of a larger size, but rarely now 
 ' used. These were formerly called the Scandinavian. 
 
 Cylinders. 
 SiiKjle ci/linders. One-sided machines, the bulk of which 
 are on the stop-cylinder princi^jle, which means that the 
 impression cylinder is stationary on the return travel of 
 the machine. 
 
 Other kinds of single cylinders are the two-revolution 
 machines, where the cylinder rotates twice to each impres- 
 sion. The two-feeder is another kind, where the cylinder 
 reverses on the old " tumbler " principle, and then grips the 
 second sheet on its return travel. Still another is the two- 
 I colour machine, more generally made with one cylinder only. 
 I Double cylinders are usually perfecting machines which 
 print both sides of the sheet, but in two distinct impressions 
 before it leaves the machine. 
 
 Rotanj machines, used mostly for magazine or newspaper 
 work, and usually made to print from the reel or web of 
 paper on the one, two, four, six, or eight-feeder principle. 
 These machines usually \yYmi from cui'ved stereotype or 
 electrotype plates, but there are a few machines on the 
 market which print fn>m the Hat. 
 
 Jjii i/i),(i doirii iiKH'Jii/if.^.-- An important uiaKci' to he con- 
 sidered is the light — artificial means of lighting slioul<l only 
 l>e resorted to in extreme cases, both ri-(»iii an economical 
 
272 PRINTING 
 
 and, what is still iiiorc iiiutorial, from a iR'altlifiil point •>! 
 view. Good light means good work. Care must also b< 
 exercised that the foundations and surroundings are in 
 keeping with the requirements of the machines. It is usual 
 to have them erected either in the basement or on the ground 
 floor. It is also advisable to have the larger kinds built over 
 pits. This gives additional solidity to the machines, obviate- 
 vibration to a great extent, and gives easy access to the 
 under parts when they need cleaning or repairing. 
 
 Ample room should be allowed for the purpose of getting 
 I'ound the machine to any working part, and all wheels or 
 exposed dangerous portions should be fenced in. This latter 
 is, in fact, a provision in the Factory Acts. 
 
 At the present time all newspapers, except those of 
 small or local circulation, and even cheap bookwork of long 
 runs, are printed from rotary machines, stereotype plates 
 being curved on other cylinders instead of being flat; the 
 paper employed is generally from a web some miles long. 
 As 'printed the sheets are cut by the machine, and in most 
 instances folded, counted, and jDasted if required. There 
 is also a damping ai)]»aratus attached for the wetting of the 
 paper, if necessary, before printing. By this process of 
 printing, after the making-ready has been performed, the 
 production of the printed sheet is purely automatic, save 
 for the watchful care of the machine minder. It is highly 
 necessary that this person should be at once both a printer 
 and of a mechanical turn of mind, considering the great 
 responsibility involved in the charge of one of these valu- 
 able and intricate pieces of machinery. 
 
 Care of machines. — Forthe proper working of any machine 
 there are two very essential points to be borne in mind — 
 cleanliness and due attention to the lubrication of the work- 
 ing parts. On no account should dirt or grease be allowed 
 to accumulate. In oiling the parts it is better to give a little 
 and often than to give an excess. For the larger parts re- 
 quiring lu1>rication perhaps tallow is the best, and oil for 
 
MACHINE PinNTTNG 273 
 
 llic sinallci". r>\ all means L^'ivc liolli lo llic niacliiiic, l>u1 
 s]>iiriii,i;']v, on slaiiinL;" in the nnnniiiL;'. 11" llic liolcs i^vi 
 el(>L;"L;('d a liUk' [»arattiii sbonld 1»«' ap[»lio(l, and Ihc inachiue 
 run for a short tinio: this will llicii have the effect of eleans- 
 ini;- it ; afterwards it niav l)e oiled as usual. In choosini;- a 
 luhrieaut, one must he selected which does not couy-eal, and 
 is of good quality ; the hi^dier-priced ones are generally 
 the best. Next to efficient making-ready the question of 
 proper inking facilities is the most important. It is fre- 
 quently the case that the ink-ducts are very imperfectly 
 understood. If the keys are regulated as intended, good ink 
 used, and the rollers in condition, the colour, when once set, 
 should l)e equal and thorough in Avorking. Some machine 
 minders will obstinately refuse to avail themselves of the 
 mechanical means at their disposal for the proper and even 
 taking of ink at each revolution of the machine, preferring 
 often to feed the vibrating and other rollers; this practice 
 is greatly to be deprecated. If the duct is in good working 
 (»rdcr, no excuse should be tolerated. The minder should be 
 thoroughly conversant with all the details of the machine 
 he is intrusted with, and should seek to improve his acquaint- 
 ance with the several kinds which he may be called upon to 
 take charge of. A knowledge of mechanics is a great quali- 
 fication for liim, although the construction of the different 
 machines is much the same in principle in all those of th<' 
 cvlindrical character. 
 
 It IS customary for the makers of the various machines 
 to erect them, and to give any precise instructions on this 
 subject for the purpose is somewhat difficult, considering 
 the number of nnichines of different patterns in the market, 
 some of them being of so very complicated a nature. Never- 
 theless, it is essential that the workmen who tend these 
 machines sh<»uld have some su]»crti(ial idea of their construc- 
 tion, in order that they may know the cause of any ]>ossible 
 defect in the \V(»rkiiig ])arts. an<l later on wc give sonic 
 
 T 
 
274 PRTNTINCI 
 
 illustrations aud ii key to the parts oi' u Wliarfedale, to- 
 o^otlier with some hints on the erer-tion of that maclune. 
 
 Tii'imtrliX (III MdhiiKi-rondij. — Before o-ivino< any detailed 
 description of the various machines in use in most printing 
 establishments, it will be well for us to dwell a little on 
 the styles of making-ready. The system of bringing-up by 
 under- or over-laying is the same in principle as on the hand- 
 presses, but, as the Avorkman has to deal with a far larger 
 and more complicated machine, there are rules and methods 
 to be followed to compensate for the great difference between 
 the two modes of printing by hand and by more automatic 
 means — these rules and methods differing again according 
 to the nature of the machine used. The present fashion is 
 largely to print with super- calendered paper, which of course 
 is worked dry, by the hard-packing system; the old method 
 of damping the paper and printing witli a soft impression is 
 fast losing its hold on the younger generation of printers. In 
 order to adopt the former kind the machine must be in good 
 order and the tyj^e not very much worn — if otherwise, hard- 
 packing will not be of much avail in bringing up the type 
 to a true level, and the old style of using the blanket or a 
 sheet of india-rubber will have to be resorted to. Finally, 
 it is highly important that whatever process be ado^^ted, 
 the forme on the first occasion should on no account be 
 pulled or run through by power; the impression should be 
 felt for by turning the machine by hand. Stereotype work 
 especially is likely to become seriously damaged by a first 
 aud probably hard impression. 
 
 It should particularly be borne in mind that with blocks, 
 witli or without type, or works printed from electro or 
 stereotype plates a deal of labour may l>e saved by an in- 
 telligent system of underlaying before the overlaying is 
 attempted. This is where the best men often score over their 
 fellows. 
 
CHAPTER XXVII 
 
 .loldiini;- Woik -Ink Distribution — System of Makinu-roady on 
 these Machines — Lay Marks and (lau.^e I'ins — Class of IMaten 
 Maehine hest adapted for Lii^ht and Heavy Work. 
 
 \ X /" E will now briefly take the jobbing work, iissumiiig 
 V V it is executed by small platen machines driven by 
 foot or power, which are generally made in size up to post 
 l)roadside, thonoh larger are sometimes manufactured. 
 
 Taldngthe ordinary Cropper, ov Minerva, fig. 150, f<n* our 
 t^xaniple, as it is very largely used, it will be seen that the 
 l)ed or coffin of the machine is in a fixed vertical position. 
 The type is locked-up in special chases, and secured l)y 
 clamps, which can be readily fast<Mied and nnfastened. The 
 platen in working is carried from the almost flat position in 
 front of the operator by two arms, one on either side, and 
 travels to the forme for each copy [)rinted. It is necessary, 
 of course, for the laying-on and taking-off, that this position 
 should be as stated; after due practice an expert feeder can 
 tread the machine and lay on and take off 1,0(X> copies at 
 least ]>er hour, without fear of accident; if driven by power 
 it is possible to gear them up to a higher speed, but care 
 must be taken in feeding. The impression is regulated, in 
 the more recent machines, hy one screw only underneath the 
 platen — this should be interfered with as little as possible. 
 In the older makes of this machine, and indeed most other 
 platens, the impression was altered bv means of five screws, 
 one in eaidi corner and another in the centre. In that case 
 
276 
 
 PRINTING 
 
 very great care was requisite in getting a perfectly level ini- 
 ])ression, otherwise llie i)laten was thrown out of the level; 
 therefore the more recent plan is the prefcmhlc 
 
 The inking arrangements are placed behind and above the 
 
 FlO. loO. THE " CROPPER " PLATEN MACHINE. 
 
 bed holding the forme, and by an ink-duct, vibrator, and 
 a (lixti-ihiitiiifj (lii^Ji, fig. 151, which is made in the present 
 machines, with three inner disks revolving in an opposite 
 direction to the larger and outer disk, ample distributing 
 DOwer is obtained. As the ]>lut('n falls back fi-om cai-h 
 
JOBBING PLATEN MACHINES 
 
 277 
 
 separate impression the rollers pass down over tlie foriiR' and 
 Lack again. The frame of the machine is now cast in one 
 piece, which gives increased strength and rigidity to the 
 whole. These machines are nsnally worked l>y lads, who, 
 with a little instruction and subsequent experience, can be 
 intrusted to turn out a good deal of work, subject only to 
 slight supervision. In making-ready, a thick sheet serves as 
 the top one, and a few thin sheets — three or four — are all 
 
 Fi(i. 1'>1. DisriMKi iTNi; DISK ()\ " n^oi'i'Ki; ■■ .MA( iiiNi;. 
 
 that is necessary inr packing. The outer and thicker sheet 
 is fastened bv Ix'i ug turned in under the thin iron frame 
 which fits lightly round the outer edge of the i)laten. When 
 tlic sliects are i)la('ed inside, an<l llic impression turned over 
 once bv lian<l, the imitression screw can be adjustetl as re- 
 «|uired in order lo bring tlie forme within toueli. 
 
 'JMien llie making ready can i»e |)i-oceeded wit li bycnlling- 
 oul «>)• |.;ilcliiiig u|> a lirst,and sultse(|nent ly a second sheet, 
 ir necessarx'. W'licn This lias Ix'eu <lone, llie lay sli(»nl<l be 
 made- if central, place one si<le oL' the sheet to the extreme 
 
278 
 
 PRINTING 
 
 edge of the i>riut ou the top sheet (a faint priut, or even 
 blank pull, is sufficient for the purpose). Then the surplus 
 paper, fig. 152, with the other end of the sheet over and above 
 the print, should be folded just in half; this gives the exact 
 centre when marked on the top sheet with a pencil. This 
 
 i type 
 
 centre — 
 
 paper 
 
 Fk;. ]o2. OIJTAIMNG THE LAV. 
 
 rule is a ready one, and applies either to the side or bottom 
 lay. 
 
 We have seen produced from these platen machines some 
 of the most perfect speci'.nens of printing. To do this, some 
 experience is required, but whether new or old type, rough 
 
 _rL 
 
 Fin. LIS. LAV mai;k (( ()i;k). Fn;. ir,4. lav makks (si'i;iX(;s). 
 
 or smooth paper, such a finish can be given that all after- 
 pressing is quite unnecessary. The work can be turned out 
 perfectly Hat and sharp in its impression by good hands- 
 it is sim}»ly a matter of care in niaking-roadv, and ])ro])er 
 amounl of impression. 
 
 h'lil ni(irl-fi. — Pieces nf <-,.i-l<. fio-. ir,:;. ,,r sj. rings, jio-. ]r,i^ 
 made of glazed board, arc both used for laving 1o,l.u1 in lonu- 
 
LAY-MAKK.S ON PLATEN iMACHlNES 2711 
 
 numbers they should be carefully watched, as the paper or 
 cards used for the job in hand are likely to cut or wear away 
 that part laid to. There are also ijauge-pins, fig. 155, to be 
 obtained, of American origin. They are of metal, and consist 
 of a long pin, which is forced through the top sheet. They 
 have two teeth, which are pressed into the packing or 
 making- ready to hold them in the correct ^^osition. To assist 
 the sheet in coming away from the forme after printing, 
 fingers or grippers are used; these can be adjusted to any 
 distance on the paper, but it should be seen that they are 
 screwed up tightly and in the proper place, as otherwise they 
 may be pulled across the face of the forme. It is best not 
 
 1*11.;. loo. OAI (.K-l'lNS. 
 
 to place them on till the forme has Ijcen l>n>ught-np and the 
 lay obtained correctly. 
 
 In the case of a job being perfected or backed -up, the 
 side-lay should be shifted to the opposite side in order to 
 secvu'e exact register; any variation in the size of card or 
 paper would throw it out if laid to the same side-marks. 
 Tilers are different ways of laying-on and taking-off at the 
 same time, but the operator should accustom himself to 
 laying both sides with equal facility, and keep^a very sharp 
 look-out, or he may get his hand caught in the machine 
 whilst in motion. The supply of ink can Ije regulated to a 
 nicety. There is also a "throw-off" for the impression, 
 used for running-up colour, or in tlie event of a "miss" 
 \\\ laviug-on; this aUows ot" tloublc rolling IIm' foi-nif if 
 it is a li<'av\ one Tlici-c is alsn In nio-l inarlmifs an 
 aiTanut'incnl for IioMjul;' th^' rollers niiwliilsl riinninL;-ii|. 
 
280 
 
 PKINTINa 
 
 colour, wlncli does not necessitate the rollers passing up and 
 down over the forme as the platen rises and falls. If a very 
 open or broken forme is on the machine, a frisket can he 
 made to jn-event blacks, this being fastened to the fingers 1 
 and cut awav in tlie ]);irts to Ic printcil. 
 
 Fm;. 156. TMK "vi(T(u;ia"' i'i.atkn machixk, 
 
 There are many other varieties of small platen machines 
 of English, American, and German make; among them are 
 the Universal, Golding Jobber, Pliumix, Victoria, Caxton, 
 Colt's Armory Press, Ileddisli Jobber, Mitre, Sun, Bremner, 
 G()rd(^u, Tiittlc Woiidfi-, Ar;il>, Tiiltcriy, etc Tn gcuernl 
 )»riuci}»le tliey are much llie sanu', but they vary in si'veral 
 details, and the same remarks applv broadly to all. subject 
 
THE GOLDING JOBBER 
 
 •281 
 
 tv> (he deviiitions necessitated bv the make. Some of these 
 imieliines are more substantial tlian others. Wliilst the 
 Minerva is admirably adapted for the lii^hter kind of j()l)binL;' 
 
 Fit;. l.')7. Tin: •• coi.dinc .I()i:i;i:i; "' i'i.\ii:\ maciiink. 
 
 Work, 1 he Victoriii, liLi'. 1 5(>, (^ixtoii, Universal, or t lie ^Mil re, 
 arc jpcrhaps llio lic>l I'di- the hcavii'r class. 
 
 Tlir Vi<-1oria. is ].ar1 imlarlv adapted \\>v llic lin.'sl wnvV 
 of all cliarai-lcrs, and is made in various si/cs uji 1o larL^c 
 
282 PRINTING 
 
 post broadside. It is now fitted with a patent liand guard 
 which will stop the machine should the operator's hand l)e 
 in danger of being crushed. The inking gear will ink the 
 heaviest forme of half-tone l>lo(;ks with a single rolling; 
 screws are not used to adjust the impression, but this is 
 done by moving a small gauge. The impression check is 
 so arranged that if a sheet is not fed in, the jjlaten can be 
 checked in such a way that it does not 2)rint. 
 
 The GolcUiuj Jobber, fig. 157, is also a good machine i'o;* 
 all-round work, and those of later manufacture have been 
 improved on very much in many points. They are light 
 running machines, and comparatively noiseless whilst in 
 action. It is claimed for them that they have many features 
 non-existent in other platens. For instance, there is a good 
 dwell on the impression, and the platen remains down 
 sufficiently long to allow of the sheets being fed in comfort- 
 ably. The impression is regulated by wedges easily altered, 
 and the throw-off is a simple arrangement actuated by a 
 handle very close to the operator. The facilities for inking 
 Iiave been well studied, the su])ply being regulated by an 
 automatic brayer-fountain within reach of the printer with- 
 out going to the back of the machine, and is distributed on 
 a disk which can be adjusted to the requirements of the 
 work in hand. 
 
 The machine generallv is well balanced in runnini"-, so 
 that the smaller or medium sizes can easily be worked by 
 foot if necessary. The j^arts are all standardized, so that in 
 the event of accident the portion damaged or broken can 
 be readily replaced from stock. The machine can be geared 
 to a high speed, and in connection with this ))]at('n it may 
 be mentioned that there is a duplex ink distril)utor placed 
 1>eneat]i tlie bed wliich lias a lateral movement, thus im- 
 ]»arting a diiferent inking surface on the ascending rollers 
 as they return (>\ci" the fni-nic 1i» lln- top rcvolxing dislx, in 
 oi'dci" t<» tiil<(' iiioi'c ink. 
 
CHAPTER XXVIII 
 
 Tlu' Largui- Kind of IMateii Machine, Siiii;lL' and Douldc— Makini:,- 
 leady and Mode of Workin.u. 
 
 rHE larger an.d older kind of platen machines, pro- 
 pelled l)y power formerly, siipei'seded hand-presses 
 to some extent because they could i)riut a larger sheet. 
 They were manufactured either single or double, and in 
 various sizes. A short account of this particular class of 
 machine will not be uninteresting, for in its day it was 
 cai>able of producing some high-class work and at a greater 
 rate than the liand-i)ress. 
 
 . To commence with, the single pJn ten, fig. 158, was some- 
 times called the Scandinavian, or " Scan," for shortness. 
 As in the case of a hand-press, the tym])an was usually 
 made of parchment, and the frisket formed of brown 2)apcr 
 cut out to the necessary ^hape. 
 
 The making-ready was carried out in a manner similar 
 to that ex[)lained in the j)art devoted to press work, and the 
 operators laid-on and took-off respectively — the sheets as 
 l)rinted being i>laced at the side of the machine on a l»ank 
 or table. The forme in this «ingle platen machine did not 
 travel, but was a fixtur*' under the platen. When a fresh 
 sheet was laid on and the tympan turned down, the sheet was 
 carried along to a position imnu'(liately Ix'tw^'cii thefornn'- 
 bod and jdaten, and then inijiressrd l>y the th'sccnt of tlif 
 pliitt'ii. Till' inking ari'ani;»'nn'n1 s won- at1a<di(Ml 1<. t In- frmil 
 part of t he t \ mpan, and passed and jc-passcd n\cr i he fornn' 
 
284 
 
 PRINTING 
 
 as the sheet went iii and out for its imjn'ession, the fresh 
 supply of ink being obtained from the table at the other 
 end of the machine. The crank action was applied in the 
 Avorking of this machine, and the carriage holding the 
 forme could be easily withdrawn, if necessary, for correctiou. 
 The rate of speed obtained was somewhat in excess of that 
 of the hand-press. 
 
 Of the double platen, fig. 159, there were two kinds as 
 regards working action, the crank and the knuckle-joint — 
 
 Fk;. I.")S. iiii: '• scandin v\ ia\ ■' ri,\ii:N maciiim;. 
 
 the latter being the more si)eedy. The illustration we give 
 is that of the crank movement. The doul>le platen had two 
 ends, similar in all respects; these ends were available for 
 distributing and inking ])ur])oses, as the formes travelled 
 backwards and forwards. Two formes were jilaced on the 
 beds at eith(»r end, and, as each in turn arrived under the 
 platt'U, it was im]»rcs«<(Ml. and then rclurncMl lo its former 
 ]t(»si1 i(»H Id lia\ »' t lit' sht'cl rniioNCil and a fi'csh «»ii<' lai'l on. 
 A doiililc scl ol" ojdTalors was of coui'sc rcijuircd at each 
 end. The niakiiig-rra<l\ and other details in layiiig-on and 
 
THE OLD PLATEN MACHTNES 
 
 2«.^ 
 
 tiikinL;'-ott' wore 11r' saiiu' as in llir siiiL^lc plalcii or on IIk- 
 haiul-pivss. 
 
 Machines on this [>riiici[»K' liave Ioiill' heeii discarded for 
 ( those of the cyliudrieal character, but they were capable of 
 turning out fairly good book work. Their great drawbacks 
 were their slowness of production and their inferiority in 
 inking facilities compared with the more modern malce of 
 cylinder machines. 
 
 I'k;. I.')!). Till-: Doriu.K i-latex "ni achim;. 
 
 The cylindrical mode was originally adopted for printing 
 machinery, as was shown by Nicholson's invention in the 
 latter part of the eighteenth century. It was eventually 
 superseded by the flat impression of the platen, but in recent 
 years the first plan has come to the front again. Owing to the 
 very great improvement in the manufacture of the cylinder 
 tlu'ough accurate turning, in*, in some instances, grinding, 
 it will ]>i"()l»;ib]v retain its position as the liest method of 
 ini]>ression in print ing, whether of single or double cylinder, 
 or even rotarv kind. 
 
CHAPTER XXIX 
 
 One-sided ('vliiider ^Nraeliines: The Wharfedale a uood kind — The ) 
 ... . t 
 
 System of Inking- .applied to Sin;^le-cylinder Machines — Descrip- 
 tion and Kate of Speed to be attained by tlie Wharf edale in 
 Workinu— ( Jeared Inking Apparatus— Makin«^'-ready—I'indin«^ , 
 the Pitch — Hard Packing— Slurring — Packing Hollers — Register 
 — Supply of Ink — Altering the Impression— Key to the Parts of 
 a Wharfedale — How to Erect a ^yharfedale. 
 
 FOR general bookwork of the shorter numbers in print- 
 ing-, the Wharfi'dale machine, fig. 160, is certainly the | 
 best kind and in most demand. It has a single cylinder, and 
 consequently prints one side only at a time. It is built on 
 the stop-cylinder principle, that is, this cylinder is stationary 
 on the return travel of the machine — the locking being per- 
 formed at each revolution by a ]>ush-rod worked off* an 
 eccentric cam. The English stop-cylinder is generally fed 
 in from under the cylinder, whereas most American ma- 
 chines of the same character have the high- or over-feed 
 board. Messrs. Dawson's machine, we believe, is the original 
 Wharfedale, but there are several other good machines of 
 the same type in the market, varying little from the one 
 here given (Payne's). They are made in all sizes; their 
 inking and distributing powers are a great feature, as like- 
 wise the accessibility to all parts of the machine, and the 
 convenience of laying-on and taking-oft". They are simple 
 in construction and do not occupy much space. Very great 
 improvements in various details have been made from time 
 to time. The cylinder can be held coni]^letely stationary. 
 
288 PRINTING 
 
 and the iiildng rollers can be raised whilst the ink is lx'in;_; 
 distributed ou the slab. The double rolling' aetion is also 
 obtained with a special cam which sto]>s the cylinder every 
 other time, aud automatically keei>s the i;rij)pers open and 
 the feed board from raising until the cylinder rotates 
 ai^ain. By the addition of extra and stronger traverse rail ^ 
 underneath the l)ed or coffin greater strength and rigidity 
 are given to the whole machine. One other improvement i> 
 that of the cutting knife which allows of large sheets being 
 cut in half as fast as printed, for the greater conveniencr 
 of handling — a consideration with work printed on heavy 
 paper. Thus every facility is given for turning out the ' 
 different kinds of work which these machines are called 
 upon to execute. Here let it be repeated that a Wharfe- 
 dale is a stop-cylinder machine; single cylinder and one- 
 sided machine being synonymous terms. 
 
 System, of inking. — To illustrate the older method of ink- 
 ing as applied to single cylinder machines, the diagram, 
 fig. 161, will be of service, because it is simple and at a 
 glance makes it more clear to the student, whereas those 
 given later on will show the up-to-date system of recipro- 
 cating rollers and riders. 
 
 Here in this fio'ure are seen the distributing and inking 
 rollers respectively, and the method of taking and giving 
 ink to the forme: (d) is the ink-duct, a shallow trough 
 containing the ink, which is let out by a long thin iron 
 plate, termed the " knife." The quantity of ink to be given 
 at each impression is regulated by screws or keys, turned 
 by the aid of a " tommy " ; if properly and consistently done 
 in the first jjlace, equality in colour will be obtained. The 
 ink let out is deposited on the ink-cylinder, a metal roller 
 within the duct, which revolves slightly at each turn of the 
 machine, and from this cylinder the ink is lifted at inter- 
 vals by the vibrating roller (vj. Tliis roller in its action 
 places it on the ink table (t), which travels with the type 
 
SYSTEM OF INKTNCI 
 
 289 
 
 (•;irri;ii;(' (f), l>oinu' allacli('(l (o it; ( w ) ai'c llir waNcrs, or (lis- 
 tribuliiii;' rollers, which thin oul the ink on the laMc, and 
 as till' I'oriiio passes and rc-[»assos uiuU'r the ollici- rollers 
 (i), called the inkers, it receives the iiecessarv (juantity of 
 ink; (c) is the impression cylinder. As will he ol>served, 
 the inkers receive the ink from the table after it has been 
 distributed thereon by the wavers. The ink-cylinder within 
 the duet is kept on the move, a partial revolution at each 
 
 l-'n;. 1(11. KATM.iKi; svstkm ov ixkin(; o\ the wiiaIv'TEDAI-i;. 
 
 iHijiression, by a ratchet wheel in connection with the shaft 
 of the machine (s), and the rollers revolve on their spindles, 
 which are held in forks (r), by the travelling of the ink 
 table and type carria<i-e. 
 
 In the Wharf edale machine that end which is occupied by 
 t he inkino- appliances and frame is covered up by the takine:- 
 off board, which is a great economy of space; consequently 
 the working parts just enumerated are not in the way when 
 in action. When it is re^piisite to get at the rollers or to 
 
 u 
 
200 PRINTINa 
 
 correct tlie f<irine this ])oard is turned up on its end, ininic- 
 diiilolv over the ink-duet, and an iron rack at eitlier side is 
 disclosed ; this is forphicing the rollers on, it' it is necessary to 
 lift them out for any reason. Some machines are made with 
 a high and sliding back hoard which permits of the forme 
 l)eing got at without having to shift the work or to turn 
 ]>:ick the taking-off board. The machine as shown in fig. 160 
 will run off copies to the extent of 1,400 per hour if the speed 
 is regulated by the special pulleys, but it is rather too great 
 a number for good work, or that of a heavy nature ; however, 
 1,000 to 1,200 is a safe numl>erto attain, after allowing for 
 various stoppages, if the work is not of a very special nature. 
 
 The gripper arrangement is the same as that used for 
 feeding all machines of the stop-cylinder class. 
 
 All machines are now fitted with taking-oft' apparatus, 
 thus dispensing with some amount of unskilled labour, an 
 item to be considered in large establishments. Several auto- 
 matic laying- on apparatus for these machines have been in- 
 troduced in recent years, but as the systems adopted at 
 the i>resent time are somewhat complicated and expensive, 
 we cannot with any degree of certainty recommend them 
 just now. No doubt they wdll be further perfected in course 
 of time, and the initial cost reduced. 
 
 We have taken the Wharf edale as an example of a single 
 cylinder, because we are convinced that this class of print- 
 ing machine is the best suited for the general run of book- 
 w^ork, especially that of short numbers. In addition to 
 Dawson's and Payne's machines, there are those of Harrild, 
 Miller and Richard, Furnival, Elliott, and others; all of 
 wdiich may be relied on for good and sound w^ork. Some have 
 advantages over others, l)ut these when absent are generally 
 compensated for by other good points. One great advantage 
 is to have all the accessories possilde. 
 
 Wharfedales are made from a small jobbing size up 
 to a size which will i)rint a sheet measuring 85x65 in., 
 
SYSTEM OF TNKTNG 291 
 
 and yvt is coinpavatively iioisek'ss in runniii;^-. More coni- 
 |»k'te distrihulion and application of ink is ol>lain(.'d by 
 the use ot" a svstcni ot" rollers, all ot" which arc i^x-arcd 
 in connection with the distributors and inkers respect- 
 ively. Additional inking is given by the use of a cylindrical 
 Reciprocating drum, or geared riders and rollers alternat<ely 
 arranged in pyramid fashion, or even a combination of l)otli 
 methods, as shown se[>arately in tigs. 162 and 163 respect- 
 ively on the next two pages. 
 
 Compactness in build, and accessibility in feeding and 
 taking-oif are tw^o things in favour of these machines. In 
 }»ro}»ortion to the size of sheet which may be j^rinted, the 
 Wharf edale probably occupies less standing-room than any 
 other class of machine. ' - 
 
 Making-ready hy the old method. — ^ Assuming the blanket 
 (soft impression) is ado[)ted, the machine minder should 
 proceed to put up the calico next the cylinder. This is 
 fastened, at one edge between two flat bars just inside the 
 cylinder at the gripper side. The calico is then carried 
 smoothly round the cylinder and fastened at the other end, 
 and tightened by the ratchet wheel. The object of the calico 
 is to form a basis or foundation for the impression sheets 
 to be pasted on. Some six or eight sheets of thin paper 
 should be placed next — the requirements of the particular 
 machine will teach the exact number — and pasted down. 
 See that these lie perfectly Hat. The blanket may then l)e 
 placed on. In choosing this do not take a thick one, but 
 select a blanket of fine and even texture. The forme-carriage 
 should then be Innished down, the forme placed on, and the 
 correct " pitch " obtained, otherw^ise the sheet will not be 
 gripped, or the forme may be battered in the first i^ull. 
 
 Findlmj the Fitch. — The best j^lan is to daub a little ink 
 on one end of the cylinder opposite the grippers, and turn 
 the forme carriage under till this mark is transferred to the 
 impression bearer. A gauge should then be cut for future 
 
 I 
 
I. — 
 
 v; ~- 
 
 
 ^- <•- 
 
 
 
 
, . 
 
 ^ s. 
 
 y- r •- ^ S 
 
 "w +- '^ -t^ .^ 
 -, .^ .rt .^ ^> 
 
 ^ X « CiJ KH 
 
 ^ lie 1"^ 
 
 ;^ f* o S 
 
 o /- 
 
 r § .. ,1 I i 
 
 :; i :::;>.- '^ 
 
 ^ t:; o r- X s s 
 
 y -c, ^ 3 - - ^ 
 
 -^ ".^ ^ 'x: -r '-^ 1-^ 
 
 3<i — ^ -« 3 
 
 s; S C S Q C^ 
 
 •^ ?2 ^ G ^ 
 
•294 PRINTING 
 
 use, and the ioriues ut' works of varying luargius may bt' ad- 
 justed to the exact position at once without fear of accident. 
 
 After the forme has been placed on the carriage and 
 fastened down a sheet may be pulled for register. At the 
 same time, supposing the impression is pretty level, a proof 
 should be taken for final revision by the' reader; this ob- 
 viates delay in starting. If the forme is not within touch, 
 the impression screws at either end of the cylinder may be 
 tightened. If too hard they may be loosened. The next step 
 is to make register, and, if the work is to be pointed, which 
 is rarely necessary now, except in the case of colour work, 
 the two points should be fastened to the forme at l)oth ends 
 for the first side in printing. In sheet work it is advisable to 
 lay the inner one of the two formes on first. Of course these 
 points are not used for the second forme, or, if half-sheet 
 work, they should be lifted when the sheet is backed or per- 
 fected. When the pages are registered and the points for the 
 second side adjusted on the laying-on l)oard, an impression 
 sheet may be pulled for making-ready or levelling the type. 
 
 It is sometimes more convenient to use a hand roller in 
 performing these operations than to put any rollers on the 
 machine. By adopting this method the machine minder will 
 be enabled to make a good start witli the ])roper rollers when 
 all else is ready. 
 
 If there are any cuts in the forme to be 2>rinted, see that 
 they are first underlaid so as to bring them up to a level 
 with the type, for by doing this, much time in making-ready 
 will be saved. 
 
 The necessary palching-up and culting-out sliould be 
 executed in the same manner as detailed in the part of 
 this ])ook di'volcd 1o ju'css w<>rk." When the Hiakiiig-r<'a<lv 
 of oa(.'li single ]»ago has been affixed to its proper position, 
 :i<lditional touching-up can be donb on tlio cylinder. 
 
 The revise lieing passed, the diictor should be seen to, 
 ;m<l Iho rcipiisilc su]»ply of ink n'giil:i1('(l by llic keys, The 
 
MAKING-READY ON WHARFEDALES 2d^» 
 
 roUors bt'iiiL;- put in their respective places, colour may llieu 
 be run up, aud a i'ew waste sheets sent through the machine 
 so as to distribute the colour evenly on the table and rollers 
 before nuildnn" an actual start. 
 
 Hard-pachliKj sijsieDi of Makimj- ready. — This plan dis- 
 penses with the blanket, and few sheets only are necessary 
 between the type and cylinder, with a stout hard sheet of 
 l>aper or milled card — a glazed board is an admirable sub- 
 stitute — placed next to the cylinder. Unless the machine is 
 in good order, and the type fairly ncAV, this method is not 
 advisable, for it would entail a deal of labour; but given 
 these two points, the machine minder may adoi)t it. 
 
 Illustrated work printed on super-calendered or coated 
 palters lends itself to this class of printing, and the cut-work 
 in current magazines is all produced by this system. 
 
 To dress the cylinder for this method, some j^i'cfer that 
 a stout card or board should be first stretched over the 
 cylinder, as the calico is in the other style of making-ready. 
 Great care should be taken that it lies j)erfectly flat and 
 close; to assist this the board may be scored right along on 
 the top, a short distance from the edge, to allow of it turning 
 more easily into the opening of the cylinder. When fixed, 
 place two or three sheets of thin paper, and, lastly, one of 
 a stouter kind, which will serve as the top sheet. If the 
 whole is not firmly fixed, slurring will probably result; 
 therefore it is requisite that the board with the following 
 sheets be lapped round very tightly. These details having 
 been performed satisfactorily, the making-ready may pro- 
 ceed as usual. 
 
 As l)efore said, if the machine is in fair condition, and 
 1li(' tyj>e new <>r bttlc worn, not niudi tim<' will 1>(> r('(piir('d 
 in jiutting tlie finishing strokes to a forme [»re]>;iiMtnry t<» 
 starting, provided the foiMiie has ])een brought within toiidi 
 l>v the ]>ro]»('i- uuniliei- (»l' siieets placed on the cylinder in 
 1 he lil'sl place. 
 
296 PRINTING 
 
 The object of printing by this method is to obtain a shar[>, 
 hard, and clean impression, without being heavy. If these 
 ]>oints have been attained, cold-pressing or rolling of the 
 sheets afterwards will not be needed. Two other essentials 
 in this system are that a good quick-drying ink be used and 
 the paper be perfectly smooth. For the printing of illus- 
 trations a super-calendered paper is necessary, and in some 
 cases coated papers. 
 
 The followiuii' remarks oji makinii'-readv, which have been 
 reduced from the " British Printer," mav be read with in- 
 terest, and these apply largely to the printing of all illus- 
 trated books or magazines by the hard-jmcking system. 
 
 The forme Ijeing ready, it is put on the machine, and then 
 planed down; if it shows signs of being springy, slightly 
 slacken the quoins, plane it gently, and then re-lock. There 
 is generally too little thought given to planing a forme. 
 Some do not think of jjlaning a forme until they have 
 finished locking it up. The result is that in nine cases out 
 of ten it is sent down to the machine springy or off its feet. 
 If it falls into the hands of a careless machineman, he will 
 not trouble himself to unlock it, so as to plane properly, 
 but will hammer away, and when tired, he will proceed with 
 the job and wonder why it wants such a deal of patching 
 and cutting away in making-ready. Should there arise 
 any necessity for unlocking the forme after lie is ready for 
 a start, it will probably be found to re«|uire half making- 
 ready again. AVhat should be done is to get the type to 
 stand down solid at first, care being taken not 1o }>lane 
 across blocks and type at once. An impression may then 
 be pulled. 
 
 Underlaying the blocks is a |>rocess ri'ijuiring careful 
 a1tenti(»n. A good deal de[»end8 upon Its j»roper i>erformanee. 
 All l)locks must be as nearly level with the type as possible, 
 ft" loo liigli, llie I'esull is rapid wear to the fine lines and 
 L;-enei-a1 i-o\inding of all sliarj) shades, giving the engraving, 
 
MAKING-READY ON WHAKFEDALES 297 
 
 alter a little use, a Hat and thick appoaraueo. Besides this, 
 the overlay eaiiiiot be lvei)t so effective, and after a run of a 
 thousand or two it becomes flattened out, with the dani^er 
 of drawing up quads. One thickness is used to bring level, 
 as near as one can guess it, hard material l)eing used and 
 not ream wra])pers. If not high enough, or too high, do 
 not be afraid of the trouble of raising the forme again. 
 In underlaying use, say, oU lb. double crown, sometimes 
 thinner. It is often the case that the wood mounts are not 
 level on the top, next to the plate. This is troublesome, 
 and if an attempt be made to remedy it at the bottom, the 
 block will perhaps rock, bringing uj) quads all round. It is 
 imj)ortant that the block should stand as level as possible, 
 and if still showing hollow in the middle, or irregular at the 
 surface, then the plate should be raised, if practicable, ami 
 an underlay slipped in between the plate and the mount. If 
 this cannot be done without risk, it should be brought as 
 nearly level as 2>ossible by overlaying on the cylinder, care 
 being taken to l)ury the overlay under as many sheets as 
 possible, so as to hide any sharj) edges. 
 
 In preparing the cylinder hard packing is used. The 
 cylinder takes about nine sheets of 40 lb. double demy, all 
 told. Five sheets of 40 lb. are put on with a sheet of 3*2 lb. 
 on the top, the sheets being pasted along the front edge and 
 fastened direct upon the cylinder. No calico is used, the 
 ]>acking being secured at the back by gummed paper, care 
 being taken to draw the sheets taut. The remainder of 
 the nine sheets are added in the process of luaking- ready. 
 Some workmen use <hunp slieets on the cylinder, but the 
 ureal drawback to tins uit'lliod is that it is not alwavs 
 (•onv('ni«'nt for lln' niadiine to stand until llir tynipaii is 
 thoroughly dry. Il is useless to Itegin niaking-reatly on a 
 tynipan that is not dr\, bec.'uise as it dries it contracts. 
 The inaehiiienian oblivions ol' 1 his I'a el will keep on |.a1 ching 
 up 1 he I \ |>e, ;iiid \el cannot nndel•^land iii>\\ it is that his 
 
298 PRmTING 
 
 ovci'hiys have luuvctl. All the [nipcr used ior piickiii^- slu.uild 
 l»e dry. 
 
 For overlaying, a sheet is fed tlirouo-h, wiili the aniuuul 
 of sheets on the top of it that will brin^^ up the pressure 
 required — two sheets of 40 11^. double demy are generally 
 reserved for this — and an impression is pulled. If it is a 
 heavy forme and requires a little more pressure, an ad- 
 ditional sheet is put on the cylinder. An impression is then 
 taken on the top sheet, from which headlines, leaders, rules, 
 and hard parts of illustrations are cut out. 
 
 Having done this, a sheet of 18 lb. is drawn over, another 
 impression taken, and the overlay sheets prepared. These 
 consist of three sheets of 18 lb. and one about 10 lb. 
 heavier. They are cut up into single pages, along with one 
 on the paper of the book, and then the making-ready begins. 
 The bottom page in the corner is taken first, and so on. 
 All hard parts are taken out of the top tymj^an sheet, and 
 the weak places in the type overlaid and i)asted to it, tissue 
 paj^er being extensively used, so as to avoid any unnecessary 
 pressure. In the illustrations, the machineman must use his 
 own judgement in cutting out, some cuts requiring more 
 than others. Some light shades, especially ground and sky, 
 or outside lines, recpiire to be lightened, according to the 
 subject illustrated. The artistic machineman will do well 
 to make his mind familiar with light and shade and per- 
 spective, as exam pled in good engravings. In the general 
 run of machine illustrations, the light shade is taken out of 
 one of the 18 lb. double crown sheets, then the second shade 
 out of the next, and then the third for number three, using 
 the thicker sheet for solids. The solids are pasted directly 
 on to the cylinder and then numbei- lliree. This is better 
 than }»asting the overlays all together, andtlien putting on, 
 as the solids are thus well buried and prevent sharp edges 
 around them. Wlien overlays are pasted together, the solids 
 sliiMild be pasted to the uiidennost overlay. In ]»lav'iiig the 
 
MAKING-READY ON WTTARFEDALES 299 
 
 tliiii uvorlavs tosetlier, the "rule of tlHiiub " sysleni is to 
 paste eaeli ;ill over and stick together; 1>ut there are ob- 
 jections to this. When done in that way, it is found they 
 raunot l»e got together accurately — they have exi>anded 
 whilst damp and have been unequally drawn out during the 
 process of pasting. Having cut out sheets one and two, the 
 
 j proper method is to paste the solids on first and then to lay 
 number two over number one, just touched here and there 
 with paste to hold them together. The same with the third 
 sheet. In landscapes, photos, sea views, and other hue illus- 
 trations, the one, two, three order is not strictly followed — 
 the aim being to throw the subject up well. Much can be 
 
 j done to im2:>rove the appearaiice and the eifectiveness of 
 views by an additional overlay on a house or tree, or other 
 features intended to be prominent in conveying a clear 
 idea to the mind. Again, a bit cut out here and there will 
 help to make an ordinary block look better, while a really 
 good one can be made to look like a fine picture. After 
 having cut out overlays and finished patching up, another 
 sheet of 18 lb. is put over all, and a few waste sheets run 
 through, or one placed on the forme, to set the overlays, etc. 
 An impression may now be pulled on a sheet of its own 
 pai)er, with the tympau sheet on top as usual, — this being 
 a sheet of the 40 lb. double demy. Any remaining defects 
 are now reme^lied on the top sheet, and, this being done, 
 one 4<> 11). sheet is pasted on to coverall in. A sheet having 
 been ]»nssed, a start is made with the printing. 
 
 In printing-oft', the changes in the weather aftect the ink 
 and rollers to a great extent. Formes which will work well 
 one day will sometimes cause a deal of troubl(> the next, this 
 being csjH'cially the rase with coloiii'cd iiilcs. The su]>)>ly of 
 ink should lie s»'t so that it will fairly rovei' the solids wit lu^ut 
 thickt'iiing the fine shades. The she«'ts, iis they are printed. 
 are interleaved to prevent setting-off. On ]»i-iiit ing I lie <it her 
 
 side, the e\ lill'ler is oiled to st oJ> o 11- set t illg, hilt t he t\ 111 pa II 
 
300 PRINTING 
 
 is uot soaked tlirougli, the oil Leiug vigorously rubbed iuto 
 the top sheet with a soft rag. Some printers do not like the 
 (»iling process, because, in their ease, it has slunvn on the 
 back of the printed matter. The fault is their own; the 
 oiling has not been done jjroperly. Too much oil has been 
 used. It is only the top sheet that requires oiling, not the 
 whole of the tympan. A rub over with a clean rag should 
 be given, and a sheet run through a few times. In backing 
 the work, the interleaving sheet is taken away as the feeder 
 takes up each separate sheet, but the perfected sheets are 
 interleaved, as in the first instance. They are then allowed 
 to dry, and, having stood the necessary time, the completed 
 sheets are removed from the interleaves. 
 
