7 MS MS -MS MS MS MS -MS MS MS -MS MS -MS MS -MS MS MS -MS -MS -MS -MS MS **** MS MS -MS -MS MS -MS -MS -MS -MS MS -MS -MS -MS -MS -MS -MB -MS -MS MS -MS MS MS -MS -MS -MS MS -MS MS MS -MS MS -MS MS -MS MS MS MS -MS MS MS MS MS MS HI Ml MS -Ml Mil MS MS H MS HI Ml Ml H MM Ml MS MS -+4s MS Ml Ml Ml MJ qK Monotype Specimen "Book of Type Faces A COMPLETE CATALOG OF MATRICES MADE FOR USE WITH THE MONOTYPE COMPOSING MACHINE, AND WITH TYPE & RULE CASTER J^anston Sf+- * S4+- * S++- Sf*- Uf+- Sf+- lf+- Sf+- U++- Iff*- 8f+- K++- U++- + Sf+- Uf+- 8f+- * f+- Sf+- * * 8f+- Sf+- * Uf+- Bf+- S++- 8f+- + i:++ ^?f???f?fffff???ffffffffff?fffffffff?ffffff?f^^ Introduction to Monotype Specimen Book 1922 YOUR SPECIMEN BOOK is part of your sales organization you use it to sell more printing or advertising space. Your solicitors have to be up-to-the-minute in these days of keen competition why ' ' employ ' ' a back-number Speci- men Book? Among the new specimens we send you with this re- vised "Table of Contents" you may find just the face for which you have been looking. You use type-faces to make money; there may be money for you in these new faces. Look them over: And then? What will you do with these new sheets? Suggestion No. 1: Have them put at once in their proper place in your loose-leaf book. You maintain your machinery in first-class order? Well, your Specimen Book is an important part of the machinery of your business. Suggestion No. 2: If you do not want to be bothered with bringing your book up-to-date, bundle it up with these sheets and send it to us by Parcel Post at Twenty- fourth and Locust Streets, Philadelphia. We will do the rest, including paying charges on the return of your Specimen Book. Do whichever suits you best, but Do It Now! For your convenience this book is supplied with Index Tabs so that the sheets may be classified to bring similar faces together, thus: PLATE-GOTHICS LAW ITALICS OUTLINES AND SHADED TEXTS TYPEWRITER and MAILING LIST MODERNS OLD STYLES 64 FAMILY ANTIQUES TITLES GOTHICS FOREIGN INITIALS FIGURES and FRACTIONS SIGNS LEADERS, DASHES, SORTS BORDERS and ORNAMENTS TABLE OF CONTENTS Title page 1 Introduction to Monotype Specimen Book, includ- ing Table of Contents 3-4 Index of Monotype Faces 5-14a Monotype Matrices 15 The Flexible Matrix System 16-17 " Opening-up " Faces 18-19 Matrix Classification Special Matrices 20-28 Matrix Symbols 28-30 Matrix Case Arrangements 3 1-33 Table of Accents 34 Words to Pica .. 35 ARRANGEMENT OF SPECIMEN SHEETS Within the classifications given above, Modern Faces, Old Style Faces, etc., the specimen sheets are arranged as follows : MODERNS OLD STYLES 64 FAMILY ANTIQUES SERIES NO. POINT SIZES SERIES NO. POINT SIZES SERIES NO. POINT SIZES SERIES NO. POINT SIZES 1A 6, 8 15E 6, 7, 8, 9, 10, 11, 12 64J 6, 8, 10, 12 25J 5, 6, 7, 8, 9, 10, 11, 12 4A 5A 8A 10 5J, 6 ,7, 8, 9, 11 4, 4i, 5, 6, 7, 8, 9, 10, 11, 12, 14, 18 16E 21E 21G 6. 7, 8, 9, 10, 11, 12 4i, 5, 5J, 6, 7, 8, 9, 10, 11, 12, 14, 18 14, 18 64 64K 641 164J 14, 18, 24, 30, 36 6, 8, 10, 12 14. 18, 24, 30, 36 6, 7, 8, 10, 12, 14, 18 25 25K 251 26J 14, 18, 24, 30, 36 6, 7, 8, 9, 10, 11, 12 14, 18, 24, 30, 36 5, 6, 7, 8, 9, 10, 12 8C 14, 18 21 14, 18, 24, 30, 36 164 14, 18, 24, 30, 36 76J 5, 6, 7, 8, 9, 10, 12 13A 14A 214A 19A 20A 20 201 34A 35A 36A 36 6, 7,8 8. 12 12 6,8 6,7,8,9, 10, 11, 12 14, 18, 24, 30, 36 14, 18, 24, 30, 36 6,8,9, 10, 11, 12 10 6,8,9, 10, 11, 12 14, 18, 24, 30, 36 221E 321E 22E 31E 37E 37 371 137E 337E 337 9 5J 6, 8, 9, 10, 11. 12 6, 7, 8, 9, 10, 11, 12 6, 7, 8, 9, 10, 11, 12, 14, 18 14, 18, 24, 30, 36 14, 18, 24, 30, 36 6,8,9, 10, 11, 12 7,8, 9, 10, 11, 12 14, 18, 24, 30, 36 164K 1641 264J 264 86J 86 86K 86K 861 186J 6, 8, 10, 12 14, 18, 24, 30, 36 8, 10, 12 14, 18, 24, 30, 36 5, 6, 7, 8, 9, 10, 11, 12, 14, 18 14, 18, 24, 30, 36 5, 6, 8, 10, 12 14, 18 14, 18, 24, 30, 36 5, 6, 7, 8, 9, 10, 11, 12 45J 45 56J 156J 256J 58J 58 258J 258 60J 60 6, 8, 10, 12 14, 18, 24, 30, 36 5, 5J, 6, 7, 8 5, 6 6 6, 8, 10, 12 14, 18, 24, 30, 36 10, 12 14, 18, 24, 30, 36 6, 8, 10, 12 14, 18, 24, 30. 36 361 120A 150A 195A 150 1501 152A 175A 14, 18, 24, 30, 36 6 6, 7,8,9, 10, 11, 12 11 14, 18, 24, 30, 36 14. 18, 24, 30, 36 8, 10 5, 6, 7, 8, 9, 10, 11, 12, 3371 38E 38 381 61E 61 611 71E 14, 18, 24, 30, 36 6, 7, 8, 9, 10, 11, 12 14, 18, 24, 30, 36 14, 18, 24, 30, 36 6, 7, 8, 9, 10, 12 14, 18, 24, 30, 36 14, 18. 24, 30, 36 6, 8, 10, 11, 12, 14, 18 186 88J 88 88K 881 141J 141 285 14, 18, 24, 30, 36 5, 6, 8, 10, 12 14, 18, 24, 30, 36 6, 8, 10, 12 14, 18, 24, 30, 36 6, 8, 10, 12 14, 18. 24, 30, 36, 36H4 18, 24, 30, 36 60K 601 62 63J 63 68J 68 68K 6, 8, 10, 12 14, 18, 24, 30, 36 18, 24, 30, 36 6, 8, 10, 12 14, 18, 24, 30, 36 6, 8, 10, 12 14, 18, 24, 30, 36 6, 8, 10, 12 175C 175 1751 375 3751 216A 14, 18 14, 18 14, 18. 24. 30, 36 14. 18. 24, 30, 36 14. 18. 24, 30, 36 14, 18, 24, 30, 36 8 71 134E 154E 157E 157 172E 172 242E 18, 24, 30, 36 6, 8, 10, 12 8 6. 8, 10. 11, 12 14, 18, 24, 30, 36 6. 7,8,9, 10. 11. 12 14, 18. 24. 30, 36 6, 8, 10, 12 286 287J 287 288 24, 30, 36 6, 8, 10 12. 14, 18, 24, 30, 36 36 681 69J 69 78J 78 78K 781 81J 14, 18, 24, 30, 36 6, 8, 10, 12 14, 18, 24. 30, 36 6, 8, 10, 12 14, 18, 24, 30, 36 6, 8, 10, 12 14, 18, 24, 30, 36 6, 8, 10, 12 Note: The Boldface figures in the "Point-Size" column indicate faces made since the issuance of our previous List of Faces. S 2 90 3 ' 4 ' ,' ARRANGEMENT OF SPECIMEN SHEETS Continued ANTIQUES continued TITLES continued PLATE-GOTHICS continued FOREIGN continued SERIES POINT SIZES SERIES POINT SIZES SERIES POINT SIZES SERIES POINT SIZES NO. NO. NO. NO. 81 18,24 146 14, 18, 20, 24, 30. 36 168 14, 18, 18H4, 24, 24H4 G ERM AN continued 92J 5}, 6, 7, 8, 10, 11. 12 158J 5, 6, 8, 10, 11, 12 343J 6, Nos. 1, 2, 3, 4 102M 6 8 10 12 94 97J 18, 24, 30, 36 6, 8, 10, 12 158 161J 14, 18, 24, 30, 36 6, 7, 8, 10, 12 169 12, Nos. 1, 2, 3, 4 14, 18, 18H4, 24, 24H4 4102 178M 14, 18, 24, 30, 36 14, 18 97 14, 18, 24, 30, 36 161 14, 18, 24, 30, 36 344J 6, Nos. 1, 2, 3, 4 179M 14] 18 97K 6. 8, 10, 12 161K 6, 8, 10, 12 166 8, 10, 14B, 14, 18, 18H4 199M 6 8 971 14, 18, 24, 30, 36 162J 5, 6, 8, 10, 12 345J 6, Nos. 1, 2, 3, 4 200M 6, 8 98J 6, 8, 9. 10. 12 162 14, 18, 24, 30, 36 12, Nos. 1, 2, 3, 4 209 18 30 98 14, 18, 24, 30, 36 210J 10, 12 345 14, 18, 181 14. 24H4 98K 6, 8, 9, 10, 12 210 14, 18, 24, 30, 36 346K 6, Nos. 1, 2, 3, 4 GREEK 981 298J 14, 18, 24, 30, 36 12 245 255J 14, 18, 24, 30, 36 51 3461 12, Nos. 1, 2, 3, 4 14, 18, 18H4, 24H4, 24 1 page 83M Symboling system 6, 8, 10, 12 298 14, 18, 24, 30, 36 275J 6, 8, 10, 12, 14, 18 347J 6, Nos. 1, 2, 3, 4 155M 6, 8," 10,' 11, 12 104 18, 20, 24 275 14, 18, 24, 30, 36 223 8, 10, 12, 18, 24 160M 10 117J 117 6, 8, 10, 12 14, 18, 24, 30, 36 275K 2751 6, 8, 10, 12, 14, 18 14, 18, 24, 30, 36 348J 323 6, Nos. 1, 2, 3, 4 9. 14, 14B, 18, 24 1 page Electro Display Creek 117K 6, 8, 10, 12 328J 6, 7,8 matrices 139J 6, 8, 10, 12 616J 6, 8, 10, 12 LAW ITALICS RUSSIAN 139 24, 30, 35 616K 6, 8, 10, 12 23K fi R in 15! 308A 8, 10, 12 142J 144 51, 6, 8, 10, 12 14, 18, 24, 30, 36 GOTHICS 115C 8, 10, 12 311 318J 14, 24, 36 8, 10, 12 143J 143 6, 8, 10, 12 14, 18, 24, 30, 36 48J 491 5, 6, 7, 8, 9, 10, 11, 12 OUTLINES and SHADED 5 6 8 10 12 145J 145 6, 8, 10, 12 14, 18, 24, 30, 36 ** yj 50 511 18, 24.' 30,' 36 6, 8, 10, 12 12J 12 8, 10. 12 14, 18. 24, 30, 36 INITIALS 153J 6, 7,8 .jj.j 51 14, 18, 24, 30, 36, 36114 40 18, 20, 24, 36 126 36 159J 159 6, 8, 10, 12 14, 18, 24, 30, 36 52J 52 6, 8, 10, 12 14, 18, 24, 30, 36 41K 41 12 14, 18, 24, 30, 36 126a 127 36 36 163J 6, 8, 10, 12 66J 5, 6, 8, 10, 12 42J 8, 10, 12 163 173E 14, 18, 24, 30, 36 6, 8, 10, 12 66 JfiAl 14, 18,' 24.' 30. 36 42 44 14, 18, 24, 30, 36 14 18 24, 30, 36 FIGURES 174E 10 4ODJ 771 6, 8, 10, 12 59 30, 36 1 page 31-41 point figures 174 14 11 j 77 14, 18, 24, 30, 36 73 24 2 pages 5 189J 12 107J 5, 6, 7, 8, 10, 12 96J 10, 12 2 pages 5* 189 14, 18, 24 107 14, 18, 24, 30, 36 96 18, 24, 30, 36 7 pages 6 220J 10, 12 121 IS, 24, 30, 36* 123 18, 24, 36 3 pages 7 220 14, 18. 24, 30. 36 129 14^ is! 24^ 30, 36 193 12, 18, 24, 30, 36 8 pages 8 231J 6, 8, 10, 12 132 K 6, 8, 10, 12 194 12, 14, 18, 24, 30, 36 2 pages 9 231 14, 18, 24, 30, 36 140J 6' 8 10' 12 202 12, 14, 18, 24 7 pages 10 233J 6 140 14, 18, 24, 30, 36, 36H4 203 18 3 pages 11 360J 12 149J 5 1 , 6, 8, 10, 12 218 12, 14, 18, 24, 30, 36 7 pages 12 360 14, 18, 24, 30, 36 165J 5, 2> 6, 8, 9, 10, 12 246 12B, 12, 18 1 page } ! 1 Cotnpo- 165 14 18 2 pages ftA < f sition TITLES 176J 6, 8, 10, 12 TEXTS 1 page on o fi . figures 11J , 5. 6, 8, 10, 11, 12 176 14, 18, 24, 30, 36 75 18 1 page , OV/-OO J 11 UK 14, 18, 24, 30, 36 8, 10, 12 204J 204 5, 6, 8, 10, 12 14, 18, 24 95J 95 6, 8, 10, 12 14, 18, 24, 30, 36 FRACTIONS 111J 111 1111 211J 28J 128J 391 6, 8, 10. 11, 12 14, 18, 24, 30, 36 14, 18, 24, 30, 36 51 51, 6, 7, 8, 10, 12 6, 8, 10 5, 6, 8, 10, 12 206 222 224K 227 230J 230 239J 14, 18, 24 30 5, 6, 8, 10 14, 18, 24, 30, 36, 48 6, 8, 10, 12 14, 18, 24, 30, 36 6, 8, 10, 12 102J 102 188J 188 TY 6, 8, 10, 12 14, 18, 24, 30, 36 6, 8, 10, 12 14, 18, 24 PEWRITER AND 7 pages 4 J -12 point 3 pages 14 to 36 point SIGNS 6 pages 41-12 point **yj 39 14 18 ? 24, 30, 36 239 14, 18, 24, 30, 36 MAILING LIST 3 pages 14 to 36 point 79J 5, 6, 7, 8, 9, 10, 11, 12, 240J 6, 8, 10, 12 171 11 1 page Arrows 14 18 240 14, 18, 24, 30, 36 A I JL* ** 79 79K 791 89J 89 89K 891 103 14, 18, 24, 30, 36 6, 8, 10, 12 14, 18, 24. 30, 36 6, 8, 10, 12, 14, 18 14, 18. 24, 30, 36 6, 8, 10, 12 14, 18, 24, 30, 36 18. 24 249J 254K 2541 276 366J 366 515 566 6, 7, 8, 10, 12 6, 7, 8, 10 14, 14B, 18, 24, 30 14, 18, 24, 30, 36 10, 12 14, 18, 24, 30 18 12, 16, 18, 24, 30, 36 70L 70 170L 72L 74L 270L 272L 370L 10, 12 24 12 8, 10, 12 8, 10 10, 12 10. 12 10, 12 LEADERS, DASHES, SORTS 1 page Leaders 1 page Dashes 5 pages of Piece Braces 6 pages 2-3-4-6 point rule 1 page 12 108 113J 14, 18 5, 6, 8, 10, 12 PLATE-GOTHICS FOREIGN 14 pages Corner Pieces 4 pages Matrices for Set Ems 113 14, 18, 24, 30, 36 340J G, Nos. 1, 2, 3, 4 GERMAN CI larts 118J 51, 6, 7, 8, 9, 10, 11, 12 12, Nos. 1, 2, 3, 4 475 18 118 14, 18, 24, 30, 36 187 14. 18, 18H4, 24, 24H4 95M 8, 10, 12 118K 6, 8, 10, 12 341J 6, Nos. 1, 2, 3, 4 495 14, 18, 24, 30, 36 BORDERS AND 1181 119J 14, 18, 24, 30, 36 6, 8, 10, 12 197 12, Nos. 1, 2, 3, 4 14, 18, 18H4, 24, 24H4 99M 100M 6,8, 10, 11, 12 6, 8, 10, 12 ORNAMENTS 119 14, 18, 24, 30, 36 342J G, Nos. 1, 2, 3, 4 100 14, 18, 24, 30 Title page 146J 8, 10. 12 12, Nos. 1, 2, 3, 4 101 14, 24, 30, 36 40 pages Borders Note: The Boldface figures in the "Point-Size" column indicate faces made since the issuance of our previous List of Faces. Note: There are stickers calling attention to use of old style figures attached to the sheet showing the following series: 15E, 16E 21E, 221E, 22E, 31E, 37E, 137E, 38E, 154E, 172E and 25J. Note: With the perfection of the new Plate-Gothic Arrangement for job composition, and the issuing of the new sheets for the Nos. 340J 341J, 342J, 343J, 344J, 347J and 348J series, we wish to advise that the 6 and 12 point fonts of these series will replace the equivalent point sizes of the following series now in your specimen book: Nos. 187J, 168J, 169J, 166J, 266J, 223J and 323JB. If you are not, at present, a user of any of the last mentioned series, please remove the specimen sheets from your book when inserting the new Plate-Gothic sheets. For the convenience of those who are users of the old Gothic series, matrices will be carried in stock for replacements, and they should retain their old specimen sheets as well as the new Plate-Gothic sheets. Index of Monotype Faces^ 1 --^'^^- 1922 MOMOTYPP PA^P9 arv> licr^rl in Set-Size: This column gives the width of the face for the VJ1NU1 1 n, r/\LJ^O are listed point-size given in the column at the left. numerical Order in thiS table, Which , Number of Characters: In this column is given the number _ . . t of characters we have made for each font. Note: When 225 gives the following information abOUt each characters are specified, this means a full font that completely fills the Matrix Case, which, of course, includes some blanks lace '. for spaces, etc. The details of the characters and spaces fur- Series No., see first column: This symbol gives the designa- pished in the font may be found by noting the arrangement tion of the series and indicates the character of the series thus-: from the second colum " of the table and then referring to this "1ABC" indicates a Modern face complete with Roman, arrangement on pages 30, 31, 32 of the Specimen Book. Italic, and small caps; "11J" indicates a Boldface Roman; Remarks: This space is provided for your own notations, "11" (without letter) indicates Matrices for sorts casting, not for example, to enter the name of the foundry type -face the composition, in sizes larger than the Composition Matrices Monotype face displaces, of the 1 1 J series. For explanation of use of letters to indicate Special Matrix Line: All Monotype faces for composition the character of faces see Matrix Symbols, pages 27, 28, 29 are on standard Matrix line except a few abnormally tall incur Specimen Book. faces. Such faces are indicated in the following table by a Arrangement: These letters indicate the arrangement of dou j;> le da SS er <*> Preceding the point-size of the face. Matrices in the Matrix Case. For details of these arrange- _ Modified Character Matrices for Tabular Arrangements: ments see Matrix Case Arrangements, pages 30, 3 1 , 32 of our Ff ces for which these modified characters are furnished for the Specimen Book Matrix Case arrangements requiring these Matrices (see , .._. , Tabular Arrangements, Specimen Book, pages 31, 32), are Character of the Face: The next column headed Class of indicated by a dagger (f) preceding the point-size of the face. Face, gives the character of the face Modern. Title. OutUne Modified Characters for use with Cross-Rule Matrices: Faces etc., and indicates the section of the Specimen Book in which with the modified characters f or use with cross-rule Matrices the specimen sheet will be found. for composing b i ank forms (see Arrangement R2, Specimen Point-Size: This column gives the point-sizes we have for Book, page 32) are designated by a section mark () preceding the series specified in the first column of the table. the point-size of the face. SERIES NO. ARRANGE- MENT CLASS OF FACE POINT- SIZE SET- SIZE NO. CHAR. REMARKS SERIES NO. ARRANGE- MENT CLASS OF FACE POINT- SIZE SET- SIZE NO. CHAR. REMARKS 1ABC c Modern t6 8 6 7 225 225 12 Sorts Outline 14 18 24 30 36 76 76 76 76 76 4ABC c Modern 10 10 225 5ABC c Modern 5J 6 7 8 9 11 71 7i 8J 9 W 111 225 225 225 225 225 225 13ABC C Modern 6 7 8 8i 9* 9J 225 225 225 14ABC C Modern |8 12 8 11 225 225 8ABC c Modern 4 4* 5 t6 7 18 9 no 11 112 5 6 61 7 8 8^ 9 10 11 12 225 225 225 225 225 225 225 225 225 225 15EFG C Old Style t6 7 t8 9 no 11 t!2 7 8 81 9 10 11 12 225 225 225 225 225 225 225 16EFG C Old Style t6 7 !