 In conclusion it niav be added that this svsteni of hard 
 packing removes the necessity for rolling and pressing. 
 
 Slurring in printing. — The possibility of slurring through 
 inefficient j^acking of the cylinder, whether by the old or 
 new style of making-ready, has already been pointed out, 
 but it is also sometimes caused by the machine having got 
 out of level through the foundations giving way. If this 
 is the case, re-level the machine. 
 
 Packing the rollers. — This is sometimes necessary, on the 
 older makes of machines, to avoid the " wiping " of the 
 roller on the extreme edges of the type, which causes an 
 excess of ink on the part where the rollers pass over any 
 opening between the pages of the forme. In order to get 
 over this difficulty thick cards, or even |»ieees of leather, 
 may be used as i)acking; the length should be a little more 
 than the opening to which they are |>]aeed opposite. Let 
 the extreme edges be l)evelled off so that the rollers will 
 run over without juni]»ing. The exact height will be deter- 
 miiit'd by ('X]>crience, but genciMlly a sixth or an eighth of 
 ail incli in thickness is suffici(M»t. All ibis can now be «»b- 
 viat<'<l l»y llie adoption of geared rollefs and riders. 
 
 l\(tji>^lcr III jiriiilnKj. 'Hiis is a1taiiie<l cillier lt\' j>oiiiJing 
 
CARE OF TTTE WHARFEPALE BOl 
 
 (tr l>_v siiiijilv liiviiiL;' cMcli sliccl Avilli very i^Tcal care. Fur 
 orJiiuirv bookwork the latter method inay he a(h)j>t«'<l if ji 
 verv careful layer-on is eiio-ai^-ecl. To perforin this correctly 
 the second side in printing should be laid to the reverse 
 end of the feeding-board; that is, the same edge of the 
 j^aper must be laid to on the second side as in the first one 
 printed, but to another mark on the oft'-side of the machine. 
 To do this it is sometimes best that the layer-on should go 
 to the other side of the machine, in order to secure ii'reater 
 accuracy in register, Init this should not be necessary if the 
 layer-on is a competent one. Colour work and other parti- 
 cular formes or closely-set pages should be printed with 
 points, and registered on the second side by pointing, and 
 not merely by laying to a mark at the I'e verse end. 
 
 Proper sKpphj ofinl: — Keep the ductor perfectly clean, 
 and do not tamper unnecessarily with the keys. If allowed 
 to become dirty the keys get clogged, and will not act pro- 
 perly.. This causes an irregular su^^ply of ink to be given 
 out, and unevenness of colour in printing is the result. To 
 assist the proper distribution, it is sometimes necessary to 
 cut the vibrating roller into sections; that is, certain pieces 
 should be cut out at intervals to correspond with the open- 
 ings between the pages. These excised pieces should be a 
 trifle wider than the type oijenings. By this method the 
 possibility of an excess of ink to those parts is reduced. In 
 cutting the roller use the knife in a slanting manner, and 
 do not go too deej), or else the suction or lug of the ink table 
 will pull the remaining composition off the stock. 
 
 AlteriiKj the impression of the ri/Under. — This should not 
 be interfered with more than can be helped, as the cylinder 
 is likely to ])e thrown out. Formes of various kinds and of 
 a broken nature require different impressions, and some- 
 times more than can be compensated for by altering the 
 number of sheets on the cylinder. Where it is actually 
 necessary to altci- tin- iinjn-ession screws of tlic cylinder do 
 
9,02 PRINTING 
 
 so consistently and evenly at both ends — if done carelessly 
 it will l)e difiirull to make correct ai^'ain, and will perlia])s 
 injure the machine. 
 
 In laying on a fresh work select a solid forme for the 
 first working; this will set the machine properly, and the 
 subsequent formes will not be so much trouble in making- 
 ready. 
 
 It will be obvious that the machine minder's duties are 
 of a responsible nature, when we consider the value of the 
 machine of which he is in charge. It is his business by 
 forethought to keep the machine running as much as poss- 
 ible. For instance, whilst making-ready let him see that 
 his final revise is passed, and that his boy is occupied in 
 his spare time in cleaning up the machine. The necessary 
 lubrication should now be applied, and the rollers got into 
 condition and j^osition for working. Care should be taken 
 that the carriage and forme are quite clear, and that nothing 
 has been left lying about which might injure the machine 
 in running under the cylinder. 
 
 Everything should have a })lace, so that it may be found 
 when wanted, and each machine should be separately fur- 
 nished with tools, in the shape of mallet, shooting stick, 
 and hammer, besides the usual accessories, viz., spanners, 
 tommies, etc. 
 
 As already proposed, we give here a series of illustrations, 
 figs. 164 to l<i7, showing all the parts of Messrs. Payne's 
 stop-cylinder machine, together with a numbered key and 
 some general directions as to the erection of this machine, 
 which api)ly more or less to others of the same character, 
 but subject to the varying details of manufacture. 
 
Key to ttte Pakts of a AViiAitFEDAhE jMachine 
 
 Flq. 1(>4. 
 r.\. lA'ft-liaiul liowl mil 
 II. l,ff( rent IV 1m, wl rail. 
 I.'i. Itiulil ceiitii' liiiwl rail. 
 I(i. Ui.i.'lil-liaii(l liciw 1 rail. 
 47. Table or carriaut'. 
 r.J. Ink slab. 
 .'>.'). (yliiuli'v. 
 (U. jViictor kiiitV. 
 74. Flyer.s. 
 N-2. Hiu-t roller. 
 
 Fiif. 16.-). 
 
 (I. J)«)ttnm rack. 
 
 7. Jiiittom rark. 
 
 s. Kiiilit horse-leu. 
 
 ;». Left horse-leu. 
 111. l^'ft lar<i;e (lriviii,i> wheel. 
 11. lliiilit l;\r<>e driviiis' wheel. 
 1-.^. (irijijier cam. 
 l.">. ('iniiiectiiiii rod. 
 14. Kiiilit-haii.l traverse wheel. 
 !.■>. Left-hand traverse wheel. 
 1(>. Protection motion, lioaid and 
 
 double roll cam. 
 17. Left-hand cam-shaft bracket, 
 is. Kijiht-hand cam-shaft bracket, 
 lit. Double rollinii l)ell crank. 
 •20. Cylinder incline lever. 
 '21. I,eft-hand board lever. 
 22. Kiuht-hand board lever. 
 2:!. Check uripjier liell crank. 
 
 24. (irii)per incline lever. 
 2.'). Live wheel incline. 
 2(1. Left-hand board lift. 
 27. Riiiht-hand board lift. 
 
 25. (Iri))j)er incline. 
 2!t. lions wedue. 
 
 ;;o. J'rotection cam lever. 
 .'!1. Jioard cam lever. 
 ;;2. Double rollinji cam lever. 
 U.;. (Jrijiper cam iever. 
 :;4. lirake and i)usher cam. 
 :i.">. Pusher cam lever. 
 :Ki. Jioard lever connectin,i> rod. 
 ;;7. J)ouble roll lever connectinii rod. 
 :;>. ( iripjier lever coniuMtiuL; rod. 
 :;'.». lirake cam lever. 
 42. N'ibrator cam lever. 
 4s. I'iiiht vibrator arm. 
 4'.>. Left vibrator arm. 
 ."lO. Drivin^i shaft and brackets, 
 .'d. 15owl carrier. 
 :<■!. liowl carrier. 
 .-.:'.. lioard lift .shaft. 
 72. licft-hand lay-on board bracket. 
 7C>. J5anjo rod. 
 
 77. \'ibrator comiectinii rod. 
 >1. Striker handle. 
 ^:;. lUiiht-hand cam-.shaft. 
 ^4. Left-hand cam-shaft. 
 !»2. Ink reuulator seunu'Ut. 
 ]oO. Shaft forbalanred tlvers. 
 
 114. Chain wheels for Hyer.s~tix on 
 lla. Loik-up bar. [frame. 
 
 110. Kubber boss bar for Hyers. 
 
 Fig. 1(5(5. 
 
 1. Left-haiul franii'sidi-. 
 
 2. Itimhl-liaiid fiameside. 
 ;>. Driviiii; end cross-frame. 
 4. Centre cross-frame. 
 
 "i. Feeding end cross-frame. 
 so. l-'lywheel. 
 
 /''/>/. 167. 
 
 40. Vilirator cam. 
 
 41. J^anjo foot. 
 ')(>. Live wheel. 
 
 r>7. Jicft-hand cylinder stand. 
 ^^S. Kij;ht-hand cylinder stand. 
 r)9. Pusher and rod. 
 '60. Drake wheel. 
 
 61. Cylinder ))rake bracket. 
 
 62. ll'iuht duct bracket. 
 
 63. Left duct bracket. 
 
 e.'S. Left delivery Itoard bracket. 
 
 66. Rijiht delivery board liracket. 
 
 67. Left side lieared inking stand. 
 (SS. Ramshorn for ,j;eared iidcinsj. 
 ()!>. liiiiht side geared inkinu stand. 
 
 70. Kiuht-hand rack yiiard. 
 
 71. Left-hand rack giiiird. 
 
 73. Rifiht-handlay-onboardbiacket. 
 
 7."). Balance weight for flyers. 
 
 78. Striker rod l)racket. 
 
 7'.). Driving gear guaid. 
 
 85. Shafts for bowl cairiers. 
 
 S6. Protection nu)tion springs and 
 
 87. Short wedge. | plungers. 
 
 88. IJrake comiecting rod. 
 
 89. (Minder incline and gripper lever 
 
 90. Cylinder check handle. [shaft. 
 
 91. Cylinder stop. 
 
 93. Pump handle. 
 
 94. Duct ratchet. 
 
 9r>. Duct connecting rod. 
 
 96. Striker shaft. linkers. 
 
 97. Worm wheel shaft for ueared 
 
 98. Lifting .shaft for tlyei.s. 
 
 99. Eccentric l>usli and stud. 
 100. Vibrator shaft. 
 
 Ktl. Traver.se wheel shaft. 
 102. Inking roller sockets. 
 U»3. Striker fork 
 
 104. Striker connecting rod. 
 
 105. Shaft for balanced flyers. 
 
 106. lianjo pinion. 
 
 107. Geared inking lack 
 
 108. Cylinder racks. 
 
 109. Front lays. 
 
 IKi. Smootheis for lay-on board. 
 
 111. Plate to liolil up long wedge. 
 11'2. Jianjo junion guard. 
 
 113. Chain wheels for bottom of tlyer 
 
 117. Duct regulator. Ishafls 
 
 118. Pulleys. 
 
 119. Sui>|iort for ge.ired inking rack. 
 
 30:i 
 
30t 
 
 PPtTNTTNa 
 
 E^,:£B«^l^<pMBStaM«Se< •* '^ 
 
 t •,. , « 
 
 
 y. 
 
 < 
 
 
 
 
 
 / 
 
 V 
 
 
 k 
 
 
 
 
 
 
 
 /. 
 
 ^ 
 
 
 ^ 
 
 
 ;i 
 
 w 
 
 Uj 
 
 ^ 
 
 — 
 
 — 
 
 7" 
 
 ~- 
 
 — 
 
 — 
 
 
 
 ~ 
 
 
 
 
 — rl 
 
 ~ 
 
 h 
 
 ::: 
 
 oL 
 
 N-/ 
 
 ~l 
 
 < 
 
 £- 
 
 ^ 
 
 ^-- 
 
 ■-I 
 
 ~ 
 
 ■s. 
 
 /-N 
 
 
 ■= 
 
 
 'S. 
 
 z 
 
 
 2 
 
 
 ■j- 
 
 ^—4 
 
 
 _. 
 
 
 ^ 
 
 J 
 
 
 **- 
 
 
 
 
 
 
 
 ,-•. 
 
 
 
 
 
 
 y^ 
 
 
 
PAKTS OF A WHARFEDATiF 
 
 305 
 
 o 
 
306 
 
 PRINTING 
 
PARTS OF A WHARFEDALE 
 
 B07 
 
308 PRINTING 
 
 ILiir to erect a W/nirj'edale. Take right fnimeside, Lolt llio 
 throe cross-frames to it. Then hring and bolt up left frame- 
 side. If little room put in shafts Nos. 53, 89, and 98 before 
 fixing left frameside. Pntinbottom racks between centre and 
 feeding cross-frames and horse-legs between centre and 
 driving end cross-frames. Place right and left cam-shafts in 
 holes in right and left horse-legs. Slip px'otection cam (16) 
 on left shaft; put bracket (17) on shaft; bolt to frame. Slip 
 gripper cam on right cam-shaft; fix on bracket (18). Take 
 large driving-wheels and put them on taper ends of right and 
 left cam-shafts. Make sure nuts are tight. Take connecting 
 rod, put traverse wheel shaft (101) through larger hole, 
 place right and left traverse wheels on right and left ends 
 of shaft ; bolt up. Lift on to machine so that connecting 
 rod is through centre cross-frame, and traverse wheels are 
 in marked gear in bottom racks. Put eccentric bush (99) 
 through other end of connecting rod, the bolt tarough bush 
 and large driving-wheels. Place thimble and spring in ver- 
 tical hole inside left frame. Put stud of cylinder check 
 handle (90) through hole in frame; place on handle outside. 
 Put short wedge on thimble, the bolt in slot of wedge through 
 frame and short spring and plunger (86) at back of wedge. 
 Place cylinder-incline and left board-lift through slots in left 
 frame. Take long wedge, put protection cam-lever (30) on pin 
 of wedge, set wedge against frame under lump on cylinder- 
 incline ; fasten lever (30) to bottom of frame ; long spring 
 plunger keej^s (30) against cam. The board and double roll 
 cam-levers go on same stud on left frame. Lever (20) and 
 crank (19) go on shaft at cylinder-incline, No. 20 on the in- 
 cline; (23) and (24) go on other end of same shafts. The 
 gripper-incline and right board-lift go in slots in right frame- 
 side. Levers (21) and (22) go on board-shaft, (21) working 
 left lift and (22) the right. Couple u}> gripper, double roll 
 and board, connecting rods. Fix striker shaft and handle (96) 
 on left frame. Put on driving shaft, fiywheel, and bowl rails. 
 
TWO-REVOLUTION MACHINES 309 
 
 l*laec I'uwLs on niilis, couple by iiiciiiis ol' (^5^ and bowl 
 (-•arriers to traverse wheel shaft. Put on table; see travel is 
 rorreet to* marks; level up machine. Put on cylinder, live 
 wheel to left side, put on live wheel and cylinder stands, i>ut 
 on cylinder stop to rijj^ht stand. Set stud for brake in ri^dit 
 frameside, and pusher earn on outside end of right cam-shaft, 
 l)ut on levers (85) and (3i>), place pusher on stud, couple 
 to cam-lever, put on brake wheel and brake. Put on duet 
 and vibrator j^'ear, vibrator cam on outside of left cam-shaft. 
 Place shaft (105) through cylinder-stand vertical holes, put 
 chain wheels (113) and (114), and chains in position over 
 wheels on shaft (98), which goes through holes in extreme 
 feeding end of frames ; put flyers on toj) of (105). Put ink- 
 ing stand, ete., geared inker-raek, boards, and guards on. 
 Fasten long cylinder-rack to table on left, see that it gears 
 correctly. See that cylinder is in position to take a sheet, 
 I.e., against the stop; fasten short cylinder-rack on right 
 side, put on cylinder bearers, etc., 2)ulleys, strap, fork, etc. 
 The two-revolution machine is another one of single 
 cylinder style, and the M'lehh, fig. 168, is a good example 
 t»f the kind. This machine is manufactured at Broadheath 
 Works, Altrincham, Cheshire, by Linotype and Machinery 
 Limited. It is of American origin, but is largely used in 
 this country, especially for illustrated magazine and high- 
 class colour work. As in most other machines of American 
 design, it has the high overfeed board. The taking-ott' 
 apparatus is automatic, but on a different plan from that 
 of the Wharfedale, as will be seen from the illustration — 
 the sheets being carried over tapes, the freshly printed side 
 uppermost, thus preventing smearing; they are then carried 
 
 I on to the heap or pile by the frame or long anus ]»laced at the 
 t'ud of the nnichiiic. Face-down dclivcrv is also provided. 
 
 , A feature in connection with the Mielile machine is llic 
 
 tandem e(|uii)ment, whereby two, three, or even foui- imi- 
 chines nniy be. coupled together for colour work. ()nly 
 
310 PRINTING 
 
 (->De layer-ou is vtHjuired, aud register is obtained auto- 
 matically tlirongliout. 
 
 The principle of the two-revolution is that the cylinder 
 always rotates in the same direction, and twice for each 
 copy produced, once for the actual impression, and again 
 for the return of the forme carriage. There are many new 
 features claimed for this 2)a,i'ticular machine; one is that 
 it is so constructed that the movement which governs the 
 action of the type-bed in reversing is so arranged that the 
 strain common to some other machines is considerably re- 
 duced; another point is that its registering in printing is 
 good, register having been a weakness in many of the older 
 makes of two-revolutions, owing to the particular method 
 of gearing adopted, the cylinder generally being geared 
 apart from the type-bed, which was apt to be thrown out 
 occasionally. Great strength is imparted to the frame, 
 and the type-bed is particularly rigid. These advantages, 
 together wdth a very truly turned cylinder, and careful 
 means of adjustment, much simplify the necessary pre- 
 paration or making-ready of any forme for printing, which 
 is performed much in the same w^ay as for any other single 
 cylinder machine. It may also be mentioned that the inking 
 facilities have been w^ell provided for. 
 
 There are various other two-revolution machines of reli- 
 able manufacture to be obtained, and Hoe's, Furnival's, the 
 Centurette, and the Cottrell are worthy of mention. 
 
 The Perceler, fig. 169, is a two-feeder machine, but is also 
 made as a one-feeder. From the illustration, wdiich is that 
 of the former kind, it will he observed that it has ouly one 
 cylinder l)ut witli two feed boards and an inking arrange- 
 ment at b(»tli ends. Under tlie cylinder tlie type-bed rnns 
 as usual, taking tlie necessary ink from either end, wliicli 
 is applied by tlie inkers situated resj>ectively on both sides 
 of the cylinder, as it travels to and fro. The travel of this 
 machine naturally is somewhat longer than that of the 
 
X 
 
 CO 
 
TWO-COLOUR MACHINES 313 
 
 siiii;-le loed. The cyliinlor is so iinauged that it reverses at 
 each run, on the okl "tumbler" principle, and tiie grippcrs 
 open at the respective taking side as required. It runs easily 
 and quickly, and is well adaj^ted for turning out good illus- 
 trated magazine work. This machine can easily be converted 
 into a single-feeder for temporary purposes, but of course in 
 either case it must be seen that there is a certain limitation 
 in the sizes which can be produced from any one machine 
 built to a certain specification. For instance, one made for 
 quad demy will print down to quad crown as a two-feeder, 
 and when used as a one-feeder, in any reasonably smaller 
 size. This, however, is no great objection, because such 
 machines are generally constructed for special W(^rk of given 
 dimensions. It is claimed that it will produce 1,250 cojnes 
 from either end, but certainly 2,000 copies per hour should 
 be produced as the double output if the work engaged on 
 is not of a difficult nature. 
 
 Two-coIoi(r machines are also nearly always of the single 
 cylinder kind. The two colours are printed each at one 
 revolution, as the cylinder rotates twice in its travel, from 
 the formes placed on the bed at each end of the machine as 
 they pass in turn under the cylinder. It is at the two ends 
 that the inking apparatus is situated. In comparison it is 
 a longer machine than the Perceler two-feeder just men- 
 tioned, the size of the printed sheet being the same for each. 
 This is necessary to allow the two formes to j^ass under the 
 cylinder, both in its travel forward and on the return. The 
 cylinder stops on the return travel; in fact, it might be 
 termed a double stop-cylinder machine, with the inking 
 facilities arranged somewhat on the same plan as that used 
 tor the two-feeder. It should l)e obvious that these machines 
 are mainly intended for long printing runs, and that short 
 numbers can be worked se])arately with advantage on the 
 ordinarv sini»:le machine. 
 
CHAPTEK XXX 
 
 I)(»ul»U' ('yliiiders or Perfectiii<j;' Maeliiiies: The \W'1>, Diop-liai', 
 uiid (hipper \'aiieties— Set-ott" — Makin^u-ready — Speeds of Ter- 
 fectiu^i; Macliiues. 
 
 PERFECTINGr machines, with two cylinders, are those 
 which j)rint both sides of the sheet before it leaves the 
 machine, but with two quite distinct impressions, and are 
 adapted for ordinary bookwork of long numbers. As the 
 sheet isfed in, it is carried round one of the large cylinders (e) 
 on to the small register drums placed over and between the 
 two larger cylinders. By this means the sheet is presented 
 on its reversed side to the second large cylinder (e), and 
 receives the backing or perfecting impression. Thence it is 
 discharged on to the taking-off board (d), situated below 
 and between the two impression cylinders. The exact course 
 of the sheet may be likened to a serj^eutine track; h\ this 
 means the unprinted side of the sheet can be printed in turn. 
 The sectional drawing of the machine, tig. 170, now shown 
 will exhibit its w^orking. The reference marks given are 
 necessary for the proper understanding of the parts not only 
 of this machiiK' but t'(ti- sonic of tliosc <>f tlic votarv kind 
 describe! in tlic iicxl (di.iplci-, viz.: 
 
 p Paper. r; lui|ii't'ssi(>ii cs lindci's. 
 
 li Laying-on ))(>ard. c Cutting ndh'rs. 
 
 W Damping api>arat us. v Flyers, 
 r Type cylinders. I Inking apparatus. 
 
 D Delivery board. 
 
 314 
 
316 PRINTING 
 
 The different varieties of aetioiis used for }»erfecting 
 inaehiues are of three characters, and are described below: 
 
 The Weh. — Each sheet is laid separately to back-marks 
 on to a series of taj)es, and is carried forward. This class of 
 machine is consequently slower in production, owing to the 
 time taken in lifting and carrying each sheet from the heap 
 to the impression cylinder. 
 
 T/ie Brop-har. — In this machine the heap of paper is 
 brought nearer, and the sheets are simply stroked up to 
 certain marks. They are then seized by the bar, which rises 
 slightly, and conveyed to the impression cylinder. 
 
 The G ripper. — This method allows of the sheets being 
 taken by a series of fingers called grippers, after having been 
 stroked forward from the adjacent heap up to the front 
 marks. These last two kinds of feeding are now generally 
 adopted, but perhaps the gripp)er arrangement is more satis- 
 factory in obtaining a correct lay, a greater speed being also 
 attained. 
 
 These machines have a series of complicated tapes neces- 
 sary to carry the sheet in the course of its travel from the 
 feeding to the taking-off board, which with a little trouble 
 may be readily understood. 
 
 Set-off on these machines is a difficulty which must be 
 guarded against. We should have said that usually the in- 
 ner forme is 2:>rinted on the first impression cylinder (e) 
 nearest the feeding board (l), and the outer is printed on 
 the other large cylinder just before discharging the sheet 
 on to the delivery board (d). To avoid set-oft' long strips of 
 paper, a trifle wider than the pages, and as many strips as 
 there are rows of pages, are pasted so as to form endless 
 bands, which are jtlaced round the outer cylinder and a 
 small drum. These keep on the move with the action of the 
 machine, and all oft'-set is dejtositeil on them. If these set- 
 oft' l>auds are made of oiled paper tliey will last for some linu' 
 without renewing — that is, for some few reams. 
 
PERFECTma MACHINES 317 
 
 MakiiiL;-r(>;i<ly on tliese inacliiiies is performed iniieli in 
 llie same manner as that deseribed for the single eylinder, 
 bnt the jmrts are not so aceessible, and, again, the inking 
 arrangements are often not (jnite satisfaetory. When run- 
 ning they require elose attention, owing to the number of 
 tai>es emj>loyed for carrying the sheets round the respective 
 eyhnders and the Hability to set-off. 
 
 The speed of these machines varies from 1,000 u])wards, 
 but there are some in tlie market, of the gripper kind, which 
 are said to turn out nearly 2,000 copies per hour perfect. 
 
 Perfecting machines have been made with one large im- 
 pression cylinder only. One side having been printed, by 
 a clever arrangement the sheet is reversed, and then the 
 second side is printed on the return of the forme carriage. 
 
 Having treated of the several kinds of machines mostly 
 in use for bookwork and magazine work, both plain and 
 illustrated, i.e., single cylinders of various characters, and 
 double cylinders for printing both sides of two sheets, we 
 now propose just to touch on a few of the rotary machines 
 in use at the jiresent day, giving one of Messrs. Hoe's latest 
 productions of quadruple size, among others of the older 
 make, so that the student may form some conception of these 
 somewhat complicated machines. 
 
CHAPTER XXXI 
 
 Rotary Machines: Hoe's — The Victory — The Marinoni — The 
 Whitefriars — Tlieir Workin.f;- Paits, Capabilities, and Speeds. 
 
 ROTARY machines are of various kinds, and, as will 
 l)e seen at a glance, very different in construction 
 from all other classes of machines, and, in fact, each differs 
 very much in shape and appearance from others built on 
 the same principle. These machines print, as a rule, from 
 the web, or endless paper, but some may be used with 
 separate sheets. We have selected a few examples to enable 
 the student to grasp the main principles, although rotary 
 printing does not as yet really apply to the production of 
 the better class of books. Printing surfaces either of stereo- 
 type or electrotype plates are curved to the requirements 
 of the cylinders of the particular machine on which they 
 are used. Frequently they have a special stereotyping plant 
 issued with them, the size of the cylinder necessitating a 
 certain curve in casting the plates. Occasionally, as already 
 explained, some of these machines are made to print from 
 the flat, and either type or plates may be used. 
 
 These machines are adaj^ted for periodicals, newspapers, 
 or long runs of cheap bookwork, owing to the great output 
 of which they are capable. Some are really wonderful 
 specimens of mechanical contrivance, all the various opera- 
 tions — wetting, when necessary, feeding, printing both 
 sides, cutting, folding, and pasting, including wrapping — 
 being i»urely automatic. With such appliances the ncws- 
 
 ]>a|>er of tlic jn-esent day is ]>roduced, and they have liad 
 
 ;;ib 
 
ROTARY MACHINES 319 
 
 the effect of expediting and multiplying to an almost lui- 
 liinited extent the number of copies issued, and have been 
 the means of cheapening the cost to the public. 
 
 The jierson in charge of one of these machines must ne- 
 cessarily be a thoroughly practical man, with a decided turn 
 for mechanics, and one who has had a wide experience in 
 the trade. Such a workman is sought after and commands 
 a high wage, generally more than in any other branch of the 
 trade. 
 
 Rotary machines of various kinds are made specially to 
 order, so as to cope with the jiarticular class of work in 
 view. They may be built on the *' deck " principle either for 
 one, two, three, four, or even more reels of paper, and either 
 in single width, that is, two pages wide, or double width, 
 that is, four pages wide. The machines, however, in general 
 use are those of the single, double, quadruple, sextuple, and 
 octuple kind, and so on according to requirements. 
 
 Single and two reel machines are usually arranged with 
 the reel of paper at one end of tho machine, and the web 
 passes through the printing cylinders to the folder at tlie 
 opposite end where the copies are delivered. 
 
 Three and four reel machines have also been constructed 
 in this manner, but the more usual and popular arrange- 
 ment of the latter type of machine is to place two two- 
 reel presses end to end with the folders between them and 
 the reels at the opj)osite ends of the machine. 
 
 This arrangement makes it possible to operate them as 
 independent machines, or to run in combination with each 
 other when copies with a greater number of pages are 
 desired. Another advantage is that it allows of an alter- 
 native use of either folder in case of an accident to the 
 other. 
 
 When presses are made double width, a two-red machine 
 is known as quadruple, a three-reel as a sextuple, and a four- 
 reel as an octu]»lc machine. 
 
320 PRINTING 
 
 I)(>ul)le soxtiii>le and double octuple machines Jire made, 
 having' six and eight reels respectively. 
 
 One other ])oint in favour <>f this class of machine is that 
 a four-reel on the two-deck principle Avitli centre delivery is 
 more easily got at in the making-ready than a four-reel 
 straight-line machine built in four decks. 
 
 As already explained, rotaries made in single width print 
 two pages side by side, and a double one four pages across 
 — thus a double will produce exactly twice as much as one 
 of the single kind — a great consideration for newspaj^ers of 
 large circulation. 
 
 The particular rotary machine shown on the next page, 
 fig. 171, is one made by Messrs. R. Hoe and Co., and is a 
 right-angle quadruple Newspaper Perfecting Press. This 
 is only one of the many varieties produced by that well- 
 known firm. 
 
 This machine prints from twai reels of the double width. 
 The first reel, as will be observed, is placed to the right of 
 the machine near the floor level, and the second reel is situ- 
 ated at the back of the left-hand portion, and at a right 
 angle to it, and is somewhat obscured by the folding appar- 
 atus and delivery boards wdiich are on the front of the left 
 side of the machine. 
 
 This quadruple is now made to produce 60,000 copies per 
 hour of 4, 6, or 8 pages; 80,000 of 10, 12, 14, or 16 pages ; and 
 15,000 of 20 or 24 pages all in the same time. The papers are 
 printed both sides, folded, counted, and pasted if desired. 
 
 The four cylinders seen to the right are the printing and 
 impression cylinders respectively, the two inside ones being 
 those giving the impression, and the two outer those bearing 
 the printing surfaces. The inking arrangements are placed 
 at the two extreme ends of these four drums, thus being- 
 near the printing cylinder in each case. As the paper is 
 unwound from the reel )>elow it travels between the two 
 lower cylinders and one side is printed; then in serpentine 
 
322 PEINTINa 
 
 manner it jmsses between the second and third drums which 
 are impression cylinders only. It is then carried between 
 the third and fourth which print the second or reverse side 
 of the paper. 
 
 From this point the long sheet travels overhead to the left- 
 hand side of the machine, where it is cut longitudinally and 
 divided, and associated with other webs similarly printed 
 by the otlier press. They then descend into the two different 
 folders, where they are folded and cut — the copies being 
 discharoed on to the deliverv boards situated at the two 
 sides of the left-hand portion of the machine. 
 
 This description, as already indicated, refers to one half 
 of the machine only, and Avhilst this is in operation the 
 same thing is being repeated i)reciseiy by the second half> 
 which is placed at the back of the left-hand portion. 
 
 There are several other kinds of rotary machines on the 
 market, somewhat similar in general design but differing in 
 various details. Amongst others may be mentioned Messrs. 
 J. Foster and Sons', the Victory, the Goss Printing Press 
 Co., and that of the Northern Press and Engineering Co., 
 Ltd., as being up-to-date rotary machines printing from the 
 reel. The Cox-duplex and the Cossar are also good machines, 
 but they are both built on the flat-bed princi])le, and are 
 mentioned here as being examples of that class. 
 
 In order to give the student some idea of the older forms 
 of the rotary class of machine, we give a few other varieties, 
 of the single reel kind, which will show the progress made 
 in that direction during the j^ast few years. Although these 
 machines are mostly suj^erseded, their design and principles 
 in working are interesting to note at the present time. 
 
 For instance, we have the Victory rotary, fig. 1 72. This was 
 a single reel printing machine which received very consider- 
 able patronage. It was particularly noted for its folding 
 apparatus, and was considered one of the most complete 
 machines in the market. It had a good damping appliance, 
 
I- 
 
324 PRINTING 
 
 and tlie papers were printed, cut, delivered, and folded, it 
 was said, at tlie rate of twelve thousand per hour. 
 
 The type (t) and impression (e) cylinders were arranged 
 in the centre of the machine, the printing surfaces being 
 placed on the top. The working was as follows: The paper 
 (p) after being damped was conducted to the first impression 
 cylinder (e) over small rollers, which acted as " smoothers," 
 when it was printed on the first side. It then passed to the 
 second impression cylinder, and was printed on the reverse 
 side. Thus perfected, it was carried along to the cutting 
 cylinders (c), and thence conveyed to the folding apparatus, 
 which was in duplicate, and received the papers as cut alter- 
 nately, depositing them in the boxes at the other end of the 
 macliine, not shown on the plan given. 
 
 The wetting apparatus (w), usually worked by fine jets 
 of water, which were emitted from a series of pin-holes in a 
 pipe, is to the right of the reel of paper, and the inking 
 cylinders (i), with their respective vibrating and inking 
 rollers, will be observed on the top of the macliine at either 
 end, the ink-cvlinders acting as distributing surfaces. 
 
 The dotted lines give the exact progress of the paper in 
 all the diagrams. 
 
 This machine has now been improved on verv much, and 
 is made to print with more reels, and on the straight-line or 
 centre delivery principle. 
 
 The Marinoni rotary machine was made by the French firm 
 of that name, fig. 173. As will be seen, it had four cylinders 
 arranged in a peri)endicular manner, and printed from the 
 single reel. The two middle cylinders (E)are those which gave 
 the impression, and the other two (t), on top and bottom, 
 are those on which the curved plates were fastened. At the 
 extreme ends of these cylinders Avere the inking appliances 
 (i); the distributors here had a lateral movement, througli 
 a cam action. As they were printed the sheets were collected 
 and passed through the cutting drums (c), situated at the 
 
ROTARY MACHINES 
 
 325 
 
 leit centre of the other cylinders. When five sheets had 
 been cut, they were carried alon^- and deposited on the 
 (lehvery board (d). 
 
 This machine printed at the rate of teu thousand perfect 
 copies per hour, and was largely used for the printiug of 
 newspapers before the English and American manufacturers 
 made a speciality of this class of machine, although both 
 
 l"i(.. 17.'>. THi: .MAiiixoxi sixci.K i:i:i:Ti it()'i'Ai;\ machine. 
 
 Messrs. Hoe and M. Marinoni wore (Hjually wrll |ta1roui/.od 
 by the newspaper printers of this country. 
 
 Sometimes a folding apparatus was attached, necessitat- 
 ing an alteration in delivering the sheets. 
 
 This machine also had a damping apparatus, and the 
 paper travelled between smoothing drums before it i»assod 
 to the first type cylinder. 
 
 In fairness it must be stated that the late M. Marinoni 
 produced nmny oilier rotary macliines of vai'ious kinds. :ni<l 
 several contaiiiiiig special features. 
 
] 
 
ROTARY MACHINES 327 
 
 The Whifefriarx rotary mac-liiiu', fij^-. 17^, was invented 
 l>y Messrs. Pardoe and Davis, ;ind was a<la|>te<l for iiews- 
 pai)er or magazine work, i)laiii or illiisli'ated. It printed 
 eitlicr from the reel or i'roni sinj^le slieets, and came to the 
 front owing to the various improvements made in it from 
 time to time. The rate of production was greatly enhanced if 
 the reel arrangement was used. As a two-feeder using single 
 sheets it produced four to five thousand sheets per hour. 
 The alteration in method of printing from sheet to reel, or 
 vice versa, was a very simple matter, the portion to the right 
 hand being disj^ensed wdth in the latter case. 
 
 It had four cylinders arranged round an arched frame 
 marked (t) and (e) respectively, and was last built quite 
 on a different plan from other rotaries, as will be seen from 
 the illustration. When used for single sheets, the feeding 
 boards (l) were placed on the top of the machine at each 
 end. The inking apparatus (i) was placed at the extreme 
 ends of the arch. The sheets after being impressed on both 
 sides were carried to the flyers (f), and then laid smoothly 
 on the delivery board (d) underneath and in the middle of 
 the machine. 
 
 The diagram given is that of the two-feeder for single 
 sheets, with the reel arrangement, when used, attached as at 
 the right-hand side of the illustration. A folding apparatus 
 was used occasionally, which was situated at the other end 
 of the machine. The cutting rollers (c), when used for web 
 printing, were placed just above the delivery board (i)j. 
 
WAREHOUSE WORK 
 CHAPTER XXXII 
 
 The AVarelioiis;o Department — Varieties of ]\raeliine, ^Nfould, and 
 Handmade Papers — Number of Slieets comprised in a Ueam^ 
 Tables of Sizes, Equivalent and lielative Weights, etc. — Cards— 
 (i)uaUties and Sizes of the same. 
 
 THIS (lopartiiiont is responsible for paper — printed 
 unci unprintecl, the latter being known technically as 
 "white" paper, irrespective of its shade or colour. The 
 head warehouseman should be a capable person, for nnu h 
 depends on the warehouse department, if it is a large estab- 
 lishment, in the proper care and account of stock. Every 
 sheet and ream of paper should be accounted for from the 
 time it enters the warehouse till it leaves the charge of the 
 warehouseman printed and finished for the bookbinder. He 
 should have a thorough knowledge of papers of various 
 kinds, both as regards quality and size. This knowledge 
 is also important to the student. 
 
 Papers maybe classed at once as either handmade, mould- 
 made, or machine-made. These are all further subdivided 
 into drawing, writing, and printing-papers, and of two 
 characters, "wove" and "laid." Handmades are usually 
 identified at sight by the rough or natural deckle<l edges of 
 the paper on the four sides, and machine paper generally 
 from the fact that the edges are cut straight. But as both 
 mould-made and antique machine papers are made with raw 
 edges, it is difllcult for the inexperienced to identify them, 
 especially the mould-made kind, whi( h are usually made 
 wi1li ;ill i'^^wv <'"1ucs loft roun'h. 
 
PAPEES 829 
 
 Hand made papers can often be told from those made by 
 macliiue by the circumstance that they are darker in tone 
 on the right side, and the latter darker on the wrong side. 
 Tlie right and wrong sides of paper can easily be detected 
 by comparison, the rougher of course being the wrong one. 
 To discriminate between laid and wove papers — hold up a 
 sheet to the light, when it will be seen that the former ex- 
 liibit wire marks, which are absent in the latter. This is a 
 rough and ready rule, and correct in general practice. 
 
 Drawing and writing papers are principally made of rags 
 (the amount of the same regulating the quality of the 
 paper), with a considerable addition of size to permit of the 
 article being used for the purposes indicated. 
 
 Mould-made papers have deckled edges on the four sides 
 of the sheet, and are an admirable substitute for real hand- 
 made papers; in fact, in some respects they are even better 
 in finish, for there is not that irregularity in substance or 
 texture as in that made by hand. This is })rovided the ma- 
 terial is really good, and there is no reason why the " stuff,'' 
 as it is called, should not be equal to that of real handmade, 
 provided the customer will pay for it. As its name implies, 
 it is made in a mould, and by machine; consequently the 
 cost of production is less, and this also accounts for the 
 greater regularity in substance. Papers made l)y this method 
 can be distinguished by a careful examination of the deckles 
 — these edges generally being less rough or irregular than 
 those of sheets made by hand. 
 
 Printing papers, except the better qualities, contain little 
 or no rag, and are made from other substances, chiefly es- 
 parto, l)oth hard-sized, and soft-sized. The soft-sized pajx^rs 
 can be detected by wetting the corner with the tongue, when 
 the moisture will si)read as in a piece of blotting or plate 
 paper. V)oth of which are (piite unsized. The more a ]>aper 
 is sized the harder it is. There are two methods of sizing 
 adopted, vi/... lul) an<] ciigiiu' si/ing; tlic Inniirr is generally 
 
330 PFtlNTINa 
 
 used for handmade papers, and the latter for those made l\v 
 macliine. 
 
 The principal pro])erties of papers are that they should 
 be strong, tlioui^'h not harsh, and that they should be as 
 opaque as possible. 
 
 The introduction of process blocks, especially those of 
 the half-tone kind, during the past few years has necessitated 
 the use of very smooth papers, and sometimes coated ones, 
 which are dubbed " art " papers. That these papers do give 
 effect to half-tone illustrations must be admitted, but un- 
 fortunately the paper is objectionable to the sight and also 
 in handling. Moreover there is always the knowledge that 
 these papers have no enduring properties from the fact that 
 the preparations used for coating are of a mineral character 
 and are bound to degenerate in a few years. On the other 
 hand, although super-calendered papers are not so objection- 
 able, yet, if too soft-sized, they absorb the ink and leave 
 the illustration flat and lifeless. 
 
 A ream of paper of the printing class usually consists of 
 516 sheets = 21^ quires of 24 sheets in each — termed " per- 
 fect" or "printers'" reams — this plus of 16 sheets being 
 allowed for spoilages and over copies for every 500 sheets. 
 Handmade papers, whether drawing, writing, or printing, 
 are as a rule made up to 20 quires of 24 sheets = 480 sheets, 
 but sometimes this varies, and reams Iiave472or500; in these 
 cases they are styled "imperfect" reams. "Mill" reams 
 have 472 sheets, and " inside " reams generally 480 sheets. 
 There are diiferent ways of packing — a ream may be either 
 " flat," " folded," or " lapped." The meaning of the first is 
 obvious; the second is when a certain number of sheets is 
 simply folded in half (or "quired"), and the third when 
 the two ends are doubled over without being absolutely 
 folded, thus forming a parcel lajiped in three — this is onl}- 
 done with the larger sizes of paper. " Bundles " of paj^er 
 are two reams done up iu (uie. and a "parcel" is a term 
 
PAPEES 
 
 331 
 
 applied to tlio whole make when an order is o-iven for a 
 certain quantity. " Retree " is indicated by x x (two 
 crosses) /'outsides "or "broken " by x x x (three crosses), 
 which imply that the papers are res|»ectively of second or 
 inferior (piality, the last being 2)erhaps torn or broken in 
 the *'make" — as the manufacture is technically termed. 
 
 Some xiKjijeiitioiixfrr tcstincj papers. — Different qualities of 
 paper are tested by various means. The strength is measured 
 by its resistance to tearing. In machine papers the strength 
 and stretching power vary according as the force acts length- 
 wise or across; in handmade papers there is little difference. 
 In the former the difference is in the proportion of 2*3, ac- 
 cording to the direction of the tearing force. The stretching 
 l)Ower acts inversely on the strength, that is, is greater across 
 than lengthwise. 
 
 Paper as a rule is made to standard sizes, some varying 
 with the different makers; the list now appended shows the 
 average sizes of most printing papers in use: 
 
 Sizes op Printinc^ Papers. 
 
 
 Ti 
 
 iches. 
 
 
 T 
 
 lu'lies. 
 
 p<^tt .... 
 
 15.! 
 
 xl2.! 
 
 Quad Pott . . 
 
 31 
 
 x25 
 
 Foolscap . . . 
 
 17' 
 
 xl3.! 
 
 Double Post . . 
 
 32 
 
 x20 
 
 Post .... 
 
 20 
 
 xl6' 
 
 Quad Foolscap . 
 
 34 
 
 x27 
 
 Demy .... 
 
 22.! 
 
 xl7.^ 
 
 Columbia 
 
 34.! 
 
 x23! 
 