* 9 no 11 t!2 7 8 8i 9" 10 11 12 225 225 225 225 225 225 225 * 8A QC Modern 14 18 14 18 78 78 8C QC Modern 14 18 14 18 75 75 1U C2 Title 5 t6 18 tio 11 t!2 6 7 81 10 11 12 82 82 82 82 82 82 17L Typewriter 11 .1" 97 19ABC c Modern 6 8 71 81 225 225 225 225 225 225 225 225 225 20ABC c Modern 6 7 8 9 10 11 12 7 8 !! 10} 11 12 11 Sorts Title 14 18 24 30 36 80 80 80 80 80 UK C2 Title 8 10 12 81 10 12 82 82 82 20 Sorts Modern 14 18 24 30 36 77 77 77 77 77 1111 Sorts Title- 14 18 24 30 X 72 72 72 72 72 2(11 Sorts Modern 14 18 24 30 36 77 77 77 77 77 12J C2 Outline K 10 12 W 10 12 82 82 82 t Tabular Face JLow Line Face Cross-Rule Face (See First Page) 6 '.... ', INDEX OF MONOTYPE FACES Continued SERIES NO. ARRANGE- MENT CLASS OP PACE POINT- SUE SET- I NO. SIZE CHAR. REMARKS SERIES NO. ARRANGE- MENT CLASS OP FACE POINT- SIZE SET- SIZE NO. CHAR. REMARKS 21EFG c Old Style ? I* 7 8 9 10 11 12 Bi 61 65 7 8 85 9 101 lli 12 225 225 225 225 225 225 225 225 225 225 36ABC C Modern 6 8 9 10 11 12 S 1 . 9 10 11 12 225 225 225 225 225 225 36 Sorts Modern 14 18 24 30 36 82 82 82 82 82 21E QC Old Style 14 18 14 18 78 78 361 Sorts Modern 14 18 24 30 36 83 83 83 81 81 21 Sorts Old Style 14 18 24 30 36 82 82 82 82 82 37EFG C Old Style 6 7 8 9 10 11 12 65 7} 8 9 10 11 12 225 225 225 225 225 225 225 21G QC Old Style 14 18 14 18 75 75 22EFG C Old Style 6 8 9 10 11 12 6* 8 9 10 11 12 225 225 225 225 225 225 37E QC Old Style 14 18 14 18 78 78 23K C2 Law Italic 6 8 10 12 7 85 10 12 82 82 82 82 37 Sorts Old Style 14 18 24 30 36 82 82 82 82 82 25J Cl Antique 5 t6 t8 9 no n t!2 ? 11 95 10 IH 12 82 82 82 82 82 82 82 82 371 Sorts Old Style 14 18 24 30 36 90 90 90 86 86 38EFG C Old Style 6 7 8 9 10 11 12 7 8 1* 10 11 12 225 225 225 225 225 225 225 25 Sorts Antique 14 18 24 30 36 75 77 77 77 77 25K Cl Antique 6 7 8 9 10 11 12 7 71 f 10 11 12 82 82 82 82 82 82 82 38 Sorts Old Style 14 18 24 30 36 81 81 81 81 81 381 Sorts Old Style 14 18 24 30 36 81 81 81 81 81 251 Sorts Antique 14 18 24 30 36 6 7 8 1* 10 12 81 81 81 81 81 39J C2 Title 5 6 8 10 12 65 75 9 11 125 82 82 82 82 82 26J C2 Antique 5 t6 7 t8 9 no t!2 82 82 82 82 82 82 82 39 Sorts Title 14 18 24 30 36 72 72 72 72 72 28J C2 Title & 7 t8 no t!2 6i 7 8 8J 105 12 82 82 82 82 82 82 40 Sorts Outline 18 20 24 36 72 72 72 72 31EFG C Old Style 6 7 8 9 10 11 12 6i P 8i 95 10} 11 225 225 225 225 225 225 225 41K C2 Outline 12 12 73 41 Sorts Outline 14 18 24 30 36 72 72 72 72 72 34ABC C Modern 6 8 9 10 11 12 65 8 85 95 10 11 225 225 225 225 225 225 42J C2 Outline 8 10 12 8J 10 12 82 82 82 35ABC C Modern 10 10 225 t Tabular Face J Low Line Face Cross-Rule Face (See First Page) INDEX OF MONOTYPE FACES Continued 7 SERIES NO. ARRANGE- MENT CLASS OF FACE POINT- SIZE SET- SIZE NO. CHAR. REMARKS SERIES NO. ARRANGE- MENT CLASS OF FACE ' POINT- SIZE SET- SIZE NO. CHAR. REMARKS 42 Sorts Outline 14 18 24 30 36 79 79 79 79 79 60 Sorts Antique 14 18 24 30 36 80 88 88 88 80 44 Sorts Outline 14 18 24 30 36 81 81 81 81 81 60K C2 Antique 6 8 10 12 9 11 12i 82 82 82 82 601 Sorts Antique 14 18 24 30 36 75 80 75 73 75 45J Cl Antique 6 8 10 12 7 8* 10 12 82 82 82 82 45 Sorts Antique 14 18 24 30 36 81 81 81 81 81 61E C Old Style 6 7 8 9 10 12 7 8 i* 225 225 225 225 225 225 48J C Gothic 5 1 t* 9 no 11 tl2 6 7 7J 8* 9i 10 11 12 49 49 49 49 49 49 49 49 In place of Small Caps 61 Sorts Old Style 14 18 24 30 36 81 81 81 81 81 611 Sorts Old Style 14 18 24 30 36 81 81 81 81 81 49J Cl Gothic 5 10 12 54 6 8 10 12 82 82 82 82 82 62 Sorts Antique 18 24 30 36 81 84 84 84 50 Sorts Gothic 18 24 30 36 76 76 76 76 63J C2 Antique 6 8 10 12 14 18 24 30 36 74 9 11 12J 82 82 82 82 51J Cl Gothic 6 8 10 12 5 6 7 8 82 82 82 82 63 Sorts Antique 77 77 77 77 77 51 Sorts Gothic 14 18 24 30 36 36H4 79 79 79 79 79 47 64J C 64 Family 6 8 10 12 6 9 104 98 98 98 98 In place of Roman 52J C2 Gothic 6 8 10 12 7 81 10 12 82 82 82 82 64 Sorts 64 Family 14 18 24 30 36 87 87 87 87 87 52 Sorts Gothic 14 18 24 30 36 82 82 82 82 82 64K C 64 Family 6 8 10 12 6 71 9 104 82 82 82 82 In place of Italic 56J C2 Antique g m ne 7 t8 9 7J 71 8} 82 82 82 82 82 641 Sorts 64 Family 14 18 24 30 36 89 91 91 91 91 58J Cl Antique 6 8 10 12 7 84 10 12 82 82 82 82 66JB C2 Gothic 5 6 131 66J C2 Gothic 6 8 10 12 7 8* 104 12| 82 82 82 82 58 Sorts Antique 14 18 24 30 36 84 84 84 75 84 66 Sorts Gothic 14 18 24 30 36 82 82 82 82 82 59 Sorts Outline 30 36 81 81 60J C2 Antique 6 8 10 12 v 11 124 82 82 82 82 68J Cl Antique 6 8 10 12 7 84 104 12 82 82 82 82 t Tabular Face J Low Line Face Cross-Rule Face (See First Page) 8 INDEX OF MONOTYPE FACES Continued SERIES NO. ARRANGE- MENT CLASS OF FACE POINT- SIZE SET- SIZE NO. CHAR. REMARKS SERIES NO. ARRANGE- MENT CLASS OF PACK POINT- SIZE SET- SIZE NO. CHAR. REMARKS 68 Sorts Antique 14 18 24 30 36 74 74 74 74 74 781 Sorts Antique 14 18 24 30 36 72 72 72 72 72 68K C2 Antique 6 8 10 12 7 8i 10 12 82 82 82 82 79J C2 Title 5 6 7 8 9 10 11 12 9 8 r 10i 11 12 82 82 82 82 82 82 82 82 681 Sorts Antique 14 18 24 30 36 74 74 74 74 74 82 82 82 82 79J QC2 Title 14 18 14 18 78 78 69J Cl Antique I 10 12 6 7 81 10 79 Sorts Title 14 18 24 30 36 84 84 84 84 84 69 Sorts Antique 14 18 24 30 36 85 85 85 85 85 79K C2 Title 6 8 10 12 7' 81 10J 12 82 82 82 82 70L Typewriter 10 12 .083" .1" 101 101 791 Sorts Title 14 18 24 30 36 81 81 81 81 81 70 Typewriter 24 73 71EFG C Old Style 6 8 10 11 12 7 8i 10J 11 12 225 225 225 225 225 81J C4 Antique 6 8 10 12 7 81 10 12 82 82 82 82 71E QC Old Style 14 18 14 18 73 73 81 Sorts Antique 18 24 82 82 71 Sorts Old Style 18 24 30 36 80 80 80 80 83M Special Foreign 6 8 10 12 t* it' 120 146 148 148 72L Typewriter 8 10 12 .0692' .083" .1" ' 99 99 78 86J C2 64 Family 5 6 7 8 9 10 11 12 6 7 8 8 10* 11 12 82 82 82 82 82 82 82 82 73 Sorts Outline 24 46 74L Typewriter 8 10 .0553' .0692' 89 ' 89 75 Sorts Text 18 79 86J QC2 64 Family 14 18 14 18 73 78 76J Cl Antique 5 6 7 8 9 10 12 1* 8 1* 10 12 82 82 82 82 82 82 82 86 Sorts 64 Family 14 18 24 30 36 82 82 82 82 82 77J Cl Gothic 6 8 10 12 5 1* 9i 82 82 82 82 86K C2 64 Family 5 6 8 10 12 6 7 81 10} 12 82 82 82 82 82 77 Sorts Gothic 14 18 24 30 36 80 80 80 80 80 86K QC2 64 Family 14 18 14 18 78 78 861 Sorts 64 Family 14 18 24 30 36 82 82 82 82 82 78J Cl Antique 6 8 10 12 7 8f 101 12 82 82 82 82 88J Cl 64 Family 5 I 10 12 5 6 7 8} 10 82 82 82 82 82 78 Sorts Antique 14 18 24 30 36 76 76 76 76 76 88 Sorts 64 Family 14 18 24 30 36 83 83 83 83 83 78K Cl Antique 6 8 10 12 7 8J 10J 12 82 82 82 82 t Tabular Face JLow Line Face Cross-Rule Face (See First Page) INDEX OF MONOTYPE FACES Continued 9 SERIES NO. ARRANGE- MENT CLASS OF FACE POINT- SIZE SET- SIZE NO. CHAR. REMARKS SERIES NO. ARRANGE- MENT CLASS OF FACE POINT- SIZE SET- SIZE MO. CHAR. REMARKS 88K Cl 64 Family 6 8 10 12 6 7 8i 10 82 82 82 82 98J c Antique 6 8 9 10 12 71 r 8* 82 82 82 82 82 In place of Roman 881 Sorts 64 Family 14 18 24 30 36 82 82 82 82 82 98 Sorts Antique 14 18 24 30 36 87 87 87 87 87 89J Cl Title 6 8 10 12 7 8* 10 12 82 82 82 82 98K C2 Antique 6 8 9 10 12 7 8i 9 10 12 82 82 82 82 82 89J QC2 Title 14 18 14 18 73 73 981 Sorts Antique 14 18 24 30 36 77 77 77 77 77 89 Sorts Title 14 18 24 30 36 82 82 82 82 82 99M GC Foreign 6 8 10 11 12 7 8| 10 10| Ill 98 98 98 98 98 89K Cl Title 6 8 10 12 7 8* 10 12 82 82 82 82 891 Sorts Title 14 18 24 30 36 81 81 81 81 81 100M GC1 Foreign 6 8 10 12 7 8i 10 iii 99 99 99 99 100 Sorts Foreign 14 18 24 30 91 91 91 91 92J C2 Antique 5} 6 7 8 10 11 12 to h-i O 00 00 ^] Oi 82 82 82 82 82 82 82 101 Sorts Foreign 14 24 30 36 89 89 89 89 94 Sorts Antique 18 24 30 36 76 76 76 76 102J C3 Text 6 8 10 12 P 11 12i 82 82 82 82 95J C3 Text 6 8 10 12 p 11 121 81 81 81 81 102 Sorts Text 14 18 24 30 36 78 78 78 78 78 95 Sorts Text 14 18 24 30 36 9 11 12i 77 77 77 77 77 102M Special Foreign 6 8 10 12 P 11 12} 93 93 93 93 95M Special Foreign 8 10 12 91 91 91 103 Sorts Title 18 24 81 48 96J Cl Outline 10 12 1? 73 73 104 Sorts Antique 18 20 24 46 46 46 % Sorts Outline 18 24 30 36 75 75 75 74 107J C2 Gothic 5 t6 7 t8 no t!2 6 7 8 8J 10 12 82 82 82 82 82 82 97J C2 Antique 6 8 10 12 7 8J 10} 12 82 82 82 82 107 Sorts Gothic 14 18 24 30 36 81 81 81 81 81 97 Sorts Antique 14 18 24 30 36 75 75 75 75 75 108 Sorts Title 14 18 * 77 77 97K C2 Antique 6 8 10 12 7 8i 10 12 82 82 82 82 inj Cl Title 6 8 10 11 12 !* 10 11 12 82 82 82 82 82 971 Sorts Antique 14 18 24 30 36 77 77 77 77 77 111 Sorts Title 14 18 24 30 36 81 81 81 81 81 t Tabular Face J Low Line Face Cross-Rule Face (See First Page) 10 INDEX OF MONOTYPE FACES Continued SERIES NO. ARRANGE- MENT CLASS OF FACE POINT- SIZE SET- SIZE NO. CHAR. REMARKS SERIES NO. ARRANGE- MENT CLASS OF FACE POINT- SIZE SET- SIZE NO. CHAR. REMARKS 113J Cl Title 5 i 10 12 5 6 8 1?* 82 82 82 82 82 132K C2 Gothic 6 8 10 12 P 11 121 82 82 82 82 134EF C Old Style 6 8 10 12 6 8 91 111 111 111 111 111 113 Sorts Title 14 18 24 30 36 72 72 72 72 72 137EFG C Old Style 6 8 9 10 11 12 f 9 10 11 12 225 225 225 225 225 225 115C C2 Law Italic 8 10 12 8 10 12 82 82 82 117J Cl Antique 6 8 10 12 7 8* 10 12 82 82 82 82 139J Cl Antique 6 8 10 12 1* 91 11 82 82 82 82 117 Sorts Antique 14 18 24 30 36 81 81 81 81 81 139 Sorts Antique 24 30 36 76 76 75 140J Cl Gothic 6 8 10 12 5 I 1 9i 82 82 82 82 117K C Antique 6 8 10 12 7 81 10 12 82 82 82 82 In place of Italic 140 Sorts Gothic 14 18 24 30 36 36H4 77 77 77 77 77 46 118J Cl Title 51 1 1 ^ t!2 61 7 8 P 10 11 12 82 82 82 82 82 82 82 82 141J Cl 64 Family 6 8 10 12 5 6 7 8 82 82 82 82 118 Sorts Title 14 18 24 30 36 81 81 81 81 81 141 Sorts 64 Family 14 18 24 30 36 36H4 82 82 82 82 82 46 118K C2 Title 6 8 10 12 7 8J 10 12 82 82 82 82 142J C2 Antique f 8 10 12 71 7! 91 11 12 82 82 82 82 82 1181 Sorts Title 14 18 24 30 36 78 78 78 78 78 143J C Antique 6 8 10 12 7 8i 10 12 82 82 82 82 In place of Roman 119J Cl Title 1 10 12 6 P 101 82 82 82 82 143 Sorts Antique 14 18 24 30 36 81 81 81 81 81 119 Sorts Title 14 18 24 30 36 72 72 72 72 72 144 Sorts Antique 14 18 24 30 36 77 77 77 77 77 120ABC C Modern 6 7 225 121 Sorts Gothic 18 24 30 36 49 49 49 49 145J C2 Antique 6 8 10 12 7 81 10 12 82 82 82 82 123 Sorts Outline 18 24 36 46 46 46 145 Sorts Antique 14 18 24 30 36 82 82 82 82 82 126 Sorts Initials 36 26 126A Sorts Initials 36 26 127 Sorts Initials 36 26 146J Cl Title 8 10 12 8} 10 12 82 82 82 128J Cl Title 6 8 10 8J 10 12 82 82 82 146 Sorts Title 14 18 20 24 30 36 78 78 78 78 78 78 129 Sorts Gothic 14 18 24 30 36 72 72 72 72 72 t Tabular Face } Low Line Face Cross-Rule Face (See First Page) INDEX OF MONOTYPE FACES Continued 11 SERIES NO. ARRANGE- MENT CLASS OF FACE POINT- SIZE SET- SIZE NO. CHAR. REMARKS SERIES ARRANGE- NO. MENT CLASS OF FACE POINT- SIZE SET- SIZE NO. CHAR. REMARKS 149J Cl Gothic 6 5 * 8 10 12 6 61 81 10 12 82 82 82 82 82 161K C2 Title 6 8 10 12 7 81 10 12 82 82 82 82 162JB C2 Title 5 6 8 10 12 61 71 9i 11 121 131 131 82 82 82 150ABC c Modern 6 7 8 9 10 11 12 71 !* 10 11 12 121 225 225 225 225 225 225 225 162 Sorts Title 14 18 24 30 36 72 72 72 72 72 150 Sorts Modern 14 18 24 30 36 81 81 81 81 81 163J C2 Antique 6 8 10 12 7 81 10 12 82 82 82 82 1501 Sorts Modern 14 18 24 30 36 81 81 81 81 81 163 Sorts Antique 14 18 24 30 36 7 8 81 10 12 14 18 81 81 81 81 81 152ABC C Modern 8 10 8J 10 225 225 164JB C 64 Family 6 7 8 10 12 125 111 125 125 125 In place of Roman 153J C2 Antique 6 7 8 7 8 81 82 82 82 154EFG C Old Style 8 81 225 164J QC 64 Family 14 18 78 78 155M Special Foreign 6 8 10 11 12 7 81 10 11 12 214 214 212 215 213 164 Sorts 64 Family 14 18 24 30 36 84 84 84 84 84 156J C2 Antique 5 6 61 71 82 82 164K C 64 Family 6 8 10 12 7 81 10 12 82 82 82 82 In place of Italic 157EFG C Old Style 6 8 10 11 12 7 81 g* 12 225 225 225 225 225 1641 Sorts 64 Family 14 18 24 30 36 77 77 77 77 77 157 Sorts Old Style 14 18 24 30 36 81 81 81 81 81 165JB C2 Gothic 15 6 94 158J C2 Title 5 6 8 10 11 12 61 71 91 11 12 121 131 131 82 82 82 82 165J C2 Gothic J6 J8 J9 no $12 7 it 101 121 47 47 47 47 47 165 Sorts Gothic 14 18 46 46 158 Sorts Title 14 18 24 30 36 81 81 81 81 81 166 Sorts Plate- Gothic 8 10 14 14B 18 18H4 46 46 46 46 46 46 See 344J for Cellular sizes 159J C2 Antique 6 8 10 12 7 81 101 12 82 82 82 82 168 Sorts Plate- Gothic 14 18 18H4 24 24H4 46 46 46 46 46 See 342J for Cellular sizes 159 Sorts Antique 14 18 24 30 36 81 81 81 81 81 169 Sorts Plate- Gothic 14 18 18H4 24 46 46 46 46 See 343J for Cellular sizes 160M Special Foreign 10 10 151 161J C2 Title 6 7 8 10 12 7 8 81 10 12 82 82 82 82 82 170L Typewriter 12 .1" 101 172EFG C Old Style 6 7 8 9 10 11 12 7 8 5* 10 11 12 225 225 225 225 225 225 225 161 Sorts Title 14 18 24 30 36 81 81 81 81 81 tTahularFace J Low Line Face Cross-Rule Face (See First Page) 12 INDEX OF MONOTYPE FACES Continued SERIES NO. ARRANGE- MENT CLASS OF FACE POINT- SIZE SET- SIZE NO. CHAR. REMARKS SERIES NO. ARRANGE- MENT CLASS OF FACE POINT- SIZE SET- SIZE NO. CHAR. REMARKS 172 Sorts Old Style 14 18 24 30 36 81 81 81 81 81 193 Sorts Outline 12 18 24 30 36 72 72 72 72 72 173E C Antique 6 8 10 12 7 &\ 10 12 82 82 82 82 194 Sorts Outline 12 14 18 24 30 36 77 77 77 77 77 77 174E C Antique 10 10 78 174 Sorts Antique 14 77 1 195A Special Modern 11 12i 71 175ABC C Modern 5 6 7 8 9 10 11 12 6 7 8 V 10 11 12 225 225 225 225 225 225 225 225 197 Sorts Plate- Gothic 14 18 18H4 24 24H4 46 46 46 46 46 See 34 1J for Cellular sizes 199M GC Foreign 6 8 7i 91 91 92 175A QC Modern 14 18 14 18 73 73 200M GC1 Foreign 6 8 7f 91 86 87 175C QC Modern 14 18 14 18 75 75 201 See No. 20C 202 Sorts Outline 12 14 18 24 72 31 72 72 175 Sorts Modern 14 18 24 30 36 81 81 81 81 81 1 203 Sorts Outline 18 31 1751 Sorts Modern 14 18 