 Medium . 
 
 24' 
 
 xl9' 
 
 Doul)le Demy . 
 
 35' 
 
 x22j 
 
 Royal .... 
 
 25 
 
 x20 
 
 Atlas .... 
 
 36 
 
 x2(; 
 
 Double Pott 
 
 25 
 
 xl5! 
 
 Double Medium 
 
 38 
 
 x24 
 
 Double Foolscaji 
 
 27 
 
 xl7" 
 
 Double Royal . 
 
 40 
 
 X 25 
 
 Super Royal . . 
 
 27.' 
 
 x20.! 
 
 Quad Crown 
 
 40 
 
 x30 
 
 Double Crown . 
 
 30 '^ 
 
 ^ X 20 
 
 Quad Post . . 
 
 40 
 
 x32 
 
 Imperial . 
 
 30 ' 
 
 'x22 
 
 Double Imperial 
 
 44 
 
 X 30 
 
 In addition to these papers, others are made in doiililc 
 and quadruple size. The following table exhil >its at a glance 
 tlu' e<juivalt'iit weights of papers in certain sizes: 
 
332 
 
 PRINTING 
 
 Equivalent Weights of Papers. 
 
 Demy. 
 
 Double 
 Foolscap. 
 
 Royal. 
 
 Double 
 Crown. 
 
 Im- 
 perial. 
 
 Columbia, 
 
 Atlas. 
 
 lbs. 
 
 lbs. 
 
 lbs. 
 
 lbs. 
 
 lbs. 
 
 lbs. 
 
 lbs. 
 
 12 
 
 14 
 
 15 
 
 18 
 
 20 
 
 
 28^ 
 
 14 
 
 16 
 
 I7i 
 
 21 
 
 23 
 
 29-i 
 
 33 
 
 16 
 
 18^ 
 
 20 
 
 24 
 
 26^ 
 
 34 
 
 38 
 
 18 
 
 20i 
 
 22i 
 
 27 
 
 29i 
 
 38 
 
 42i 
 
 20 
 
 23 
 
 25 
 
 30 
 
 33 
 
 42-i 
 
 47* 
 
 24 
 
 27i 
 
 30 
 
 36 
 
 30i 
 
 51 
 
 57 
 
 28 
 
 32 
 
 35 
 
 42 
 
 46 
 
 m 
 
 m\ 
 
 32 
 
 36i 
 
 40 
 
 48i 
 
 53 
 
 68 
 
 7(y 
 
 36 
 
 41" 
 
 45 
 
 54 
 
 591 
 
 n\ 
 
 85-i 
 
 40 
 
 46 
 
 50 
 
 60 
 
 m 
 
 85 
 
 95 
 
 45 
 
 52 
 
 50 
 
 67i 
 
 74 
 
 951 
 
 106 
 
 50 
 
 57| 
 
 62^ 
 
 to 
 
 82-^ 
 
 106 
 
 118i 
 
 For instaiu'o, 12 Ib.demv is the same tliiclv'n»\«s in handlino- 
 as 14 lb. double foolscap, 15 lb. royal, or 18 lb. double crown, 
 and so on. 
 
 Pai>er is also made in endless reels or webs, some miles 
 in length, for the requirements, principally, of newsjmper 
 or maj^azine work printed on rotary machines. As will be 
 seen from the foregoing table, papers are made to definite^ 
 weights — a given number of 2)ounds avoirdupois to tlic 
 ream, whether it contains 472, 480, 500, 508, or 516 sheets. 
 Machine-made papers, including mould-made ones, can be 
 adjusted to a nicety as regards weight in manufacture, but 
 handmades vary somewhat, and, owing to that circum- 
 stance, are frequently charged by poundage instead of by 
 the ream. 
 
 The table on the opposite page gives the relative weights 
 of reams of paper containing 480, 500, or 516 sheets. To 
 find the equivalents of other weights not given there see 
 p. 337. 
 
PAPERS 33 
 
 Relative Weights of a Ream coktaining -iSO, 5U0, ou 
 
 616 Sheets. 
 
 Ivcani of 
 
 Eeani of 
 
 Eeain of 
 
 Ream of 
 
 Ream of 
 
 Ream of 
 
 ■4S0 
 
 500 
 
 516 
 
 480 
 
 500 
 
 516 
 
 Sheets. 
 
 Sheets. 
 
 Sheets. 
 
 Sheets. 
 
 Sheets. 
 
 Sheets. 
 
 lb. 
 
 lb. oz. 
 
 lb. oz. 
 
 lb. 
 
 lb. oz. 
 
 lb. oz. 
 
 7 
 
 7 4 
 
 7 8 
 
 39 
 
 40 10 
 
 41 15 
 
 8 
 
 8 5 
 
 8 9 
 
 40 
 
 41 10 
 
 43 
 
 [) 
 
 9 6 
 
 9 10 
 
 41 
 
 42 11 
 
 44 1 
 
 10 
 
 10 6 
 
 10 12 
 
 42 
 
 43 12 
 
 45 2 
 
 11 
 
 11 7 
 
 11 13 
 
 43 
 
 44 12 
 
 46 3 
 
 12 
 
 12 8 
 
 12 14 
 
 44 
 
 45 13 
 
 47 5 
 
 13 
 
 13 8 
 
 13 15 
 
 45 
 
 46 14 
 
 48 6 
 
 14 
 
 14 9 
 
 15 1 
 
 46 
 
 47 14 
 
 49 7 
 
 15 
 
 15 10 
 
 16 2 
 
 47 
 
 48 15 
 
 50 8 
 
 16 
 
 16 10 
 
 17 3 
 
 48 
 
 50 
 
 51 9 
 
 17 
 
 17 11 
 
 18 4 
 
 49 
 
 51 
 
 52 11 
 
 18 
 
 18 12 
 
 19 5 
 
 50 
 
 52 1 
 
 53 12 
 
 19 
 
 19 12 
 
 20 7 
 
 51 
 
 53 2 
 
 54 13 
 
 20 
 
 20 13 
 
 21 8 
 
 52 
 
 54 2 
 
 55 14 
 
 21 
 
 21 14 
 
 22 9 
 
 53 
 
 55 3 
 
 56 15 
 
 22 
 
 22 14 
 
 23 10 
 
 54 
 
 56 4 
 
 58 1 
 
 23 
 
 23 15 
 
 24 11 
 
 55 
 
 57 4 
 
 59 2 
 
 24 
 
 25 
 
 25 12 
 
 56 
 
 58 5 
 
 60 3 
 
 25 
 
 26 
 
 26 14 
 
 57 
 
 59 6 
 
 61 4 
 
 26 
 
 27 1 
 
 27 15 
 
 58 
 
 60 6 
 
 62 5 
 
 27 
 
 28 2 
 
 29 
 
 59 
 
 61 7 
 
 63 7 
 
 28 
 
 29 2 
 
 30 1 
 
 60 
 
 62 8 
 
 64 8 
 
 29 
 
 30 3 
 
 31 3 
 
 61 
 
 63 8 
 
 65 9 
 
 30 
 
 31 4 
 
 32 4 
 
 62 
 
 64 9 
 
 66 10 
 
 31 
 
 32 4 
 
 33 5 
 
 63 
 
 65 10 
 
 67 11 
 
 32 
 
 33 5 
 
 34 6 
 
 64 
 
 GO 10 
 
 68 13 
 
 33 
 
 34 6 
 
 35 7 
 
 65 
 
 G7 11 
 
 69 14 
 
 34 
 
 35 6 
 
 36 8 
 
 GG 
 
 68 12 
 
 70 15 
 
 35 
 
 36 7 
 
 37 10 
 
 G7 
 
 69 12 
 
 72 
 
 36 
 
 37 8 
 
 38 11 
 
 68 
 
 70 13 
 
 73 1 
 
 37 
 
 38 8 
 
 39 12 
 
 69 
 
 71 14 
 
 74 3 
 
 38 
 
 39 9 
 
 40 13 
 
 70 
 
 72 14 
 
 75 4 
 
334 
 
 PRINTING 
 
 The foUowin^^ tables of sizes, weights, etc., of various 
 papers in different qualities ai'e all useful in connection with 
 the warehouse department, but it is important to remember 
 that some makers vary a little in their sizes. Those sizes 
 which are now given are average ones. 
 
 Equivalent Sizes of Writing and Printing Papers and 
 
 Cartridges. 
 
 Description, 
 
 Wri tineas. 
 
 Emperor 
 
 Antiquarian 
 
 Double Imperial 
 
 Double Elephant 
 
 Atlas 
 
 Colombier 
 
 Imperial 
 
 Elephant 
 
 Super Royal 
 
 Cartrid2:e or Logr , 
 
 Royal 
 
 Medium 
 
 Demy 
 
 Music Demy 
 
 Large Post 
 
 Copy 
 
 Post 
 
 Foolscap 
 
 Pott 
 
 Sheet and Half Pott. 
 Sheet and Third Cap. 
 Sheet and Half Cap.. 
 Sheet and Half Post. 
 
 Double Foolscap 
 
 Double Crown 
 
 Double Post 
 
 Double Demy 
 
 72 x48 
 53 X 31 
 
 40 x26| 
 33 x26 
 34i X 23i 
 34^x22"^ 
 
 28 x23 
 27 xI9 
 
 24 xl9 
 22 xI7i 
 20 xl5j 
 
 21 
 
 20 
 19 
 17 
 15 
 
 xl6| 
 
 xl6 
 xl5i 
 
 xm 
 
 xl2| 
 221 X 12} 
 22"xl3i 
 24i X 13^ 
 
 26^ X 10 
 
 Printings. 
 
 44 x30 
 
 36 x26 
 34i X 23^ 
 30'^x22" 
 30 x23 
 
 27ix20| 
 
 25 
 24 
 
 x20 
 xl9 
 
 22ixl7i 
 
 20|xl4f 
 
 20 
 17 
 
 xl6 
 xl3i 
 
 15ixl2i 
 
 23^ 
 
 27" 
 
 30 
 
 32 
 
 35 
 
 xm 
 
 xl7" 
 x20 
 x20 
 x22-i 
 
 Cartrid<;es. 
 
 44 x30 
 40 x26 
 
 30 x22 
 28 x23 
 27ixl9i 
 
 26''x21 
 25 x20 
 
 22 xl7i 
 
 20 xlGi 
 
 30 x20 
 35ix22i 
 
PAPERS 
 
 335 
 
 Equivalent Weights peu Ream of Writing Paper op 
 
 VARIOUS sizes. 
 
 
 w. 
 
 •^ r-H 
 
 'S X 
 
 Ph ^ 
 
 l-H 
 
 f> X 
 
 to 
 1-^ 
 
 S Ph ■"• 
 
 p:3 
 
 OS 
 1—1 
 
 X 
 
 ^x 
 
 
 lb. oz. 
 
 lb. oz. 
 
 lb. oz. 
 
 lb. 
 
 oz. 
 
 lb. 
 
 oz. 
 
 lb. 
 
 oz. 
 
 lb. 
 
 oz. 
 
 lb. oz. 
 
 7 11 
 
 9 7 
 
 10 1 
 
 12 
 
 
 
 13 
 
 14 
 
 16 
 
 
 
 18 
 
 
 
 22 14 
 
 8 5 
 
 10 4 
 
 10 14 
 
 13 
 
 
 
 15 
 
 
 
 17 
 
 6 
 
 19 
 
 8 
 
 24 13 
 
 9 
 
 11 1 
 
 11 12 
 
 14 
 
 
 
 16 
 
 3 
 
 18 
 
 11 
 
 21 
 
 5 
 
 26 11 
 
 9 10 
 
 11 13 
 
 12 9 
 
 15 
 
 
 
 17 
 
 5 
 
 20 
 
 
 
 22 
 
 10 
 
 28 10 
 
 10 4 
 
 12 10 
 
 13 6 
 
 16 
 
 
 
 18 
 
 8 
 
 21 
 
 6 
 
 24 
 
 1 
 
 30 8 
 
 10 14 
 
 13 6 
 
 14 4 
 
 17 
 
 
 
 19 
 
 10 
 
 22 
 
 11 
 
 25 
 
 9 
 
 32 7 
 
 11 9 
 
 14 3 
 
 15 1 
 
 18 
 
 
 
 20 
 
 13 
 
 24 
 
 
 
 27 
 
 1 
 
 34 5 
 
 12 3 
 
 15 
 
 15 15 
 
 19 
 
 
 
 21 
 
 15 
 
 25 
 
 6 
 
 28 
 
 9 
 
 36 4 
 
 12 13 
 
 15 12 
 
 16 12 
 
 20 
 
 
 
 23 
 
 2 
 
 26 
 
 11 
 
 30 
 
 1 
 
 38 2 
 
 13 7 
 
 16 9 
 
 17 9 
 
 21 
 
 
 
 24 
 
 4 
 
 28 
 
 
 
 31 
 
 9 
 
 40 1 
 
 14 2 
 
 17 6 
 
 18 7 
 
 22 
 
 
 
 25 
 
 7 
 
 29 
 
 6 
 
 33 
 
 1 
 
 41 15 
 
 14 12 
 
 18 2 
 
 19 4 
 
 23 
 
 
 
 26 
 
 9 
 
 30 
 
 11 
 
 34 
 
 9 
 
 43 14 
 
 15 6 
 
 18 15 
 
 20 2 
 
 24 
 
 
 
 27 
 
 12 
 
 32 
 
 1 
 
 36 
 
 1 
 
 45 12 
 
 16 
 
 19 11 
 
 20 15 
 
 25 
 
 
 
 28 
 
 14 
 
 33 
 
 6 
 
 37 
 
 9 
 
 47 11 
 
 16 11 
 
 20 8 
 
 21 12 
 
 26 
 
 
 
 30 
 
 1 
 
 34 
 
 11 
 
 39 
 
 1 
 
 49 9 
 
 17 5 
 
 21 5 
 
 22 10 
 
 27 
 
 
 
 31 
 
 3 
 
 36 
 
 1 
 
 40 
 
 9 
 
 51 8 
 
 17 15 
 
 22 1 
 
 23 7 
 
 28 
 
 
 
 32 
 
 6 
 
 37 
 
 6 
 
 42 
 
 1 
 
 53 6 
 
 18 9 
 
 22 i4 
 
 24 5 
 
 29 
 
 
 
 33 
 
 8 
 
 38 
 
 11 
 
 43 
 
 9 
 
 55 5 
 
 19 4 
 
 23 11 
 
 25 2 
 
 30 
 
 
 
 34 
 
 11 
 
 40 
 
 1 
 
 45 
 
 1 
 
 57 3 
 
 19 14 
 
 24 7 
 
 26 
 
 31 
 
 
 
 35 
 
 13 
 
 41 
 
 6 
 
 46 
 
 9 
 
 59 2 
 
 20 8 
 
 25 4 
 
 26 13 
 
 32 
 
 
 
 37 
 
 
 
 42 
 
 11 
 
 48 
 
 1 
 
 61 
 
 21 3 
 
 26 
 
 27 10 
 
 33 
 
 
 
 38 
 
 2 
 
 44 
 
 1 
 
 49 
 
 9 
 
 62 15 
 
 21 13 
 
 26 13 
 
 28 8 
 
 ?A 
 
 
 
 39 
 
 5 
 
 45 
 
 6 
 
 51 
 
 1 
 
 64 13 
 
 22 7 
 
 27 10 
 
 29 5 
 
 35 
 
 
 
 40 
 
 7 
 
 46 
 
 12 
 
 52 
 
 9 
 
 m 12 
 
 23 1 
 
 28 6 
 
 30 3 
 
 36 
 
 
 
 41 
 
 10 
 
 48 
 
 1 
 
 54 
 
 1 
 
 68 11 
 
 23 12 
 
 29 3 
 
 31 
 
 37 
 
 
 
 42 
 
 12 
 
 49 
 
 6 
 
 55 
 
 10 
 
 70 9 
 
 24 6 
 
 30 
 
 31 13 
 
 38 
 
 
 
 43 
 
 15 
 
 50 
 
 12 
 
 57 
 
 2 
 
 72 8 
 
 25 
 
 30 12 
 
 32 11 
 
 39 
 
 
 
 45 
 
 1 
 
 52 
 
 1 
 
 58 
 
 10 
 
 74 6 
 
 25 10 
 
 31 9 
 
 33 8 
 
 40 
 
 
 
 47 
 
 4 
 
 53 
 
 6 
 
 60 
 
 2 
 
 l<o 5 
 
oob 
 
 PRINTING 
 
 Sizes of Printing Paper, subdivided. 
 
 Pot 
 
 F()ol>sciii> 
 
 Post 
 
 Crown 
 
 Demy 
 
 Mecliuni 
 
 Koyal 
 
 Doul)le Pot 
 
 Donltle Foolscap 
 Super Poyal ... 
 Doulile Crown... 
 
 Imperial 
 
 Double Post ... 
 
 Broadside. 
 
 loi X 121 
 17 xl3| 
 20 xl6 
 20 xlo 
 22h X 17h 
 
 24 X 19" 
 
 25 x20 
 25 xl5i 
 27 xl7 
 27^ X 20JL 
 30" X 20" 
 30 x22 
 32 x20 
 
 Folio. 
 
 12ix 7| 
 131 X 81 
 
 16 xlO^ 
 15 xlO 
 17ixlli 
 
 19 xl2 
 
 20 xl2i 
 15i X 121 
 
 17 xl3i 
 201 X 13| 
 20 xl5 
 22 X 15 
 20 xl6 
 
 4to. 
 
 7?x 6i 
 81 X 6.^ 
 10 X 8 
 10 X 7i 
 llix 8| 
 12 x 91. 
 121x10 
 121 X 7a 
 131 X 81 
 13§xlOi 
 15 X 10 
 
 15 xll 
 
 16 xlO 
 
 8vo. 
 
 61 X 4 
 
 6fx 4i 
 8x5 
 
 Ihx 5 
 
 85 X 5g 
 
 91 X 6 
 
 10 X 6i 
 
 7fx 61 
 
 81 X 6f 
 
 lOlx 61 
 
 10 x 
 
 11 X 
 10 X 
 
 7h 
 8" 
 
 16mo. 
 
 4 x3i 
 
 Hx'Si 
 
 5 x4 
 
 5 x35 
 
 58x4i| 
 
 6 x4f 
 6ix5 
 6ix3J 
 6|x4i 
 6|x5i 
 7ix5 
 7^x51 
 8 x5 
 
 
 
 
 Table 
 
 FOR GlVlXC 
 
 -OU'J 
 
 ' I 
 
 ^\PER. 
 
 
 
 
 ^i 
 
 
 Number of impressions 011 
 
 sbeet. 
 
 
 
 £ 
 
 1 
 
 2 
 
 4 
 
 Q. S. 0. 
 
 8 
 
 12 
 
 16 
 
 
 Q. 
 
 S. Q. s. 
 
 Q. 
 
 s. 
 
 0. 
 
 Q. 
 
 s. 
 
 0. 
 
 Q. 
 
 s. 0. 
 
 50 
 
 2 
 
 2 1 1 
 
 13 2 
 
 
 
 7 
 
 G 
 
 
 
 5 
 
 10 
 
 
 
 4 14 
 
 100 
 
 4 
 
 4 2 2 
 
 110 
 
 
 
 13 
 
 4 
 
 
 
 9 
 
 8 
 
 
 
 7 12 
 
 150 
 
 6 
 
 G 3 3 
 
 1 14 2 
 
 
 
 11» 
 
 2 
 
 
 
 13 
 
 G 
 
 
 
 10 10 
 
 200 
 
 8 
 
 8, 4 4 
 
 2 2 
 
 1 
 
 1 
 
 ij 
 
 
 
 17 
 
 4 
 
 
 
 13 8 
 
 250 
 
 10 
 
 10 
 
 ■ 5 5 
 
 2 15 2 
 
 1 
 
 8 
 
 G 
 
 
 
 21 
 
 2 
 
 
 
 IG G 
 
 300 
 
 12 
 
 12 
 
 G G 
 
 3 3 
 
 1 
 
 14 
 
 •1 
 
 1 
 
 1 
 
 
 
 
 
 19 4 
 
 400 
 
 IG 
 
 IG 
 
 8 8 
 
 4 4 
 
 2 
 
 2 
 
 u 
 
 1 
 
 10 
 
 8 
 
 1 
 
 1 
 
 600 
 
 20 
 
 20 
 
 10 10 
 
 5 5 
 
 2 
 
 15 
 
 4 
 
 1 
 
 18 
 
 4 
 
 1 
 
 8 12 
 
 750 
 
 31 
 
 G 15 15 
 
 7 20 2 
 
 3 
 
 22 
 
 2 
 
 2 
 
 15 
 
 G 
 
 1 
 
 23 2 
 
 1000 
 
 41 
 
 IG 20 20 
 
 10 10 
 
 5 
 
 5 
 
 
 
 3 
 
 12 
 
 8 
 
 2 
 
 15 8 
 
 1500 
 
 G2 
 
 12 
 
 31 G 
 
 15 15 
 
 7 
 
 20 
 
 4 
 
 5 
 
 5 
 
 
 
 3 
 
 22 4 
 
 200(» 
 
 83 
 
 8 
 
 41 IG 
 
 20 20 
 
 10 
 
 10 
 
 
 
 G 
 
 23 
 
 4 
 
 5 
 
 5 
 
 3000 
 
 125 
 
 
 
 G2 12 
 
 31 G 
 
 15 
 
 15 
 
 
 
 10 
 
 10 
 
 
 
 7 
 
 20 8 
 
 4000 1()G 
 
 IG 
 
 83 8 
 
 41 IG 
 
 20 
 
 20 
 
 
 
 13 
 
 22 
 
 8 
 
 10 
 
 10 
 
 5000208 
 
 1 
 
 8104 4 
 
 52 2 
 
 2G 
 
 1 
 
 
 
 17 
 
 9 
 
 4 
 
 13 
 
 1 8 
 
 Notc.—Cl means quires, s sheets, and O f/ie ovcrjdu.s copies. 
 Other numbers may be obtained by inulti]il> inu' any of the ab(>\e 
 
 ([uantities. 
 
PAPERS 337 
 
 OiK' vci'v siiii]>l(' way u£ calculatiiii,^ llic aiiiouiil uf paper 
 reijuiivd tor any work is to bear in miud that each 500 copies 
 of a sheet takes cue ream of paper, and 1,000 of a half sheet 
 one ream too. As exphiiued before, a printer's ream of 516 
 sheets really allows for spoils and overs for 500 copies of 
 a printed sheet, whether it be octavo or sixteenmo. Other 
 numbers in printing, larger or smaller, are only a matter of 
 arithmetic, for if 500 copies are required of a volume of ten 
 slieets of octavo — 160 pages — ten reams would be required. 
 If 'J50 co]>ies, only five reams, but for 1,000 copies, twenty 
 reams Avould be requisite, and so on. 
 
 To Jiml the equivalenf weujht of paper iti another size. — 
 if the table of ecpiivalent sizes is not handy, or does not 
 include the required size — Multiply the weight of the paper 
 you have i>y the size (iu square inches) of a sheet of the 
 paper whose wc'ight you require to know, and divide by the 
 size (in square inches) of a sheet of the first-named paper. 
 
 E.i'anipJc: I have a 24 lb. demy paper: what will be the 
 weight of a ream of the same paper in double crow^u size? 
 
 The size of a sheet of demy is ±1\ x 17.\ inches, and that 
 of a sheet of double crown is oO x 20 inches. To ascertain 
 the wei<dit of the ream of double crown, multinlv 241b. bv 
 (oO X 20) and divide by (22.1 x 17.^), I.e., 24 x 600 divided 
 by 393 •■; e<iuals 36.1 lb. An^. 
 
 There is a multitude of [>a)»ers of various kinds for 
 general consumption, made by the three methods already 
 mentioned; a few of them are as follows — their names show- 
 ing their use in most instances. Writings, drawings, print- 
 ings, are further classifications of these kinds, and the last 
 includes coated (so-called "art") papers, super-calendered, 
 besides ordinary qualities, either white, creamy, or toned. 
 For other purposes there are In'owns, sugars, cartridges, 
 railway butt", bank, loan, small liand, enamelled, duplex, 
 and a great assortment of tinted paj)ers in various colours 
 : and dift'erent weight?, suitable for almost any [nu'iiose. 
 
 z 
 
338 
 
 PRINTING 
 
 
 Sizes 
 
 OF Letter and Note Papers. 
 
 
 
 Inches. 
 
 
 Inches. 
 
 Medinm 4to . 
 
 . lOf X «f 
 
 Post IGmo . . 
 
 41 X 31 
 
 Medium 8vo . 
 
 . 8t X 5f 
 
 Copy 4to . . 
 
 91 X 71 
 
 Demy 4to . . 
 
 . 91 X 7f 
 
 Copy 870 . . . 
 
 7i X 41 
 
 Demy 8vo . . 
 
 . 7i X 4f 
 
 Foolscap 4to . . 
 
 8 X 6f 
 
 Demy 16mo . 
 
 . 41 X 31 
 
 Albert .... 
 
 6 X 31 
 
 Large Post 4to 
 
 . 10 X 8 
 
 Queen . . . , 
 
 51 X 3i 
 
 Large Post 8vo 
 
 .8x5 
 
 Prince of Wales . 
 
 4| x3 
 
 Post 4to . . 
 
 . 9 X 7f 
 
 Foolscap . , . 
 
 12f X 8 
 
 Post 8vo . . 
 
 . 7i X 4i 
 
 
 
 Cards are also dealt Avitli by a warelionseman. These 
 are made in boards, generally royal size but sometimes in 
 imperial, and cut to standard measurements. The average 
 sizes are here given: 
 
 Sizes of Cards. 
 
 Inclu 
 
 Large 4^x3 
 
 Carte de Visite H x 21 
 
 Small 3i 
 
 Reduced Small 3^ 
 
 X 2 
 
 01 
 
 X 2j 
 X 1 
 
 Extra Thirds 3 ,. ^^ 
 
 Thirds 3 X 11 
 
 Half Small 2.^x1-^ 
 
 Town Size 3x2 
 
 Half Large 3x2] 
 
 Double Small 5x3.} 
 
 Double Large 6x4?, 
 
 Quadruple Small 7x5 
 
 Quadru}>le Large 9x6 
 
 Cards are of vai-ioiis colours, qualities, and characters. 
 Thev arc of two Kinds, i.i., i)ulp and pasted. The former are 
 obviously made in l>ulk as ])aper is, and the LiUcr arc 
 
CARDS 
 
 339 
 
 rc'gultited in lliickiiess by the number of sheets pasted to 
 t'oriu auy oue board, and are known as '* three sheet," " four 
 sheet," etc., according to the number used. When stocked 
 in the cut sizes these are mostly done up in packs of tifty- 
 two (the odd two being for overs or spoilage). The cards in 
 boards are generally reckoned by the gross, one hundred 
 and forty-four boards. The annexed table is useful for deter- 
 miuiug the number of cards of a given size to be obtained 
 out of a royal board: 
 
 Number of Cards contained in a Royal Board. 
 
 Thirds . . 
 
 96 
 
 Double Small . 
 
 25 
 
 Broad Thirds 
 
 80 
 
 Double Large . 
 
 ]6 
 
 Small . . . 
 
 50 
 
 Quad Small 
 
 12 
 
 Large . . . 
 
 32 
 
 Quad Large 
 
 8 
 
 For packing, wrapping, or other purposes^these sizes of 
 brown pa2)er are most commonly in use: 
 
 Sizes of Brown Papers. 
 
 Indies. 
 Casing . . , . 46 X 3G 
 Double Imperial . 44 x 29 
 Elephant . . . 34 x 24 
 Double Four Pound 31 x 22 
 
 Imperial Cap . 
 Haven Cap 
 Bag Cap . . 
 Kent Cap . . 
 
 Indies. 
 29 X 22 
 26 X 21 
 24 X lOj 
 21 X IS 
 
 ( )\ving to the war the prices of both paper and cards 
 were considerably advanced, and the suj)ply not eipial t(» 
 llie demand. At the present date, although peace has been 
 "leclared some time, these prices still rule very high, but 
 the market is better supplied. 
 
CHAPTER XXXllI 
 
 Machines and other Ap])lianees used in connection with the Waie- 
 liouse Dei>artnient — The Hydraulic Press — The Nii>i)in^ l^ress — 
 (Hazed Hoards— Hot Pressin.u— Hot Kolling— Cohl KoUinj:— 
 C'uttin<;' ^Machines. 
 
 IN eouiiectioii with the warehouse certain meehuiiieiil 
 iil)2iliauces are necessary. Presses for cold pressing — 
 the ]>ower for which is generally obtained by hydraulic 
 pressure; rolling machines both for hot and cold methods; 
 and ctitting machines tor paper. 
 
 Owing to the prevailing hard-packing method of printing 
 not so much pressing is now done; as a matter of fact, this 
 volume has not l)een pressed or rolled after printing. Also, 
 as much printing is done on antique rough papers, it is 
 considered unnecessary to smooth the sheets by pressing, 
 a slight impress of the type being preferred by many. 
 
 The liydrauUc press, fig. 175, is made in various sizes, 
 and the pressure is given by means of water, which is 
 forced by. pumping (either by hand or by ]>ower) into a 
 receptacle which contains the piston or ram. This ram is 
 attached to the bed of the press, and the act of pumping 
 gradually raises this bed from the bottom. As very great 
 pressure is given, the sides of the press, as likewise its 
 heatl, must be of great strength, and, as a matter of coiu'se, 
 made of iron. When it is ]uimped up aud tlie required 
 pressiu*e "exerted, it is hehl by fastening a valve, and 
 if the press is in good order the ]»ower is retained as 
 
 340 
 
HYDRAULir PEESS 
 
 841 
 
 Ioiil;- :i8 re(|iiirt'(l. l|v uiiscrewiiii;' the valve ii^'iiiii and 
 hiruiiiL;- on ;i (a[», llic water i'on-ed U[> is released, and llie 
 l>ressur(' thus relaxed. A ]>ower ot* 4-50 Ions may l)e n'iveii 
 
 Fk;. 17"). lIVDltAlLlC PRESS. 
 
 and retained by an ordinary press with a 12-incli ram, 
 wliicli will take, say, double demy. If the leather collar of 
 the piston becomes worn, it will cause a leak and power is 
 lluTt'ltv lost. A dial indi<-at ini;' tlic exact jtrcssurc exerted 
 
342 
 
 PRINTING 
 
 is soiiu'tiiiR's attaelic'd to these presses, iiinl is a i^uide in 
 |iuni]»iiii;- iq». The examph' ;^ivt'ii is one "with doii])le pumps 
 attached, greater power lieiiig thus obtained. 
 
 A iiipphnj press, fig. 176, made of iron, and worked by 
 means of a screw, is a handy adjunct to the warehouse. It 
 is very useful for jol)bing work of a small character often 
 rec[uired in a great hurry, when a nip wnll suffice. 
 
 Glazed hoards are used for pressing purposes. These 
 boards are mostly made of rope and thoroughly Avell milled 
 
 lM(i. 17(1. NiriMX(i PEKSS. 
 
 and rolled. The printed sheets are jdaced between them, 
 the impression being taken out and a sliglit glaze imparted 
 frtuii coulact with the boards in pressing. 
 
 Sizes of Glazed Boards. 
 Inclios. Tiiehos. 
 
 Foolscap . . . 18 X 14.;. Double Foolscap 28 x 18 
 D.'iny .... 23.^ x 18! Super Royal . . 28! x 21! 
 Royal . . . . 26' X 2l' Double Crown . 81' x 21' 
 Royal Extra. . 27 x 22 Imperial ... 31 x 23 
 
 In filling u}» tlic ]>ress it is customary to place iron ]>lates 
 a1 certain iii1<'rv;ils: tliis gives additir.nal solidity t<t the 
 
HOT IJOTJJNa 843 
 
 wliolc, and, in the case ot* two or more si/cs oL' work Ix'iiitj: 
 jtlactMl ill the press at our o}>cratioii, coinpeiisates I'or the 
 difterciKH' iu size of slicct and distributes a mure e(|iial 
 [tressiire all over. Glazed Ijoards soiled with ink may be 
 cleaned with a little turpentine rubbed on with a piece of 
 Hannel and finished with a soft duster. 
 
 Hot pressimj is as a rule undertaken l>y outside people, 
 and is generally performed l)y a hydraulic press, hotplates 
 l)eing inserted at frequent intervals. The impression is 
 taken out more easily by this method, and a better finish 
 usually given by the heat employed. The sheets are placed 
 between glazed boards as in cold ju'essing. This process is 
 well adapted for illustrated work, when printed on ordinary 
 paper, owing to its thoroughness in pressing and finish 
 without an excess of glaze, which is given by hot rolling. 
 
 Hot rolling machines are constructed for the purpose of 
 drying and pressing (or rolling), the heat being obtained 
 cither ]>y steam or gas. Gill's machine, fig. 177, was the 
 lirst l)rought to tlie notice of the trade, but another has 
 been introduced by Mr. Salmon. 
 
 For fine work which is not in a great hurry this process 
 is not recommended, as the heat somewhat deteriorates the 
 colour of the ink: but for average work which is wanted 
 (juickly it is admirably adapted, as tlie machine answers 
 the double ]>ur}>ose of drying and pressing, besides effect- 
 ing a large ec(momy in the drying room, which may l)e 
 utilized for other work in less hurry ami requiring to l^e 
 dried by the slower j^rocess. The degree of rolling by the liot 
 system may be regulated — the heavier tlie roll the greater 
 the glaze. Of course, this has the effect of thinning the 
 paper by the great pressure brought to bear on it, but in 
 some instances, in very bulky l)ooks, this may be desirable; 
 for exanijile, the bulk of the official " Post Office Directory " 
 is considerably reduced by this method. As Ix'fore said, 
 this class of rolling is a gr<'at labonr-saviug cousidci-at iou, 
 
344 
 
 PRINTTNO 
 
 lull, iialm-iill\. Ili<' inK, to rctiiiu its iioniial (•«.)(. iir and 
 (h'lisitv, sluMild Ix' tlri(.'(l l)y more natural iiK'ans. lor it is 
 bv tlio older and more iL^radual melliod ol" drying that really 
 first-class bookwork sliould be executed, if durability aud 
 fullness of colour be desired. The glazing, too, for some 
 
 Fn;. 177. hot-rolijxc; ?>ia(iiixi<:. 
 
 characters of paper, is objectionable; the act of rolling, hot 
 or cold, having the tendency to take all the "life" out of 
 the [taper, thus entirely altering its original texture. For 
 illusti-ated magazine work, where time is an important item, 
 and the class of engravings is improved by rolling, it is very 
 useful, and is particularly recommended. 
 
 Coh] rolTuHj may also be performed by the last-mentioned 
 machines, but f«^r any great (piantity the ordinary kind of 
 
COLD ROLLING 
 
 845 
 
 rolliiiL;' iiiacliiuf is advised. Less siirfiict' is iin]»;uitMl l)y this 
 last priH'Css, aud ii' cuts liave U> hv printed on a, jtajx r with 
 an indirforout surfiu-o, cokl rollini^' is resorted to Itet'ore and 
 after the work is printed. If cuts arc to l)e ])rinted on one 
 
 Fic. 178. furnival's cutting machink. 
 
 si(h' only, as for separate phites, the paper need only be rolliMl 
 on tliat side. To do this it is customary to send two sheets 
 tlirono-li tlie machine at onetime, back to back, tlic outside 
 of the two sheets only being glazed and the inner sides 
 retaining- tlie original surface. This j.lan pn^vents the 
 
ua 
 
 PRINTING 
 
 pajK'T beiiiL;" iiiikIc too thin. Tliorc arc t\\(» iiH'lliods oi" roll- 
 iuLi', viz., plate, and Unit performed simply by ruimiii!^' the 
 work Ix'tweeii the l)are rollers, without aiiythiug in the 
 shape of boards, sheets, or plates. In rolling printed work 
 great care should be taken to prevent offset of ink. The 
 hot-rolling apparatus has an automatic arrangement for 
 cleaning the rollers when in use. For cold rolling the best 
 way is to have the printed work thoroughly dried, or it will 
 assuredly l)e spoiled. 
 
 Cutting machines form an important feature in the ware- 
 house department, and the selection of a machine offered 
 bv well-known firms is advised. Various machines are be- 
 
 Fl<!. 179. CARD-CUTTINC; MACIMXK. 
 
 fore the trade, but those on the guillotine principle are the 
 best. Some give a straight and direct cut, others a diagonal ; 
 th(»re is also a self -clam ping arrangement used. Furnival's 
 machine, fig. 178, is one of this class, embodying all the 
 latest im]»rovements, and thus effecting a great saving of 
 time in cutting large <iuantities. 
 
 For the cutting of small jobs a spring guide is used, 
 which allows of the work being pushed to the front for the 
 cut — the width of the i>laten preventing this in the or<lin- 
 ary machine. 
 
 A rard-cutt'iuij uKicJiine, fig. 179, is likewise useful in this 
 department. For the present, these are all the machines 
 re(|uired in the warehouse; the other a]»plian('es will be 
 dealt with in order. 
 
CHAPTER XXXIV 
 
 The Care of Paper — Wetting' down — The W'oixh'ii Press— l'()untiii.n 
 — The Drying llooni — Cold Pressing and manner of i)erforniing 
 the same— Stacking Work — (lathering— Collating, b'oiding, and 
 Packing — Keeping Stock — Parcelling — Folding, Stitching, Stal»- 
 l»ing,and Sewing — Binding, Ruling, Perforating, and Numhering. 
 
 ONE of the first duties of a warehouseman is the charge 
 of white paper — in laro-e offices a separate warehouse- 
 man is tohl oft* for tliis purpose. All paper received should 
 !>(» checked and entered up in a proper book, showing at a 
 glance the date, from whom received, the size, weight, and 
 descriptioD, besides the name of the work it is intcn(h'd for, 
 and on whose account it is sent in, whether a customer's or 
 the " house." These latter particulars are important, as a 
 printer often keeps a stock of certain kinds of i»aj>cr for his 
 (^wn use, or for customers for whom he supplies j^aj^er. 
 Nothing shoukl be given out or used till a note lias been 
 taken; in doing so it sliouhl be seen whether reams atr 
 " perfect " or not. 
 
 WetfitKj ihnrn. -To prepare i)aper for printing it was 
 formerly customary to danij) it down that is, ordinary 
 printing paper. Nowadays, with the exception of hand- 
 made papers, which are always best printed dampened, or 
 liard antique pajK'rs, to wdiich the same remark applies, no 
 wetting is done in the printing office, l)ecause so much smooth 
 paper is used. S(^ft or unsized, glazed or rolled, and writing 
 papers should not be wetted down. as that operali«»n would 
 
 347 
 
348 
 
 PRINTING 
 
 S|Mti! lllclil ,|t olicr; llicv iiiusl Ix' ].rill1c<l ill'V. Ill Wcllilin' 
 
 "lowii all oilier ]»a|»('rs, (lie Hill lire ol" llic paper miisl liecoii- 
 sideivd; suiiie ol* the ]»a|»('i's, ])ein!j,- well sized and coiise- 
 (|iieiitly somewhat hard, will not take the Avater easily ; 
 when Avetted they require to lie by Ioniser, and need more 
 turnino". Supposing^ the paper to be treated is an ordinary 
 printing paper, niaehino-made, and (|uir<Ml or fohled, tlie 
 
 Fk;. ISO. WK'iTiNt; Tiandii. 
 
 wetter should open his ream, and place it on the left of his 
 irrffl/uj Irouali, iig. 180, open the quire, smooth out the hack, 
 and dip one end of the sheet in first, drawing it through 
 the water in the form of a curve, fig. 181. When he has done 
 that, he should place it flat on a quire already opened, but 
 not wetted. Having laid the damp cj^uire on the dry, he 
 should lay another dry one on the top of the wetted one, 
 and so on to the end of the ream — each wetted (juire l^eing 
 sandwiched between two dry ones. When he has completed 
 the ream or n^ams recjuired. a board should be plaee(l on 
 
WETTING-DOWN 349 
 
 IIk' t(>[>. one havjijo- beeu placed at the but loin to receive llie 
 tirsl (juire, ;iiid weights placed on the top for a few hours, iii 
 order to jn'ess and soak the whole pile thoi-ou^hly. AVlien 
 lime has been allowed for this, the board should be taken 
 ott', and the whole of the ream turned. This is performed 
 simjily l>y turning round (not over) every (juire or so, thus 
 mixing up the whole, dry and wet; by turning the i>aper in 
 the way suggested, the right and wrong sides of the i>aper 
 are still ke]>t separated, and this is a distinct help in print- 
 ing oft". The pai>er should then be placed in the screw press, 
 and fastened down. These presses are of wood, and are 
 worked In- an iron screw attached to the " follower." 
 
 Fi(.i. 181. PASSING I'Ai'Ki; 'nii;ur(;n the watki;. 
 
 Counting. — Paper should be checked before being given 
 out for i>riutiug. As the operation of counting is a very 
 iuii)ortant one, great correctness is necessary, especially 
 with printed work. The method adopted is to take two or 
 three quires, according to the thickness of the pa2>er, at the 
 corner, and give it a sharp turn over by a quick movement 
 of the wrist. If this is done properly, the sheets are fanned 
 out, and may be counted very readily. They are counted 
 ott" in fives, twenty *' lives " to a hundred, and the hundreds 
 usually lapjjed over. This is the most expeditious manner 
 of counting, an expert being able to run through a thousand 
 in a very short space of time. In giving papi'r out, reams 
 should be ])erfect, or made so, and duly entered up. When 
 l)rinted it has to be c(junted again, and if correct, entered — 
 tile date, signature, name of work, and workman !.»eing n(»t('d 
 
350 
 
 PRINTING 
 
 III sheet work it is advisable to count it wlieu the first side is 
 printed oft', before perfecting the sheet — this phm will ob- 
 viate errors, and possibly avoid disputes. 
 
 The drying room is the next consideration, and the most 
 useful one is that heated by hot water ; steam is sometimes 
 used. Here again it must be observed that, as few papers 
 are now wetted down, the need for a drying room is not so 
 great as formerly, for all printing in quick -drying inks 
 may be stacked as fast as printed, and if done by the hard- 
 packing process no pressing is requisite. But if a special 
 room is necessary, the pipes should be arranged all round 
 
 O 
 
 Fig. ]82. DUYIXCi POLES. 
 
 the room in coils, and, if the room is large, some placed in 
 the middle too. The drying poles are frames, fig. 182, liang- 
 ng from the ceiling, which slide along two larger horizontal 
 poles. Those which hold the work are about two feet apart, 
 the length being determined by the width of the room. By 
 jdacing these frames on a sliding arrangement overhead they 
 may be shifted along, and a wider passage formed between 
 each two, so as to allow a person to pass along, in order that 
 he may get at the work readily. 
 
 Placing the printed work on the poles is performed l»y 
 dividing the ream into " lifts " or handfuls, just overlapi>ing 
 each other on one edge. The topmost poles are reached 
 
DRYING PRINTED WORK 
 
 351 
 
 with a 2)eel, fig. 183; several lifts are put on at a time, and 
 placed in their position by the same implement — the lower 
 ones, of course, are best filled by hand. The room should be 
 kept up to a uniform heat — about 120 degrees Fahrenheit 
 — and the work removed as dried, and its place occupied by 
 other work. 
 
 In the absence of a proper drying room poles are some- 
 times suspended singly from the roof of the 
 warehouse, and the work is dried by perfectly 
 natural means ; but care should be taken that 
 the top sheets do not get soiled by dust ; to 
 })revent this wraj^pers should be j:>laced over 
 each lift. The peel is here an indispensable 
 tool in hanging up, as also in taking down. 
 When the work is sufficiently dry it should 
 be stacked, each signature by itself, and a 
 separate pile to each work, till it is ready to 
 be pressed or rolled, as the case may be. 
 
 Where cold pressing is actually necessary 
 it is customary to place the sheets separately 
 between glazed boards, as near the centre of 
 the board as possible, because the edges are 
 likely to be marked in pressing if the sheets are not placed 
 correctly over each other. As far as practicable it is best to 
 have all one size and character of work pressed at one opera- 
 tion, the iron plates being inserted at intervals, as before 
 explained. Assuming it is a hydraulic press, the work should 
 remain in the press all night, and as it is taken out of the 
 boards fresh work should Ijc placed in the empty ones. 
 This is generally done by three persons, as shown in the 
 diagram on the next page, fig. 184. Here are seven piles. 
 Two jiller^-iii stand at the ends at b (to be pressed). One 
 liil-fr-off only is rc(|uivc(l, and lie removes the sheds from 
 l)oth sides at ((wliicli have Itccn pi'essed ), and stacks llimi 
 e^cnlv on 1). 
 
 Fk;. 183. 
 
 PEEL. 
 
352 
 
 PRINTING 
 
 !if(irli(t/ij u-iirk. — II' the work is nut iviidy i'or delivery or 
 giitlieriug, the signatures should be staeked in a pile, and 
 if likely to stand in that position for any length of time, a 
 few " to|)s," i.e., a few sheets of each signature comprised 
 in that particular pile, jdaced on the top. This plan fre- 
 quently obviates a deal of trouble, because a set or sets of 
 sheets are sometimes asked for by a customer whilst the 
 work is in progress, and the pulling down of the whole of . 
 the pile is avoided by this means. Always build stacks on 
 a board or stage raised from the ground, as this prevents 
 accidents from the ii}>setting of water, or the bottom of the 
 
 l-'illcr-in, Tiikcr-nlf. tiller in. 
 
 Fit;. 184. I'lLLlNi; IN AND JAKING OFF. 
 
 p>ile being elamaged by getting knocked or even kicked by 
 the feet. 
 
 Gatheriinj. — AVhen it is necessary to gather any W(_»rk a 
 table is used, generally of a horseshoe or three-sided pat- 
 tern, which should be large enough to hold twenty sheets 
 of, say, double crown at least, placed side by side. Rotary 
 or revolving gathering tables are sometimes used, the beuidi 
 revolving as the operator stands in a fixed position, and 
 lifts one of each sheet as it passes him. The sheets should 
 l)e laid down on the board in order of alphabet, commenc- 
 ing with signature 15, the title and other oddments coming 
 last. If llic book is a long (tnc, or the paper is thick, the 
 gathering must be made in two or even tliree sections. One 
 of each signature only should be gathered at a time, and 
 
COLLATINa 353 
 
 when the end of the table is reached they should be gently 
 knocked up squarely at the edges, and each book or section 
 placed in a pile. Owing to machine folding being used so 
 much, many binders prefer the sheets of a volume packed 
 and delivered in l)ulk, that is, not gathered, but the various 
 signatures or sheets packed separately. 
 
 CoUatimj, folding, and paching. — When a heap is formed 
 it should be collated by means of a bodkin or piece of rub- 
 ber, all duplicates drawn, and wrong sheets rectified. As 
 each book is collated and found correct, it should be simply 
 moved aside a little in the left hand to indicate the division 
 between them, and when the hand is full, lifted off the pile, 
 and turned face downwards. They are then ready for folding 
 in half. This is done merely for the more convenient pack- 
 ing of parcels. In folding these books or sections care 
 should be exercised to obviate " herring boning," that is, not 
 creasing the paper by the improper use of the folder. Tliis 
 can be obviated by holding the folder somewhat flatly, botli 
 in the up and down strokes with that instrument, reversing 
 the angle of the folder on the back or down fold. When 
 folded, the work may be booked; if in sections, the parts 
 must be put together, and reversed — every copy — in order 
 to keep the parcel flat and square. If the book is in one 
 section only, the copies may be reversed, or turned in 
 " sixes." Suitable parcels as regards size should be packed 
 in brown paper, tied with string, and labelled with the name 
 of the work and the number of copies they contain. If the 
 balance of the work is to go into stock and not delivered 
 as a complete edition at once to the binder, these copies, if 
 not gathered, should be so booked up that each separate 
 parcel contains perfect or complete copies of the volume. 
 
 To return to the finishing off of the sheets after drying. 
 The methods of hot pressing, h(jt or cold rolling, have been 
 already mentioned. Cold pressing is nearly always done 
 by the printer himself, but tlic other methods, especially 
 
354 PKINTTNa 
 
 !])(' li(»t jircssiiiL;-, I'V outside firms. To i\'[k';i1 , llic i^Tcat 
 I'oiiit ill this iiictliod is thai th«' r(»lls slioiiM not Ix' t«t<) lint, 
 and that too great a j^ressviro should uot be exerted. It' the 
 former liapiu'us the ink will suffer, and in the latter ease the 
 pajier will be thinned out too mueli; for ordinary pur2)0ses 
 the impression is all that is necessary to be taken out, and 
 in doing this sufficient glaze and finish will be given to the 
 sheets. Offset is another danger to be avoided by the pro- 
 per use and care of the special apparatus for the purpose, 
 a solution of common soda in water being mostly used. 
 
 Keeping stoch. — In delivering work it is most essential 
 that a complete record should be kept, and nothing sent 
 away without a signature being given for it. The warehouse- 
 man should keep two ledgers, one for white paper, account- 
 ing for all ])aper received and used, and showing at a glance 
 what is on hand. It is best that the stocks of customers be 
 kept distinct from each other, and, if complicated, that one 
 separate entry be made for each kind of paper. Further, it 
 is advisable that the house papers — those supplied for the 
 different jobs and works by the printer himself- be kept 
 quite apart from any customer's; in fact, treated, as it were, 
 for quite a distinct customer. If these suggestions are 
 carried out, and the books kept up to date, much trouble 
 and labour will be saved in referring from time to time, and 
 a report or stock-list may be furnished at short notice. All 
 white papers should be kept covered up, and broken reams 
 — we mean parts of reams — re-packed and marked as to 
 quantity. Printed work should also be protected, and if 
 stacked for any length of time whilst the book is in progress, 
 the ])ile should be built squai'ely and firmly, and care taken 
 that the edges are all even and well knocked up. Stacks 
 should be well covered at the top to kee}) them free from 
 dust and dirt, and, certainly, printed sheets or reams should 
 not lie handled or carried about without a top or bottom 
 sheet; a wrapj^er on both sides is the best protection. 
 
PACKING AND SEWINO 35.5 
 
 (^11 the lirst (lolivcrv of any jol) «>i- \V(»rk a, ('()iii])loto copy 
 should \)v laid aside I'or cliars^iii^-iq* jMirposcs l>y ilic coiiiil- 
 iii<^-li(»U8(', l)ut tliis ••()])\ need not bo a l^ocmI (Mic so loiii;' as 
 i1 is ))t'rtVH'l as iv^^-ai'ds {\iv wliolc quaulily. and has a ticket 
 attached exiJaiuiug the name ot" customer, date of delivery, 
 size, quantity printed, if paper supplied by customer or house, 
 and all other particulars. 
 
 lu parcelling up works for delivery, neatness in packing 
 and conciseness in labelling are two great points. The parcels 
 should not be unwieldy, but adaj^ted for handling easily. 
 Care should be taken that the string does not cut into the 
 edges of the sheets, which may be obviated l)y a piece of 
 [>aper doubled, up and placed, under the string at the points 
 where it turns over the edges of the parcel. If it is a very 
 l)articular character of paper, it is best either to seal it up 
 with parcel- wax, or tie it up with tape such as stationers use 
 iov papers sent in flat, because this reduces the risk of 
 damaged edges: but it is of course awkward if necossarv to 
 draw on the parcel, as it requires re-sealing up, whereas a 
 bundle tied up is more readily re-tied. 
 
 Folding, stitching, stabbing, amd sewing come under tlie head 
 of binding, and are sometimes done in the house, so a 
 description of these points may be of interest. Stitching 
 applies mostly to pamphlet work of a single section, when 
 it is stitched through the centre of the sheet at the fold by 
 opening it, and sometimes through the wrapper, if there is 
 one, at the same operation ; sometimes the wrapper is drawn 
 on, that is, glued or pasted on, after stitching. Stabbing is 
 a system to be avoided as much as possible, because it is a 
 method which does not allow of the book opening freely; it 
 is adopted frequently for pamphlets of several sections, and 
 is performed ])y stabbing the thread through several slioets 
 at the side, as shown on the next page, fig. 185. 
 
 Sewing is used for books, and is the best way of binding 
 anything together consisting of ni(»n' than one section. 
 
356 
 
 PRINTING 
 
 Each sheet is sewn through the middle of the fold, over 
 two or three cross tapes or strings, according to the size of 
 the book, and the thread carried into the next sheet, and so 
 on; this is the proj^er method, allowing of the book open- 
 ing easil\\ Wire is also to be avoided as far as possible, 
 especially with volumes — thread does not cost much more 
 and is certainly more satisfactory in the long run. 
 
 Edges of books are treated differently, sometimes accord- 
 ing to fancy. " Untouched " or " unopened " edges are those 
 which are left precisely as folded; "trimmed" edges, the 
 
 Fig. 185. stabbint; the sheets. 
 
 heads and bolts are left unopened, and the fore-edge and tail 
 lightly trimmed to make tidy only, but not necessarily i 
 smooth; "cut edges" are when a book is cut all round 
 perfectly smooth. " Uncut edges " are not necessarily books 
 that have not been cut, but mean that the edges have not 
 been cut round flush l)y machine, although the bolts and 
 heads may have been opened by hand. 
 
 PiibJixJipyfi hlnilbig is defined as cloth-work or case-work, 
 but binding proper is really applied to those books bound 
 in leather. Whole bound is when a book is encased in 
 leather entirely ; half -bound, when the back and corners ar*- 
 in leather and the sides in paper or cloth; quart er-boun«l. 
 
RULING, ETC. 357 
 
 when the back only is leather, the sides beiuy- cloth or paper, 
 as in half-boiuul. 
 
 All these matters sometimes come under the supervision 
 of the warehouseman in giving out work for binding, and 
 it is necessary that he should have some knowledge of the 
 diHerent styles. 
 
 Rulituj, ]je7'f orating, and nmnheriny,. used for a variety of 
 purposes, are often done by the printer, but sometimes exe- 
 cuted by outside firms, and the terms used will explain 
 themselves to the student. 
 
COST OF PKODUCTION AND SELLING 
 CHAPTER XXXV 
 
 Proper System of Bookkeeping — Master Printers' Federation 
 System of Cost Finding — Cost of Departmental Production — 
 Overhead Expenses — Hourly Rates — Work Sheets. 
 
 MUCH has been written and said during the last few 
 years respecting the various systems of keeping 
 costs and the selling prices made by different printers. That 
 something is radically wrong in the prevailing methods is 
 apjjarent to all thinking printers when the glaring differ- 
 ences in estimates made out for public work put out for 
 contract are compared. Some of the suggestions made for a 
 levelling up are wide of the mark, we feel sure, and if the 
 l>rinter or printers have a proper system of bookkeeping in 
 use there should be no difficulty in formulating such a basis 
 as would ensure a proper return for all outlay, interest 
 on capital, and a reasonable profit on the work produced 
 from any establishment. The want of such a system is a 
 weak point in many firms, but it is a matter entirely of 
 account, and the remedy is not a difficult one if the printer 
 will only keep a true record of work done and of every item 
 coming in or going out of his establishment, and unless this 
 is strictly done it is hopeless to expect that any one can see 
 the exact position of affairs. It requires not only a precise 
 knowledge of figures, but a keen discrimination between the 
 debit and credit side of a ledger. The great weakness is that 
 of insufficient knowledge of the general expenses current 
 
 35S 
 
COST OF PRODUCTION AND SELLING 359 
 
 ill a printino- office, and a failure to differentiate between 
 cost of production, expenses, interest, and profit. The first is 
 made up of actual wages paid in the productive de2:)art- 
 ments, and materials used, but the second item is really 
 the great stumbling block, for it includes many items 
 which are lost sight of if the utmost care or vigilance is not 
 exercised. Details coming under that head include, among 
 other sundries, management, rent, rates and taxes, lighting, 
 power, bad debts, dei)reciation of plant, consumable ma- 
 terials, as the principal items, and the third is a simple one 
 of interest to be calculated on amount of capital exj)ended. 
 Supposing the books are very carefully kept, it should be a 
 very easy matter to grasp the situation by grouping and 
 dividing the complete figures for say one year. By taking 
 the total wages on all work done and all materials either 
 purchased or taken from stock, and also adding thereto 
 its share of general and overhead expenses, we arrive at 
 the cost of the article. 
 
 As before said, the selling price should be governed by 
 the working expenses of the establishment, it should also 
 include interest on capital, and something in addition for 
 profit on labour and outlay. The precise amount can only 
 be determined by reference to tlie books, and if one year's 
 business is taken as a basis, it should be checked by the 
 subsequent annual figures. In London some large firms 
 find that the relative cost of wages in the composing and 
 machine departments totals to almost an equal amount 
 with all the other working expenses of the establishment, 
 including the needful margin of profit. This is only a rough 
 and ready assertion, but nevertheless it may be taken as an 
 average, and shows how necessary it is that a very close 
 oversight be exercised all round. For instance, by having 
 a good and sufficient plant, with competent employees, much 
 more will be produced, and then, by exercising the most 
 careful management, the expen^-es can be kept down to a 
 
360 PRINTING 
 
 reasonable amount. There are many small things in a jtriiit- 
 ing office which may be, if care is not taken, described as 
 leakages, and it should be the business of the heads of de- 
 partments, subject to the general management, to keep a 
 sharp eye on all materials used, which may be considered 
 as part of the item for general expenses. A penny once 
 saved will be a pound later on; this is a truism which 
 ap2)lies very forcibly to all printing offices. 
 
 We have here only been able to indicate on broad lines 
 the j)rinciples which should determine the actual selling 
 price, but the precise treatment of detail is a matter to be 
 arrived at by the printer himself, because this is regulated 
 in a very large measure by the local surroundings and 
 conditions under which he works. Therefore let him see 
 for himself exactly what his outlay is for wages, and for 
 materials bought or supplied from stock for work done, then 
 find the precise j^roportiou of expenses which consists of the 
 heads already mentioned. These two main items will then 
 give the actual cost of a job or work, and it will remain for 
 him to put such a profit on the whole as will cover all un- 
 foreseen contingencies and give him a reasonable profit on 
 his labour and outlay. 
 
 We repeat that there are various ways of dealing with 
 this important matter, and they will suggest themselves to 
 the printer as he progresses in his business and observes 
 the periodical results of his trading, but it is imperative, as 
 before said, that he have a thorough grasp of the details 
 underlying the principles of cost and selling in order to 
 ensure a reasonable return for his labour and capital. To 
 lay down here any definite rules in detail is not possible, 
 the printer must work out for himself the actual lines on 
 which he should formulate his basis, having a regard to all 
 that has been expressed in this chapter. 
 
 A good deal of interesting literature on this subject is 
 and has been issued bv the Master Printers' Federation, 
 
COST OV PRODUCTION AND SELLING :3G1 
 
 and by the courtesy of that Association we add an example 
 of their metliod of Cost Finding which, of course, is sub- 
 ject to any modification or alteration, according to local 
 rec^uiremeuts. This is as follows: 
 
 The problem of the cost of printing is extremely com- 
 plicated, as there are so many expenses which are difficult 
 to allocate to the various jobs tliat pass through the 
 works. The value of materials used on a job, and the 
 wages paid to the workman who produced it, can be ascer- 
 tained without much trouble; but what proportion of tlie 
 rent, rates and taxes, dej)reciation, office salaries, etc., 
 should be added to cover these expenses is the great diffi- 
 culty in ascertaining costs in the printing trade. The cj^ues- 
 tion is also complicated by the fact that there are so many 
 diverse processes in a printing office, that it is an absolutely 
 unsound princij)le to add a uniform peraentsige to wages in 
 different departments, in order to cover general expenses. 
 The wages paid for setting 1,000 ens by hand are more 
 than those paid for the same process by linotype or mono- 
 type, but the proportion to be added for depreciation, etc., 
 is much less in the case of hand than in machine setting; 
 and the cost of printing 1,000 sheets cannot be compared 
 with, or treated on the same basis as, the folding of the 
 same sheets. 
 
 For these reasons the Federation Printers' Cost-Finding 
 System divides a printing business into several depart- 
 ments — (\<j. Composing, Machining, Binding, Ruling, etc. 
 — keeping as far as possible a separate ])rocess in each 
 department. The cost per hour for each process is found — 
 or per unit if the i»rocess be piecework, e.(/. i>er 1,<)0<> ens — 
 and this cost is the total cost, and includes its proper share 
 of all the ex2>enses, such as rent, de[)reciati<)n, salaries, etc. 
 In addition to finding the cost i)er liour for each process, 
 the cost of each job, and the liours taken to ]»roduce it, are 
 also shown (lay by (hiy, and lin' wliolo (»!' tlic expenses and 
 
362 PRINTING 
 
 costs are l)alaiiced week by week to 2>rove that the results 
 are correct. 
 
 As to general expenses, these valuable results are ob- 
 tained by the use of a few forms, some of which are in use 
 in nearly all printing offices. The first step is to decide on 
 the number of departments in the business, and to find the 
 share of the expenses which each must bear. The expenses 
 of the last year should be grouped and divided in each de- 
 partment as follows, and the balance of the expenses not 
 included in the departments will be totalled and treated as 
 overhead expenses, and dealt with by a further subdivision. 
 
 Rent, Rates, Taxes, LajJit, Heat ami Water, according to tlie 
 tloor-space in each de})artinent. 
 
 Power, according to the amount used. 
 
 Beprcciutioii at 10% on tlie diminishing value of tlie plant. 
 
 Fire Insurance on the value of plant and stock. 
 
 Employer's JAahility Insura)u:e according to wages paid. 
 
 Re2)airs and Renewals to Machinery, and Sundry Departmental 
 Expenses, according to the sum expended in each depart- 
 ment. 
 
 Interest at 5% on the value of plant and stock. 
 
 All the remaining general expenses should he treated as over- 
 head expenses. 
 
 When the above subdivision of dej^artmental expenses 
 is totalled and divided by 52, the result is the Aveekly share 
 of each department. These figures are used for the ensuing 
 twelve months, and should then be checked to find if the 
 expenses have increased or decreased. 
 
 When material is used on a job, a percentage (which 
 should not be less than 10%) should be added to cover the 
 cost of handling, storing, buying and selling, etc., the 
 material. This i)ercentage on material will absorb a part 
 of the overhead expenses, and the remainder is recovered 
 by adding a percentage (fixed for twelve months) to the 
 total of the wages and departmental expenses. 
 
 A simple calculation, as follows, shows the percentage 
 
COST OF PRODUCTION AND SELLING 368 
 
 to be added for overhead expenses, and proves that all the 
 expenses are dealt with : 
 
 The averai^e totsil waiters })ai(l in a year .... I'lj-loO 
 Aif(/ the propoilioii of expenses iillofatod to tiie <lei>art- 
 
 nients . . . . . . . . . (ioo 
 
 AV/^<rt ^6' total (lepartniental cost iMOO 
 I''i/i(f the percentaije on ahove to recover hahmce of 
 
 " o\"erhea(l '" exi)enses . . . say oO% = (J.SO 
 
 J '/r/ materials boiii-ht for re-sale ..... 1,000 
 J(/(Mhe i)ercentage {r.g. 10" ) tor handling; and selling' 
 
 material 10 =- loo 
 
 T/n: result is total cost of the Imsiness for the year based 
 
 on last year's Hgures ...... ;1830 
 
 I'lir hiildin-r is the nelt ])roHt (say lo°J .... o7.") 
 
 Total, w hich is turiio\'er of last year . f4,40r) 
 
 The above calculations are made once a year only, and 
 with the fiijrures thus obtained added to the actual wayes 
 each week a Aveekly statement of the cost of each department 
 is produced. This statement will show the total cost of each 
 dej>artment, called cost of prodtiction, each week, includin*^- 
 wages, expenses allocated to the department, and a share 
 of overhead expenses, and the cost of production is com- 
 pared with the value of work produced in each department 
 each week. This accotmt shows at a glance which depart- 
 ments are busv and which are slack, and also checks the 
 cost per hour of each process. It is a barometer of the state 
 of the business which every printer who has put in the 
 System has found invaluable. 
 
 The second half of the System is to find the hourly rales 
 for each ])rocess, and the cost of each jol) at these rates, 
 and to check the hourly rates with the ae-tiial cost in the 
 works. When the Svstem is installed, it would be well to 
 commence with the average hourly rates of the district 
 where the works are situated, or to use the hoiuly rates 
 
364 PRINTING 
 
 llial may have beeu in force 2)reviousiy in the works. 
 These liourly rates can easily be corrected in a few weeks 
 by studying- the weekly statements of cost and value of pro- 
 duction. The details following explain how these hourly 
 rates can be corrected by the actual costs in the printer's 
 works, and how the cost of each job can be found. 
 
 Probably every j^rinter has some form of work sheet or 
 ticket which accompanies the job through the works, and 
 on which the full instructions are written. It is onlv 
 necessary that these work sheets should be numbered con- 
 secutively to fit in with the Cost-Finding System. Prob- 
 ably every printer has also arranged for his w^ork-people to 
 fill in some form of time sheet or time-book to show the 
 jobs on which they have worked. The workers only need 
 write on these daily dockets the number of the job, and the 
 name of the customer, as shown on the work-sheet, and the 
 hours spent on each process, A distinction must be made 
 on the workers' daily dockets between time that can and 
 cannot be charged to each job. Thus, chargeable time in 
 the comjjjosing-room is composing and correcting, but dis- 
 tributing and reading are non-chargeable. Some workers, 
 such as readers, feeders, and porters, need not write dockets, 
 as their time and cost is covered by the liourly rate of 
 workers who do wa-ite dockets, and whose time is charge- 
 able direct to jobs. The object of this division is to avoid 
 unnecessary book-keeping in charging a few minutes on 
 each job, and in some processes the non-chargeable work 
 cannot be charged to any one job, e.<j. oiling machines or 
 Avashing rollers after a number of jobs have been printed. 
 
METHODS OF BOOK-ILLUSTRATION 
 CHAPTEE XXXVI 
 
 Ijtlio.urapliy— Wood En^ravino— Ziiico<i:rapliy and Line Process — 
 Half-Tone IMoeks— Tliree Colour I'roooss— Collotype— TMioto- 
 ^ravuro. 
 
 IN tlie selection of the mode of illustration, one must be 
 guided by whether the designs are original or whether 
 the pictures are reproductions of existing subjects. If tlie 
 former, the drawings can he generally adapted to the par- 
 ticular process to l)e employed, the precise method being- 
 regulated by the total expense to be incurred; whereas, in 
 the case of reproductions, the choice would naturally be 
 more limited. To-day, when nearly all illustrations are 
 mechanically produced, the cost of making blocks or plates 
 may be taken in the following order: line process, half- 
 tone process, collotype and other photo-mechanical gelatine 
 methods, and photogravure. It must be remembered, too, 
 that the first two being relief processes, the blocks may be 
 incorporated with type matter in printing, but the other 
 methods necessitate quite separate and distinct printings 
 from letterpress. 
 
 The invention of the art of lithography by Senefelder at 
 the end of the eighteenth century, furnished the artist 
 with a new method, and, although open to the necessity 
 for a separate printing, did not prove altogether fatal to 
 the use of lithography for book illustration. Lithography 
 is really a very simple affair, and is based upon the power 
 
306 PPJNTING 
 
 of certain kiiuls of mineral mattei- to al)Sor1» fativ or^-aiiic- 
 substances. A sniootli-snrfaced piece of porous car])onifer- 
 ons limestone is selected, and the oi)pusite sides are i^ronnd 
 so as to form a flat bed of stone ; one face is polished, and 
 upon this tlic artist makes his drawiuL;- with a i^reasy pig- 
 ment. When the design is finished it is usual to give a 
 slight acid bath, or " etch the stone," as it is termed, for 
 the purpose of imprisoning the greasy pigment within the 
 minute pores of the surface of the stone. If the stone be 
 damped and then rolled up with an elastic roller charged 
 with a greasy printing ink, that ink will adhere to the design, 
 while the damp stone will repel it. The stone can then be 
 printed by passing it through a press fitted with a scraper. 
 
 Before passing from this short consideration of the litho- 
 graphic art, it may be useful to note that when a slightly 
 grained instead of a polished stone is used, no more perfect 
 method exists for faithfully reproducing in the printed 
 impression the real character of a drawing executed in 
 chalk or pencil, and that, by reason of the delicacy and 
 subtlety of the tints which can be printed from stone, 
 lithography is extensively employed in colour-printing. 
 
 The early part of the nineteenth century also saw the 
 revival of wood engraving. When the mediaeval G-erman 
 and Fleming worked uj^on wood they cut their designs 
 upon a longitudinal })lank with a knife, and their oppor- 
 tunities for adequate expression of the intention of their 
 designs were limited accordingly. But Bewick, his con- 
 temporaries and pupils, were not content with these re- 
 stricted facilities: they were familiar with the work of 
 several generations of line engravers, and realized that a 
 wider field was open to them if they could treat their 
 blocks as line engravers treated their plates. Accordingly 
 they employed a hard wood and engraved their blocks 
 on the end of tlie grain. These transverse sections were 
 trimmed and surfaced, the face being finely polislied. 
 
METHODS OF P.OOK-ILLUSTPtATlON 3Cu 
 
 Upon lliis llio artist's design was drawn, and llic |»ictiir(' 
 was made, no loni^vr witli a, kiiitV', but witli a l>iirin. 
 
 Tin' task ui' the wood engravi'r was not quite so sinijdt' 
 as that of his brother craftsman upon metal. While the 
 latter was required to plough the surfaee of his plate to 
 produce his liue, and inflection could be obtained by merely 
 varying the pressure which he exerted, and so making a 
 deep and wide cut or a shallow and thin one, the wood en- 
 graver had to leave his line alone, and cut out what are 
 known as the '' whites," or the blank spaces between the 
 lines. 
 
 For fully half a century the superiority of wood en- 
 graving for the purpose of general book illustration was 
 unchallenged. Artists of repute became book illustrators, 
 but few of them had been trained as engravers or were 
 willing to undertake the drudgery of such training, and it 
 frequently happened that the artist, being dependent ui)on 
 the engraver for the translation of his design, and the 
 drawing being destroyed during the progress of the work, 
 perfect results were not always forthcoming. Photography 
 was then employed to assist the artist, and instead of 
 drawing directly upon the wood-block he was enabled to 
 make an independent draAving and have it transferred to 
 the surface of the block, which had been specially sensitized 
 for the purpose. Wood engraving was a slow process; 
 both artist and engraver had to be employed — and j^aid. 
 The cost of jn'oduction was considerable, and if illustrations 
 were to be extensively used a cheaper method of engraving 
 must be found. Now, the lithographers had ascertained 
 l)y practical experience that it was possible to use thin 
 l>lates of polished zinc in place of the ordinary lithographic 
 stone. Transfers from the stone w<'r<' made; they were 
 laid down on zinc plates and printed from with ease and 
 certainty. From the substitution of zinc plates for litho- 
 graphic stones, a single step sufficed to convert tlicm into 
 
368 PRINTING 
 
 relief blocks capable of boin^- printed at a letterpress 
 machine. 
 
 All that was required was to draw upon the zinc with a 
 greasy pigment, or one containing a resisting varnish, and 
 then to etch the plate with acid. The whites of the design 
 were thus bitten away, and the lines, having been protected 
 by the varnish from the action of the acid, were untouched 
 and remained in relief. When mounted upon a wooden or 
 metal support of sufficient thickness, the plate could be 
 imposed with type and printed in the ordinary way. 
 
 We have seen that the aid of photography was invoked 
 by the wood engraver; it was destined to render still more 
 important service to the process engraver. Instead of 
 drawing directly upon the metal, the zincographer makes 
 a reversed negative from his drawing, and having sensitized 
 the surface of his j^late proceeds to print the negative upon 
 it. After developing the print and rolling up with a litho- 
 graphic ink the plate is washed and the printed j^art, 
 corresponding with the lines of the design, remains. The 
 plate is then etched, and when sufficient relief is obtained 
 it is mounted and printed from in the manner already de- 
 scri])ed. Modified in various particulars and improved in 
 detail this is the ordinary line process now in common use. 
 Where a drawing is prepared with due regard to photo- 
 graphic requirements it is an excellent method of obtaining 
 at very small cost an efficient and faithful reproduction. 
 
 It must not be imagined, however, that line process will 
 satisfactorily reproduce any drawing. The drawing must be 
 made in a suitable manner; it must express everything the 
 artist intends to convey, and, as a good photograph is an 
 essential preliminary, it should be in clear, firm, and definite 
 black lines. There must be no question as to colour, other- 
 wise a 2:)roperly exposed negative cannot be obtained, and 
 this results in thickened and distorted lines, or in their 
 becoming broken and rotten in the reproduction. The 
 
METHODS OF BOOK-ILLUSTRATION :^61> 
 
 drawing should be nitlior hard ; all the tunc is to l»c ol)tained 
 by cross-hatching or by tints made up of line; no wash or 
 pencil work is admissible. 
 
 The zincog-raphic line process is very rapid in operation. 
 Using artificial light and labour-saving contrivances in the 
 various stages of its manufacture, a block can be completed 
 ill a very few hours. 
 
 Artists accustomed to draw upon wood were unfettered 
 as to technique. Sometimes they chose to indicate the 
 ]>recise treatment the engraver was to adopt when inter- 
 l)reting a design, but very frequently they were content to 
 make a wash drawing on the wood-block, and left the en- 
 graver to use his own discretion in translating the mono- 
 chrome into a line engraving, for it must be remembered 
 that for letterpress printing a definite texture of lines or 
 dots must exist. There is a level surface exposed to pressure, 
 and, except as modified by the ** making-ready " in printing, 
 t he amount and distribution of colour in the design can only 
 be expressed by means of Hues and dots of different sizes, 
 shapes, and directions. Men familiar with line drawing 
 were quite at home when called upon to produce drawings 
 for photographic reproduction, but a larger and equally 
 capable class of illustrators were at a disadvantage inas- 
 much as they lacked the ability to express tone properly by 
 means of line. So the photographers turned their attention 
 to 2)erfecting soni«' arrangement wdiereby wash or mono- 
 chrome drawing should be made available for printing at 
 letterpress, and the solution of the problem resulted in 
 what is known as the half-tone i)rocess, the most extensively 
 used of any existing method of illustration. 
 
 The half-tone engraver does for the drawing in Hat tint 
 what the draughtsman in line does for himself, and his 
 function is somewhat akin to that of the wood engraver 
 engage<l in cutting tints. In |»(»iii1 of fact the half-tone 
 opi-rator converts an in<l<'linile lint, w lift her in wash or 
 
370 PRINTING 
 
 puiiril, ov the tune of an ordinary 2>liotogi'aphic print, iu- 
 capablo as it stautls of direct expression at the letterpress 
 machine, into a texture of dots and points which can be 
 readily printed from. 
 
 This is accomplished by very similar methods to those 
 of the ordinary line process. There is, indeed, a close 
 analogy between them, the only radical difference being 
 found in the negative. A negative from an outline drawing- 
 will obviously represent that drawing exactly, the Imes will 
 appear as transparent replicas of those in the drawing, and 
 the colour of the paper will be represented by the opaque 
 film of the negative. In the case of a monochrome it has to 
 be re2)hiced by one made with a screen interposed between 
 the drawing and the sensitive plate. The screen is a very 
 fine piece of oj^tical apparatus. It is composed of two sheets 
 of plate glass absolutely free from flaws or defects of any 
 description whatever. These are ruled by means of delicate 
 machinery fitted with movements capable of exact mathe- 
 matical adjustment so as to ensure uniformity in the width 
 both of the line itself and the spaces between the lines. 
 The ruling on each generally follows the direction of the 
 diagonal, and the two sheets are secured face to face and 
 hermetically sealed. The scaling material is opaquely 
 coloured, and when viewed against a luminous background 
 the screen is seen to be composed of minute squares. The 
 number of lines to the inch and the ratio between the width 
 of line and intervening space vary. Originally screens of 
 eighty or one hundred lines to the inch were emj^loyed, 
 now screens of one hundred and fifty up to two hundred 
 lines to the inch are common, and even finer screens are 
 used where the conditions will permit of the most careful 
 printing. When inserted in the camera in front of the 
 sensitive ]>late the action of the screen is to intercept ver}' 
 niucli of the transmitted liglit i'vimi the copy, and to break 
 up the image into tliat mass of dots and points which, 
 
METHOI>S OF BOOK-ILLUSTRATION 371 
 
 whether conspicuous or almost ini})erceptible, is always 
 present in a half-tone encjraving. Having secured the nega- 
 tive, the later stages of the production of a half-tone block 
 are similar to those which occur in the case of line blocks. 
 
 Before leaving the subject of photography as applied 
 either to letterpress or lithographic printing, a few words 
 are necessary on the subject of colour printing, and also as 
 to those photo-mechanical methods of [)rinting which are 
 sometimes used in connection with book illustration. 
 
 Colour printing involves a number of separate blocks or 
 stones for one subject, the number varying with the number 
 of colours to be used. The lithographer selects from his 
 design the appropriate colours, and, having drawn the key 
 or general outline, he lays down a number of transfers on 
 to separate stones. On one he will draw in so much of the 
 tint as is necessary to obtain, say, the yellow, and on an- 
 other what is required to give the blue, and on another the 
 violet, and so on. Each one of course is treated with suffi- 
 cient inflection to convey the different strengths of colour, 
 and again, separate stones are provided for such inter- 
 mediate tints as cannot very well be secured by a combina- 
 tion of any other colours used. All these transfers being 
 laid down from one key they can be printed in succession 
 in perfect register, and so the colour print is gradually 
 built up. 
 
 Whether colour |)rinting is produced by chromo-litho- 
 graphy or by letterpress, the cost increases with the number 
 of workings required to give perfect results and its use has 
 been largely restricted in consequence, but research work 
 in the field of photographic optics has recently enabled the 
 letterpress printer to avail himself of the resources of colour 
 photography, and " three colour work " as it is termed has 
 become an ordinary method of book illustration. 
 
 Photographic plates sensitive to particluar coheirs are 
 used and bv tlH'ir ai<l the photou-raplitT makes, Without 
 
372 PEINTING 
 
 altering the position of his camera or the focus of his lens, 
 a succession of negatives, all in register, and each one auto- 
 matically selecting and reproducing mainlv its sympatlietic 
 colour and rejecting as far as possible all other colours. 
 
 By malcing half-tone blocks from these negatives, using 
 screens ruled at different angles so as to avoid anv clashing 
 of the screens and printiug from them in pigments corres- 
 ponding as closely as possible with the colours selected by 
 the respective negative filters, very good results may be 
 obtained. 
 
 Although under the most favourable circumstances such 
 results can only be an approximation, it is wonderful what 
 faithful colour reproductions can be printed by this method, 
 and if a fourth colour can be used there is not much left 
 to be desired in the way of perfection. 
 
 A brief reference to the other photo-mechanical processes 
 will suffice. They are numerous, and for fidelity of rerjro- 
 duction are valuable, but they involve separate printing, 
 and in some cases this is a costly matter. The most 
 important are the group of collotype processes, which are 
 known by a variety of names. A collotype may be described 
 as a mechanical print from a chemically prepared surface, 
 and is in effect a lithograph printed from a gelatine film. 
 Collotype is capable of expressing the most delicate textures 
 and the lightest gradation of tints, and the freedom of effect 
 arising from the fine and irregular reticulation of the gela- 
 tine film invests the process with a considerable share of 
 artistic m^rit. 
 
 In connection with relief work sensitive gelatine surfaces 
 for electrotyping jHirposes was formerly used. When 
 similar sensitive gelatine prints are developed on copper- 
 plates which are then etched, the process becomes a photo- 
 gravure process. 
 
 A direct continuous tone negative of the subject is made 
 and ivinn this a reversed glass positive is i)rinted. A carbon 
 
METHODS OF BOOK-ILLUSTRATION 373 
 
 print is then obtained, wliicli is laid down on a cop})erplate 
 already covered with finely powdered resin. The undula- 
 tions in the carbon film correspondini;- with the gradations 
 ot" lii^-ht and shade in the subject regulate the time required 
 for a mordant to penetrate to the surface of the copperplate 
 beneath, and permit of the more immediate action of tlie 
 acid upon those parts where the carbon film is thinnest. 
 Tlu'se correspond with the sliadows. while the denser film 
 indicating the lights of the subject does not permit of much, 
 if any, chemical action. Tiie printing texture is secured by 
 the powdered resin, the separate grains of wliich prevent 
 the iininterrupted action of the mordant and granulate the 
 l)itten area. 
 
 Although not a cheap process photogravure is an efficient 
 and comprehensive method of securing artistic results in 
 llic wav of l)Ook illustration, and for the reproduction of 
 paintings in monochrome it is unsui'passcd by any of the 
 mechanical ]>rocesses. 
 
EXAMINATION PAPERS 
 
 QUESTIONS IN TYPOGRAPHY, 1917-19 
 
 THE folio win o- Questions wore set for tlio Written 
 Examinations of the City and Guilus ok London 
 Institute for the three years 1917 to 1919 inclusive. 
 
 SYLLABUS FOE 1917-19. 
 
 (JKADE T. 
 
 Wrrn the view to onconniiiin*;' Ai)i»ioiiti('es to t.ake a oontinuouK 
 ( (nn-se of Instruction in this Suhject, the Kxaniinations will be 
 held in throe (Jrades, of which (Jrade T Avill he of an elementary 
 character. \o Certilicates will Ite _<>iven on the results of the Ivvani- 
 iuation in (Jrade I, Init the list of the names of the Candidates 
 who pass will he sent to the Centre at which they were examined, 
 ('andidates may enter for the Examination in (Jrade II without 
 lia\in.u' passed in (Jrade I, l»ut Candidates for the Final Examina- 
 lion will he r(»(|uired to have previously passetl in (Jrade II. 
 
 'I'he Ivxamination in (Jrade I will consist of a l'ai)er of (.^uestiojis 
 oidy in two Sections, (1) for Compositors, an<l (2) for Press and 
 -Machine ('andidates, hut Candidates for either section will he ex- 
 pected to show som«' knoAvled^e of Elementary (Jeometry and Free- 
 hand Drawing. 'I'hc Ivxamination will iiichnh' such sultjectsas the 
 follow in,n : 
 
 SkcIIoX I.— C(»MI'OS|T0I!s" \\(u;k. 
 
 J/^^/r>vV'/.- Appliances and material used in the comjiosini;' ami 
 store rooms. Appearance and other necessary attrilnites of nood 
 type, leads, hrass rule, etc.; description of thei)artsof type; char- 
 acters in a f(mnt; peculiars, accents, etc.; disjday faces; various 
 cases and lays in use ; wei.uht of type and leads; ditterent kimN of 
 fiirnituie ami si)acin;:,' mateiials ; mecdianical <|Uoins. 
 
 Tc(Jiiii((d Tmns Gcnemll i/. 
 
 The Point Si/sfrni as applied to type hodies, spaciii.u matciial, 
 rules, and point lining tviic. 
 
 FJriiii)(1tirii 'rii/iniirniili ir < 'nlculiit ions. 
 
 1 'nini>iisifiini >ni(l I )lst riliiitiiiii. — J.ayin;^ a fount of type. iJulc^ 
 
876 PRINTING 
 
 to renienil)er wlien settin<;' ; habits toaciiuiie and to avoid. S})ell- 
 ing, coiniiion errors in. Style : dividing words, eoni}»ounding words, 
 the use of Hgures, numerals, capitals, italics, contraetions, etc. 
 Reporters' contractions. Punctuation. Pules for spacing and 
 justifying. Laying u|> formes and clearing ; ]»reparing type for dis- 
 trihution : rules for distributing. Elementary imjiosition schemes 
 and fuinishing of formes. Locking uj) and unlocking formes. 
 Making coirections ; reader's marks; signatures and their uses. 
 I'roof presses and proofs. Definition of stereo, electro, woodcut, 
 and ])roeess blocks. 
 
 Section TL— Press and Machine AVot;k. 
 
 TcfJiniral Tcri/is ami rhrn.ses;. 
 
 Appimncc.s and Malcrials used in the jtress and machine rooms; 
 necessary tools for a machine minder; description and parts of 
 hand press, platens, and single cylinder machines. 
 
 General. — How to cover a tympan and cut out afrisket. Pulling 
 clean ]»roofs in one or two colours. ]\Laking ready, rolling, and 
 pulling oil' at })ress. Pre}»aring i)latens and cylinder macliines for 
 make ready ; result of overpacking or under]»acking cylinders ; 
 how lo find if forme is s(juareto feed edge ; levellingthe forme and 
 blocks. The care and condition of rollers. The care of inks. \\'ash- 
 ing formes ; cleansing wood letter and wood l»lo(d<s ; cleansing and 
 preservation of process blocks. Locking up and unlocking formes. 
 Elementary imposition schemes, and furnishing of formes. Signa- 
 tures and their uses. Definition of stereo, electro, Avoodcut, an<l 
 ]nocess blocks. Sizes and sub-divisions of papers find cards ; num- 
 l»er of sheets in ([uires and reams ; easy (questions on the various 
 grades of paper. 
 
 GRADE IL 
 
 The Examination in ( Jrade II will consist of a Pa]>er of Questions, 
 and of a l^ractical Examination io\ Compositors to be held in a 
 Printing < )ttice. Candidates who enter under Se(*tion 1 must j»ass 
 in both parts of the Examination to obtain a Certificate. 
 
 Writtiii E.idinination. — The Examination Mill be divided into 
 two ])arts. (1) for Compositors, and (2) for Pressmen or Machine 
 -Minders. Candidates, accoiding to their occu]).ation, may select 
 their (piestions fnnn Section 1 or from Section II. 
 
 Candidates will l)e expected to show a more advanced knowledge 
 of the subjects mentioned in the syllabus for (Jrade I and a know- 
 ledge of such subjects as the following : 
 
 Section I. -Co.aii'Ositoks' Work. 
 