24 30 36 81 81 81 81 81 204J C4 Gothic 5 6 8 10 12 5 6 7 8J 10 82 82 82 82 82 176J Cl Gothic 5 I 10 12 6 7 BJ 10 82 82 82 82 204 Sorts Gothic 14 18 24 81 81 81 206 Sorts Sorts Gothic 14 18 24 81 81 81 176 Sorts Gothic 14 18 24 30 36 81 81 81 81 81 209 Foreign 18 30 75 75 178M Special Foreign 14 18 13 16 88 88 210J C4 Title 10 12 7 81 82 82 179M Special Foreign 14 18 13 16 84 84 210 Sorts Title 14 18 24 30 36 72 72 72 72 72 186J Cl 64 Family 5 6 7 8 9 10 11 12 6 7 8 I* 10 11 12 82 82 82 82 82 82 82 82 211J C2 Title 5* 7 73 214ABC C Modern 12 11 225 216A C4 Modern 8 5* 83 186 Sorts 64 Family 14 18 24 30 36 72 72 72 72 72 218 Sorts Outline 12 14 18 24 30 36 77 77 77 77 77 77 187 Sorts Plate- Gothic 14 18 18H4 24 24H4 46 46 46 46 46 See 340J for Cellular sizes 220J C2 Antique 10 12 10 12 82 82 220 Sorts Antique 14 18 24 30 36 72 72 72 72 72 188J C2 Text 6 8 10 12 9 11 12* 73 73 73 73 221EFG C Old Style 9 91 225 188 Sorts Text 14 18 24 73 73 73 222 Sorts Gothic 30 46 223 Sorts Plate- Gothic Title 8 10 12 18 24 46 46 46 46 46 See 347J for Cellular sizes 189J C2 Antique 12 12* 82 189 Sorts Antique 14 18 24 72 72 72 t Tabular Face % Low Line Face Cross-Rule Face (See First Page) INDEX OF MONOTYPE FACES Continued 13 SERIES NO. ARRANGE- MENT CLASS OF FACE POINT- SIZE SET- SIZE NO. CHAR. REMARKS SERIES NO. ARRANGE- MENT CLASS OF FACE POINT- SIZE SET- SIZE NO. CHAR. REMARKS 224K C2 Gothic 5 6 8 10 71 8* 10 12 47 47 47 47 46 46 46 46 46 48 258J C4 Antique 10 12 1? 82 82 258 Sorts Antique 14 18 24 30 36 72 72 72 72 72 227 Sorts Gothic 14 18 24 30 36 48 264J C 64 Family 8 10 12 f 9! 86 87 87 230J C4 Gothic 6 8 10 12 4* 5J- 61 7! 82 82 82 82 264 s 64 Family 14 18 24 30 36 83 83 83 83 83 230 Sorts Gothic 14 18 24 30 36 72 72 72 72 72 270L Typewriter 10 12 .083" .100" 86 86 272L Typewriter 10 12 .083" .100" 84 84 231J C Antique 6 8 10 12 6 8 91 11 82 82 82 82 77 77 77 77 77 275J C2 Title 6 8 10 12 7 81 10 12 82 82 82 82 231 Sorts Antique 14 18 24 30 36 275J QC2 Title 14 18 14 18 73 73 275 Sorts Title 14 18 24 30 36 77 77 77 77 77 233J C2 Antique 6 7J 82 239J C4 Gothic 6 8 10 12 5! 6i 8 91 82 82 82 82 275K C2 Title 6 8 10 12 7 8J 10 12 82 82 82 82 239 Sorts Gothic 14 18 24 30 36 72 72 72 72 72 275K QC2 Title 14 18 14 18 78 78 240J C4 Gothic 6 8 10 12 7 8* 10 12 82 82 82 82 2751 Sorts Title 14 18 24 30 36 77 77 77 77 77 240 Sorts Gothic 14 18 24 30 36 72 72 72 72 72 276 Sorts Gothic 14 18 24 30 36 72 72 72 72 72 242E C Old Style 6 8 10 12 7 8* 10J 12 225 225 225 225 285 Sorts 64 Family 18 24 30 36 72 72 72 72 245 Sorts Title 14 18 24 30 36 72 72 72 72 72 286 Sorts 64 Family 24 30 36 72 72 72 287J C2 64 Family 6 8 10 81 101 12! 78 78 78 246 Sorts Outline 12B 12 18 46 46 46 287 Sorts 64 Family 12 14 18 24 30 36 72 72 72 72 72 72 249J C2 Gothic 6 7 8 10 12 7 8 8! 10 12 82 82 82 82 82 251 See No. 25K 288 Sorts 64 Family 36 77 254K C2 Gothic 6 7 8 10 8 9 10 12! 116 58 116 58 298J C4 Antique 12 10 49 298 Sorts Antique 14 18 24 30 36 48 48 48 48 48 2541 Sorts Gothic 14 14B 18 24 30 46 46 46 46 46 308AC Special Foreign 8 10 12 8! 10 12 103 103 103 255J C2 Title 5! 7i 82 256J C Antique 6 8 82 In place of Roman tTabular Face JLow Line Face Cross-Rule Face (See First Page) 14 INDEX OF MONOTYPE FACES Continued SERIES NO. ARRANGE- MENT CLASS OF FACE POINT- SIZE SET- SIZE NO. CHAR. REMARKS SERIES NO. ARRANGE- MENT CLASS OF FACE POINT- SIZE SET- SIZE NO. CHAR. REMARKS 311 Sorts Foreign 14 24 36 92 92 92 345 Sorts Plate- Gothic 14 18 18H4 24H4 46 46 46 46 318J Special Foreign 8 10 12 8i 10 12 53 53 53 346K PG Plate- Gothic 6 No.l 2 j 4 12 No.l 2 4 7 12 225 225 321EFG C Old Style 5i 7 225 323 Sorts Plate- Gothic Title 9 14 14B 18 24 46 46 46 46 46 See No. 348J for Cellular sizes 3461 Sorts Plate- Gothic 14 18 18H4 24 24H4 46 46 46 46 46 328J C2 Title 6 7 8 8J 9* 9| 82 82 82 347J PG Plate- Gothic 6 No.l 2 5 4 8 225 See No. 223 for Electro Display sizes 337EFG C Old Style 7 8 9 10 11 12 7} 8 9 10 11 12 225 225 225 225 225 225 348J PG Plate- Gothic 6 No.l 2 j 4 8 225 See No. 323 for Electro Display sizes 337 Sorts Old Style 14 18 24 30 36 86 86 86 86 86 360J C4 Antique 12 121 82 360 Sorts Antique 14 18 24 30 36 72 72 72 72 72 337 Sorts Old Style 14B 18B 24B 30 30 30 Small Capitals for 14, 18 & 24 Point sizes 3371 Sorts Old Style 14 18 24 30 36 85 85 85 85 85 225 225 19 Swash Charac- ters in addition to regular 85 charac- ter fonts 361 See No. 36C 366J C2 Gothic 10 12 10i 12} 47 47 366 Sorts Gothic 14 18 24 30 46 46 46 46 340J PG Plate- Gothic 6No.l 2 3 4 12 No.l 2 3 4 7 11 See No. 187 for Electro Display sizes 370L Typewriter 10 12 .083" .100" 101 101 371 See No. 37G 341J PG Plate- Gothic 6 No.l 2 3 4 12 No.l 2 3 4 5 9 225 225 See No. 197 for Electro Display sizes 375 Sorts Modern 14 18 24 30 36 81 81 77 77 77 3751 Sorts Modern 14 18 24 30 36 77 77 77 77 77 342J PG Plate- Gothic 6 No.l 2 3 4 12 No.l 2 3 4 7 11 225 225 See No. 168 for Electro Display sizes 381 See No. 38G 466J Cl Gothic 6 7} 82 475 Sorts Foreign 18 93 See No. 75 343J PG Plate- Gothic 6 No.l 2 3 4 12 No.l 2 3 4 5 9 225 225 See No. 169 for Electro Display sizes 495 Sorts Foreign 14 18 24 30 36 89 89 89 89 89 See No. 95M 515 Sorts Gothic 18 72 566 Sorts Gothic 12 16 18 24 30 36 46 46 46 46 46 46 344J PG Plate- Gothic 6 No.l 2 3 4 8i 225 See No. 166 for Electro Display sizes 345J PG Plate- Gothic 6 No.l 2 3 4 12 No.l 2 3 4 7 12 225 225 601 See No. 60K 616J C2 Title 6 8 10 12 7 8J 10* 12 82 82 82 82 t Tabular Face J Low Line Face Cross-Rule Face (See First Page) INDEX OF MONOTYPE FACES Continued 14a SERIES NO. 616K ARRANGE- MENT C2 641 681 781 791 861 881 891 CLASS OF FACE Title POINT- SIZE 6 8 10 12 SET- SIZE 10} 12 NO. CHAR. 82 82 82 82 See No. 64K See No. 68K See No. 78K See No. 79K See No. 86K See No. 88K See No. 89K SERIES NO. 971 ARRANGE- MENT 981 1111 1181 1501 1751 2541 4102 Sorts CLASS OF FACE Foreign POINT- SIZE 14 18 24 30 36 SET- SIZE REMARKS See No. 97K See No. 98K See No. UK See No. 118K See No. 150C See No. 175C See No. 254K See No. 102 THE MONOTYPE MATRIX LIBRARY affords a means where- by the Monotype owner can de- cide before he purchases a font whether or not he needs it. We rent matrices at $2.50 per font per month, and when you decide to buy them we credit rental paid against the purchase price. Write for coupon book describing in detail this Library System. t Tabular Face t Low Line Face Cross-Rule Face (See First Page) Merit-Proved Monotype-Made Portable Noiseless Over Capacity Right Hand Control PROVES THE WORK AND PRINTS THE PROOF If you operate a cost system you need an adding machine. Let us demonstrate how the Barrett will fit in on this sort of work. LANSTON MONOTYPE MACHINE COMPANY Manufacturer of ' lhe B<2rrett Philadelphia Offices PHILADELPHIA, 24th & Locust Spruce 4471 NEW YORK, 820 World Building Beekman 3155 CHICAGO, 417 S. Dearborn St. Wabash 1652 BOSTON, 170 Summer Street Main 4840 TORONTO, Lumsden Building Main 3250 WASHINGTON, 8 Jackson Place Franklin 6384 CLEVELAND, 426 Guardian Building Cherry 962 BUFFALO, 516 Mutual Life Building Seneca 5614 PITTSBURGH, Room 615 State Street Grant 8867 OKLAHOMA CITY, 208 N. Harvey