 Hifttoriral. — ()utlines of the history of Printing. 
 C(<s1in(i-off Coj);/ for ]»amphlets, liook and jobbing work. MS., 
 typewiitten c«»py. reprint To be i-epiodnced in laigei- or smaller 
 
EXAMINATION PAPERS 377 
 
 tyi)e, mixed copy. ( 'asting-ott" copy for display jiiid taMr NNoik. 
 A'ariou.s problems in type bodies, leads, etc. 
 
 lloohu'orl:. — How tosot text,cliapteraii(l paj^c heads, preliiiiiiiaiy 
 matter, ai>pendices and ijidiees, sidenotes, footnotes, let-in notes, 
 etc. liatio of pa,i;o to pajier to secnre harmony under varying;- eon- 
 ditions, such as relatixely lar<ie or small type, leaded, (h>nl>le- 
 leaded, or two-column matter. Aiost suitable tyi)e faces and sizes foi- 
 dilVerent classes of books, i.e., no\els, scholastic, scientilic, juvenile, 
 editions-de-luxe. (\)rrect ])osition of paj^e on [)aper. ]Makin,«;-up — 
 various operations and ditticulties ; sii;natures for sheet and lialf- 
 sheet work, their uses in com posinjj;-, machine, and foldin<;- rooms. 
 
 Tabic and Tabular IVor/i. — Hoav to cast-ott' and set. Pedigrees : 
 how to set. Composition of (Jreek and Hebrew and lay of cases. 
 Tyjie music : how to set. 
 
 MrcJaniical Compusiflon. — Handling and correcting' iinotyjieand 
 monotype set matter, difficulties and daiiuers. and how to oxer- 
 come them. 
 
 Tinpo.sifio)i of news, magazine, iiam})hlet aiul bookwork ; sheet, 
 half-sheet and oddments ; circumstances which should ^iiide you 
 in imposiu;^- as 16's, 32's or for insettin<;-, having- regard to thickness 
 of paper, size of jtage, <[uality of job, etc. ; schemes to suit folding 
 machines and jierfecting and rotary printing machines, also foi- 
 saving labour, such as to fold two up, avoidance of turn in sheet, 
 etc. Making margin for iipright and oblong i»ages, s(iuaringthe 
 forme ; register ditlieulties, and how to overcome them ; necessity 
 for chase, fnrnituri', etc., to be s(|uare ; mechanical (pioins, their 
 advantages and disadvantages. Imposing colour l)locks with regis- 
 ter (quoins. Preparing a forme foi- stereotyi»ing or electrotyping ; 
 use of high spaces. 
 
 Sfciv.s and Magazine Worl:. — (Jeneral routine of news work; 
 (|ualitications necessary for a news hand; lifting c<>py ; style of 
 house ; uniformity in stjie of cross heads, side heads, shoulder 
 heads, etc. ; making even ; running matter round blocks ; making 
 \\\) \ ]>aragrapli advertisements; displayed advertisements with 
 1>ody founts only, and with the use of disi)lay types. 
 
 hisplaij in its various jdiases for ditl'erent trades ami i»rofessioiis. 
 Setting foldeis, booklets, Itrochnres, etc. Account book and inled 
 headings. Shii»i»ing and commeiciah\'ork. Lawand Parliamentary. 
 Poster display. Make-uj) and register of work in two (»r more 
 colours. The use of ornaments and borders. Tint blocks and em- 
 bossing. Pencil lay-outs and sketches. Setting curved lines, circles, 
 ovals, etc. 
 
 Readuu). — (^)ualirM'ations necessary for a corrector of the jtress ; 
 duties of a reader ; rules for guidance of reading department ; the 
 nnlimcnts of reading; first proof reading: marking the primer; 
 reading for press ; indexing; record of progress of \\(»ik^ in hand. 
 Peference books for leaders. 
 
 J'apcr. — Han<l- ami machine-made; (|iialities and weights, erpii- 
 valent weigiits ; sizes and sub-(ji\ isions of |(iintings, writings, and 
 account book papers ; sizes and >nli-di\ isions of raiiU. 
 
378 PiilNTING 
 
 ]'rii(ii<(il K.iv,iuiififi<nK (For Compositors.) — Tlie Practical Ex- 
 aniinati<»n will consist mainly of comiiositioii from manuscript 
 or i)rinteil copy suitplictl to the Candi^late. It is intended to be a 
 test, not so much of mere ra[)idity in '" piokini;-up," as of general 
 intelligence and of ability in setting any kind of matter that may 
 fall in a Compositors way, clean setting and good spacing being 
 important; for instance, a piece of bad manuscript, a simply dis- 
 ]»layed title-page or jol), a ditticult })iece of punctuation, a moderately 
 complex table, classical phrases or pi()])er names, or a foreign para- 
 graph in fairly good handwriting. The Practical Test will take 
 place at different centres throughout the country, at which the 
 necessary arrangements can l)e made. The Examination will be 
 conducted, as far as possible, under the superintendence of expert 
 assistants, who will be re(|uired to rejHirt to the Chief Examineis 
 as to the manner in which the Candidates have set about the several 
 exercises given to them. 
 
 Section II.— Press and Machine Work. 
 
 Hlstorlrnl. — Outlines of the history of the printing press and 
 machine. 
 
 KiimrJcdgc of Machines.— 'Xhe princi]>al working parts of the 
 various platen, cylinder, and perfecting machines, with their func- 
 tions. Toi)-feed and underfeed machines, automatic feeders. Points 
 to be considered when choosing a machine. Suitability of machine 
 for various classes of work. 
 
 Mdling lleiidj/. — Jobs, l)ook work, posters; making register; use 
 of points ; underlaying, interlaying, and overlaying ; ]treparing 
 overlays for woodcuts and process blocks; uses of rubber and other 
 materials as aids to make-ready for half-tone blocks. Mechanical 
 underlays, overlays, and interlays, their advantages and disadvan- 
 tages. Cylinder pa(d<;ing for various classes of work : poster, plate, 
 bookwork, half tones ; making ready for rush work. Setting the 
 rollers and duct. Embossing on cylinder and platen ; suitable 
 material for forces : creasing and cutting rules for carton printing. 
 Printing on ]»archment, silk, and other fabrics. 
 
 Ilollrrs. — Composition and casting of; care of; for black and 
 colour work ; ([ualities of a good roller ; treatment in hot, cold, and 
 humid weather ; renewing the surface ; remedies for various defects. 
 
 Lils. — Composition of inks ; medium and quick drying ; difler- 
 ent description of dryers ; suitable inks for certain ]»apers ; effect 
 of heat and cold upon : how to keej) in good condition ; covering 
 ))roperties of good ink ; coloured inks ; inks for cover printing : 
 white inks ; metallic inks ; gloss inks ; bronze ink. 
 
 Colour Vi'hit'nuj. — Harmony of colours ; effective contrasts ; 
 rules for the selection of two, three, and four colour combinations. 
 (Irindingand mixing colours; ]»re])aration of tints. Colour print- 
 ing from process l)locks. Printing two or more colours at one im- 
 pression. Eft'ectof overlapping colours. Dilliculties of register and 
 their remedies. 
 
EXAMINATION PAPERS 379 
 
 WorLiinj itjf. — Preliminary « >| (orations ; liow lo set llic lollers 
 iiiul preserve tliein duriiii; luii : rmiiiin^ n[» colour ; (lillicnllies met 
 with whilst rniiiiiiiLi ; eauses of sinning, how to avoid and remedy ; 
 dittieiilties eoiiuected with pajier streteliiiii;-, and how to overcome; 
 how to ]>revent a crease ; keei)in_i;' colours even ; rising- furnituie or 
 spaces, the cause ami cure ; ju'cventin^set oil' ; care in l)a(d<inL;- up ; 
 defects of impression which aiise during runninji'. 
 
 I injXhsititjH. — Various schemes for ordinary and inset woik ; lay- 
 in;:; down stereo or electro plates for machine or press ; mountinji' 
 blocks and boards; methods of niountin<^' ; irrei^ular shapes and 
 sizes of plates, how to securely fasten and insure coirect position 
 on sheet. 
 
 Piipvr. A'arious sizes, weights, and sub-divisions ; diflerences 
 between machine- and hand-made ; coated and supei -calendered ; 
 etlect of heat and damj* ujion ; avoidance of waste from dii t and 
 careless iiandlin^-. (^Hiantities re(|uired for various jol»s. 
 
 Goicrid. — Methods of dryini:- printed work. Electrotypes ; stereo- 
 types ; i)rocess blocks ; methods of manufacture and means of 
 preservation. 
 
 7'y/~i''6\— With a view to encoura^<;e Apprentices to pursue theii- 
 studies at a Technical School, whether theaj)prentices are re<^iilarly 
 inilentured or not, the Worsliij»ful Conijiany of Stationers (dler 
 Prizes of Two (Juineas and One (iuinea, with a Silver Medal in 
 each case, to the two candidates working- or iesidinu- within a 
 radius of 20 miles of Stationers' Hall, Lud.i;ate Hill, K.C, who 
 olttain ies]»ectively the hi^uhest number of marks in the First ('lass 
 ot ( iiade 1 1 of the Institutes Examination in Tyi>ography, Section I 
 (( 'ompositors* Work), and also similarly to the two candidates 
 working- or residini;' Nvithin a ladius of 20 miles of Stationers' Hall, 
 Eud^i'ate Hill, E.C, who obtain respectively the highest number of 
 maiks in the First Class of (Jrade II of Section II (Press ami 
 Machine Work) and who in each of the above cases are under 21 
 years of a,i;e, and have been woiking as learners at the Piintinu 
 I'rade foi- a pericKl of at least two years. 
 
 FINAL EXAMINATION 
 
 Se]tarnte ])ai)ers will be set in Section I Compositors' Woik — 
 ami Sccti<(n II — Press and Matdiine \N Ork. C(tii(li(l(i((.s for cHhrr 
 Hirtioit iiiiist hold (I rirlifinili' In our of (lie tir'a si-rtifms of ( ' i'k^'' ^^• 
 
 Candidates will lie recpiired to have a more advanced knowle<l.ue 
 of the stibjectsiiududed in the syllabus for the correspon<lin,u;- section 
 of (irade il. (^>uestions will also be set on such subjects as those 
 named below. 
 
 SKCIIOX I. CoMI'OSI |()|;s" W'oKK. 
 
 1. i'niiijinsi/i;/ Jhj)(nfiiiriif.--{)n\][urs of type ca-tin;:' ; essential 
 i|ii,ilities of u 1 type : selection of types suitable for certain (dasses 
 
380 PRINTING 
 
 of work ; weight of type and material recjuired for a s]»eeitiod work; 
 arrangement of a composing room, store-r<jom ; reading de})art- 
 ment, standing formes and matter ; construction and management 
 of composing machines, their capabilities and limitations. Instrnc- 
 tirms necessary when putting work in hand ; designing and laying- 
 out copy. 
 
 2. P((pcr. — Standard sizes and weights of i)aper. Equivalent 
 weights of standanl and odd sizes. Reams to the reel. Market 
 ]>rices and terms for stock papers and makings. 
 
 Various classes of paper (hand-made, mould-made, and machine- 
 made). Printings, coated papers, writings, hanks and loans, ]date, 
 drawings, account books, cover jtapers, blottings, vegetal »le jiarch- 
 ments, imitation parchments, manillas, " safety "" cheque pajiers, 
 wrai)]>ing })apers, gummed })apers. 
 
 Technical terms used by jyaper makers and merchants. — Tnsides, 
 outsides, retree, job, mill job, overmake, etc. 
 
 Watermarks and Mill Numbers. 
 
 3. il/<'/«/6\ — Melting points of metals ; results of overheating the 
 metal ; lluxing and renovating. 
 
 4. Departmental 3faitar/ei)ie)it. — Costs of hand and machine 
 com))Osition. Ivunning costs of com}>osing machines. Principles of 
 estimating time and material and percentages for handling. ( ieneral 
 Principles of Cost Finding — work dockets, time sheets, cost sheets, 
 analysis sheets, and book-keeping. Weekly cost of production and 
 value of output. Framing of works orders. Supervision of work. 
 Keei)ing track of work in hand. The Factory and AVorkshops Acts 
 so far as they afiect ]*rinters. Printing office hygiene. 
 
 Section II.— Phess and ArACHiNi-: Work. 
 
 1. Machines. — Construction and management of the hand press 
 and of all types of letterpress machines ; considerations governing 
 the selection of machines to suit average run of work in a particu- 
 lar iirinting oflice ; the process and cost of mechanical and han<lcut 
 overlays, making ready, and running off" work of any descrii»tion. 
 
 2. Power and Trans niisaion. — The care and management of steam 
 engines, gas engines, electric and tube ignition ; electric motors, 
 direct driving and in groups ; shafting and lubricators ; belts and 
 belt fastenings, pulleys, couplings, etc. ; grease, oils, and other 
 lubiicants ; how to minimise loss of power in transmission. 
 
 3. Paper (ual Pxmrds. — The subjects mentioned uii<ler ]taragra]th 
 2 of the syllabus for Section A, and in addition a knowledge will 
 be ex}»ected of the following : 
 
 Defects in ))aper.— Cockling and creasing, stretching, lifting, 
 llutling, the mill edge, spots, air-lmbbles, foreign substance.s, elec- 
 tricity in pai)er. 
 
 Boards. — Hristol, paste, pul)>, wood-pulp, art and tinted, mill- 
 boanls and strawboards, Stantlard sizes ; sub-divisions and stan- 
 dard thicknesses. Boards to the cwt. 
 
 4. Printiitrj Inls. — Properties of good inks : blac k, coloured, 
 
EXAMINATION PAPEES 881 
 
 (•o]ty;il>le. chcMHie, (l()ul)lo toiio, 1 1 icliroiiiHt ic, poster, tinting- iiie- 
 (liniiis, etc., st'loctiii^- inks for various ]mritoses and for diflerent 
 l»aii(>rs, covering power of ink on smooth and on rou^h i»a]ters. 
 
 "). I///i.sfi-((fio/is. — Outlines of tlu^ nietli(»ds of i-eproducinu illus- 
 trations (ori^u'inal and duplicate). 
 
 tJ. Drpartiiioddl Jf((nr((/nticiif. — The subjects will he similar to 
 those mentioned under the same head in Section A, hut special 
 em}>hasis will ])e laid on those portions M'liieh relate to machine 
 work. 
 
 //. Fif// Tcch»ologic(d Certificate. — Cfmdidates who hold i»ro- 
 visional certilicates on the results of the Final Examination in both 
 Section 1 and Section II may present themselves for a further 
 examination in a suhse(|uent year on the result of which I'^ull 
 Technological Certilicates will he awarded. 
 
 The examination will include the writing' of a short piece of 
 English com])osition on a suhject of j;eneral business or technical 
 interest, and (juestions on sucli subjects as the followinji; : 
 
 Advanced ((uesti<ms on costing- and estimating;, including estim- 
 ates for a given piece of Avork. 
 
 The selection of various forms of motive i)ower for running- 
 machinery and the relative cost of each method. 
 
 Details' of the processes of electrotyping and stereotyping of a 
 more ailvanced character than that exjtected under })aragraph 5 of 
 the syllabus for the Final Examinaticm, Section !>, including cost 
 of materials and labour. 
 
 Metiils. — I'roportions of basic metals fornung suitable alloys for 
 linotype and m(nioty])e machines ; also for stereotyping, and for 
 backing ujt electros ; how to judge suitability by the grain. 
 
 I /I ii.sf rat ions. — OntVmes of the history of illustraticms used in 
 letterpress printing ; woodcuts ; line etching* ; half-tcme process 
 (sijuare or vignetted) ; combination of line and half tone ; colour 
 lialf tone and line ; the use of line tint screens ; two colour half 
 tone to obtain jdiotogravure eil'ect ; three-cohmr halftone ; theory 
 of colour photograithy in its application to the ])r(tduction of i»rint- 
 ing blocks ; ]»rogressive proofs. The selection of the most suitable 
 process for reproducing from a specific original. Ditliculties and how 
 lo overcome them : most suitable screens for various grades of )>a]»er. 
 
 I'apcrs. — The manufacture of pa])er. The }»aper-makingma(diine; 
 tibre-yielding material ; warehouse tests for the various celluloses; 
 soft-, half-, tub-, and engine-sizing ; china clay, its uses and how to 
 deteiniine proportion. The mechanical properties of paper and their 
 quantitative measurenu'nt. 
 
 dudging ])apers. -How to judge the (juality of various classes of 
 pajters and their suitability for the ])urposes to which they are to 
 be jtut. Ihilk, handling, o]»acity, absorbency, and "look-Lhrough,'' 
 strength, tear (straight and across), length of libre. Ihitish and 
 foreign makes and how to detect. The right and wrong sides. 
 
 Stocking of Pai)er. — What classes to select for stocking. Hacks 
 for stock. The care of stock, samjdes, oddments, and usetul ollcuts. 
 Tying u]t and marking reaui>. The etrect of light, trniperat urc, 
 
382 PRINTING 
 
 chemical fumes, damp, and dust on the various classes of paper. 
 Stock-keeping systems and liooks. 
 
 Inks. — The chemical nature and properties of inks, easers, re- 
 ducers, dryers, oils, and varnishes. Inks for colour process work, 
 differences in hue and in cost. 
 
 Warehouse IFoyA. — The tools and appliances used. The plan of 
 a warehouse. Handling of flat and unprinted papers. Counting out, 
 cutting, and squaring paper. Cutting machines (screw clamp and 
 self-clamp), the trimmer. Card-cutting machines, scoring, round 
 cornering. Measures to he adopted to prevent offset or smear. The 
 operation of exandning printed matter for the detection of defects 
 such as bad register, top and bottom sheets, dirt, offset, uneven 
 colour, etc. Folding by hand or machine, lumping, folding in sec- 
 tions ; map folding, (gathering; collating. .Sewing and stitching, 
 tliread and wire, fiat and in section. Cord and ribbon tying (2 and" 
 8 holes). Stitched, drawn on, or paste down wrappering (flush and 
 overlapping). Tipping on and guarding in i)lates and oddments. 
 Pasting, gumming. Eyeletting. Perforating and numbering. Cord- 
 ing. Trimming. Counting, packing, lialing. The care of printed 
 and quire stock. 
 
 QUESTIONS, 1917-.19 
 
 GRADE I (PRELIMINAEY) 
 
 1917 
 Section I.— Compositors' Work. 
 
 1. What are considered to be the chief points in well-justified 
 matter? How would you ensure good justification? 
 
 2. A line has to l)e justified which contains 10 words with a thick 
 space between, and there remains a si)ace of three ems of its own 
 body to be spaced out to fill the line. What space will there be 
 between the words when the line is justified? 
 
 3. State what you know al>out the rules for the division of words 
 Avhen it is necessary to turn over a portion of the word into the 
 next line. As an example, give alternative divisions of each of the 
 f<)lh)wing words: — punctuation, signature, ordinary, progressive, 
 necessary, particular. 
 
 4. A job has to be " whited out " to fill a certain space. Describe 
 the operation. 
 
 5. State wliat tools or appliances are necessary for locking up a 
 forme, including the use of both ordinary and mechanical quoins. 
 
 6. (Jive the aj)proximate number of words to the square inch in 
 [a] 6-])oint type; [b) 8-point ; (r) lO-point ; and [d) 12-point, wlien 
 set solid. 
 
 7. Draw a scheme of imposition for two pages of tyjie to be 
 l)rinte(l 1st and 8rd of a four-jiage sheet. 
 
 8. How many pages 8vo are contained in a sheet of demy? 
 
EXAMINATION PAPERS 383 
 
 SixTiuN II. — IMtEss AM) .Ma( him:. 
 
 1. \\ lii'ii ;i t()i"im' is iL'cei\'(jtl from the coiiiixisiiiii room. avIihI 
 l»rei'iUitious should he tiikcii an<l \v\i:\\ iticpjuatioiis iiiailc hcfore 
 comiiieiK-ium' to run on ' 
 
 2. AVIiy should a forme beloeked uj* as nearly as possildc in the 
 centre of the chase of a ]>laten machine"' 
 
 3. How would you treat the top sheet of a make-ready to i>revent 
 set oft when l)aekin!4- ^ip a .i^>l>"' 
 
 4. A slur occurs on one coi'ner of a j(»l> which is beinj; worked 
 on a platen machine. (Jive some jtrohable cause.s and the remedies 
 you would suiigest for each. 
 
 ."). What methods would you adopt to keej) rollers in ,t;'ood 
 condition V 
 
 <). What jirecautions would you advise to i)re\ent rules cutting 
 into the rollers during' a run on the machine? 
 
 7. How many quires of large post would be re<[uired to cut 3,00<» 
 billheads 4^ x 7 in. ? 
 
 5. What purpose do cylinder bearers serve on a Wharf edale 
 machine? 
 
 1918 
 
 Section 1.— Co.Mi'usiToiis" ^\■()l;K^ 
 
 ] . What is the difference l>etween an electro and a stereo? State 
 M hat yon know of each. 
 
 '2. i)eseril)e the operation of laying up the forme and distributing 
 the type of a four-page display circular. 
 
 8. What are the difl'erent thicknesses of leads in general use? 
 Say how many of each ecjnal an inch in dei>th. 
 
 4. Describe the meaning of the following readers" marks : (" '^ 
 wf. 2 Ic. n stet, and giNe an e\am]de in which they should be used. 
 
 ,3. What is understood by the terms '-end even" and "come 
 down to a break " ? 
 
 (■>. What defect would becaused by locking up a forme too tightly? 
 
 7. N\ by should more space be placed l)etween words ending and 
 beginning with huig letters than between those commencing and 
 ending with short and rouml letters? 
 
 5. Rewrite, correct the spelling, and ]iunctaate the following- 
 paragraph: " It is in the country that the Englishman gives scoap 
 to his natureal feelings He gladly brakes looce fiom the cold 
 formalatif^s ami ncgitive civillities of town and liecome joyious and 
 free-hart ed He maneges tocolect round him all t he convenences and 
 (degencies of polite life and bannish it- restraents His count ry seat 
 abuonds with every reijusate either for studeous retiremant tastefull 
 gratifa<'ation or ruiial exoicise."' 
 
384 PKINTING 
 
 Section II. -Puess and MAtiiiN]: Wokk. 
 
 1. Describe tlio operation of making ready a forme on any platen 
 machine. 
 
 "J. AVliat is the hest method of cleansing a foiiiie of tyi>e after 
 the joh has heen Avorked off? Say what yon wonld use for this 
 l»iiri»()se. 
 
 o. Describe the taking-ofi" apparatus of any machine with which 
 you are familiar. 
 
 4. What methods would yon adopt to prevent the waste caused 
 hy the forming of a skin on ink after the can has heen opened? 
 
 o. Draw a plan of im]>osition of a forme of four pages to l)ack 
 itself. 
 
 6. Give the size in inches of the following : double crown, i)rinting 
 demy, royal 4to and foolsca[) f(dio. 
 
 7. How many (juires of double crown would be necessary to cut 
 1,000 circulars crown 8vo? 
 
 8. Why is it important when printing a two-colour job to lay to 
 the same edue for both colours ? 
 
 1919 
 
 Section I.— Compositoks' Work. 
 
 1. When setting a job, what are the principal points to be 
 observed in order to ensure a clean proof ? 
 
 2. Why are signatures used in certain i>ages in book work ? Say 
 in what position on the page they are usually i)la('ed, and mention 
 two or more advantages derived from their use. 
 
 3. Write opposite each of the following sizes of type the nearest 
 number of points if the founts were on the point system, viz.: long 
 [trimer, l)revier, pica, non])areil, small pica, bourgeois. 
 
 4. What are tlie characteristic features of a sanserif type face, 
 and in what particular does it differ from an antique and a roman ? 
 
 5. Why is it essential that great care should be taken in the dis- 
 tiibution of jobbing tyi)es? 
 
 6. Describe fully the operation of setting and spacing out lines 
 of solid composition, and state why it is necessary that the lines 
 should be ]iroperly justified. 
 
 7. Describe what you undeistand by the terms "shank,'" "beard" 
 and ••shoulders'" of tyi>e bodies, also what is meant by tlie terms 
 "ascenders" and "descenders"" of type faces. 
 
 8. How manv quires of demy wouhl be necessarv from m hicli to 
 cut 10,000 labels 87 by -Ip in.? ' 
 
 9. Ke-write, spell correctly, and pinuiuate the f(»llo\\ ing extract : 
 No people are more pollite to each othei than is the .lapanese. Not 
 even two cooleys meet but they must bow sevarel times to each 
 other ask after each others helth then after that of there faniuiilies 
 ami so oil. Nof even little childeren nenleck these cerrimonevs of 
 
EXAMINATION PAPERS 385 
 
 lospeek, not even when ;i iiijiyUoanl of sixty and a little <;iil of ^six 
 meet each <>tlier. On the other hainl a Chineese mans res[)eck is 
 mesnrahle h.\ the depth of his how. 
 
 SEcrroN IT. — Piiixs and JMacmim: Work. 
 
 1. {(') How wonhl yon proceed to adjnst tlie jtlaten of an Alhion 
 press? (/)) State the reasons for using a frisket. 
 
 2. What tools are necessary for a machine minder? CJive their 
 nses. 
 
 o, (ft) Why is it essential to impose a solid paL;e of type in the 
 centre of chase for working on a cropper or machine of similar 
 construction ? (h) How would you impose an oblong Svo with a 
 heavy headline, the remainder of forme thin rule, for working on 
 such a machine V 
 
 4. Diaw a scheme of imposition for a half sheet of 8 pages. 
 
 ,"). N\ hy are signatures used in hook work and where are they 
 placed? 
 
 G. State the tlillerence between stereo and electro plates, and the 
 kind of work for which each is best suited. 
 
 7. ^Vhy is it necessary to lay off and near side an Sj*]). pamphlet, 
 and to which side would you lay lirst ''. 
 
 5. How many -Ato's can be cut out of 18^ (]rs. large post, also 
 how many 8vo's from the same quantity of paper? 
 
 GRADE II (ORDINARY) 
 1917 
 
 SkC'I'IOX I.— COMl'O.^lTOUS' AVORK. 
 
 1. What is the ditierence between "casting up" and "casting 
 oil"" ? Describe the methods of " casting oft"" a job that has to be 
 set and " casting up" a job that has been set. 
 
 2. Draw a rough sketch, of imposition for a forme of 16 pages 
 demy oblong 8vo,' marking correct furniture in heads, backs, and 
 gutters. Size of pages of type, 44 picas by 27 picas. 
 
 3. A job (»f ,V2 pages royal 4to has tt) be printed on royal feather- 
 weight "pai»er. and the sheets to be insetted when fohled. What 
 variTitions, if aiiy, would you allow in the furjiitureof each forme? 
 CJive your reasons. 
 
 4. Vou have type matter to run all round a fashion-plate block, 
 to make a full page, and "steps " of varying sizes have been cut (m 
 both sides of the bh)ck mount to enable you to Ht the type matter 
 closer t(j the Hgure illustrated. How would you proceed to ensure 
 that the tvpe matter should accurately fill the available space? 
 
 5. What special precautions should you take when preparing a 
 forme for the foundrv, and wliv are such [)recautions necessary? 
 
 (). Ilewriie and spell correctly the following : A harrassed pedler 
 
 C c 
 
386 PRINTING 
 
 met an embarassed cobler in a cenietary. He was guagin*,' the 
 unparralelled synietry of a Cyprus tree witli ecstacy and niorralizing 
 on the niutibility of tree cultavation in Great Brittain. 
 
 7. "What is the difference between a super-calendered and an 
 enamelled paper? How would you distinguish one from the other? 
 
 Section II.— Pkess and Machine. 
 
 1. You have one quality only of black ink. What difference in the 
 preparation of this ink would you make for printing on bank paper, 
 art pai)er, and ordinary printings? Give your reasons. 
 
 2. What are the advantages or disadvantages in printing from 
 nickel faced stereos, especially in colour work? 
 
 3. In working a stout show card on a cylinder machine what 
 necessary precautions would you take to ensure clean work and 
 perfect delivery? 
 
 > 4. (Jive your reasons for and against the use of hard jtacking in 
 ordinary general printing, with the view of combining economy 
 with the jtroduction of good work. 
 
 5. Describe the mechanism of any single cylinder printing 
 machine with which you are acquainted, and say for what class of 
 work that machine is most suited. 
 
 6. For small commercial work do you prefer platens or small 
 cylinder machines ? Give reasons for your choice. 
 
 7. What are the most effective colour contrasts of paper and ink 
 when iised for poster printing ? Give also some effective harmonies 
 of colour for the same class of work. 
 
 1918 
 
 Section I. — Compositors' Work. 
 
 1. How would you proceed to set a ruled book heading of many 
 columns so that the matter would properly fit the ruling ? 
 
 2. An 8vo book consisting of 60 ]mges set in 12-point solid, 44 
 lines to a page, and 52 pages set in 8-point solid, 66 lines to a page, 
 has to be leaded, the 12-point with 4 to pica leads and the 8-point 
 with 8 to pica leads. By how nuiny pages will the book l)e increased, 
 the area of pages remaining the same ? 
 
 3. By printing- an 8 page jol) two up you can save practically 
 half the labour in machining and folding. Show the necessary 
 im]iosition to obtain this result. 
 
 4. Describe the operation of reproducing a forme by the electro- 
 typing process, from the time the jiroof is passed by the reader until 
 the job is ready for the machine. 
 
 5. What is the difference between point line and point set ? State 
 the advantages derived from the use of type so cast. 
 
 6. What is meant by the grouping system of display? State the 
 
EXAMINATION PAPERS 387 
 
 (litt'ereiice botwoon this and the centrod style, and sketch out a 
 lou^^li example of each, iisiii^- any wording. 
 
 7. r)escril)e the system of furniture you would adopt if you were 
 fitting u}) a new e(]uipment of composing material, and mention 
 the advantages possessed hy such system. 
 
 8. How would you detect the ditierence between a hand-made 
 and a machine-made paper ? 
 
 Section II.— Press and Machine AVoiiiv. 
 
 1. When working a job on a cylinder machine m hy is it better 
 to so place the forme that the grip is either at the head or at the 
 foot of the type, rather than at the sides? State fully your reasons 
 for this. 
 
 •2. What precautions should you take when making ready a forme 
 of table matter containing much rule work ? Give your reasons. 
 
 8. Describe the mechanism of any taking-oir apparatus with 
 which you are familiar. 
 
 4. ]NIention some of the diihculties which occasionally arise 
 during a day's work on a cylinder machine, and state what remedies 
 you would adopt to overcome them. 
 
 5. How much black ink of medium (|uality would you deem 
 suhicient for a run of 10,000 copies of 10 pages demy 8vo. {(() if 
 ])rinted on M.F. paper, and {h) if printed on rough antique wove? 
 
 ('». What precautions should be taken Itefore proceeding with a 
 long run of type matter on a fast travelling cylinder machine? 
 
 7. State what you know about the qualities of a good ])rinting 
 roller for ordinary work. Give a description of the methods of 
 manufacture and state what materials are employed. 
 
 8. Describe the methods of adjustment and the uses of ])oints on 
 a hand press and on a two-colour machine, and say what object is 
 attained by the use of points. 
 
 1919 
 
 Section I.— Compositors' Work. 
 
 1. State what you know about the rules for the division of words 
 when turning over a part of the word into the following line, and 
 say under what conditions it is inadvisal)le to divide words. 
 
 2. Ke-write in full and give the meaning of the following ab- 
 breviations : A.D., B.G., ^iSS., N.IJ., e.g., i.e., c.i.f., a.m., p.m., 
 et seti- Also give the names of the following accents : a, a, e, o, 5, 
 n, r. 
 
 3. In present display com|)osition it is customary to adhere to 
 one face or style of tyi)e in varying sizes. Give your opinion of the 
 advantages of this custom. 
 
 ■i. How would you proceed to set an advertisement, the principal 
 line of whi'-h runs diagonally across ? Describe fully the operation. 
 
888 PRTNTINO 
 
 5. What is understood hy the ])reliiiiiiiarv matter of a volume, 
 and why is this portion uenerully folioed with loman numerals? 
 
 6. State some of the difheulties met with in correcting machine 
 set composition. 
 
 7. A pamjdilet of 64 i)a«;es demy 8vo set in 10-i>oint, thick leaded, 
 has to he re-set in 8-point solid, the area of the page remaining the 
 same ; how many })ages would it make ? Show your workings. 
 
 S, What would be the saving in the quantity of paper used for an 
 issue of .")0,000 of the pamphlets referred to in question 7 when re- 
 set in the smaller type ''. 
 
 Section II.— Press and Machine Work; 
 
 1. To what mechanical adjustments Mould you give s})ecial 
 attention before starting a close register j(dj on any stop-cylinder 
 machine ? (irive the name of the machine. 
 
 2. Describe your method of making ready an S-pp, 4to demy, 
 containing 4 pp. of half tones, each a full page, and 4 pp. of type 
 matter, the bk)cks not being true to type-high gauge. 
 
 3. State what you consider the best composition roller to be used 
 for the job referred to in question 2, and its advantages over any 
 other with which you are acquainted. 
 
 4. Describe the troubles that arise through over-i)acking a cylin- 
 der. State how you would guard against them, and give your 
 method of testing the cylinder. 
 
 5. How would you [)roceed to set your rollers (all geared) to en- 
 sure perfect touch with the slab and forme? AVhat measures would 
 you take to keep the rollers in good condition ? 
 
 6. You have 16 pp. of j)lates to mount on a board ; exi)lain fully 
 your method of laying down to ensure register, also how you would 
 fasten same during nuike-ready and before iinally rimning on. 
 
 7. For what class of work are the following papers best suited 
 respectively — wove, laid, hand-made and coated? Give reasons for 
 your answer. 
 
 FINAL EXAMINATION (HONOUES GRADE) 
 
 1917 
 
 Section I. —Compositors' Work 
 
 1. You have to ]»roduce a volume consisting chiefly of statistical 
 matter with explanatory notes, and have the choice of setting it 
 cither by lino, or mono, machine. State which method you would 
 prefer, and explain your reasons fully. 
 
 2. Why is it necessary that the temperature of lino, or mono, 
 metal should be kept at a certain iixed level during working? 
 A^'hat would l>e the results respectively if the metal were allowed 
 to bec(Mne too hot or too cold ? 
 
EXAMINATION PAPERS 389 
 
 •S. When inakin.^- up type matter into pa^e form wliieli is inter- 
 spersed witli lialf-tone illustrations, it is the recognized practice to 
 arrange that the illustrations should appear on certain pa<'e.s. 
 Which would be those ])a<j;es in a forme of lO's, and ^^•hy are thev so 
 placed ? 
 
 4. Ycni have an order for 100 copies of a joh which makes 82 
 pages foolscap folio of continuous tahle matter (8 columns of ligures 
 and £ s. cL), with cohimn headings and down rules rejieated through 
 all the pages ; sheets when jtrinted to he insetted and wired thrinigh 
 hack. How would you jtroceed with the comi)osition and imjiosition V 
 State fully your methods. 
 
 "). In taking an order for an account hook from one in use hy a 
 customer, what i>articulars would you note? Give the trade 
 designations for some account Itook rulings and hindings. 
 
 G. (Jive your idea of the (jualilications that ought to he possessed 
 hy the man A\iio designs and draws up the lay-out for jol) work. 
 
 7. \\diy are type high clumps placed arouiul a forme that is 
 intended to he electro-typed ? What would he the result if bearers 
 were not used ? 
 
 8. You are asked to submit suitable samples of pai)er for various 
 jobs ; describe the classes of |>a[)er you would choose for the folloA\- 
 ing: (//) share certificates; {h) letter headings for typewriter use ; 
 (f) triplicateorder l)ooks ; ((/) cashaccount l)ook ; (c) a3-colour |>r()cess 
 jol> ; (./ ) a-ii auctioneer's poster ; {g) an ordinaiy 4to l)usiness circular. 
 
 9. Describe wduit methods you would adopt to arrive at the 
 a]>proximate departmental costs when pre))aring an estimate for a 
 speciCKMl job. 
 
 Si:<*ri()N ir.— Prkss and Machine Work. 
 
 1. When working lino, -set tabular matter with brass down rules, 
 it sometimes happens that tlie rules rise ami cut through the sheet, 
 (iive some causes of this trouble, with your suggested remedies for 
 each. 
 
 2. Mention some special driers suitable for certain classes of 
 work, such as (a) newspa[)er [»rinting ; {0) ordinary C(unmercial 
 woik for ([uick delivery ; (r) a job on highly Ciilendered i)a]»er. 
 
 .3. \\'hat would be the etlect during running if too great a 
 <|nantity of driers were used? 
 
 4. Mention some of the troubles frcfiuently met with in starting 
 and running gas engines and electric motors. State the causes of 
 these respective diflicultics and give your remedies. 
 
 ."). What methods would you adopt to ensure jierfect register on 
 a cylinder machine ".' 
 
 (i. How would you proceecl to liiid the running costs of j)rinting 
 machines '.' 
 
 7. Describe the operation of making ready and working a sheet 
 of ]»icture post cards (all ditleient sultjects) in .3-colour half-tones ; 
 ^tate particularly how you ^^■ould jjroceed to nnitch the colours of 
 \(>ur copies supposing you have no i)rogressive jtroofs, how you 
 
390 PRINTINa 
 
 would ensure perfect register, and what precautions you would 
 take against variation of paper owing to liuniidity, heat or other 
 causes, 
 
 8. Your machine room ]»lant consists of 4 double demy Wharfe's, 
 2 demys, and 6 crown folio platens. How would you calculate the 
 hour cost of each machine V Mention what items, both chargeable 
 and non-chargeable, would form part of your calculations. 
 
 9. Coated papers are liable to variation during the progress of a 
 job, sometimes they co7itract, at other times they stretch, and this 
 militates seriously against the register of colour work. Describe 
 what ])recautions you would take to obviate, or remedy, the 
 i7iconveniences that are likely to occur, due to such variation. 
 
 1918 
 
 Section I.— Compositors' Work. 
 
 1. You have an order to print 100 copies of a report consisting 
 of 160 pages foolscap 8vo. AYhat would you consider the best size 
 forme to work, from an economic point of view, in order to secure 
 a satisfactory result in printing and binding? State your reasons 
 and show the scheme for two of the formes. 
 
 2. Describe the operation of making up a 32-page publication in 
 double column of continuous matter, with illustrations on all ] ages 
 of the outer forme, some of the blocks having type run round. In 
 order not to delay the job, the type must be run round the blocks 
 as the make up proceeds. State how you would arrange to allow for 
 the proper amount of matter to run down the sides of the blocks. 
 
 3. For what classes of work is machine composition most suit- 
 able? jNIention any special advantages derived therefrom, and give 
 a brief description of the particular system of njachine with wldch 
 you are familiar. 
 
 4. What methods would you suggest for the care and preservation 
 of zincos, half-tones, and electros? 
 
 5. In describing paper, state the difference between an " Inside " 
 ream, a "Perfect" ream, and a "Mill" ream. Also the difference 
 between reams classed as " (lood," "Ketree," and "Outsides." 
 
 6. Give a brief description of the operation of duplicating a 
 forme, either by the stereo or electro method, from the time the 
 foiine is sent into the foundry until it is ready for the machine. 
 
 7. An csfimate is required for 2r)0 copies of a job consisting of 
 100 sheets foolscaj) folio, set in ])ica, 29 ems by (50 ems, printed one 
 side only, with extra margin on left of i>age, stapled at top left-hand 
 corner. l'a]ter sui)plic(l as desiretl. How would you execute the 
 work to the best advantage? Describe the o})erations in detail. 
 
 8. In a fount of l)ody type for news work, consisting of 12.000 lbs. 
 Aveight, state the (|uantities y<)u would expect resjiectively of 
 (a) caps; (6) small caps and figures; (<•) lowercase letters, including 
 points; (cl) spaces, including em and en quads; (c) quads. 
 
EXAMINATION PAPERS 391 
 
 Section IT.— Press and .Machine Woiik. 
 
 1. Desoribe tlic dilVeronce in piiiieiplc Itotweeii a one-sided 
 printing" machine and a i)erfeetin^' machine, and say for what class 
 of work each is respectively adapted. 
 
 2. What are the princii)al (jnalities yon would desire in a ^ood 
 Idack ink for ])rinting half-tones on art pai)erV 
 
 3. Describe the mechanism of any automatic feeder with which 
 you are familiar, and state its advantages and its limitations. 
 
 4. You have a 4to circular to work in three printings, one of 
 which is to be for illustrations only, the other two for descriptive 
 matter and headings. AVhat combination of colours ^\ould you 
 select, the paper being a delicately tinted green? 
 
 5. From a printing i)oint of view, give your idea of the qualities 
 that should be possessed by a good i)rinting ])aiter (ct) for half-tone 
 work; (/;) for posters; (r) for general commercial printing. 
 
 6. Mention some of the troubles or diHicnlties caused by elec- 
 tricity in pai>er, and give your remedies for each. 
 
 7. When printing on art paper you are occasionally troubled by 
 the surface "lifting" or "picking." (live some of the causes for 
 this defect and the remedies you would suggest. 
 
 8. An estimate is required for jn-inting 10,000 copies of 16 pages 
 royal Svo, consisting of 8 pages descriptive matter,' and 8 j)ages each 
 containing a half-ton(3 block 4 in. by 6 in. with one line of type 
 under it. To l)e well jtrinted in black with a red line border round 
 each page. Paper su])plied in double royal art, 480 s., at 100 lb. 
 per ream. Give in detail the following paiticulars : 
 
 The time you would allow for making ready and for running ; 
 the quantity of ink necessary for the job; and the quantity of 
 paper you would require, including spoils and overs. 
 
 1919 
 
 Section I.— CoMrosiTORs' Work. 
 
 1. The preliminary matter of a volume consists of 12 pages, in- 
 cluding blanks, and comprises the following: ('ontents, two pages 
 of List of Illustrations, Title, Half-Title, Preface and Dedication. 
 Show in what order they should be placed. 
 
 2. ( Jive youi- idea of the <[ualiHcatioiis that ought to be possessed 
 by the man whose duty it is to design the la>-out for good job work. 
 
 8. A manuscript of 40,(K)0 \\-ords ordinary matter has to beset 
 as a demy 8vo book, and the ty^te chosen is 11 })oint thick leaded. 
 State the dimensions of the tyi)e i)age, including folio lines, that 
 you would suggest, and the approximate number of pages it would 
 occupy. 
 
 4. Several casts, either stereo or electro, have to be taken of a 
 forme of open rule work. Describe in detail the method of produc- 
 tion of the system which you consider the better. 
 
392 PKINTING 
 
 5. Describe fully the operation of inakinj:- np type, which coiij^ists 
 of descriptive matter with copious ex]»laiiatory foot-notes, into 
 pages 42 lines deep. In a certain ita»;e a long foot-note of about 
 20 lines refers to a statement in the 40tli line of the text, followed 
 in two or three lines further on by a reference to another foot-note 
 of 45 lines. How Mould you deal with this? 
 
 6. What is the principal aim of display composition ? (live some 
 rules which shouhl be observed when setting display. 
 
 7. You are supplied with 10 reams of double crown 480's from 
 which to produce 100, OfM) leaflets, size 6g by 4^ inches, printed Vtoth 
 sides, one side a half-tone block, the other side ty})e matter only. 
 To print this job in one forme, -work and turn, how many stereos 
 of each side would you reqnire, and how would it be necessary to 
 do it in order to obtain the required quantity without waste of 
 paper or without disturbing your make-ready ? 
 
 Section II.— Peess and Machine Work. 
 
 1. Give a short description of the method <^f i>ropelling any stop 
 cylinder machine, also a tMO -revolution machine. Give the names 
 of the machines. 
 
 2. In ])rinting an 8 pp. 4to demy catalogue with rule border, 
 containing half -times, you are troubled with <a crease (not always 
 in the same place). What are the various causes of this, and how 
 would you overcome them? 
 
 S. What do you consider the best papers for printing the following 
 jobs : (a) a heading for a good class ledger, (6) a share certificate, 
 \c) a high class catalogue, [d) a booklet with line blocks, (r) a 4 pj). 
 4to company report? 
 
 4. A machine has had new cylinder bearers attached, also the 
 bosses of the cylinder adjusted. How would you ensure the bearers 
 being of the correct height, and how would you adjust the cylinder 
 to euisure true running? 
 
 5. An estimate is retjuired for printing 16,000 82 ]>]». lOmo demy 
 l)amphlets (all type matter) from ])lates (unmounted), ]taper sui)plied 
 in dble. demy. Give the folloAving particulars : [o) the plan of im- 
 ])Osition, (li) the time for mounting oji board, (r) the time for make- 
 ready and running, {(/) the ([uantity of ])aiier (full reams) ami of 
 ink required. 
 
 (). State the various kinds of packing useil on cylinder machines 
 and the class of work to which eacli is l)est suited. 
 
 7. What do you consider the cheai)e.'>t and best method of dujili- 
 cating the following j(d»s : {(f) 100,000 4 pp. 4to large post on ordinary 
 printing ]ia])er, ((>) 100.000 4to demy 8-colour block, jniper dble. 
 demy art? Give your reasons in each case. 
 
 8. Give a descri])tion of any face u]) sheet delivery with whicli 
 you are ac(|uainted, and its advantages or disadvantages in com- 
 parison witli tbe oi'dinary fan delivery. 
 
 [See A'lii ji. rii (if til is (>()i'l- ((s fi) (rrodc I in 1920.] 
 
QUESTIONS IN KNOWLEDGE OF 
 PRINTING, 1909 to 1914 
 
 THESE Questions were setf or the Written Extimiuations 
 in the 1909, 1912, and 1914 Competitions for situa- 
 tions for Clerks in H.M. Stationery Office on the hist 
 three occasions. 
 
 Note. The regulations Avhich are suhjeet to alterations for future 
 examinations define the hmits of ai;e as hetAveen 21 and 25. Can- 
 didates will he required to show what technical education and 
 practical training they have undergone to <[ualify themselves for a 
 situation of this nature, and they must satisfy the authorities that 
 they possess the special (iualitications necessary for the situation. 
 
 They must also show that they have served the usual apprentice- 
 ->hip for a period of at least Hve years to the printing trade or as 
 •■ compositor," and must have heen recently and for a suthcient time 
 in actual employment. Further information can he ohtained from 
 tlie otlicial Kej)ort, price (yd., to l>e ohtained througii any hord-cscller. 
 
 These (|uestions are now jirinted hy the kind j>ermission of the 
 ( niitrollfr of H.M. Stationciv Ollice. 
 
 1909 
 
 EXECUTIVK. 
 
 1. Draw up two separate lists: (^0 printing papers with their 
 dilterent sizes in inches, and (h) type hodies with their respective 
 e<iuivalents in points. In each case start with the smallest size. 
 
 2. A joh is to he printed and delivered in a great hurry, and the 
 paper su]i])lied is of a Mriting (piality. St.ate what ink you would 
 use, and if you had to alter an ordinary stock ink to expedite the 
 work what means you would em])loy. 
 
 .'?. I^numerat(^ the various s])aces and leads used hy the com- 
 positor, and their projiortions to the em nr liody. (Jive tlic names 
 and sizes of hoMi Avood and metal furnitnie and reglet. 
 
 4. Descrihe shortly the dilierence hetween the following ma- 
 • liines: AVharfedale, platen, two-rcv(dution, and rotary. What is 
 the average speed of the iirst three kinds mciitioiicil ahove 
 
394 PRINTING 
 
 5. Taking the en as a unit, how many ens are contained in a 
 square inch of 12, 8, 14, and 10 point type bodies? 
 
 6. What are the advantages of em])loying jn-ocess work as com- 
 pared with the ohler method of wood-engraving by hand? Which 
 is the better kind of metal, zinc or copper, to nse for half-tone 
 work? State the reasons for your opinion and also the cost per 
 square inch usually' charged by process firms for both line and lialf- 
 tone blocks. 
 
 7. Explain some of the advantages to be derived from using type 
 bodies cast on the point system as compared with the old standards 
 which generally varied with the different founders. 
 
 8. HoAv many sheets are there in a quire of paper, and how many 
 quires form a printer's ream? What is understood by paper being 
 sent in "imperfect," and also when it is marked either XX or 
 XXX? 
 
 9. Specify the advantages of independent driving by electric 
 motors as compared with either steam or gas power which are used 
 for driving machinery in groups. 
 
 10. The use of signatures in printing bookwork is admittedly 
 necessary; explain their use and say how you would place them in 
 a work ])rinted in sheets of quarto and of octavo. Which letters of 
 the alphabet are not used by printers for this purpose? 
 
 Estimating. 
 
 1. A manuscript is given out that is supposed to contain 90,000 
 woids of the English language. It is suggested that it shall make, 
 exclusive of preliminary matter (which ignore), 384 pp. fcap. 8vo 
 size. What type, lead, width and length of page would you propose 
 in order to give a nice looking and readable book? Show how you 
 arrive at your choice. 
 
 2. Make out the cost price of composing and printing 2,000 copies 
 of a volume of 3o2 pj). set in long primer (10 point) solid, croAvn 
 8vo size, 53 ens wide and 42 ems long of its own body, including 
 head and white lines, with 10% on cost of long primer added to 
 cover value of small type and other extras. The Inll should also 
 include an ordinary anti([ue laid pajjcr of suitable weight for say a 
 novel ; shoAv cost of reading and ink. Then add sei)arately what 
 you consider the fair selling pirice for such a volume, allowing for 
 profit. 
 
 3. There are roughly four classes of printing pajters in general 
 demand, each with a dilforent surface or iinish : (1) antique laid or 
 wove; (2) mill-linish ; (3) super-calendered ; (4) coated or art. For 
 what classes of work would you em])loy these four ditlerent kinds 
 of paper, and what is the average cost of each sort jier jjound? 
 
 4. In order to create a nicely balanced or well juoportioned page 
 of type with good margins, what size or area of type wouUl you 
 recommend for a crown 4to work, 10 x TA inches? What size of tyjie 
 do you consider a suitable one to employ for a volume of that size 
 
EXAMINATION PAPERS 395 
 
 (crown 4to) if there is no limit <j;iven as regards tlie- nniiiher of 
 pages it is to make? 
 
 5. Supposing a volume is ct)m]>ose<l in Itourgeois (9 point) with- 
 out leads, and an instruction is given to reset it, still solid, in such 
 a size of type .as would exactly doulde the number of pages, what 
 size would he necessary? Show the working. 
 
 6. You have 93-^ reams, 516, of quad crown sent in to jirint a 
 volunie of 400 pages of crown 8vo size, with an order to print up to 
 paper. AVliat number of copies should this (luantity protluce, ignor- 
 ing the perfectings sent in with the paper, or any question of overs 
 or spoils in printing oif ? 
 
 7. Show how you work out the equivalent weights of demy, 
 double foolscap, imperial, and double crown sizes, to that of 401b. 
 royal. 
 
 8. What is the relati\e dillerence in value between composing 
 32 pp. of ]nca (12 jioint) which cost 48*. and the same number of 
 pages set in long primer (10 point) of the same measurement in 
 width and in length? 
 
 9. Describe the ditierence between stereotyping and electro- 
 typing, and state which inethod is better adapted for fre([uent re- 
 ]>rints of long numbers. What is the cost per sc^uare inch for mak- 
 ing plates by these two processes, and what form of mount or riser 
 do you recommend to be used in working oft" a volume at machine 
 from either stereotype or electrotype i)lates? 
 
 10. \\'hat weight of ty])e including a percentage allowed for 
 sorts, etc., would you ]»urchase in order to compose a volume of 
 500 pp. set in solid small pica (1 1 point), the page measuring (i x 3^ 
 inches over all? ( Jive the present-day i)rice for new type in difl'erent 
 sizes to be bouuht in founts of 1000 lb. from the leadini* founders. 
 
 1912 
 Executive. 
 
 1. Descril)e how you would i)roceed to cast up any given page so 
 as to find the number of ens contained therein. 
 
 '2. ( iive a short list of the various technical marks used in correct- 
 ing a ])roof, with a brief explanation of each sign. 
 
 3. What is the difierence between a ])erfecting and a two- 
 revolution printing machine? Also state the dillerence, if any, 
 between a stop-cylinder and a Wharfedale machine. 
 
 4. Draw a rough diagram of the ordinary lower case and indicate 
 the lay of the ditl'erent boxes that you are accustomed to. 
 
 5. [low many (|uires or sheets are contained in a i)rinter"s ream? 
 What do you understand liy imperfect reams; broken pai)er; retree 
 liai)er; ]>aper sent in the Hat. ([uired, and la]tped? 
 
 0. What is a bastard fount of type? State the object of using these 
 types, and how you would take the dimensions in casting-up a pJi^^e 
 >et in such a fount. 
 
396 PRINTINa 
 
 7. Platen iiiaeliines are n>eful for small jo1)s up to. say, croAvii 
 broadside (20 x 15 in.). Mention some machine you may l)e familiai- 
 Avith, and say how you would proceed to make ready a plain forme 
 of type, and also at Avhat rate of speed it would he safe to run that 
 machine hy power. 
 
 8. Chases are su])plied hoth in cast-iron and in wrou^ht-iron. 
 Which do you recommend for "general use? What are foldin<^cliases 
 and how are they emi>loyed? 
 
 9. Furniture is made in wood and also in metal. State the 
 advantage of metal as compared with wood, and .i;ive the technical 
 name of each size with its measurement in pica ems. 
 
 10. Ofi'set i)rintin,!L,ns an invention of recent years. Write a short 
 description of the method employed for producing work l>y this 
 process. 
 
 Estimating. 
 
 1. You have a parcel of copy handed to you to cast off" which 
 consists partly of printed matter of various kinds and partly of 
 manuscript suhjected to many deletions and insertions. State what 
 steps you would take to arrive at a rough estimate of the niimher 
 of words contained therein. 
 
 2. Assume that the copy described in (^)uestion 1 contains 20,000 
 Avords and that your instruction is to print it as a 64 pp. demy Svo 
 pamphlet. What size of type would jon suggest to get it into that 
 (juantity, leaded or not leaded? (Jive your local cost price for com- 
 posing the 64 pp. in the selected fount, with reading separately, 
 .and include the cost of machining 2,000 copies on 48 Ih. doulde 
 demy, together with paper, fcdding and stitching as one section, 
 insetted, edges cut all round (no cover required). 
 
 3. What sizes of hooks are the following: 10 x 6^ in. ; 11 x 7| in. ; 
 6? X 4.-^ in. ; 8| x 5f in. ; 7i x 5 in. ; 9^ x 6 in. ; 8 x 5 in. ; 8i x 6j in. ; 
 15x11 in.; 11^x81 in. ? " " 
 
 4. There are roughly three classes of printing machines in general 
 use, viz. : («) })latens, (//) single cylinders, and (c) rotary machines. 
 State shortly the main differences in manufacture and in working 
 oi the three kinds, and say for what class of work each is best 
 adaitted. 
 
 5. Yon have a work to give out which includes a large number 
 of textual illustrati<ms. consisting both (»f line and of wash drawings, 
 besides phot<»graiihs. What process or processes would you atloj)! 
 for the rei>roiluction of those \arious })iclures as relief blocks to 
 print Mith the tyi)e? 
 
 6. Make out a list in three columns of type bodies (old standard) 
 C(»mmencing with (Jreat Primer, adding in the second column the 
 equivalent bo<ly in points, and in the third the price usually charged 
 per i»ound liy tlie leading tyjie founders in founts of 1,000 lb. Bear 
 in mind that })rices have advanced in recent years owing to the in- 
 creased cost of metal. 
 
 7. What amount. ;ind in what size, would you order j)aper to 
 
EXAMINATION PAPERS ':^97 
 
 l>iiiit 1-1,000 ('()]»ies of a volume of 410 ))]»., demy Svo size? When 
 y(»u have (U'teniiiiieil the size of sheet, say vhat ^v(M^ht per ream 
 would foiMi a volume of average thickness foi- a woik of 416 i»|>. in 
 demy Svo. 
 
 S. If a second edition of a work is likely to he called for and it is 
 not convenient to keep the type standnig, what considerations 
 would determine you whether to <;ive the instruction to mould, or 
 to stereotype, or to electrotype the volumeV 
 
 9. Name the sizes of i>a])er here given in inches: 45 x So in.; 
 44 X 80 in. ; oO x 40 in. ; 40 x 30 in. ; 34 x !>7 in. Assume that they 
 are all of the ordinary hook-printin^i;- ([uality, and say what price 
 per ])()und you think would he a fair one to [lay if you were j^iving 
 an order to make, say, a ton. 
 
 10. I'linters' costs and selling ])rices have been much discussed in 
 the technical journals of recent date. Assume that you are familiar 
 with the labour cost of producing comjiosition and with the cost of 
 machine i»rinting, and state what percentage to cover all general 
 expenses and profit should he placed on — 
 
 {a) Composition which includes reading and proofing; and 
 (b) Machine Avork which should include ink? 
 
 1914 
 
 Executive. 
 
 1. If the text of a volume is set in 12 point (pica) what sizes would 
 you suggest for {a) extracts falling in the text, and {h) for footnotes 
 set to the full measure? Supposing the 12 point text is 8 point 
 leaded would you use the same lead for both extracts and footnotes? 
 If not, state what difference you would make. 
 
 2. Describe shortly the following classes of ty[)es: Old English, 
 Itoman, Italic, Clarendon, IJlackletter, Sans serif, and Cothic. 
 State in what kinds of work these different founts are usually em- 
 ]»loyed; and what are the essential points of difference between 
 the old style and modern faces of book founts. 
 
 8. Draw out imposition schemes for a sheet each of folio, (^uarto, 
 and octavo. Define the terms octodecimo, sextodecimo, and duo- 
 decimo ; these sizes need not be drawn. 
 
 4. How many ]»ounds would an octavo page of tyi)e, set solid, 
 weigh that measure<l 4S 24 ems of i)ica? How many 8 point leads, 
 24 ems pica wide, go to a single pound? 
 
 ,'). Mention some of the points you would observe for the careful 
 reading of any proof in order to ensure uniformity of style in the 
 printing of i)ami)hlets, i-ejjorts, or books. If a [)amphlet took 4(> 
 hotirs to comjtose, what time should be occupied in the Hrst [»roof 
 reading of it ? 
 
 (). What is the average number of runs per Ixnir to l)e obtained 
 from a Wharfcdale and from a two-revolution nuichine? How 
 
398 PRINTING 
 
 does tlie output of a hand-press and a small platen inacliine compare 
 ■with that produced by the a)>ove two-cylinder machines? 
 
 7. How would you i>roceed to make-ready a forme on the ma- 
 cliine so that the pages would register correctly and the printed 
 sheet fold up with even edges? State the ol)jects of l>oth underlay- 
 ing and overlaying any 1 docks that may fall in the text and how 
 you would deal with them. 
 
 8. Both rollers and ink are very suscei)tible to climatic changes. 
 Specify the ditticulties usually occasioned hy hot and cold weatlier 
 respectively, and say what steps you would take to put both the 
 rollers and ink into good working condition. 
 
 9. Make out from memory a list of the various cards used for 
 jobbing purposes, and give the size of each in inches. Mention a 
 few of the dilierent qualities usually to be had from stock. 
 
 10. What is the diiference between coated, calendered, and 
 loaded papers, and for what class of work is each best adapted? 
 What is a fair average price to pay per pound for these three 
 kinds of paper ? 
 
 Estimating. 
 
 1. Make out a complete estimate for printing 1.000 copies of a 
 Demy 8vo Report of (J-t pages set in 11 point (small i)ica), 23 ems 
 pica wide, with 2 i)oint lead, holding 37 lines of text in a page, 
 exclusive of head and white lines. Allow for an ordinary printing 
 pajier of average weight and price suitable for such a work, and 
 include tolding and sewing in a one-page printed cover of tinted 
 l)aper of say 60 lb. Medium. Show the cost of each item and add 
 the selling value of both labour and materials in a second column. 
 
 2. Arrange in order of size the point bodies from 6 point up to 
 36 points, and give the nearest ei(uivalent sizes of each in the old 
 bodies. What do you understand by the unit and line standards 
 in the casting of types ? Again, if you required an addition of 
 2,000 lb. to a fount in use to complete an order in hand, what ex- 
 tra weight would you allow to cover a possible " run on sorts "? 
 
 3. How much would a manuscript containing 96,000 words 
 make if set in 12 point (pica) type, 21 ems pica wide, with a 3 point 
 lead, for a Crown 8vo page holding 27 lines of text, exclusive of 
 head and white lines? For the average word take ordinary English 
 language. Show the complete working. 
 
 4. Describe shortly the methods employed for both stereotyp- 
 ing and electrotyping. State the usual prices charged per square 
 inch for bookwork, which is generally somewhat cheaper than that 
 made for work of a jobbing character. What is the principal object 
 of nickel-facing electrotype plates? 
 
 5. Draw out a list of printing jiapers giving the exact dimen- 
 sions in inches of each sheet, commencing Avitli Demy and up to 
 (i>uad Demy. Taking 96 lb. (^)uad Crown as the standard weight, 
 place at the side of each the nearest equivalent weight in pounds 
 
EXAMINATION PAPERS 399 
 
 of all the other sizes ; fractions of a pound may he ij^iiored in giving- 
 the total weight of each size. 
 
 6. You have 'Hh Reams 516 of (^)ua<l Demy i)a)»er sent in with 
 an instruction to ]>rint "up to ])ai)er'' and your volume consists of 
 352 pages of Demy 8vo. How many copies should this (|uantity 
 produce, allowing the i)erfecting of Ki sheets to each Keam for sjioils 
 and the overs usually ex[)ected l)y the customer? 
 
 7. Give the sizes (uncut edges) in inches of the following hooks: 
 Foolscap 4to, lioyal 8vo, lmi)erial 16mo, Foolscap 8vo, Demy 4to, 
 Crown 8vo, Imperial 4to, and Demy 8vo. Sav what these sizes are 
 in hooks : 11x7^ in. ; \2h x 10 in. ; 18.^ x 8^ in. ; and 10 x Ih in. 
 
 S. What amount of ink do you think w<ml<l he consumed in 
 luinting of 2,()(>l> copies of a slieet of 04 i)ages Crown 8vo, such as 
 a novel, printed on (^)uad Crown? This means two separate work- 
 ings of .'i2 {tages each. What do yon consider ;i fair j)rice to pay per 
 pound for a hlack ink suitahle for such work? 
 
 0. The Linoty[)e and Monotype composing machines are now 
 hoth fairly well known. Give a short description of the Typograph 
 machine and state the relative advantages of these three machines 
 for different classes of work. 
 
 10. The question of costing in the various dejiartments of a ])rint- 
 ing otHce is still a snhject of much interest in the trade. State 
 hrieliy how you would arrive at the hour cost in hoth composing 
 and machine rooms. As a hasis take an estahlishment em])loying 
 ahout 50 hands and paying £200 rent per annum with £70 rates 
 and taxes. 
 
 [At this date (1919) there has been no other Examination 
 since 1914.] 
 
GLOSSAEIAL INDEX 
 OF TECHNICAL TERMS AND PHEASES 
 
 Tlic folloiring Glossary has hern compiled from tin- (iiithors 
 " Printers' Voeabnlarij of Technical Terms, Phrases, etc.,'' 1888, 
 and " Some Notes on Boohs and Printing," fourth edition, 1912. 
 
 Accented letters. — Letters 
 with various marks on used 
 in our own and foreign lan- 
 guages for [ironuneiation or 
 abbreviation, such as a e i (> 
 n a e etc. 13, 14. 
 
 Accessories. — The tools and 
 otlier small details necessary 
 for the working of any press 
 or machine. 302. 
 
 Ac U T E ACCEN T. — Am ark placed 
 over a letter, thus a. 13. 
 
 . V LBio N ri; ESS. — A n improved 
 iron printing hand -press first 
 invented by Mr. Cope. 194. 
 
 how to erect. 104. 
 
 A.MEKR'AN HARD I'ACKlNfJ. — 
 This refers to the system of 
 making-ready in vogue in 
 America, in contradistinction 
 to the usual style adopted in 
 England. 29o. 
 
 A.MrERSAND. — The abbrevia- 
 tion or si«n for the word 
 "and"' thus — ».V (ronuin), <(.• 
 (italic), $ (black-letter). 13. 
 
 Antiqua. — The German ex- 
 pression for ronian ty]ie. 165. 
 
 AxTi(^rAR[AX. — A size of writ- 
 ing paper, 53x31 inches. 
 334. 
 
 Antique type.— Founts of old 
 or mediaeval character, such 
 as Caslon's. 19, 20, 21. 
 
 Appendix xMatter, setting of. 
 91. 
 
 A R A B M A C H I N E. — A small 
 l)laten machine for jo])bing 
 l)urposes originally made in 
 America. 280. 
 
 Arabic figures. —Ordinary 
 hgures. roman or italic, thus 
 — 123 etc., as distinct from 
 roman numerals. 13. 
 
 Art paper. — Coated papers 
 adajtted for half-tone block 
 l)rinting. 330, 337. 
 
 AscEN i)iN(; letteiis. — These 
 are all letters with up-strokes, 
 such as b d h k 1. 24. 
 
 Atlas. — Asize of writing pai)er, 
 36x26 inches. 331. 
 
 Attitude in composinc, the 
 correct. 75. 
 
 Aithor's 1'R(mh-'.--A proof 
 bearing coirections n)ade l)y 
 the autlior or editor. 189. 
 
 Uack I50XES. — A term ap}»l;fd 
 to the unoccupicMl boxes of an 
 up[ier case where there are no 
 sm.'ill caps or accents, 87. 
 4U1 D D 
 
402 
 
 PRINTING 
 
 Back-mark. — The back mark 
 of a layin<4-on board of a 
 printing machine. 816. 
 
 Back of a type. — The reverse 
 side to the nick or l)ellv of a 
 type. 23. 
 
 B A c K s. — Referring to the 
 "back" margin of pages— 
 that part of a book -which is 
 sewn ^^'hen bound ; sometimes 
 the crosses are thus termed. 
 106. 
 
 ]>AD COLOUR. — Too much or 
 too little ink used — also un- 
 even distribution and rolling. 
 226. 
 
 Bad copy. — Applied to badly 
 Avritten MSS. and "lean" 
 copy. 82. 
 
 Bakf:d. — Applied to type Avhen 
 sticking or caked together, 
 and hard to separate in dis- 
 tributing. 87. 
 
 Band. — A belt or strap for im- 
 parting motion from the shaft 
 to a machine. 258. 
 
 Bank. — A wooden table or 
 bench for placing the sheets 
 on as printed. 199. 
 
 Bank paper. — A thin paper 
 mostly used for foreign letter 
 or note paper to save cost of 
 postage. 387. 
 
 Bar. —A cylindrical printing- 
 machine with "drop-bar " ac- 
 tion for laying-on. 316. 
 
 Barge {see Space Box).— A 
 small wooden box with six or 
 eight divisions used for hold- 
 ing spaces to alter j ustitication 
 in making corrections. 114. 
 
 Bastard fount. — A fount of 
 type cast on a larger body 
 than originally intended for. 
 This obviates trouble and the 
 expense of leading a smaller 
 body. 24. 
 
 Bastard title.— A Hy or half- 
 title before the full title of a 
 work. 91. 
 
 Batter. — Broken or damaged 
 letter or letters through acci- 
 dent, wear and tear, or care- 
 lessness. 115. 
 
 Beam engine. — An engine well 
 adapted for driving machines 
 of various classes. 255, 257. 
 
 Beard of a letter. — The 
 blank sloping part, foot or 
 head, of the shoulder of a type 
 not occupied by the face of 
 the letter. 23. 
 
 Bearer. — A clump or anything 
 type-high to bear oft" the im- 
 pression from the light parts 
 of a broken forme. 221. 
 
 Beat. — In order to impart good 
 colour to a particularly solid 
 part of a. forme — a woodcut, 
 for instance — a pressman 1 >eats 
 that portion, with his roller to 
 give it additional ink. 240. 
 
 Bed. — The table or "coffin" of 
 a machine or press upon which 
 the forme lies. 191. 
 
 Bed of the frame. — The lower 
 part of the frame, which forms 
 a shelf which can be used for 
 placing surplus sorts on. 37. 
 
 Belly of a type.— The fnmt 
 or nick side of a type. 23. 
 
 Belts. — The straps or bands 
 for driving machinery. 258. 
 
 Bevel of a type. —The beard 
 or slope from shoulder to face. 
 23. 
 
 Bills of type. — Complete 
 founts of type made up to 
 certain weights. 12. 
 
 B I N D I N G. — In locking-up a 
 forme if the furniture is longer 
 or wider than the type and 
 doul»les, it is said to bind, and 
 the pages cannot be tightened 
 up properly. Ill, 113. 
 
 Bite. — When a page or portion 
 thereof is not printed by 
 I'eason of the frisket being 
 liadly cut out and the im- 
 pression only shows. 222, 
 
GLOSSARIAL INDEX 
 
 403 
 
 B LACK- L E T T E R . — A general 
 expression used to indicate 
 old Kn-lisli type. 10-18. 
 
 Blanket of press. 21)1. 
 
 Blind P. — A i)aragraph mark "i 
 so called from the looj) of the 
 p heing closed. 18. 
 
 Block. — A general term em- 
 bracing Avoodcuts, electros, or 
 zincos. 236. 
 
 ]50ARD RACKS.— Racks, made 
 in "bulks" usually, to hold 
 laying-u]) l)oards. 64. 
 
 Bodkin.— A pointed steel in- 
 strument lixed in a round 
 handle, mostly used to correct 
 ^vitll in the metal. 69. 
 
 Body. — This is the shank of a 
 letter. Also applied to the 
 text type of a volume, "body 
 of the work." 23. 
 
 Book cases, plan of. 72. 
 
 l>ooK-EOUXTS. — Founts of type 
 distinct from fancy or jobbing- 
 types. 14. 
 
 Book-illustration, methods 
 OE. 365. 
 
 r.ouKWORK, table of lengths 
 and widths of. ISO. 
 
 Bottom notes. — Footnotes 
 are sometimes so called, to 
 distinguish them from side- 
 notes. 90. 
 
 BoURGEOLS. — The name of a 
 type one size larger than Bre- 
 vier and one size smaller than 
 Long I'rimer. 26, 27. 
 
 BOWRA CUTTING MACHINE.— 
 For lead or brass. 68. 
 
 Braces.^ — These are cast on 
 their own bodies and by de- 
 grees of ems, and used to con- 
 nect lines. Longer ones are 
 usually made of ])rass rule by 
 special plieis. 13. 
 
 Bracket.— A holder or hanger 
 from the roof to support shaft- 
 ing. 261. 
 
 Brake power.- As ap[»lied to 
 gas power. 260. 
 
 Brass circles,— Used for job- 
 bing Mork. 124. 
 
 Brass rule, case for. 51. 
 
 F>RASS RULE cutter. 68. 
 
 Brass rules, specimens of. 50, 
 121. 
 
 Braver. — A wooden implement 
 forrnbbjiigontink on the table 
 for distril)ution. 201. 
 
 Brayer-eountain. 282. 
 
 Brayer ink tarle.— a table 
 used by pressmen on which 
 to bray ink out, distinct from 
 cylindrical ink tables. 201. 
 
 Break. — An expression used to 
 indicate the end or commence- 
 ment of a i>aragraph. It is 
 also indicated in copy by a 
 bracket mark, thus [ or ]. 
 11.5. 
 
 Break of a letter.— The sur- 
 plus metal on the foot of a 
 letter when cast. 5. 
 
 Brevier. — A type one size 
 larger than Minion and one 
 size smaller than Bourgeois. 
 26, 27. 
 
 Brilliant.— A tyi)e one size 
 larger than Minnikin and one 
 size smaller than (Jem. 27. 
 
 Bring up. — To make ready or 
 level the type l)y ovei'laying 
 or patching uj). 219. 
 
 " British printer."— Method 
 of i>rinting by hard-]iacking 
 systeuL 296. 
 
 Broad. — A piece of furniture, 
 A\()()d or metal, four }»icas in 
 width. 52. 
 
 I5ROAD AND NARROW. — A piece 
 
 of furniture seven pica ems in 
 
 width. 52. 
 liROADSIDE. — A sheet printed 
 
 one side only, such as a i)oster 
 
 or bill. 120. 
 Broadside composing stick, 
 
 usually made of wood. 46. 
 Broken^ papep. -The ontsi<le 
 
 sheets or (juires indicated by 
 
 three crosses x x x 331. 
 
404 
 
 PRINTING 
 
 Bronze brush. — A special con- 
 trivance for dusting bronze 
 by hand. 247. 
 
 l>i;oxzE IXK. — Various inks 
 made with an addition of 
 bronze. AVhen dry, they. give 
 a decided metallic appearance 
 to the surface. 247. 
 
 BitONZE PiiiXTlNG, how to im- 
 prove. 248. 
 
 Bronzixg machine.— a me- 
 chanical contrivance to econo- 
 juize time and obviate waste 
 of material. 248. 
 
 Brown papers, sizes of. 339. 
 
 B u L K. — Usually the bench 
 situated at the end of a com- 
 po.sing frame. 64. 
 
 Bundle. — Generally two reams 
 of palmer in a parcel. 330. 
 
 Button or tympax. — The stud 
 on the frame which the hook 
 catches in order to hold the 
 inner and outer tympans se- 
 cure. 198. 
 
 Caked type. — See Baked. 
 
 Calendered paper. — Paper 
 very highly rolled or glazed, 
 much used for the printing of 
 illustrated works. 295, 330. 
 
 Canon. — A type four picas deep 
 in body, but somewhat small 
 in face. 26, 27. 
 
 Caps. — Abbreviation of word 
 "capitals," usually indicated 
 in manuscript bv three under- 
 linings. 13, 82^ 186. 
 
 Caps and smalls. -A word or 
 words set in small capitals 
 with the initial letter a full 
 capital— thus. Printer — in- 
 dicated by three ami tv.o un- 
 derlinings respectively, thus 
 
 --_~£ and in manuscript. 
 
 82. 
 
 Card chases. — Small chases 
 used for cards or similar 
 small jobs, 59. 
 
 Car d-cuttixg m achix e. — A 
 
 small machine specially made 
 for the cutting of cards. 346. 
 
 Card press.— A small jobbing 
 hand-press — treadle machines 
 are sometimes so called — used 
 for printing cards or other 
 small work. 197. 
 
 Cards, number contained in a 
 royal board. 339. 
 
 sizes of. ^There are several 
 
 regular sizes, such as large, 
 small, thirds, cabinet, carte 
 de visite, etc. 338. 
 
 varieties of. 338. 
 
 Carriage. — The bed or coffin 
 on which the forme is laid and 
 which runs under the platen 
 or cylinder in a ])rinting press 
 or machine. 191,289. 
 
 Carte de yisite cards. — 
 Cards cut 4^ x 2^ inches, used 
 by photograi)hers for mount- 
 ing prints of that size. 338. 
 
 Cartridge paper. 334. 
 
 Case. — The receptacle in which 
 type is laid to compose from. 
 When in pairs, dehned as 
 upper and lower respectively. 
 42. 
 
 Case-racks. — Receptacles for 
 holding cases Avhen out of use 
 — distinct from frame racks, 
 which are used for cases in 
 use. 64, 65. 
 
 Case-work, binding. 356. 
 
 Casixg. — A size of brown paper, 
 46 X 36 inches. 339. 
 
 Caslox type. — A term some- 
 times applied to the old-face 
 tvpes cut by William (Jaslon. 
 1(), 20, 25. 
 
 Castixg-up. — To measure the 
 pages b\' means of ems and 
 ens of its own type body ac- 
 cording to the, existing scale 
 of prices. 179. 
 
 Cast-irox chases. — Chases 
 made by cfisting in an iron 
 foundry. These, though 
 cliea})er than wrought iron, 
 
GLOSSARIAL INDEX 
 
 405 
 
 are rou^lier and more likely 
 to be fractured if not carefully 
 handled. 58. 
 
 Cast-off. — To calculate or 
 estimate len<;th of copy to be 
 })rinted — a troublesome task 
 in uneven and badlv -written 
 MS. 182. 
 
 Catches.— INFade .generally of 
 brass, to hold stereo or electro- 
 type plates on blocks. 230. 
 
 Caxtox. — The particular kind 
 of Old Enolish type used for 
 composing Itooks in that char- 
 acter. 17. 
 
 Caxton platen machine. 
 280, 281. 
 
 Cedilla c. — A French accent 
 —thus, ('. 18. 
 
 C ENT U I! ETTE TWO-KE VOLITION 
 MACHINE. 810. 
 
 Centurv machinf:. — An 
 American two-revolution ma- 
 chine. 310. 
 
 Chapter heads. — The head- 
 ings to a chapter. 83. 
 
 Chase. — An iron frame, cast 
 or Nvrought, to hold the type 
 for printing. r)3, 58, '224. 
 
 Chill. — An elbow of steel im- 
 mediately at the end of the 
 press bar, which gives the 
 imjjression by its l)eing moved 
 into a vertical [)osition on 
 the bar l>eing j)ulled over. 1 96. 
 
 ClUCLlvS. — Brass rings cast hol- 
 low to allow of type being 
 placed inside. 124. 
 
 Circulars. — The class of small 
 jolj work which includes 
 letters, circulars, etc. 119. 
 
 ( "IKCUMFLEX. — Accented let- 
 ters marked thus, fi e i 6 ft. 13. 
 
 City and (Jiilds of London. 
 — (Questions set for Examin.'i- 
 tions. 875-392. 
 
 Clarendon. — A bold or fat- 
 faced type is generally thus de- 
 scribed; the older foniits were 
 called " Egyptian."' 18, 20. 
 
 Classical LANGUA(ii;s in com- 
 position. 151. 
 
 Clean proof. — Term used to 
 discrinunate between a lirst 
 proof and a proof ready to be 
 sent out to a customer. 118. 
 
 Clkansixo type. 229. 
 
 Clickep. — The compositor in 
 charge of a companionship, 
 who receives c()i)y and instruc- 
 tions direct from the overseer 
 or principal. 176. 
 
 Closed apostrophes. — Double 
 apostrophes ("') indicating the 
 end of a quoted i)assage. 80. 
 
 Clothinc; a forme.— Placing 
 the necessary furniture round 
 the pages of type. 111. 
 
 Clothino rollers. — ( 'hang- 
 ing the composition on worn- 
 out rollers. 204. 
 
 Coated paper. — Sometimes 
 called "art paper." 295, 337. 
 
 Coffin. — The carriage or bed 
 of a cylindrical machine or 
 platen press. 289. 
 
 Cold pressing. — Sheets 
 pressed l)etween glazed boards, 
 usually, and more effectually, 
 in a hydranlic press. 29(5, 851. 
 
 Cold rolllng. — In contradis- 
 tinction to hot rolling — the 
 rollers being hot in tlie one 
 instance, and in the other in 
 their natural state. 344. 
 
 Collar. — A circular band fas- 
 tened with nuts and screws to 
 hold tM'o lengths of shafting 
 together. 261, 
 
 Collate.— To run through the 
 sheetsof a book to see if thesig- 
 natnres are in secjuence. 'A'y.i. 
 
 Collotype. — A i»hotogra})hic 
 process of printing from a 
 gelatine film. 872. 
 
 Colon. — A mark of ])unctua- 
 tion— thus, : 18. 
 
 COLOIR, hints on. 245. 
 
 uniformity of. 225 
 
 Coi.ori; I'KiNiiNc. - - rriniini! 
 
406 
 
 PRINTING 
 
 in one or more colours other 
 than black. 125, 244, 371. 
 
 CoLoiR .SHEt:T. — Slieet passed 
 as a pattern for maintaining 
 an even and regular colour in 
 ])iinting. 200. 
 
 CoLOi'K WORK in composition. 
 125. 
 
 in press department. 236, 
 
 244. 
 
 Coloured INKS, makingof. 216, 
 217. 
 
 Colours, harmony of. 245, 246. 
 
 selection of. 246. 
 
 Colt platen machine. — A 
 joljbing machine. 280. 
 
 Columbia. — A printing paper, 
 34i X 23^ inches. 331. 
 
 COLUMRIAN prp:ss. — An iron 
 hand-press invented hy Mr, 
 Clymer of Philadel])hia in the 
 early part of last century. 192. 
 
 how to erect. 192. 
 
 Column galley. — A metal 
 galley used in newspaper 
 work. 47. 
 
 Con'MN MATTER.— Type set in 
 two or more columns is thus 
 described. 177. 
 
 Column rules. — Rules used 
 for dividing works set in 
 columns. 51. 
 
 Combined engine and boiler. 
 258, 259. 
 
 Commensurable type. — A 
 system of casting types to 
 units in dei>th, lieight, and 
 width. 34. 
 
 Common points. — Ordinary 
 points with a pin or spur 
 attached, in contradistinction 
 to "s])ring jjoints," etc. 2'2H. 
 
 Complete fount.— A fount of 
 type including capitals, small 
 cai)itals, lower-case, iigures, 
 accents, spaces, etc., as dis- 
 tinct from "sorts." 12, 13. 
 
 Compose. — To set up type. 75, 
 79. 
 
 Composing frames. 36. 
 
 Composing machines. -- Me- 
 chanical appliances for setting- 
 type. 131-150. 
 
 Composing room (or depart- 
 ment). — The portion of a 
 printing office occupied by the 
 compositors. 36. 
 
 suggested plan of. 71. 
 
 Composing rule. — A brass 
 rule, with a nose-piece, the 
 length of the measure or width 
 of the type being set up; it 
 facilitates the composition in 
 being shifted line by line. 46. 
 
 Composing stick.— A tool or 
 implement for setting type in, 
 usuallj^ made of iron or gun- 
 metal. Long sticks, used for 
 broadsides, are made of wood 
 for lightness. 44-46. 
 
 Composition.— The art of com- 
 posing or setting type. 36. 
 
 Composition.— Scale of prices 
 for. 175-179. 
 
 Condensed letter. — Thin, 
 elongated founts of type are 
 thus described. 90. 
 
 Connection. — In passing 
 sheets of a work linally for 
 press the reader sees that the 
 sequence from slieet to sheet 
 is})reserved, and not disturbed 
 by any overrunning. l88. 
 
 Copy. — The manuscript or re- 
 print copy from whicli the 
 compositor sets. 78. 
 
 Corks on forme. 225. 
 
 Cop.NEit. — An ornament used 
 for decorating the corner of a 
 bolder in brass rule or other- 
 wise. 122. 
 
 Cornish boiler. — A boiler 
 fre(iuently adopted by steam 
 printers. 255. 
 
 Correcting stone.— The sur- 
 face on which a forme is laid 
 to be corrected. 61. 
 
 Corrf:ctions. — The emenda- 
 tions or alterations made on 
 apn.of. 114-1 16. 
 
GLOSSARIAL INDEX 
 
 407 
 
 Corrections. — Hol(lin<^-, in 
 liii<;-eis. 114. 
 
 method of making. 11-4. 
 
 Corrector of the press.— 
 Another term for the i^roof 
 reader. 185. 
 
 Cost finding, system of. 361. 
 
 Cottrell machine. — An 
 American two-re vohition ma- 
 chine. 310. 
 
 CorXTKR. — A person respons- 
 ible for tlie proper conuting 
 of all Avork wiien printed. 
 349. 
 
 Counter-shafting. —A shaft 
 connected with the main shaft 
 in driving machinery. 257. 
 
 Creamy paper. — Paper with a 
 slight tone is thus descril)ed. 
 337. 
 
 Cropper. —A short term for the 
 " cropper " small })rinting pla- 
 ten machine. 275. 
 
 Cropper machine. — An Ame- 
 rican small treadle platen ma- 
 chine made by Mr. Cropper. 
 The original one M'as the 
 "Minerva.'" 275,276. 
 
 Cross-hars. — The bars which 
 divide chases into sections — 
 tixed in cast chases, but gener- 
 al Iv movable in wrought. 58, 
 106. 
 
 Crossley's (Jas en'(;ine. — 
 Usually horizontal in shape 
 and occasionally veitieal. 2()2. 
 
 Cross-lines.— Siiort displayed 
 lines, such aschapter or section 
 heads. 83. 
 
 ClRYED lines, method of 
 making. 123. 
 
 ("rsToM of the HorsE. - Cer- 
 tain rules and regulations in 
 vogue in any particular print- 
 ing othce. 81. 
 
 (Jut away. — To lower or cut 
 away any [tarticubir part in 
 a making-ready sheet. 221. 
 
 "Cut" edges. 3.56. 
 
 "Cut" ink. Special ink for 
 
 the ]>rinting of illustrations. 
 215. 
 
 Cut out. — To cut out an over- 
 lay, or cut away in a making- 
 ready sheet. 238. 
 
 Cuts. — This is a technical ex- 
 pression for an illustration of 
 any kind — electrotype, Avood- 
 cut, or zincograph. 238, 294. 
 
 Cutting machines. — Appli- 
 ances for cutting paper. 68, 
 345, 346. 
 
 CUTTING-OUT KNIFE.— A sharp- 
 pointed knife nsed in making- 
 ready. 203. 
 
 Cylinder, altering the impres- 
 sion of the. 301. 
 
 Cylinder galley press. — A 
 small i)ress for pulling galley 
 proofs by means of a hea\y 
 roller or cylinder pushed along 
 l»y hand. 66. 
 
 Cylinder machine.— A print- 
 ing machine giving the im- 
 pression by a cylinder instead 
 of a platen. 271. 
 
 Cylindrical ink table. — An 
 ink talile Avhich revolves by a 
 handle, and thus gives the ink 
 to the roller, instead of bray- 
 ing out l)y the tool for that 
 purpose. 200. 
 
 " Deck" principlf:. — Applied 
 to the l)uild of a rotarv ma- 
 chine. 319. 
 
 Deckle. — The raw, rough edge 
 of paper in liandmades is thus 
 termed. 328. 
 
 Dele. — To omit or expunge, in- 
 dicated thus (^ 1 15. 
 
 DeaH'. — A size of i)rinting jta- 
 l)er, 22J, x 17^ inches; writing- 
 paper, 20 X 15.', inches. 331, 
 334. 
 