St. Maple 5560 SAN FRANCISCO, 327 Rialto Building Sutter 6275 BIRMINGHAM, Chamber Com. Bldg. Main 6703 MONOTYPE MATRICES 15 The Matrix is the secret of the Monotype's Success; the more you appreciate the almost limitless possibilities of Monotype Matrices, the greater will be Your return from Your money invested in Monotypes Two letters are never carried on of a machine. You buy the Mat- thesame Matrix in the Monotype rices you need and combine them System, and from this basic prin- with the Matrix Units you have. ciple result both typographic beauty and commercial utility. Don't waste your money. Don't let others spend your The individual Matrix for each money for Matrices without a letter means that one alphabet thorough understanding of the imposes no limitations upon an- Monotype Matrix System. other; thus, the designer of Monotype faces need never strain T O enable you to use Mono- his ingenuity to make a Roman type Matrices most profitably, and an Italic Cap I look "near- to buy them most advanta- well" on the same width body. geously, and to save you from the annoyance of needless correspon- The individual Matrix for each dence and delay in filling your letter means that there is no orders for Matrices, the matter limit, practically speaking, to the O n page 2 and following is re- combinations of Monotype faces, printed, in condensed form, from "The Monotype System." A Each character a separate Unit, complete schedule of Matrix these Matrix, Units combined in Classification is also included in the Matrix Case to suit the require- this introduction to this Speci- ments of the job, not the limitations men Book of Monotype Faces. ^ It Helps You Grow and Grows with You" October, 1920 16 THE FLEXIBLE MATRIX SYSTEM The money-saving and the money-making advantages of our Unit Matrix System are here made clear by Specimens and Pictures Two letters are never carried on the same Matrix a Mat- rix/or each character, each Matrix a unit, these units combined in the Matrix Case as required; one alphabet imposes no limitations upon another, and the ingenuity of the designer of Monotype faces is never strained to make a Roman and an Italic cap (I /) on the same width body. One Alphabet Imposes no Limitations upon Another To appreciate the complete freedom from mechanical limita- tions of Monotype faces examine the two faces here shown. Note how much more extended the 159J is than the 25 J The best kind of originality is that which comes after a sound apprenticeship; that which shall prove to be the blending of a firm conception of all useful precedent and the progressive tendencies of an able mind. For, let a man be as able and original as he may, he cannot afford to discard knowledge of what has gone before Six-(>oint No. 25 J Arrangement Cl The best kind of originality is that which conies after a sound apprenticeship; that which shall prove to be the blending of a firm conception of all useful precedent and the progressive tendencies of an able mind. For, let a man be as able and original as he may, he cannot afford to dis- Six-fyoint No. 159J Arrangement C2 FIGURE 1 Two six-point faces, both seven-set yet either this extended face or the condensed face may be carried in the Matrix Case with the same Roman face and be composed with it. Thus, neither the Roman, nor the Bold- face used with it, imposes any limitations upon each other. Complete Flexibility in Making Combinations of Faces Fifteen different Boldfaces combined with the same Roman face are shown on page 17. In setting all these specimens the same Roman Matrices were used ; one Boldface was taken out of the Matrix Case and the Matrices for the next inserted without touching the Roman Matrices: For each new combination, the Monotype user does not have to "re-buy" his Roman Mat- rices "he buys what he wants when he wants it" combining the new units required with the old units he has. Monotype Matrices Help Sell Printing ' But great as are the artistic advantages of our unit Matrix system, these seem almost insignificant compared with the commercial advantages: because the wise Monotype user wastes no time, creates no dissatisfaction, arguing with his customer about the "inadvisability of using the Roman and Boldface" the customer wants, for in the Monotype office, practically speaking, any Boldface may be combined with any Roman of the same point-size. " The ability to give your customer what he wants is worth a hi more than the time you sate by not having to talk him into being half-satisfied with what you can give him" Matrices of Hard Bronze Not Soft Brass The Matrices for composition, made of hard bronze (not brass), are two-tenths of an inch square and one-half inch high. In the lower end (casting B~TBri I llMI I position) is driven the character, ^Hll |tBJl[ clean cut and sharp, with deep ^^ ' l I counters; in the upper end is SIDE FACE bored the cone-hole in which the END taper centering pin seats, accur- Actual Size ately positioning the Matrix and FIGURE 2 holding it on the Mold while the The Cellular Matrix type is cast. The Matrix, Case Complete with Matrices Weighs only Thirty Ounces Fig. 11, page 21, shows the size of the Matrix Case, which weighs, with the 225 Matrices it contains, only thirty ounces. To change from one combination of faces to another the case complete is taken out of the Casting Machine, and the case CONE- HOLE END containing the required combination is inserted. To change the combination of faces in the Matrix Case the back of the case is taken off and the combs lifted out of the case, as shown in Fig. 3. The Matrices are car- ried in the Matrix Case on combs, fifteen Mat- rices on a comb and fif- teen combs in the Mat- rix Case. Thus, each Matrix is held in true position, in its own "cell;" it cannot twist, it cannot move, to wear itself and the Matrices next it it is \\t>ut" and FIGURE 3 The comb and Matrices it it stays put. carries. (Half Size) The Alignment of Monotype Faces is Right and it Stays Right The centering pin seats in the Matrix after the case has moved and brought the required Matrix over the Mold. The Matrix cannot move or rock, for the taper end of the pin fits tight in the cone-hole of the Matrix, so that they are practically one piece. The pin is guided close to its lower end by a bushing (not shown in the picture) , and every char- acter must be perfectly positioned on its body the alignment cannot vary. In the picture the Matrix Case is broken away to show how the steel combs and bronze Matrices interlock to give the wear-resisting qualities of a slab of reinforced concrete, and yet each Matrix has "play" enough for the center- ing pin to position the Matrix accurately without moving the Matrix Case. FIGURE 4 The centering f>in about to seat in the Matrix from which the next type is to be cast. (Half Size) Matrices for 225 Characters and Spaces in each Matrix Case Two hundred and twenty-five Matrices are combined in the Matrix Case to suit the work to be done: The Monotype user does not scheme to change the job to fit the machine he makes the Matrix Case fit the job. For