 Descexdinc; letters.— These 
 are all letters with down- 
 strokes, thus — p q y, etc. 24. 
 
 Diaeresis. -An accent with 
 
408 
 
 PRINTING 
 
 two (l<its over the letter thus, 
 ii e i o ii. 13. 
 
 Diamond. — A type one size 
 l;ir^er tlian Gem, and one size 
 smaller than Pearl —e([ual to 
 half a Bour^ueois in hoily. 27. 
 
 Disri.AV AVOHK. — Type dis- 
 played, such a- titles, head- 
 ings, and johhing "woik, is 
 thus termed to distinguish it 
 from ordinary solid composi- 
 tion. ]10. 
 
 DlSTKiRUTE. — To replace type 
 in cases after printing. 84-87. 
 
 Distributing disk.— A circu- 
 lar revolving disk on platen 
 machines for distrilmting the 
 ink. 276, 277. 
 
 Distributing rollers. — The 
 rollers which take the ink 
 from the vihrator communi- 
 cating with the ductor. The 
 rollers have a diagonal move- 
 ment, and distribute the ink 
 on the table. They are some- 
 times called "wavers." 289. 
 
 Division of words at end of 
 lines. 186. 
 
 Double. — Words repeated in 
 composition by error, necessi- 
 tating overrunning; used by 
 pressmen when a sheet is twice 
 pulled or mackled. 114, 229. 
 
 DoiBLE BROAD. — Furniture 
 eight i»icas in width — double 
 the width of "liroad."' 52. 
 
 Dour.LE CASE. — Case specially 
 made, upper and lower case in 
 one, used for small jobbing 
 founts. 42. 
 
 Double crown. — A printing 
 l)aper, 80 x 20 inches. 831. 
 
 Double c v ltn dek m achi n e. — 
 A i)erfecting machine. 271, 
 314, 3L"). 
 
 Double demv. — A prinring 
 paj>er, 35 x 22^ inches. 331. 
 
 Do V BLE elephant. — A writing 
 paper, 40x26^ inches; draw- 
 ing, 40 X 26 inches. 334. 
 
 Double FOOLSCAP.— A printing 
 paper, 27 x 17 inches; writing- 
 paper, 26 A X 16g inches. 331, 
 334. 
 
 Double frame. — A frame to 
 hold two pairs of cases up at 
 one time. 36. 
 
 Double imperial. — A printing 
 paper, 44 x 30 inches. 331. 
 
 Double letters. —Diphthongs 
 and (dd-face letters, vo, (£, ft, 
 61, etc., are thus called. 13, 
 
 Double medium.— A printing 
 paper, 38 x 24 inches. 331. 
 
 Double narroav. — Furniture 
 six picas in width— double the 
 width of a narrow. 52. 
 
 Dol'ble pica.— The name of a 
 fount one size larger than 
 Paragon, and one size smaller 
 tlian Two-line Pica — it is two 
 Small Picas in depth. 26, 27. 
 
 Double platen :\iachine. — 
 A machine, someMhat out of 
 date, Avith a flat impression 
 printing at both ends. 271, 
 284, 285. 
 
 Double post. — A p rint ing 
 paper, usually 32 x 20 inches. 
 331. 
 
 Double pott. — A printing 
 paper, 25 x 15^ inches. 331. 
 
 Double royal. — A printing 
 papei-, 40 x 25 inches. 331. 
 
 Dressing a forme. —,S'cc 
 Clothing. 
 
 Drop- BAR perfecting machine. 
 — The laying-on is performed 
 bytlie"drop-l)ar"' action. 316. 
 
 Droi'PED HEAD.— Chapter or 
 lirst pages driven down at the 
 top are thus called. 88. 
 
 Drum, reciprocating, — At- 
 tached totheinking apjmratus 
 of a machine. 291. 
 
 Drying room. — For printed 
 Avork, heated by steam or hot 
 Avater. 350. 
 
 Duct or ductor.— A reservoir 
 Avhich holds the ink in a ]>rint- 
 
GLOSSARIAL INDEX 
 
 409 
 
 m<i inacliiiie, the suiiply from 
 it l)ein;4' regulated for each im- 
 pression. '273, 2S8. 
 DroDECiMO. —Commonly called 
 twelvemo, a sheet of paper 
 folded into twelve lea^'es, 
 Mritten shortly, Timo. 94. 
 
 K(i\i'Ti\y^.—See Clarendon. 
 
 Eight i-oint. — Typehodyeiiual 
 to lirevier old standard. 32. 
 
 Eight to pica leads.— Leads 
 cast eiiiht to a pica ; also called 
 "thin "leads. 48. 
 
 EiGHTKEXMO. — A sheet folded 
 into eighteen leaves (octodeci- 
 mo), writ ten shortly, 18mo. 94. 
 
 Eighteen point. —Type body 
 equal to Cireat Primer old 
 standard. 32. 
 
 Em'.ow points. — I*ress ])oints 
 made upon an elliow for con- 
 venience in pointingtwelvemo 
 or eighteen mo works. 223. 
 
 Electric motive power. 254, 
 267. 
 
 Electric motors.— For driv- 
 ing machines separately or in 
 groui>s. 2(}<)-209. 
 
 ]•] L E ( ' T R O T Y P E P L A T E. — A 
 
 printing surface i)rodaced by 
 a galvanic deposit of copper, 
 afterwards backed up with 
 type-metal. 230, 245. 
 
 l^LEPHANT. — A printing ]iaper, 
 30 X 23inches; writingor draw- 
 ing paper, 28 x 23 inches. 334. 
 
 Kleven POINT. —Type body 
 etjual to Small Pica old stand- 
 ard. 32. 
 
 Klongated. — A thin and con- 
 densed display ty[)e. 20. 
 
 Mmpepo!!. — A writing or draw- 
 ing paper, 72 x 48 inches. 334. 
 
 Em (,»rAi). — A (juadrat cast one 
 em S(|uare to any particular 
 body. 13, 28. 
 
 Em rules. —Rules cast on an 
 em of any particular body — a 
 dash, or metal rule. 13. 
 
 Endless papei:. — Pajier in 
 reels — not in sheets— used for 
 rotary machines. 130, 332. 
 
 Engr.\.vin(; on metal plates. 
 367. 
 
 Engine sizing. — As used for 
 machine-made papers. 329. 
 
 ENfiLlSH. — The name of a type 
 one size larger than Pica, and 
 one sjze smaller than (Ireat 
 i*rimer. 26, 27. 
 
 En QCADS. — Spaces two to an era 
 of any particular body. 13, 28. 
 
 Equivalent weights of pa- 
 per. — Thedillerencein weight 
 between tw'o sizes to compen- 
 sate for a larger or smaller 
 sheet. 332, 335, 337. 
 
 EsTAP.LisHMENT. — A workman 
 on iixed wages is said to be 
 on the " establishment." 176. 
 
 Examination papers. 375-400. 
 
 Extras. — The charges involved 
 on com])osition over and above 
 the fixed price per sheet of the 
 . text type. 177. 
 
 Face of a type. -The printing 
 surface of any letter. 23. 
 
 Fair size, fount of. — When 
 the whole twenty-six letters 
 of any one fount measure at 
 least twelve ems of its own 
 body. 23. 
 
 Fancy iules. — llules other 
 than })lain ones of various de- 
 signs — some short, as used 
 between sections. 50, 121. 
 
 Fancy types. — Founts of tyi»e 
 of various kinds used for job- 
 bing jturjioses. 19, 119. 
 
 IvVSTKNING FOKME ON PRESS. 
 220. 
 
 FkeD!Ng-i;oar1). The part of 
 a machine from which the pa- 
 per is fed in. 301. 
 
 Feet of .\ press. —The bottom 
 of the legs of a ]uess resting 
 on the groiind. 194. 
 
 Feet of T^"PE. ( )bvioiTslv that 
 
410 
 
 PRINTING 
 
 part on which the letter stands. 
 23. 
 
 Figures. 13. 
 
 modern and old style. 16. 
 
 I'lLLiNG IN.— Putting sheet'; of 
 paper, after printing and dry- 
 ing, between glazed boartls 
 previous to pressing. 352. 
 
 Finding the pitch. — Seeing 
 that the grip])ers of the nia: 
 chine will take the correct 
 amount of margin on the lay 
 side of sheet. 291. 
 
 FiNGKRS. — The grippers which 
 hold the paper in printing on 
 a machine. 290. 
 
 First proof. — The first pull of 
 aforme after composing, which 
 is read for the first time from 
 the copy. 113, 188. 
 
 Flat- BED principle. 322. 
 
 Flat paper. —Paper in reams 
 not folded or quired. 330. 
 
 Flat pull (or laipression).— 
 A simple proof without under 
 or overlaying. 241. 
 
 Flemish black-letter type.— 
 Designed by Fleischman in 
 the eighteenth century. 17. 
 
 Fly-title. —The half-title in 
 front of general title, or di- 
 vides sections of a work. 91. 
 
 Folded paper.— Paper folded 
 in half or quire fashion, not 
 "fiat "or "lapped." 330. 
 
 Folding. 353, 355. 
 
 FoLDiN(j apparatus.— Part of 
 the accessories of a rotary 
 machine. 324. 
 
 Folding chases. — Made in 
 pairs or sets of four to print 
 from paper in double or quad 
 sizes. 58. 
 
 Ft)OLSCAP. — A printing j>a}>cr, 
 17 X 13i inches. 331." 
 
 FoOT-STiCK. — A sloping piece of 
 furniture placed at the foot of 
 pages. 53. 
 
 FoRE-ED(iK. — The front edge of 
 any book, which is distinct 
 
 from the head and tail. 106, 1 10. 
 
 Foreign or classical langu- 
 ages. — Greek, Hebrew, and 
 German. 151. 
 
 Foreign words. Rule for set- 
 ting up. 187. 
 
 Forks of a machine.— For 
 holding rollers. 289. 
 
 Forme. — Page or pages of type 
 imposed in a chase constitute 
 a "forme" — sometimes si)elt 
 "form." 53, et jja.ssim. 
 
 Forme carriage or trolley. — 
 F'or moving heavy formes. 1 18. 
 
 Forme racks. 61. 
 
 Fount of type, A complete. 
 12, 13. 
 
 Four-reel MACHINE.— Arotary 
 printing from four rolls. 319. 
 
 Fourteen point.— Type body 
 equal to English old standard. 
 32. 
 
 Fractions. — Sometimes cast in 
 one piece, termed "whole," 
 and occasionally in halves, 
 and called "split." 14. 
 
 Fractur. — German exi)ression 
 for their text or black-letter 
 characters. 165. 
 
 P'rame rack. — A rack attached 
 to the frame for cases not in 
 immediate use. 36. 
 
 ' ' French " rules. — Short orna- 
 mental rules of either brass or 
 tyi)e-metal. 121. 
 
 Friar. — Alight orl)roken]tatcli 
 in a printed sheet. 226. 
 
 Frisket. — A tliin iron frame 
 joined to the tympan. Its 
 object is to prevent the sheet 
 being dirtied or blackened, by 
 pasting a sheet over the frame 
 and cutting out only the parts 
 to be ]>riuted. 198. 
 
 cutting the. 221. 
 
 Frozen out.— In olden times, 
 before offices were warmed, 
 printers were occasionally 
 frozen out. 227. 
 
 Full point. — Technical name 
 
GLOSSAEIAL INDEX 
 
 411 
 
 for a i)erio(l or "full stop" — 
 a mark of punctuation. 80. 
 
 FrKNiTUKE.— The wood used 
 in making margin fora])rinted 
 sheet, the thinner kind l)eing 
 usually called " Re-let." 
 Sometimes French metal fur- 
 niture is used. 51, 52, 111. 
 
 FrRNiTiRE CAI5INKT.— A spe- 
 cial case with divisions for 
 holding various sizes, -to. 
 
 FUKXITURE GAUGE.— A gauge 
 
 used in measuring the furni- 
 ture of a forme before sending 
 it to press. 112. 
 
 Galleys. — These are wooden or 
 zinc receptacles for holding- 
 type before making-up into 
 pages. 47, 48. 
 
 Galley rr.Ess. — An appliance 
 for j)nl ling proofs of slip matter. 
 m, 67. 
 
 Galley rack. — Receptacle for 
 galleys. 66. 
 
 CJas ENGINE. — A motor pro- 
 pelled l)y gas of diti'erent man 
 or horse powers. 2()1 , 262-2()6. 
 
 Gas motors. — Engines of vari- 
 ous kinds, some horizontal and 
 others of vertical shape. 260. 
 
 Gas Suction Plant. 265, 266. 
 
 GATHERiN(i. — When a volume 
 is wholly ])rinted ott', the sheets 
 after drying and i)ressing are 
 gathered in single copies of 
 complete books ; in half-sheet 
 
 • work therewonldbetwocopies 
 on. 352. 
 
 Gai'GE. — A gauge to regulate 
 length of paue or margins. 81), 
 110.112. 
 
 (JALiiE IMNS.— Small steel i»ins 
 with teeth, for securing the 
 lay on small platen nuicliines. 
 279. 
 
 Geai:ki) inkin(; apparatus. 
 292, 293. 
 
 Geared iiollers. 291. 
 
 (Jkal-A type one size larger 
 
 than IJrilliant and one size 
 smaller than Diamond. 27. 
 
 (Jeneral expenses.— Distinct 
 from overhead expenses. 362. 
 
 German.— Plan of cases and 
 rules for setting uj). 165-169. 
 
 (Jerman cases.— These are 
 cases of a special lay for founts 
 used in composing that lan- 
 guage. 166. 
 
 (iERMAN SCRIPT, Si»ecimen of. 
 169. 
 
 Gill's machine. — A hot-ndl- 
 ing machine for drying and 
 pressing work as it is printed 
 off — thus greatly expediting 
 delivery. 344. 
 
 ( tLAZED boards. — Millboards, 
 very hard and highly rolled, 
 used for | >ressing printed sheets 
 in the warehouse. 342. 
 
 sizes of. 342. 
 
 Glazed surfaces, printing on. 
 234. 
 
 Gold bronze. — Very fine pow- 
 der used in gold printing. It 
 is dusted on after the forme i.s 
 printed with a ]»reparation 
 sj)ecially made. 247. 
 
 (ioLDlN(i .lORisEi;. — An Ameri- 
 can platen machine. 280, 281, 
 282. 
 
 (iooD COLOi'l{. W'lien the ink 
 is pro])erly applied to a sheet 
 — neither too much nor too 
 little — but of a good and even 
 depth. 225. 
 
 (JORDON press. —A suiall 
 treadle platen machine made 
 bv Messrs. l*o\vell and Son. 
 280. 
 
 GOSS ROTARY. 322. 
 
 (JRAYE ACCENT.— A sign over a 
 letter — thus, a. 13. 
 
 (iR EAT PRIMER. — A ty|)eonesize 
 larger than English and one 
 size smaller tlian l*aragon. 
 26, 27. 
 
 Greek, rules for com[)osition 
 of. 151-158. 
 
412 
 
 PRINTING 
 
 (4i{EEK CASES. — Tliese are cases 
 of special lay for composing 
 works in that language — the 
 ui»i)er case being especially 
 coniidicated by reason of the 
 many accents re([nire(l. 152. 
 
 Gk I PPER o F M ACH IN E. — The fin- 
 gers Avhich seize the sheet 
 when fed in to the mark. 290. 
 
 Gkipfeu ]>erfecting machine. 
 — Applied to those machines 
 which receive the paper by the 
 "gripper" method. 316. 
 
 Groove of type. — The hollow- 
 between the feet of a letter. 
 23. 
 
 Guillotine CUTTING :machixe. 
 — A machine made for cutting 
 paper on the "Guillotine" 
 principle. 345. 
 
 Gun-metal shooting stick. 
 — A locking-up stick tipped 
 Avith gun-metal to render it 
 more durable. 57. 
 
 Gutter. — The " back" margin 
 or furniture of a sheet. This 
 is the j)art of a sheet "which 
 when folded falls in the back 
 of the l)ook. 106. 
 
 Hair leads.— Very thin leads 
 — mostly sixteen to a pica — 
 rarely used nowadays. 48. 
 
 Hair* s p Ac es. — A^ery thin 
 spaces, used mostly for spacing 
 out the letters in headlines of 
 pages. 13, 28. 
 
 Hal"f-1]Ound.— A style of land- 
 ing having leather Itacks and 
 corners. 350. 
 
 Half fi!AME.— Small compos- 
 ing frames made to hold one 
 pair of cases only. 38, 40. 
 
 H A L F - s 11 E E T. — Uookwork is 
 sometimes printed in " half- 
 sheet " fashion. When thus 
 printed there are two coi»ies 
 on one sheet. 95. 
 
 Half (or modinm) tints. —A 
 
 term api)lied to the jmrts of an 
 illustration of partial depth. 
 237. 
 
 Half-title.— The sub-title in 
 front of the full title. 91. 
 
 Half-tone blocks. — A process 
 of reproduction as distinct 
 froni line blocks. 240, 369. 
 
 Hammer.— The ordinary tool 
 used on press or machine. 
 202, 302. 
 
 TI A N D M a D E p A p E R. — Paper 
 made entirely by hand — a slow 
 and tedious process — cliieHy 
 used for editions de luxe. 328. 
 
 H A N D i\i A D E RE A MS. — These 
 generally run 480 sheets to a 
 ream — occasionally 500, or 
 even 516. 330. 
 
 Hand roller. — Applied to the 
 press roller used by machine 
 minders in pulling a proof to 
 obviate running up colour with 
 the machine rollers. 204, 294. 
 
 Hanger.— An iron bracket at- 
 tached to the ceiling to hold 
 shafting. 261. 
 
 Hard impression. — Too much 
 "pull" on the forme, but 
 sometimes necessary for cer- 
 tain classes of work by reason 
 of paper, etc. 220, 296. 
 
 Hard packing. — An American 
 system of making-ready for 
 printing dry paper. 295. 
 
 Hard sized papers. — As dis- 
 tinguished from soft or un- 
 sized ones. 329. 
 
 Head. — The top part of a press, 
 or the top part of a page. 88, 
 194. 
 
 Headings, to work, at press. 
 234. 
 
 Headline.— The top line or 
 heading of the page which 
 runs throughout the book. 
 88. 
 
 Heads. — A term applied to the 
 margin of books at the top of 
 the ])ago. 10(i. 
 
GLOSSARIAL INDEX 
 
 413 
 
 Heap. — A workinu ov pile of 
 printed or white piii)er. 200. 
 
 Hebrkw, rules for c()ini)osition 
 of. 158-165. 
 
 Hebrew cases.— Cases of spe- 
 cial lay used for composing 
 hooks in that lantiiiage. 159. 
 
 Height to papeh. — A general 
 expression to denote the height 
 of type. French tyi>e is slight- 
 ly higher than English, conse- 
 quently its " height to paper " 
 is greater. 24. 
 
 Herring honing.— This is a 
 fault in folding Ccaused by not 
 holding the folding stick at a 
 pro])er angle. .S58. 
 
 High.— Tyjte or blocks which 
 stand higher than the rest of 
 the forme. New type is higher 
 than worn type. 221. 
 
 liOE MACHINES. — ^Machines of 
 various patterns made by 
 Messrs. Hoe and Co. 325. 
 
 Horizontal steam engine. — 
 Distinct from the uj>riglit or 
 vertical one. 25(5, 25S. 
 
 Horse. — An iiudined stage set 
 on the bank to hold the heap 
 which has to l)e ])rinted. 199. 
 
 lloRSE-l'OWEH. — The driving 
 ])owerof engines is determined 
 by horse-power. 200. 
 
 Hot rRESSiN(}.--A method of 
 pressing by heated jilates in- 
 serted at intervals. 348. 
 
 Hot rolling.— a method of 
 (Irving and pressing by hot 
 roils. 343. 
 
 HoiRLV RATES. —The dirterent 
 departmental costs ])er houi-, 
 exclusive of profit. 303. 
 
 IIVDIIAULIC TRESS. — One in 
 which the power is ajtplied by 
 mean.s of water pressure. 340. 
 
 ILLU.STRATED AND COLOUR 
 
 WORK. 236-247, 295. 
 Imperfect rAi'Ei.'.— Keams of 
 
 paper not made up to the full 
 
 number of a jtrinter's ream, 
 i.e., 516 sheets. Handmade, 
 drawing, and writing pajjers 
 are generally imperfect, and 
 run 472, 480, or 500 sheets to 
 the ream. 330. 
 
 Imperial.— A printing paper, 
 30 X 22 inches ; writing pa])er, 
 34x22 inches. 331, 334. 
 
 Imposing stone. A ])erfectly 
 smooth stone or iron surface 
 on whiclj formes are imiwsed 
 and corrected, embedded in a 
 strong wooden frame on legs, 
 if stone; if iion, laid on the 
 frame. 61. 
 
 Imposition.— The art of laying 
 pages down so that when 
 ))ii)ited thev fall corrcctlv in 
 folding. 94.' 
 
 Imposition schemes. — The 
 various schemes or i)lans by 
 which pages are laid down for 
 imposition. 97-105. 
 
 Impression. — The ]>ressure ap- 
 plied to the forme by means of 
 a platen or cylinder to give a 
 print from type. 220. 
 
 Impression cylinder. — The 
 surface which takes the paper 
 and comes in contact with the 
 ty])e or plates. 289. 
 
 ImpPvEssion of the cylinder, 
 altering the. 301. 
 
 1 M P R E S S I O N S C R E W S. —The 
 
 screws which regulate the 
 amount of i)res.sure in a ]>rint- 
 ing press or machine. 294. 
 
 I M P R E S S I ( ) N SHE E T S. -The 
 sheets which are placed in 
 the tympan or round tiie 
 cylinder to receive the im- 
 ])ression. 220. 
 
 Imprint. — By an old Art of 
 Parliament a printer is re- 
 quii"ed to attix his name and 
 address toawork(with certain 
 exceptions), and this is termed 
 an imprint. !)!. 
 
 IN( UT NOTES. — Sideiiotes 
 
414 
 
 PRINTING 
 
 which are let into the text 
 instead of the margin. 90. 
 
 Indent. — A line set back a 
 little ; for instance, the coni- 
 niencenient of a paragraph, 
 ■which is generally indented 
 an em. 82. 
 
 Index. — The sign of a hand or 
 list S'^. 18. Also the glossarial 
 index end of this work. 401. 
 
 Indexes, rnle for setting np. 91. 
 
 India proofs. — Artists' or en- 
 gravers' proofs pnlled on india 
 paper. 237. 
 
 Ink, component parts of hlack. 
 216. 
 
 management of. 214-217. 
 
 qnick-drying. Used for dry 
 
 papers. 290. 
 
 reci])e for black. 210. 
 
 Ink p.ravek. — A small wooden 
 implement for rubbing out the 
 ink on the table. 201, 282. 
 
 Ink cylinder.— a small metal 
 cylinder contained within the 
 d'uctor. 288, 289. 
 
 Ink ductor.— The receptacle 
 similar to a trough which 
 holds the ink at the end of 
 a machine. 276, 288. 
 
 Ink kniee.— The long blade in 
 the ductor which regulates by 
 means of keys the amount of 
 ink to be given at each impres- 
 sion. Also a small hand-knife 
 used at press. 202, 288. 
 
 Ink mills. — Appliances for 
 grinding. 216, 217. 
 
 Ink slau.— The table on which 
 ink is distriliuted, either at 
 press or machine. 201, 210. 
 
 Ink slice. — .\ small iron im- 
 plement for lifting the ink out 
 of the can. 201. 
 
 Ink sri'i'LV on machine. 279, 
 301. 
 
 Ink table, — The surface on 
 which the ink is distributed. 
 200, 201, 202, 289. 
 
 Inkers. — The lar«re rollers on 
 
 the printing machine which 
 apply the ink to the type. 288. 
 
 Inking apparatus, geared. 
 — All up - to - date machines 
 have this system attached. 
 292-293. 
 
 Inking ball. — The old- 
 fashioned method of applying 
 ink to the type l)efore rollers 
 were invented. 205. 
 
 Inking distributor of Crop- 
 per. 276. 
 
 Inking, system of, older 
 method as used for Wharfe- 
 dales. 288, 289-293. 
 
 Inks for trichromatic printing. 
 253. 
 
 Inner forme. — The pages of 
 type which fall on the inside 
 of a printed sheet in " sheet'' 
 work — the reverse of "' outer " 
 forme. 94. 
 
 Inner tympan.— The smaller 
 and inner of the pair. 198. 
 
 Inset. — A sheet, or part of a 
 sheet, to be placed inside an- 
 other sheet to complete se- 
 quence of pagination. 93, 94. 
 
 Inside reams"— (lood and se- 
 lected paper — ajiplied more 
 especially to drawing or hand- 
 made papers — of 480 sheets ; 
 mill reams of 472 sheets con- 
 tain top and bottom "out- 
 side " quires. 330. 
 
 Intaglio. — Printing, such as 
 from copperplate — the reverse 
 of " relief " i)rinting. 1. 
 
 Inverted commas. — Extract 
 matter or names of works are 
 l)laced between inverted 
 commas, thus "and." 80. 
 
 Italic. — Ty2icsofthisr]iariU'tcr. 
 16. 
 
 mode of expressing. 82. 
 
 Its own body.— This term is 
 applied to the text type of a 
 work to distinguish it from 
 the note or appendix types, 
 usuallv smaller. 84. 
 
GLOSSARIAL INDEX 
 
 415 
 
 .1 KJGEK. — A small box with divi- 
 sions to h(>ld ])ecnliar sorts, 
 usually made of (|ua<liats and 
 leads. ' 86. 
 
 rluH. — Any work which makes 
 less than a sheet. 170. 
 
 Joi? CHASES. — Small cliasesiised 
 for johbin;H' purposes, ol), 60. 
 
 .loBiJlNU CASES. — IJouhle cases 
 made with up})er and lower in 
 one. They are sometimes 
 made treble. 42. 
 
 .loisi'.iNC I-OUNTS. — Types of 
 fancy character. 18, 22, 119. 
 
 JOIJBlNCx MACHINES. — The small 
 treaiUe platen machines. 271. 
 
 Jobbing work in composition. 
 119. 
 
 Justification. — This term is 
 applied generally to the even 
 and equal si)acingof words and 
 lines to a given measure. 77. 
 
 leads re(|uired for. 183. 
 
 ivEEN. — The under part of any 
 letter which overhangs the 
 shank or body, as in some 
 italic founts. 23. 
 
 Knock up. — To make the edges 
 of a heap of pa[ter straight 
 and square by knocking up to 
 one edge. 353. 
 
 Knowledge of printing, 
 c,>UESTiONS IN, set for Clerks 
 in H.M. Stationerv Ollice. 
 393-4UU. 
 
 L.\ID paper. — Paper showing 
 the wire or dandy marks. 328. 
 
 Lapped paper. — Reams of 
 paper sent in Hat, i.e., not 
 folded, with the two ends 
 lapped over — thus being di- 
 vided into three. 330. 
 
 Large cards. —A size of card, 
 4^ X 3 inches. 338. 
 
 Large post. —A size of writing- 
 paper, 21 ■; 161 inches. 334. 
 
 L.VY. — This refers to the i)Osi- 
 tion of the print on a sheet of 
 
 paper. Also to the order in 
 which tvpe is laid in cases. 
 41 72 222. 
 
 Lay of booiv cases. 41, 72. 
 
 of (Jerman cases. 166. 
 
 of (Jreek cases. 152. 
 
 of Hebrew cases. 159. 
 
 of music cases. 171. 
 
 of news cases. 73. 
 
 of sheet, centring. 235, 277. 
 
 Lay marks. 278. 
 
 Lay, method of obtaining the, 
 235, 278. 
 
 Layer on. — The feeder on a 
 printing machine. 301. 
 
 Lead cutter.— A machine for 
 cutting leads. 68. 
 
 Lead and reglet case. — A 
 cabinetwithdivisionsfor hold- 
 ing various sizes. 44. 
 
 Leaders. — Dots or full points 
 cast on an em of any particu- 
 lar body, thus ... 13. 
 
 Leads. — Strips of lead cast to 
 ditl'erent thicknesses and cut 
 to various sizes. 4S. 
 
 number of, in a pound. 49. 
 
 required to justify with 
 
 type. 183. 
 
 weight of, required for a 
 
 job. 49. 
 
 Length of page, determining. 
 89. 
 
 Lengths and widths of pages 
 for book work. 180. 
 
 Letter. — A general term for 
 type as a fount. 84. 
 
 distinctive parts of a. 23. 
 
 Letter A Ls. — As ai)plied to 
 errors in setting up or on 
 ]Moofs. 7(). 
 
 Letter board. — Another term 
 for a laying-up board. 64. 
 
 Letter mould. — The appara- 
 tus used for hand casting of 
 types, 3, 4. 
 
 Letterpress. — Printing from 
 type as distinct from litho- 
 graphic or plate printing. 1. 
 
 Letters, classilkation of. 24. 
 
416 
 
 PRINTmG 
 
 Lever coniposinjj; stick. — The 
 slide-fastener consists of a 
 thumb lever. 45. 
 
 Liberty platen machine. 280. 
 
 Lift. A handful of printed or 
 un printed paper is designated 
 a lift. 850. 
 
 LitJATi'RES. — Two or more let- 
 ters cast in one i)iece, such as 
 a or ffi. 13, 15. 
 
 Light tints. — Thelighterparts 
 of a cut in printing. 237. 
 
 Lightning proof press. 67. 
 
 Line process p.locivS. — As dis- 
 tinct from half-tone blocks. 
 368. 
 
 LiXKS PEP. thousand, table of 
 number of. 181. 
 
 Linf:s or words broken. — 
 How to express on ]m)of. 186. 
 
 Linotype composing machine. 
 131-137. 
 
 Lithography. —Printing from 
 stone or zinc. 365. 
 
 LocKiNG-up apparatus. — Ap- 
 ])lied to the various kinds of 
 l)atent fastening, such as 
 screws or iron Avedges. 54. 
 
 Lock-up. — To fasten up tightly 
 the quoins of a forme by 
 means of a mallet and shoot- 
 ing-stick. 53, 113. 
 
 Lock-up chases. — Special 
 chases made in order to dis- 
 pense with large quantities of 
 turnituie in lilling up spare 
 room in formes or on the 
 l)ress. 60. 
 
 London scale for type compo- 
 sition, abstract of, 178. 
 
 Long cross. — The longest 
 cross-bar of a chase. 58, 106. 
 
 LoX(; letters. — Accented let- 
 ters used to denote contrac- 
 tions or [)r()nunciation, as ii e i 
 o u, etc. 14; .see also 24. 
 
 r.ONG primer. — A type one size 
 larger than ]>ourgoois and one 
 size smaller than Small Pica, 
 
 equal to two Pe.uls. 
 
 •iKi, li/, 
 
 Low. — When letters or other 
 parts of a printed sheet do not 
 show up clearly they are said 
 to be "low." 221. 
 
 Lower case. — The case which 
 contains the small letters, 
 points, and sj)aces — the lower 
 of a pair of cases. 40, 42. 
 
 Lubricating. — The act of oil- 
 ing any part f)f a i)ress or 
 machine. 227, 302. 
 
 Lubricators. — Small glass 
 globes placed on the shafting 
 to lubricate the shaft. 260. 
 
 Lug. — When rollers are tacky 
 or stick together thev are saitl 
 to lug. 301. 
 
 J^YE. — The i)re])aration used for 
 cleansing type after printing. 
 87, 229. " 
 
 Lye jars. 228. 
 
 Lye trou(;ii. — The rece[»tacle 
 for holding lye. 228. 
 
 Machine MINDER.— Theskilled 
 worker who is responsible for 
 the care of a machine. 302. 
 
 Machine paper. — Paper other 
 than that made by hand. 328. 
 
 M A c H I N E P o I N TS. — Special 
 ]ioints which are used in the 
 machine department, and dis- 
 tinct from press points. 301. 
 
 Machine printing. 270-274. 
 
 Machines, care of. 272. 
 
 classification of. 271. 
 
 laying down. 271, 302. 
 
 M ACKLE. — A printed sheet with 
 a slurred appearance, owing 
 to the frisket dragging, or a 
 ilefect in the iuipressioiL 229. 
 
 iSIVHOGANY composing stick. — 
 Principally used for news- 
 work. 44, 46. 
 
 Make even. — In copy with long 
 paragraphs, compositors have 
 sometimes to iinish their por- 
 tions at the end of a line, in 
 order to expedite the closing 
 
GLOSSARIAL INDEX 
 
 417 
 
 u]) of " tiike^." Tlie>' uro tlioii 
 said to "make oven." \'2{). 
 
 Makh of rAPEit.— Applied to 
 the whole makiiii;" of a special 
 lot of papers. 831. 
 
 Making makgin.— To give the 
 ]»ioj>er proportion of margin 
 or fnrniture to a forme i)ie- 
 paratory to imposition. 105. 
 
 Making inieasure.— To make 
 the comi)Osing stick up to a 
 given measure. 78. 
 
 Making - keady. — Preparing 
 for printing by patching up 
 or cutting awav, etc. 219, 220, 
 274, 294,^295. "^ 
 • by the old method. 291. 
 
 Making-up into pages. 88. 
 
 Mallet. — A -wooden hammer 
 with a large heail used for 
 locking-up formes. 57, 302. 
 
 Manuscript copy. 82. 
 
 Marginal notes. — Usually 
 called sidenotes ; sometimes 
 incut, or let into the matter 
 at the side. 89. 
 
 Margins, printer's delinition of. 
 106. 
 
 Marinoni lock-up. 54, 55. 
 
 Marinoni machine. — A 
 French printing machine of 
 rotary make, invented by a 
 person of that name. 324-325. 
 
 Mark. — This refers to the mark 
 to which a sheet is laid in 
 printing. 316. 
 
 Marks of reference.— Signs 
 of various kinds used for 
 notes, such as * f || IF. Some- 
 times superior figures or let- 
 ters are so used. 90. 
 
 Matrix. — The cop])er mould 
 with a punch struck in by 
 which tyi)e is cast; also called 
 a "strike." 3. 
 
 MatteI!. — Another term for 
 composed type. 47. 
 
 Measure.— The given width of 
 a page of type. Measures are 
 generally made to pica ems, 
 
 but soiiict iiiu's in narrow or 
 (loublo-c<tluiiin matter an en is 
 used in a<ldilion. 78. 
 
 Medium. — A size of ininting 
 paper, 24 x 19 inches ; writing, 
 22 X 17i inches. 331, 334. 
 
 MELriN(T kettle. — The utensil 
 useil for melting composition 
 in making rollers. 206. 
 
 Metal corners for rule work, 
 122. 
 
 Metal curyes.— As used for 
 bending display lines. 123. 
 
 ]Metal FiitNiTrRE. — Furni- 
 ture cast in an alloy of poorer 
 quality than type-metal. 52. 
 
 Metalg ALLEY. — A galley gene- 
 rally made of zinc, but some- 
 times of brass. 47. 
 
 Metal rule. — A general term 
 for em rules or dashes. Also 
 applied to longer rules, such 
 as two, three, or four ems. 13. 
 
 INIetiiods OF book-illustra- 
 tion. 365. 
 
 Middling spaces. — Spaces cast 
 four to an em of any particu- 
 lar body. 13, 28. 
 
 ^IlEHLE "machine. —An Ame- 
 rican two-revolution machine. 
 269, 309, 311. 
 
 Mill reams. — Handmade 
 l)ai>er, 472 sheets to a ream; 
 if all inside (piires, 480. 330. 
 
 MiNERYA machine.— A small 
 platen jobbing machine — the 
 original " Crop[ier '' machine. 
 275, 276, 281. 
 
 Minion. — A type one size larj^er 
 than Emerald and one size 
 smaller than Brevier. 26, 27. 
 
 Minn I KIN. — A size of type 
 smaller than Urilliant. 27. 
 
 Miss. — An omission to lay a 
 sheet <m by the feeder of a 
 maciiine. 279. 
 
 Mitiie platen machine.— 
 Made bv Messrs. Dawsor. of 
 Utley. 280, 2S1. 
 
 Modern-face type. — Founts 
 
 E E 
 
418 
 
 PRINTING 
 
 (►f rocoiit (late, the reverse of 
 aiiti(iue or old -faced tYjies. 
 14, lo, 20. 
 
 Modern - faced dlack - let- 
 ter. — As a rule a somewhat 
 iiyly character of ty[)e. 17. 
 
 Monk. — A black patch on a 
 printed sheet caused through 
 insutlicient distribution or bad 
 ink. 226. 
 
 Monotype. — A machine for 
 comj)osing ami casting single 
 types. 138-145. 
 
 Motive power, 254-268. 
 
 Motors, electric. 267-268. 
 
 gas. 260. 
 
 Mould for type casting. 3, 4. 
 
 Mould -made paper. A ma- 
 chine paper made in a nu)uld 
 and havingfourdeckled edges. 
 328. 
 
 Movable. — A general term a]v 
 jdied to type to distinguish it 
 from stereotype, etc. 1. 
 
 Music, composition of. 170-172. 
 
 Music cases. — Special cases of 
 a complicated character for 
 composing music tyjie. 171. 
 
 Music i'VPE.— Special type used 
 in letterpress ])rinting distinct 
 from engraved i)lates. 170. 
 
 N. P. — An abbreviation for 
 "new paragrajih," the com- 
 mencement of a new line by 
 means of indentation. 115. 
 
 Naked eorme. — A forme of 
 type waiting for, or stripped 
 of, furniture. 111. 
 
 Narrow. — Wooden furniture 
 (sometimes of metal) three 
 picas in width. 52. 
 
 New lay. — A plan of cases re- 
 cently suggesteil for expedit- 
 ing composition. 74. 
 
 News cases, i>lan of. 73. 
 
 News cn.MPOsiNc; STICK. 44, 4(). 
 
 News hands, (jualiHcations for. 
 120. 
 
 Newspapki; (II a ses. --Spe- 
 
 cially made chases to alloM 
 of the i)ages Ijeing laid close- 
 ly together on tlie machine. 
 58. 
 
 Newspaper work in compo- 
 sition. 129. 
 
 New York composing (quad- 
 ruple frame. 39,41. 
 
 Nib of setting rule.— The 
 nose by which the com{)ositor 
 lifts up the rule when the line 
 is finished. 46. 
 
 Nicholson's machine. — This 
 machine v^'as devised by AVil- 
 liam Nicholson in the eigh- 
 teenth century, and was the 
 forerunner of all subse(|uent* 
 machines. 285. 
 
 NiCk. —The groove or grooves 
 jjlaced in the shank of a letter 
 to assist composition, and to 
 discri minate between ditlerent 
 founts. 23, 24. 
 
 Nine point.— Type body e(pial 
 to Dourgeois old standard. 32. 
 
 Nipping press. —A small screw 
 press for the more expeditious 
 cold-pressing of jobs. 342. 
 
 Noiseless forme carriage. — 
 A small trolley with india- 
 rubber tyred wheels. 118. 
 
 Nonpareil. — A type one size 
 larger than Pearl and cme size 
 smaller than Emerald — half 
 of a Pica in depth of bodv. 26. 
 27. 
 
 Xu.MP.ERrNG or paging by me- 
 chanical aids. 357. 
 
 Numbers, Kuleforsetting. 187. j 
 
 Numerals. — Numbering by 
 means of Koman numerals, i, ' 
 ii, iii, etc., instead of Arabic 
 iigares, 1, 2, 3, etc. 91. 
 
 Octavo. — A sheet of paper 
 folded into eight — shortly 
 written thus — 8vo. 94. 
 
 Octodecimo. — A sheet folded 
 into eigiiteen leaves. 94. 
 
 OurUPLE MACHINE. -A rotarv 
 
GLOSSARIAL INDEX 
 
 419 
 
 (lolivcM-iiit;- t'iulit copies from 
 f<mirollsof(loiil»le\vi(ltli. H19. 
 
 Off-cut. — That part of the 
 sheet which has to be cut off- 
 in order that the sheet may 
 be fohled correctlv, as in a 
 "twelves." 99. 
 
 Off its feet. — A term applied 
 to type when it is not standin*^- 
 squarely on its feet. 92. 
 
 Off-set. — The set-oil" of ink 
 from one sheet to another of 
 printed work whilst wet. 227. 
 
 Oilengines. 254, 2(53. 
 
 Old English. — Founts of type 
 of black-letter character. 17. 
 
 Old face.— Any thini;- pertain- 
 ini>- to the old or antique 
 style. 14, 1"), 20. 
 
 Old style.- -Founts of revived 
 anticpie type. 14, ].">, 20, 2(5. 
 
 Otto (Jas en(;ine. — (Jas motor 
 especially well adapted for 
 drivin*^ printing machinerv. 
 2(51, 262. 
 
 (Jut.— An omission of a word or 
 words in settin^j up. 114. 
 
 Out OF R EGiSTEi;.— When pa^es 
 do not back one another line 
 for line, or at head and foot, 
 throutih bad .^auuing of pages 
 or furniture. 224. 
 
 OUTER FORME. — As distinct 
 from the inner one of any 
 sheet. 94. 
 
 Outer tympan. — The larger 
 tym]ian, into which the inner 
 one tits. 198. 
 
 Outside reams. — Reams of 
 ]>apev made uj) of outside or 
 dumaged sheets. IVM. 
 
 OVEr.HEAD EXPENSES. — Dis- 
 tinct from general expenses, 
 which see. .*}(53. 
 
 Oyerlay. — 'I'o make ready by 
 overlaving — the reverse of 
 underlaying. 236-243, 298. 
 
 Overplus. — The "])lus" or 
 "over" copies of a definite 
 number in printing. 228. 
 
 (>\ki;run. — To re-arrange or 
 re-make-u[) matter after dele- 
 tions or insertions. 114. 
 
 OvEiis.—Scc Overplus. 
 
 Oxford corners. —Borders 
 with mortised corners, thus 
 122. 
 
 t 
 
 Packing of printed work. 353. 
 
 Page showing corrections. 116. 
 
 with proper margin. 108. 
 
 Page cord.— A kind of cord, 
 the thickness of twine, for ty- 
 ing-up pages of type. 69, 91. 
 
 I* A G E G A U G E. — A piece of 
 notched reglet used for mak- 
 ing-up pages to a uniform 
 length. 89. 
 
 Paper. 328-339. 
 
 care of. 328, 347. 
 
 drawing. 329. 
 
 equivalent weights of. 332, 
 
 335. 
 
 handmade. 328. 
 
 printing. 329-334. 
 
 relative weights of difier- 
 
 ent reams. 333. 
 
 sizes of l)rown. 339. 
 
 sizes of letter and note. 
 
 sizes of printing 
 
 divided. 336. 
 
 table for giving out. 
 
 writing. 329. 
 
 Paper, some suggestions 
 testing. 331. 
 
 Papers, coated. —Frequently 
 called "Art" j^apers — the sur- 
 face being given by the use of 
 somemineral [ueparation. 295. 
 
 Papers, scJ;-on'. 228. 
 
 Paragon. — A type one size 
 larger than (Jieat Primer and 
 one size smaller than Double 
 Pica. 27. 
 
 Parcel of paper. — Applied to 
 the whole making of any spe- 
 cial lot. 3,30. 
 
 I'arcellinc; up work. 355. 
 
 Part>oe machine. — A rotary 
 
 338. 
 sub- 
 
 336. 
 
 for 
 
420 
 
 PRINTING 
 
 inachiiie for iicws[)apcr 
 work invented l>y ^Messrs. 
 Pardoe and Davis. 327. 
 
 PASTE-roiNTS. — Very fine 
 points — usually drawing-pins 
 —used for very closely regis- 
 tered W' ork on press. 223, 246. 
 
 Patch up. — To overlay or bring- 
 up an impression sheet with 
 pieces of thin paper. 221. 
 
 Pearl.— A type <me size larger 
 than Diamond and one size 
 smaller than Kuhy — the 
 smallest ty]ie enumerated l)y 
 Moxon. 26, 27. 
 
 Pearlash. — Carbonate of pot- 
 ash when diluted is used as 
 a wash for type. 229. 
 
 Peculiars. — A general term 
 for out-of-the-way sorts, i.e., 
 accents, records, etc. 13, 86. 
 
 Pedestal INK TABLE. — A small 
 ink table on a single leg or 
 pedestal. 202. 
 
 Peel. — A wooden implement 
 used for hanging up printed 
 sheets for drying. 351. 
 
 Peeling. — A ])rocess of prepar- 
 ing overlays by skivering or 
 thinning down the hard edges 
 of an illustration. 238. 
 
 Perceler two-feeder ma- 
 chine. — De^<igned and made 
 by Messrs. Dawson. 310, 312. 
 
 Perfect paper. —Reams of 
 paper made u[) to a printer's 
 ream, i.e., 516 sheets, are said 
 to be "perfect." 330. 
 
 Perfect up.— This is the print- 
 ing of the second .side of the 
 paper in half-sheet or sheet 
 work. 222. 
 
 P E It F E C T I N ( ; M A C H I N E. —A 
 (hmble eylintlrical machine 
 A\ hich prints l)()th sides of the 
 sheet at one operation. 2t)<», 
 314, 315. 
 
 Perforating. 357. 
 
 pikemx platen maci?ine 280. 
 
 Photogravure.— The photo- 
 
 graphic process of producing 
 ]>lates for the intaulio method. 
 372. 
 
 Pica. — A type one size larger 
 than Small Pica and one size 
 smaller than English — the 
 body usually taken as a stand- 
 ard for leads, width of meas- 
 ures, etc. 26, 27. 
 
 Pica -GAUGE. — A type scale or 
 measure made to pica ems. 110. 
 
 Pick. — A speck or blur caused 
 l)y dirt or l>adly distributed 
 ink on the face of a letter. 235. 
 
 Pie. — Type broken or indiscri- 
 minately mixed. 85. 
 
 Pinched post. — A writing 
 paper, ^-mall post, 18^ x 14| 
 inches. 335. 
 
 Pin-mark. — The slight mark 
 in the side of a type near the 
 top of the shank made in cast- 
 ing by machinery. 5, 23. 
 
 Pit. — The hollow cavity in the 
 floor under a machine for ac- 
 cessibility to the under parts. 
 It is sometimes also neces- 
 sary for the steady working 
 of a machine. 272. 
 
 Pitch. — Placing the forme on a 
 machine to a given position, 
 in order that the type may be 
 printed in a correct position 
 on the sheet. 291. 
 
 Pitch, finding the.— An ex- 
 pression used in obtaining the 
 precise lay on a machine. 291. 
 
 Plain types.— As distinct from 
 fancy or jobbing founts — 
 generally book-founts. 119. 
 
 Planer. — A flat smooth piece 
 of wood used for levelling the 
 tvpe before locking-ui). 57, 
 113. 
 
 Plate printing. — Intaglio 
 printim;' — the reverse of re- 
 lief, i. 
 
 Platen jobbing machines.— 
 Worked bv either steam or 
 foot. 271,^280-282. 
 
GLOSSARIAL INDEX 
 
 421 
 
 Pi.ATKX :\i\ciiiNK. — A printinj;- 
 uiaoliine which has a Hat 
 impression — not a t'\ liiidiical 
 one. 271, 283. 
 
 Plus. — Over copies to any given 
 nnniher in printing off. 228. 
 
 I'OFNT-iioLKs. — The pnnetnres 
 ni.atle in the sheets hy t!ie pins 
 or spnrs of the points. 222. 
 
 Point sckews, — Scre^vs for 
 fastening the points on the 
 tynipan. 22'>. 
 
 Point 8Ystk:\i of tyi)e hotlies.— 
 Keckoned on a hasis of 12 
 points to a pica. 82, 33, 183. 
 
 Points. — Long thin pieces of 
 iron with a ])in or sjtnr at the 
 end, nsed for ensnring the 
 correct register of the sheets 
 in i)crfecting. 222, 223. 
 
 elhow (twelvemo). 223. 
 
 fixing on press. 222. 
 
 octavo. 223. 
 
 ■ paste. 223, 246. 
 
 Polks for drying printed work. 
 350. 
 
 Post. — A printing paper. 20 x 16 
 inches. 331. 
 
 Postkk stick. — A long wooden 
 composing stick, 46. 
 
 Pott. — A printing paper, 
 15ixl2Unches. 331. 
 
 P K E L I :\u'n a ii y.— Any matter 
 coming before the main text 
 of a work — title, preface, con- 
 tents, etc. 90. 
 
 Pkess proof.— The final proof 
 passed by the anthor or pub- 
 lisher " for press." 189. 
 
 Press, working at. 226, 234. 
 
 Presses, classification of. 197. 
 
 Pressing boards. —The glazed 
 boards used for pressing 
 printed sheets, 342. 
 
 Pressmen.— The skilled work- 
 men who manipulate hand- 
 presses. 1 90. 
 
 Press work. — Printing by 
 liand-presses. 190. 
 
 some liints (»ii. 233. 
 
 Prices for com})osition, Scale of 
 London. 175-179. 
 
 Primer (also called phima).— 
 In reading a work sheet by 
 sheet the first word of the en- 
 suing signature is marked ])y 
 the reader as the "})rimer." 
 188. 
 
 Printers' ream.-t-A perfect 
 ream of 516 sheets. 228, 330. 
 
 Printin<; of cuts. 236. 
 
 on glazed surfaces. 234. 
 
 Printing, knowledge of. — 
 (^hiestions set for Clerks in 
 11. xM. Stationery Office. 393- 
 400. 
 
 Process blocks. — Illustrations 
 in relief i)roduced by any me- 
 chanical process. 2, 239. 
 
 Production and selling, on 
 cost of. 358-364. 
 
 Proof reader. — A general 
 term for the "corrector of the 
 press." 185. 
 
 Proofs, clean. — Pulls after cor- 
 rection — distinct from "first 
 proofs." 118. 
 
 Publishers' binding.— Cloth 
 case-work. 356. 
 
 Punches. — The small steel 
 dies used for punching into 
 the matrix. 3. 
 
 Punctuation marks, spacing 
 of. 80, 186. 
 
 Pyramid geared rollers. —A 
 new arrangement where the 
 rollers are }»iled in pyramid 
 order. 293. 
 
 Quad crown.— A printing pa- 
 per, 40 X 30 inches. 331. 
 
 Quad foolscap. — A printing 
 paper, 34x27 inches. 331. 
 
 Quad pos'J'. — A jirinting paper, 
 40x32 inches. 331. 
 
 Quad pott. — A printing i)aper, 
 31 X 25 inches. 331. 
 
 Quadrats. — Large metal 
 s])aces of various sizes for fill- 
 ing up shoit lines, etc. 13, 28. 
 
422 
 
 PRINTINa 
 
 Quadruple machine. — A ro- 
 tary delivering four copies 
 from two rollsof double width. 
 
 :nd. 
 
 Q U A R T E R - B OU N D. — A hook 
 with cloth sides hut leather 
 back is so described. 356. 
 
 Quarto. — A size f,nven when a 
 sheet is folde<l into four leaves 
 — written shortly, 4to. 94. 
 
 QuiCK-i)RYiX(; INK. — Used for 
 l)rintinji: on dry paper. 296. 
 
 (^UIRE. — Sections of a ream of 
 paper, consisting; of twenty- 
 lour sheets. 330. 
 
 Quired paper. — Reams of pa- 
 per folded in quires — not sent 
 in^tiat." 330. 
 
 Quoins.— Small wedj^es of va- 
 rious sizes, usually of wood, 
 used for tiglitening or lock- 
 ing-up formes. 53. 
 
 fitting- of. 112. 
 
 patent, oo, 56. 
 
 Racks.— Recei)tacles for liold- 
 ing- cases, boards, etc. 61, 64. 
 
 R A N D o M. — A special f ram e 
 used by compositors in mak- 
 ing-up and for putting stand- 
 ing lines and heads on. 39. 
 
 Reader. — The responsilde per- 
 son who compares and reads 
 the proof l»y copy, .and who 
 revises corrections made by an 
 author or editor. Also called 
 "corrector of the press." 185. 
 
 Readers' marks, synopsis of. 
 115. 
 
 Readino. 185-189. 
 
 Reading bovs, selection of. 189. 
 
 Ream. — Paper in ]>arcels or 
 bundles of a certain size — a 
 printer's ream being 516 
 sheets. Handmade and draw- 
 ing ]»apers slightlyditler inthe 
 numl)er of sheets, sometimes 
 472, 4S0, or 500. 228, 330. 
 
 Red ink, printing electros 
 with. 245. 
 
 Reddish Jobber platen ma 
 chine. 280. 
 
 Reel of paper.— The paper 
 made in continuous lengths 
 used for rotary ]irinting ma- 
 chines. 332. 
 
 Reference marks. — Used for 
 notes, such as * + J § II H. 
 Sometimes figures or letters 
 are used. 13, 90. 
 
 Reference, works of. — As 
 used in the Reading depart- 
 ment. 189. 
 
 Reglster. — The exact adjust- 
 ment of pages back to back 
 in printing the second side of 
 a sheet. Cr2, 222, 246, 301. 
 
 Reglet. — Thin wooden furni- 
 ture up to Two-line Great 
 Primer generally comes under 
 the head of "reglet."' 51. 
 
 Reiteration. — The second side 
 of a sheet in printing. 224. 
 
 Relative wei(;hts.— The dif- 
 ference in weight of any 
 reams between printing, writ- 
 ing, or drawing papers. 333. 
 
 Relief printing. — Letterpress 
 and block printing comes 
 under the head of "relief," 
 as distinct from lithography 
 or plate printing. 1. 
 
 Removes.— The ditl'erence be- 
 tween one size of type and 
 another is expressed bv this 
 term. 90. 
 
 Retree. — The outside, rejected, 
 or damaged pajjerof different 
 reams, marked thus x x in 
 invoicing. 331. 
 
 Ride IIS and rollers, geared. 
 — The up-to-date method em- 
 ployed for machines. 291. 
 
 Riggers. — Wheels attached to 
 shafting for transmittingdriv- 
 ing power to a machine. 260, 
 261. 
 
 Rise. — A forme is said to rise 
 when it springs through bad 
 locking-up and the type gets 
 
GLOSSAEIAL INDEX 
 
 423 
 
 oil" its foot. The term is also 
 used when ([uadiats and furni- 
 ture bhick in ])rintin^' throujili 
 imperfect justilication, llo. 
 
 lIlSEKS. — Wooden or metal 
 blocks for mount in^i;' stereoand 
 other [•lates. •2'Ml 
 
 KOLLER com])osition, recipes 
 for. L>()4. 
 
 Harinu a. 211. 
 
 kettle. '20(1 
 
 TiOLLEii FoiiKS. — Iron rece)>- 
 tacles to hold the spindles of 
 the rollers. 289. 
 
 Holler frame.— Made of iron 
 and used for press rollers. 
 205. 
 
 Holler moulds. — Apparatus 
 of various sizes in which roll- 
 ers are cast. 207. 
 
 luhricatino'. 210. 
 
 Hollers. — Made of a composi- 
 tion, and used for applviiiu 
 ink to the type. 204-213'. 
 
 arched. 211. 
 
 casting of. 209. 
 
 cooling- of. 212. 
 
 ■ cracked or cut.' 212. 
 
 damp or greasv. 212. 
 
 dimcult. ■ 212-218. 
 
 drying or Avarming. 21o. 
 
 facts about. 210." 
 
 good wearing. 211. 
 
 keeping of. 213. 
 
 making of. 206. 
 
 out of use. 211. 
 
 preserving of. 213. 
 
 treatment of old. 210. 
 
 too new. 213. 
 
 warming of. 212. 
 
 warihing of. 20!>, 211. 
 
 Hollers, distributing. — Those 
 
 which take ink from the \i bra- 
 tor and distribute on the ink- 
 ing table. 289. 
 
 HOLLINCJ AT PRESS. 226. 
 
 HOLLINO OF SHEETS. —As Used 
 
 after printing of!" to give a 
 linish. 241,248.296. 
 HOMAN.--Thc |»articular kind 
 
 of type in which book and 
 other work is composed (such 
 as this fount), as distinguished 
 from italic. Called "An- 
 tiqua" by the Germans. 12. 
 HOTARV MACHINES. 271, 318- 
 327. 
 
 HOTARV TVl'E -CASTING MA- 
 CHINE. 7-11. 
 
 Rotten. — Term ap[)lied to an 
 unsound impression in j»rint- 
 ing. 238. 
 
 HOVAL. — A printing paper, 
 25 X 20 inches ; writing paper, 
 24x19 inches. 331,334. 
 
 HlBRICATED LETTERS. — Capi- 
 tal letters printe<l in red ink. 
 125. 
 
 HriJV. — A tyi»e one size larger 
 thanl*earl and onesizesnialler 
 than Nonpareil, e([ual to half 
 a Small Pica in body. 26, 27. 
 
 Rule borders. — Made of brass 
 or other metal, to form a 
 frame or line round a page, 
 119. 
 
 Rule case. — Tray for holding 
 brass rule of the usual size of 
 type cases. 51. 
 
 Rule cutter. — An ajiparatus 
 for cutting brass rule into 
 short lengths. 68, 
 
 Ruling. — Such as is used for 
 account books. 357. 
 
 Runners.— Figures or letters 
 placed down the length of a 
 page to indicate the particular 
 number or i)Osition of any 
 given line. 89. 
 
 Run-on.— A sentence continued 
 in same line, not a distinct 
 paragraph ; also said of chap- 
 ters which do not begin on 
 fresh pages. 88. 
 
 Samples of various fai'ER.s, 
 — See end of this work. 
 
 Saw block. — Block of wood in 
 which slots are cut, used for 
 
 sawing ujt furniture .">2. 
 
424 
 
 PRINTING 
 
 SCALEBOARD. — Very tliin strips 
 of wooden furniture used for 
 obtaining close register in 
 printing. 52. 
 
 Scandinavian.— A platen lua- 
 cliine with single cylinder, in- 
 troduced many years ago into 
 this country l»y the inventor 
 — a Scandinavian. 271, 283, 
 284. 
 
 Screw chases.— Chases mostly 
 used for newspaper work, 11 1- 
 ted with screw s to obviate tiie 
 use of wooden quoins. 54. 
 
 SCHEW^ COMPOSING STICK.— The 
 old-fashioned composing stick 
 is fastened up by means of a 
 screAv with a slotted head. 45. 
 
 Serif. — Tlie fine lines on the 
 to}) and bottom of a letter, 
 thus H. 23. 
 
 Set. — A recognized term for 
 "com[)Osed" — to "set ".type 
 is to " compose " it. 47. 
 
 Set-off.— ^V hen the ink off-sets 
 from one sheet to another. 316. 
 
 Set-off papers.— Special pa- 
 pers used to reduce the set-off 
 in printing. Oil, turpentine, 
 or glycerine may be applied to 
 the sheets for this purpose. 
 228. 
 
 Setting rules. — Brass rules 
 used in setting type, shifted 
 line l)y line as linished. 46. 
 
 Setting up type, method of. 
 79. 
 
 Seven point. — Type l)ody equal 
 to Minion old standard. 32. 
 
 Sewing. — Used for bookwork, 
 and distinct from "stitching" 
 or " stabbing." 355. 
 
 Skx'I'uple MACHINE.— a rotary 
 del i veringsix coj)ies from tliree 
 rolls of double width. 319. 
 
 Shafting.— Revolving turned- 
 iron )»ole susjtended horizon- 
 tally to convey the driving 
 ])ower to the machines. 260, 
 2()1. 
 
 Shank.— The body of the letter 
 or type. 23. 
 
 Shears. — The ordinary imple- 
 ments used for cutting short 
 lengths of brass or leads. 69. 
 
 SiiEEP's-FOOT. —A hammer wit n 
 a claw at the foot. 203. 
 
 Sheet, margins of a. 107. 
 
 Shooting stick.— The imple- 
 ment — generally made of box- 
 wood, but sometimes of metal 
 — used with the mallet in 
 locking-up formes. 57, 302. 
 
 Short cross. — The shorter 
 and wider of the tM'O cross- 
 bars in any chase. 58, 106. 
 
 Shorts. — A term applied to 
 letters with the "short "'accent 
 over them, thus a e i 6 u. Also 
 applied to copies printed oft" 
 short of the number reijuired. 
 14, 227. 
 
 Shoulder of type.— The Hat 
 top of the shank of a type 
 from whence the bevel to the 
 face starts. 23. 
 
 SiDENOTES. — Marginal notes as 
 distinct from ' ' footnotes. " 90. 
 
 Side-stick.— /Src Foot-stick. 
 
 Sign a t u r e. —The letter or 
 figuie in the white line of the 
 first page of a sheet, to guide 
 binder in folding — also used 
 by printers to identify any 
 particular sheet. 92. 
 
 Signatures and folios, table 
 of. 96. 
 
 Signs. 13, 14. 
 
 Single cylindf:r machine. — 
 Embracing stop-cylinder or 
 any cl.ass of machine with one 
 cylinder only. 271, 290. 
 
 system of inking. 291. 
 
 Single-feed machine. — As dis- 
 tinct from a two-feeder. 310. 
 
 Six point. — Type body ec^ual to 
 Nonpareil old staiulard. 32. 
 
 Sixteenmo. — A sheet folded 
 into sixteen leaves— written 
 shortlv. 16mo. 94. 
 
aLOSSARIAL INDEX 
 
 425 
 
 Sizes of types, coini)ai;itive. 
 27, 183. 
 
 Skeleton forme.— A .special 
 forme — usually of a broken 
 and open uatui'e— made up for 
 a subsequent printinj;' in an- 
 other colour of ink. 126, 244. 
 
 Slice. — A flat ^ide iron knife 
 used for liftini;' iid<; out of the 
 can. 201. 
 
 Slukhi\(;.— A defective im- 
 j)res.sion, Iniving a doubled or 
 mackled appearance. 227, 300. 
 
 Small capitals.— The snniller 
 capitals laid in the u])[)er case, 
 distinct from the full cai)itals, 
 thus — PKIXTING, and indi- 
 cated in MS. by two lines = 
 underneath. 13, 82. 
 
 Small cards.- zV size of card, 
 3J, X 2i inches. 338. 
 
 Small pica.— A type one size 
 larger than Long Primer and 
 one size smaller than Pica, 
 ei|ual to half the body of a 
 Double Pica. 26, 27. 
 
 Small post. ^ A writing paper, 
 19x15^ inches. 335. 
 
 Soft - sized paper. — Special 
 printing jia^ier manufactured 
 with a very little atl mixture 
 of size. 329. 
 
 Soft tint.s.— The lighter jtarts 
 of an illustration. 237. 
 
 Solid matter. — Tyi)e com- 
 posed without leads ; also aj)- 
 plied to type with ]»ut few 
 quadrats in. 4(). 
 
 Solids. — The blacker or more 
 solid parts of a woodcut or 
 other illustration. 237. 
 
 Sorts. — Tin; general term aj)- 
 ]i)lied to any particular lettt-r 
 or letters as distinguished from 
 a complete fount. 13, 28, 
 30. 
 
 Space box.— A small tray with 
 six or eight divisions — a handy 
 substitute for the " s|)ace 
 bar-e." 114. 
 
 Spaces.— Metal blanks cast to 
 diH'erent thicknesses of their 
 own bodies for placing l)et ween 
 words and lilting up lines. 13, 
 28. 
 
 Spacino, rules for. 77, 1S6. 
 
 Speed rkioeps. — Iviggers, gra- 
 duated to allow of the driving 
 band l)eing shifted to increase 
 or reduce runiiinu' power. 260, 
 2()l. 
 
 Spelling and compounding 
 of words, rules for. 187. 
 
 Spoilage. —Applied to the 
 sheets spoilt in i)rinting, some- 
 times called "waste." 228. 
 
 Spring (juide for cutting ma- 
 chine. 346. 
 
 Spring point.s. — These are a 
 special kind of press points 
 AN'hich as.sist in throwing the 
 sheet oft" the spur of the })oint 
 as printed. 223. 
 
 Spur. — The short pin at the end 
 of the point which pricks the 
 hole in the sheet for registering 
 puii)oses. 223. 
 
 Square inch of type. 29. 
 
 number of words in a. 184. 
 
 St A BRING. — A reprehensible 
 method of fastening leaves 
 together. 355. 
 
 Stacking of printed work. 351 . 
 
 Standard line type.— A sys- 
 tem of aligningalltheditterent 
 fountson anyone Ixxly. 32,34. 
 
 Stanhope press. — The lirst 
 iron printing press made in the 
 early eighteenth century. 191. 
 
 Stationery Office, 11. M.— 
 (^hiestions set for examina- 
 tions in knowledge of print- 
 ing. 393-400. 
 
 Steam en(;ines.— Beanj, hori- 
 zontal, and vertical. 255-258. 
 
 Steam power. 254, 255. 
 
 Stereo blocks, "French." 
 230. 
 
 Stki!Eoi'vpk im^atks, mounting 
 of. 231. 
 
426 
 
 PRINTING 
 
 Stekkotvpe wokk. 280. 
 
 Stitching. — Used for pamphlet 
 work. 355. 
 
 Stock, keeping of. 354, 
 
 Stones, ini])().sing. — Also called 
 imposing "surfaces." 61. 
 
 Stop-cvlinder machine. — A 
 single cylinder distinct from a 
 two-revolution. 287, 290, 302. 
 
 " Stkaight-line ■' machine, -- 
 A rotary in which the paper 
 travels in a straight line from 
 end to end of nuichine. 320. 
 
 Strikes.— A term for type 
 matrices struck from the ori- 
 ginal punches. 3. 
 
 Stroker.— A small implement, 
 generally made of wood and 
 tipped Avitli metal, for lay- 
 ing on or "stroking in" sheets 
 in a printing machine. 316. 
 
 Stuff. — A slang expression 
 applied to the material used 
 for making paper. 329. 
 
 Style of the house. — Sugges- 
 tions for formulating some 
 rules. 81. 
 
 Suction Gas Plant. 265, 266. 
 
 Super-calendered paper. — 
 A class of paper well rolled or 
 calendered. 295, 330. 
 
 Superior figure s. —Small 
 figures cast on the shoulder of 
 type, generally used for foot- 
 note reference, thus — ' - ^. 90. 
 
 Superior letters.— Small 
 letters cast on the shoulder of 
 tyi)e, used for references or 
 ahbreviations, as M'", N'% etc. 
 90. 
 
 S U P E R R o V A l. — A printing 
 pa})er. 27', x 20i inches ; writ- 
 ing, 27 X "19 inches. 331, 334. 
 
 Swash i>etters.— Seventeenth 
 century italic cai)itals with 
 tails and llourishes, thus — 
 .A 'BT) c.ir .Xetc. 16. 
 
 Table engine.— A small steam 
 engine. 258. 
 
 Table work.— Matter of four 
 or more columns, which 
 reckons as douhle composition 
 in casting-up. 173, 177. 
 
 T a b u l a r w o r k. — Three- 
 cohnun matter, which reckons 
 a (juarter or half extra in value 
 of composition according to its 
 nature. 173, 177. 
 
 Tacky. — Kolleis to he in pro]ier 
 condition ought to he "tacky," 
 that is, should he slightly ad- 
 hesive to the touch. 208. 
 
 Take. — Each portion of copy 
 falling to the share of a com- 
 positor. 129. 
 
 T A K e R - o F f. — The person , 
 usually a lad, who receives 
 the sheets as printed od", and 
 phaces them on the heap. 283, 
 351. 
 
 Taking-off BOARD.— That part 
 of a machine where the sheets 
 are laid oil' as jjrinted. 289, 
 309. 
 
 Ten point. — ^Ty pe body eq ual to 
 LongPrimer old standard. 32. 
 
 Thick lead.— Cast four to a 
 pica in depth. 48. 
 
 Thick spaces. — Spaces cast 
 three to an em of their oA\'n 
 particular body. 13, 28. 
 
 Thin fount. — When the lower- 
 case letters a to z come within 
 a certain limit, it is so reck- 
 oned. 23. 
 
 Thin lead.— Cast eight to a 
 jtica in depth. 48. 
 
 Thin spaces.— Spaces cast five 
 to an em of their own j)ar- 
 ticular body. 13, 28. 
 
 Thorne composing machine. 
 
 149-150. 
 
 Three-colour (Trichromatic) 
 printing.— A method em- 
 ployed in piinting by th.e u.se 
 of the three juimarv colours. 
 128, 250-253, 371. 
 
 Three-df:cker machine. — A 
 rotary built with three r(dlsor 
 
GLOSSAEIAL INDEX 
 
 427 
 
 reels all placed one above the 
 other. 319. 
 Three - quarter composing 
 
 FRAME. 38. 
 
 Throw-off impression. — An 
 apparatus attached to a ma- 
 chine for tlirowini;- olltlie im- 
 pression whilst running-. 279. 
 
 THUMI5 LKVKi; COMPOSINCJ 
 
 STICK. — A composinL,^ stick 
 fastened by means of a small 
 lever, instead of the screw 
 with slotted head. 45. 
 
 Thumbscrew composin(; 
 siTCiv. — A eomiiosinsi; stick 
 fastened with a thumbscrew, 
 instead of the usual screw 
 with slotted head, distinct 
 from the "thumb lever." 45. 
 
 Tint jm.ocks. — IJlocks or sur- 
 faces used for printing coloured 
 backgrounds. 12(5. 
 
 Token.— Two hundred and fifty 
 impressions are reckoned as 
 a token. 235. 
 
 Tommy. — An iron imidement 
 for tightening up screws. It 
 has a hole tlirough the head 
 instead of a slot. ^ 288, 302. 
 
 Town gas engine. 2(52. 
 
 Transpose. — To shift w(n-ds, 
 lines, leads, or any jiortion of 
 matter. 115. 
 
 Trays for wooden types. 120. 
 
 T R E A 1) L E MACHIN ES.— Small 
 machines worked by the foot, 
 as distinct from those driven 
 by any otlier i)<>wer. 271. 
 
 Tpehle CASES. -Special ui)]>or 
 cases made to hohl three sets 
 of capitals. 42, 43. 
 
 Trichpomatic printing.— 6Vc 
 
 TlIPEE-COLOlR. 
 
 Trimmed eixjes. — Where the 
 folded sheets are lightly 
 trimmed on fore-edge and tail 
 only. 356. 
 
 Trolley for formes.— A use- 
 ful carriage for conveying 
 formes about. 1 18. 
 
 TuiJ si/iNti. — As used for hand- 
 made pa[)ers. 329. 
 
 TUDOR PL ACK- LETTER. — AclaSS 
 of old English type showing 
 the inlbience of roman in its 
 character. 17. 
 
 TwEi;/KUS. — I'sed for correct- 
 ing tabular matter. 159. 
 
 Twelve point. —Tyjie body 
 e(jual to Pica old standard. 32. 
 
 TwE]>VEM(). — A sheet of pai)er 
 folded into twelve leaves, 
 written thus - 12nio. Also 
 called "duodecimo.'" 94. 
 
 T w E N r Y - K o u R :\i ( >. — A sheet 
 folded into twenty-four leaves, 
 written thus — 24mo. 103. 
 
 Two-colour machine. —Gen- 
 erally made with one cylinder 
 only which lotatcs twice — 
 once for each of the two 
 colours. 313. 
 
 Two - DECKER MACHINE. — A 
 rotary with two rolls or reels 
 ])laced one over the other. 319. 
 
 Two-FEEDEU machines. —Ma- 
 chines adapted for two distinct 
 layings-on. 271, 310. 
 
 Two-line English. — A type 
 one size larger than Two-line 
 Pica and one si/e smaller than 
 Two-line (Ireat IMmer. 26,27. 
 
 T^Yo-];EY()L^TION machine.— 
 Distinct from a sto})-cylinder 
 which rotates once only. 309. 
 
 Tying-up a page. 91. 
 
 Tympan.— The frame, usually 
 covered with parchment, on 
 which the sheet is placed in 
 printing at jiress. 198, 21S. 
 
 T\ PE, a scjuaie inch of. 29. 
 
 cleansing of. 2-9. 
 
 complete fount of. 12, 13. 
 
 print of reversed. 75. 
 
 production of. 5. 
 
 to lind the weight of. 29. 
 
 Type PODIES, American jirin- 
 ciple of. 32, 33, 183. 
 
 at a glance. 31. 
 
 relation of. 27. 
 
428 
 
 PEINTINa 
 
 Type cases. 40, 
 
 Type-casting machines. 5-11. 
 
 Type-founders, leading. 25. 
 
 Type high. — Anything the 
 height of type. 25. 
 
 Type measures. — Scales of 
 Mood or ivory used for mea- 
 suring type. 110. 
 
 Type-metal, component parts 
 of. 11-12. 
 
 Type misic. — Music ])rinted 
 from m()val)letype, as distinct 
 from engraved music. 170-172. 
 
 Type standards of diflerent 
 founders. 25. 
 
 Type standards— Plan show- 
 ing depths of. 31. 
 
 Types. 1. 
 
 comparative sizes of. 27, 
 
 183. 
 
 selection of. 12. 
 sizes of. 20. 
 
 Typograph Composing Ma- 
 chine. 145-149. 
 
 Typography.— Theartof print- 
 ing from movable types. 1. 
 
 Typography, questions in, 
 set for City and Guilds of 
 London Institute. 375-392. 
 
 Uncut edges. —Applied to 
 hooks M'liere the edges have 
 not heen cut round Avith a 
 machine, althougli tliey may 
 have been opened withaknife. 
 356. 
 
 Underlaid formes. 125, 244. 
 
 Underlay. —The process of 
 making-ready under type or 
 cuts — as distinct from " over- 
 lay." 244, 296. 
 
 Unit set type.— A system of 
 units regulating the Avidtli of 
 letters in casting. 32. 34. 
 
 Universal forme rack. — A 
 receptacle for holding formes 
 of various sizes. 62, 63, 
 
 Universal machine.— A job- 
 bing platen m.achine — for 
 steam or treadle — manufac- 
 
 tured by Messrs. Hopkinson 
 
 and Cope. 280, 281. 
 Unlock. — To unfasten a formt- 
 
 \vith mallet and shooting 
 
 stick. 113. 
 Unopened edges. —When a 
 
 book is absolutely untouched 
 
 at the edges. 356. 
 Unsized paper. — Paper made 
 
 M'ithout size, very absorbent, 
 
 adapted forplate [irinting. 329. 
 Untouched EDGES. — A volume 
 
 neither cut nor trimmed nor 
 
 opened at the edges. 356. 
 Upper case. —The top or upper 
 
 one of a pair of cases. 40, 42. 
 
 A^erticalengine. — An upright 
 engine, as distinct from a 
 " horizontal " one. 257, 258, 
 259, 
 
 V I B R A T O R R L L E R S. — TllOSe 
 rollers on a machine which 
 have a vibrating motion, and 
 convey the ink to tlie slab for 
 distribution. 288. 
 
 A^ICTORIA PLATEN MACHINE, 
 280, 281. 
 
 Victory rotary machine, 
 322, 323, 
 
 AYall box, — A receptacle let 
 into the wall for iixing shaft- 
 ing. 261. 
 
 Ward's lock-up. 54, oo. 
 
 Warehouse. —The department 
 responsible for printed work 
 and " white " paper. 328. 
 
 Warehouseman. — The Avork- 
 man in charge of the ware- 
 house department in a print- 
 ing office, 328. 
 
 Warehouse work. 328-357. 
 
 Waste. — Surplus sheets of a 
 book beyond the ])lus copies. 
 Also spoilt .sheets used for 
 running up colour on a ma- 
 chine, etc. 228. 
 
 Water-poaver. 254, 
 
 Wayer rollers. — Rollers 
 which distribute ink on the 
 
GLOSSARIAr, INDEX 
 
 429 
 
 ink (;il»lt^ in a diaiioiial direc- 
 tioii. -2^9. 
 
 "NVavv KILE. — l>i-ass rule iiiailc 
 Avith an undulating face, thus 
 50. 
 
 Wku machines. — Cylindrical 
 jnintingniacliiues in which the 
 l>ai>er is hiid on by tapes. ol6. 
 
 Wettixc; boakds. — The l)oards 
 placed between the diflerent 
 reams in the press in the wet- 
 tinj;- department. 348. 
 
 Wetting down. 347. 
 
 Wetting trough. — The recep- 
 tacle for water used in Metting 
 doAvu palter. 348. 
 
 Wharfedale, how to erect. 
 308. 
 
 W H A i; F E I> A L E IM A C H I N K. — 
 A cylindrical machine manu- 
 factured at and called after 
 the place of that name. 269, 
 286, 287, 289-291, 303-309. 
 
 Wharfedale machine, key to 
 numbered parts of. 274, 303. 
 
 White line. —A line of quad- 
 rats at the bottom of a iiage. 
 Also a full blank line of text 
 body when used in a page. 89. 
 
 WurrE paper. — A general term 
 used for uni)rinted work — 
 white or coloured. 328, 347. 
 
 WlIlTEFRIARS MACHINE. —A 
 
 news[iai)er machine of rotary 
 make invented by Messrs. 
 l*ardoe and Davis. 327. 
 
 ^^■ HOLE-BOUND. —A volume en- 
 tirely bound in leather. 356. 
 
 Whole frame. — A stand made 
 to hold twojiairsof cases, with 
 a case-rack attached. 37. 
 
 W I C K E p. S H A :VI Q U O I N. — A 
 
 l)atent mechanical fastening 
 for formes. 56. 
 
 Wicks rotary type-casting 
 MACHINE. — An invention 
 which casts and finishes type 
 on the rotary princi[tle. 7-11. 
 
 Wipe. — This is when tiie rollers 
 catch or ilejiosit an excess of 
 
 ink on the edge of a forme in 
 printing. 300. 
 
 \\'ooi) FUI.'NITIRE.- Fnrnitnrc 
 made of wood — distinct from 
 " metal " or " French " furni- 
 ture. 51. 
 
 WOODCUTPAPER.— A half-idate 
 or rather soft printing i)aper 
 s[)ecially adapted for jtrinting 
 woodcuts and other illustra- 
 tions. 240. 
 
 wcod-engraving. 366. 
 
 Woodcut printinc;. 2.36, 241- 
 243. 
 
 Woodcuts, jiieserving. 120. 
 
 ]>rinting of heavv. 240. 
 
 the care of. 236. 
 
 Wood-letter. —Large types 
 are cut on wood when they 
 reach eight or nine picas in 
 body. 28, 120. 
 
 preserving. 120. 
 
 trays for. 120. 
 
 Words, division of, Rules for. — 
 186. 
 
 Work-book forlieading depart- 
 ment. 189. 
 
 Work sheets. — Special forms 
 accompanying jobs through 
 the works. 3(54. 
 
 Works of preference for 
 lieading department. 189. 
 
 AVovE PAPERS. — Papers which 
 do not exhibit wire-marks 
 caused in making — distinct 
 from "laid" iiai)ers. 328. 
 
 Writing papers. 334, 335. 
 
 Wrong fount. — Letters of a 
 dillerent character or series 
 mixed witii another fount, al- 
 though of the same body. 115. 
 
 W R O U G H T-I R O N C H AS E S. — 
 Chasesmadeof NMoughtiron — 
 distinct from "cast-iron." 59. 
 
 Zinc galley. — Ifeceptacle on 
 which tyi)e is placed, used for 
 slip and newspaper work. 47. 
 
 /iNco(;i; APHY. — ( Jenerally pro- 
 cess lint' work on /im-. 3ti7. 
 
LONDON: PRINTED BY THE AUTHOR AT THE CHISWICK PRESS 
 TOOKS COURT, CHANCERY LANE 
 
SAMPLES OF PAPER 
 
SAMPLES OF PAPER. 
 
 Compare ihr vnrioiin Tables for Sizes and Kquicalent Weiifhis 
 
 in Chapter XXXI. 
 
 These sixteen Samples of various qualities of paper have been 
 taken at random from the stock of a well-known firm of L()ndon 
 stationers, but as prices are yet far from normal we refrain from 
 quoting present-day cost. The Student is advised to i-ead carefully 
 Chapter xxxr, and to study the different classes of paper shown 
 here for character, quality, finish, and substance. A comparison of 
 any one paper with the tables in the chapter mentioned will give 
 the equivalent in weight of other sizes, and the difference between 
 perfect and imperfect reams. 
 
 a. 
 
 C/ass <if I'a/>er. 
 
 Description. 
 
 1 
 
 It) ^ 
 
 Itemarks. 
 
 :r 
 
 
 
 b 
 
 ^"^ 
 
 
 
 
 Art;;//'. Size. 
 
 
 
 
 A 
 
 Creamy Onliiiary Printing. 
 
 D. Demy 2-U x 35 
 
 48 
 
 516 
 
 Also ol)tainable in white, 
 
 
 
 
 
 
 
 or in toned shade. 
 
 B 
 
 .\nti(iue Laid J'rintinsi 
 
 Qd. Cr. 
 
 3(»x4() 
 
 92 
 
 516 
 
 Also made witli and with- 
 
 C 
 
 Anti(iue Wove IMinting ( 
 JJfrlit Uulkinj; S 
 
 Qd. Cr. 
 
 30 X 40 
 
 90 
 
 516 
 
 out deckled edjies. 
 Also made with and witli- 
 out deckled edges. 
 
 D 
 
 Imitation Art 
 
 Qd. Cr. 
 
 30 x 40 
 
 100 
 
 516 
 
 An imitation of coated 
 "Art" paper. 
 
 E 
 
 Super-calendered Paper . . 
 
 Qd. Cr. 
 
 30x40 
 
 120 
 
 516 
 
 Suitable for works with 
 lialf-tone cuts. 
 
 F 
 
 Mould-made Laid 
 
 Dbl. Cr. 
 
 20 X 30 
 
 48 
 
 516 
 
 Made by a new process tVr 
 has a deckle all round. 
 
 G 
 
 Art (Coated) Paper 
 
 Dbl. Cr. 
 
 20x30 
 
 50 
 
 480 
 
 PV)r best effects in lialf- 
 
 
 
 
 
 
 tone work. 
 
 H 
 
 Sup. F'ine Plate Paper 
 
 Demy I7i x >22^ 
 
 40 
 
 480 
 
 For wood-cut or copper- 
 plate work. 
 
 I 
 
 Handmade Cream Laid . . 
 
 Demy I7ix22^ 
 
 36 
 
 516 
 
 For t'ditions de Ivxe ; dec- 
 
 
 
 
 
 
 
 kled edges, four sides. 
 
 J 
 
 Cream Lai«l Writing . . . . 
 
 Lg. Post 
 
 16i X 21 
 
 21 
 
 480 
 
 A cheap writing paper. 
 
 K 
 
 Cream Wove Writing 
 
 Lg. Post 
 
 16jx21 
 
 21 
 
 480 
 
 A cheap writing paper. 
 
 L 
 
 Vellum Lai<l Writing 
 
 Lg. Post 
 
 16^x21 
 
 23 
 
 480 
 
 A better-class writing. 
 
 M 
 
 Vellum Wove Writing 
 
 Lg. Post 
 
 16A X 21 
 
 26 
 
 480 
 
 A better-class writing. 
 
 N 
 
 Imitation India 
 
 Did. Cr. 
 
 20x30 
 
 12 
 
 516 
 
 U.sed for Bibles and tliiii 
 paper editions. 
 
 O 
 
 Yellow Wove 
 
 Lg. Post 
 
 16jx21 
 
 21 
 
 4S0 
 
 Light tint of "bhiewove" 
 —a technical anomaly. 
 
 P 
 
 Salmon Tinted Printing . . 
 
 hg. Post 
 
 1 
 
 16^x21 
 
 21 
 
 480 
 
 To be liad in various lints 
 suitable for job-work. 
 
 N.B. — All these papers arc cut from the sizes and weights indicated in f/it 
 nhoce colunuis, and papers quoted as being in the quad size may be dimded to 
 arrive at the half size : e.g., the size of Double Crown is 20 x 30 in., as 
 (ujainst Quad Crown, 30 x 40 in. 
 
c 
 
APR? 1968 
 
 14 DAY VSeJ4J 
 
 RETURN TO DESK FROM WHICH BOlUtOWED 
 
 
 
 
 
 ^ 
 
 
 
 
 
 
 
 
 
 
 -< 
 
 
 
 
 4i^ 
 
 1 — 
 O 
 > 
 
 
 
 
 
 ts: 
 
 S 
 
 
 
 
 z 
 
 
 
 
 
 o. 
 
 3> 
 -< 
 
 
 > 
 
 1 — 
 
 
 m 
 
 
 
 
 
 Id 
 
 ^c 
 
 
 
 :^ 
 
 
 
 
 < 
 < 
 
 X) 
 
 c 
 
 CO 
 
 a 
 
 DO 
 O 
 
 o 
 
 CO 
 > 
 
 
 O 
 a 
 
 
 
 
 
 
 — J 
 
 c 
 
 m 
 > 
 
 
 
 
 
 
 
 
 
 cn 
 
 ho 
 
 
 
 
 
 
 
 </> 
 
 CP 
 
 
 
 
 
 
 
 
 
 -1 
 
 m 
 
 
 
 
 
 
 
 
 
 > 
 
 73 
 
 
 
 
 
 
 
 
 
 S 
 
 m 
 
 n 
 
 
 
 
 
 
 
 
 
 -0 
 
 > 
 
 
 
 
 
 
 
 
 
 m 
 
 
 
 
 
 
 
 
 
 
 O 
 
 m 
 
 
 
 
 
 
 
 
 
 00 
 
 m 
 
 > 
 
 -T1 
 
 
 
 
 
 
 
 
 
 
 1 1 
 
 O 
 
 CJ 
 
 
 
 
 
 
 
 o 
 
 m 
 
 
 
 
 
 
 
 
 
 ^ 
 
 a 
 > 
 
 -< 
 
 CO 
 
 
 
 
 IVIf 
 
 \\: 'c 
 
 z \ 
 
 !^/4 
 
 
 1 
 
 
 
 
 LD 21-40»i-l,'68 
 (H7452b10)476 
 
 General Library 
 
 University of California 
 
 Berkeley 
 
UC BFRk-r; r 
 
 CD^7^STMTfi