example, Roman caps, small caps, lower case, figures, and points, with Italic caps, lower case, figures, and points, may be carried in the same Matrix Case; or a Boldface, extended or condensed, may be substituted for the Italic; or, by omitting the diphthongs, six alphabets may be used together, Roman, Italic, and Bold- face with this arrangement words cannot be set in the Italic caps. All Hand Work of Composition is Done by the Compositor Not the Machine Operator With the Monotype all hand work is done by a compositor, not by a machine operator, for a composing machine is too expen- sive for its operator to use as a "stick" to set Matrices by hand from a "pi-box" the Monotype is the machine that keeps itself not its operator busy. Infrequently used characters not carried in the Matrix Case are not omitted from the job when one is required the operator strikes any character of the same width, and when the matter is corrected by hand at the case, this is exchanged for the character desired without affecting the justification. Special figures of /T^-^ t& t& any size up to thirty- six-point may be in- U* r^r"\. serte< ^ ' n tne Matrix Case when required, J^ I _ just as the figures here shown were cast in \\J JL.\J\J this matter without hand work of any kind (see Display Figure Matrices, page 23) . THE FLEXIBLE MATRIX SYSTEM 17 In short, the Monotype opera tor makes up his case to suit the work, including accents, special signs, etc., when necessary, exactly as the hand compositor arranges his cases, and the Monotype user buys what he wants when he wants it. Monotype Faces Line Perfectly STANDARD MATRIX LINE makes possible the infinite combination of Monotype Matrices: If a six-point Matrix be put in the Matrix Case with a font of twelve-point Matrices, the characters cast from the six-point Matrix (on twelve- point body) line perfectly with the twelve-point characters. In the Monotype office all faces cast on the same body line at the bottom; to make two faces of different point-size line, cast them on the same body instead of cutting up leads to fit the smaller face to the larger. Some Matrix Case Arrangements In the opposite column are shown some of the combi- nations of 225 character and blank Matrices that may be carried in the same Matrix Case. Combinations of Monotype Faces The Monotype is the machine that took the limitations out of machine composition. Because of its completely flexible Mat- rix system it gives the printer all the economies of machine composition, while preserving all the freedom of hand com- position. Below are shown just a few of the many possible combinations of Monotype faces. ABCDEFGH IJ KLMNOPQRSTUVWX YZ&.ECE ABCDEFGHIJKLMNOPQRSTUVWXYZ&^ECE abcdefghijklmnopqrstuvwxyzaecefiffflffiffl.,- ; :Ji}} !? A BCDEFGHIJKLMNOPQRSTUV WX YZ&&(E abcdefghijklmnopqrstuvwxyzacefiffflffiffl;:!? $1234567890 %lb'" 0i - u -*tttl? .".()[ } 1 A 1 AX $1234567890 FIGURE 5 Five Alphabet Arrangement: 225 Matrices, including nec- essary blanks for spaces, etc. ABCDEFGHIJKLMNOPQRSTUVWXYZ& abcdefghijklmnopqrstuvwxyzfiflffffiffl . ,- ; :J} ! ? A BCDEFGHIJKLMNOPQRSTUV WX YZ& abcdefghijklmnopqrstuvwxyzfiffflce ; : ? ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyzfiflff.,-;:"!? $1 234567890 J- ? '. .' *ft $1234567890 FIGURE 6 Six Alphabet Arrangement: 225 Matrices, including nec- essary blanks for spaces, etc. With this combination complete words can- not be set at the Keyboard in Italic caps $12345 $12345 ABCDEFGHIJKLMNOPQRSTUVWXYZ& abcdefghijklmnopqrstuvwxyzfiflff .,:;' s ' 7 ' s ' 7 -l? ' 9 v .". ji *tn 1 O'lKKlCMHaa ABCDEFGHIJKLMNOPQRSTUVWXYZ& abcdef ghijklmnopqrstu vwxyzf iff fl .,-":;!? $123456789Oc., $1234567890c., 67890 67890 FIGURE 7 Four Alphabet Arrangement with four sets of figures (one set Display Figure Matrices) for newspaper ad composition It's all in the Matrix; the part that makes the face is the vital part of any composing machine that makes printing surfaces from molten metal. Therefore, in the selection of your composing machine, study the Matrix, system the method of obtaining and main- taining alignment and the ability of the Matrix, system to give you the faces, and com- binations of faces, you want now and in the future. The Monotype furnishes three times as many faces as any other machine, and infinitely more combinations of faces, because there is practically no limit to combinations; the following specimens show fifteen Boldfaces, both condensed and extended, combined with the same Roman face: Six-point No. 78 J with No. 38E THE MONOTYPE is famous for quality; don't think it is backward on quantity. Many newspapers use the Monotype exclusively, and our repeat order record and the results obtained in such offices prove conclusively that quality and quantity are united in the Monotype. Six-point No. 79 J with No. 38E THE MONOTYPE Is the only machine that will handle several rush jobs at the same time, one on the machine while the others are set from the cases of Monotype type. There is no distribution; it is cheaper to make new type than to distribute. Six-point No. 86J with No. 38E THE MONOTYPE stops that greatest leak of all IDLE TIME. No machine is worth having when you can't run it. You can run the Monotype more hours a year than any other composing machine. "No matter to compose? No matter, cast type." Six-point No. 89 J with No. 38E THE MONOTYPE maintains prices, for while it reduces cost it raises quality. Its product is better than hand-set foundry type, unless new type be used for every job. Thus the Monotype does more than save on "esti- mates" it puts real money in the cash drawer. Six-point No. 89K with No. 38E THE MONOTYPE user can't get out of sorts he has "type on tap." His cases are full of type that can't go out of style because it is cheaper to make new type than to dis- tribute and the Monotype user can change the face when he "distributes." Six-point No. 86K with No. 38E THE MONOTYPE wipes out the cost of leads and hand leading. After a job has been keyboarded it may be cast on the proper size body to make the number of pages re- quired, or to fill the designated space. This it but one of the exclusively Monotype advantage*. Six-point No. 117 J with No. 38E THE MONOTYPE gives the printer the type-founder's profit on body and display type (in all sizes from five-point to thirty-six- point), on borders and ornaments, on quads and spaces, and the dollars and cents spent turning letters and waiting for sorts. Six-point No. 186J with No. 38E THE MONOTYPE is the only machine for tariffs, catalogs, price lists, directories, all matter kept standing and corrected; altera- tions are made as easily as with foundry type and the investment is less by eighty per cent. Monotype corrections don't stop pro- duction of new matter. Six-point No. 79K with No. 38E THE MONOTYPE saves in the most ex- pensive department the press-room. Print- inn from Monotype type if like printing from new foundry type, for both are abso- lutely accurate in height-to-paper. Saving on make-ready is a double saving, press time and man time. Six-point No. 98K with No. 38E THE MONOTYPE eliminates electro- typing expense because (a) Monotype type will wear as well on long runs as foundry type; (b) not necessary to electrotype to save type; (c) for duplicating, recast from the same ribbon; (d) for repeat orders use old ribbon over again. Six-point No. 107 J with No. 38E THE MONOTYPE saves the most costly item the printer uses TIME; time on com- position, time of supervision, time on cor- rections (when slugs are used), time hunting facilities, time devising makeshifts, time of resetting because of short fonts, and time lost waiting for sorts. Six-point No. 161J with No. 38 E THE MONOTYPE makes and sets in- dividual type with low (or high) spaces and quads, in automatically justified lines which are delivered upon ordinary galleys. Thus its product is the same as hand-set new foundry type. Six-point No. 275 J with No. 38E THE MONOTYPE means increased profits to the large office using a battery of machines, but to the small office that can use but one machine the Monotype means new life, because its flexibility promotes expansion along the lines of least re- sistance and greatest profit. Six-point No. 27 fK with No. 38E THE MONOTYPE user may combine almost any Boldface with any Roman: consequently, he does not have to "rebuy" his Roman Matrices whenever he wishes to use a new combination of Boldface and Roman "He buys what he wants when he wants it." Six-point No. 92J with No. 38E THE MONOTYPE is the best friend of that wise man the printer with a specialty. Catalog work, price lists kept standing, intri- cate work, tabular matter, educational work, typewritten letters, mail lists, and QUALITY the best paying specialty ol all are the Monotype specialties. 18 "OPENING-UP' FACES A fat or a lean face may be composed from the same font of Monotype Matrices "Cut your coat to fit the cloth, " a wise printer once said, but Franklin's up-to-date brother printer, who uses the Monotype, can cut his coat, and pad it too, regardless of the cloth. To decrease the number of words per thousand ems, either for artistic or for com- mercial reasons, the Monotype will not only cast the face on any larger size body desired, thereby eliminat- ing hand leading, but, more than that, the Monotype has a unique advantage, unknown to any other proc- ess of composition, of being able to stretch the face and make it more extended. A condensed or an extended face may be cast from the same font of Monotype Matrices: Of course the Mat- rices made of bronze are not actually stretched and the design of the letters altered, but with the Monotype it is a simple matter to vary the width of the bodies on which these letters are cast. Thus, Fig. 8, page 19, shows the possibilities of "opening- up" Monotype faces by in- creasing the white space be- tween the letters. While thus opening-up the face, of course, sacri- fices the very close-fitting characteristic of Monotype composition, the result is not displeasing even when faces are opened up ten per cent., because the amount thus added to the body of each letter is proportional to the width of the letter thus, for example, the width of the lower case "m" is in- creased three times as much as the width of the lower case "f". Furthermore, each letter being cast sepa- rately is sharp, clear-cut, and distinct. To understand the commercial value of the ability of the Monotype to thus "open-up" faces by putting white space between the letters composing the words, we must appreciate clearly that there are two totally different kinds of composition : Monotype composition, the equivalent of brand-new type set by hand. The letters cast separately are so closely fitted that they flow together and make word pictures with no perceptible white space between the letters composing a word. The spaces between words, always proportional to the size type used, give the close spacing essential in quality typography and necessary, if objectionable "rivers" are to be avoided. Line-cast composition. All casting and composing machines except the Monotype assemble the molds for the letters in a line and make one casting for a line. These letter molds must have side walls and obviously there must be space between letters thus cast in The milkman sells two kinds of product cream and milk but he does not keep two kinds of cows. If your business requires that you sell two kinds of composition, do you need two kinds of com- posing machines? bunches. Nor can words cast on these machines be as closely spaced as Monotype set words, because the spaces in line cast composition are made by metal wedges placed between the letter Molds for the differ- ent words of the line; furthermore, since the same wedges are used with different size faces, the spacing is not proportional to the size type used. The Monotype produces, at will, either of these two kinds of composition, see Figs. 9 and 10, page 19: The left hand of these specimens shows Monotype quality, the cream of composition; the maximum number of words to the square inch, close fitted type, thin spaced the equivalent of the best foundry type, brand-new, set by the most skilful and careful hand compositor. The right hand of these specimens cast on the same Monotype, from the same Matrices, as used for the specimen beside it, shows the same face "opened-up, " that is, "diluted" with white space between the letters and words to give the paper-covering qual- ity of line-cast machine composition. But even "opened-up," there is still the quality of Monotype faces, for the letters cast separately are clear-cut and sharp, and they have not been distorted to suit the limitations of a machine. The ability to produce two standards of quality is a unique advantage of the Monotype a very real ad- vantage to those in a com- petitive business. To de- crease the number of words per thousand ems, that is, to increase the number of ems per thousand key- strokes, a simple adjustment of the Keyboard and the Casting Machine is all that is necessary. Auto- matically, then, the Monotype "stretches" the face, opening it up by putting more white space between the letters and wider spaces between the words. In short, the Monotype user can furnish at will : (a) for the quality job, a product identical with brand-new foundry type, perfectly spaced and justified, or (b) for the cheap job, a product superior to line casting com- position. // your business requires two standards of quality, why own two kinds of composing machines? Non-productive hours are the sink-hole of the print- ing business. The merchant printer, the wise man who understands both the selling and the manufac- turing side of the printing business, uses the versatile Monotype, both to get work into the shop and to get it out; for, whether Quality or Price be the factor, the Monotype gets the job and holds it, too. "OPENING-UP" FACES 19 // your business requires two Standards of Quality (a) for cheap work the paper- covering quality of fat, slug faces, and (6) for high-grade work the quality of closely fitted and spaced type why own two kinds of composing machines? The same Monotype, with same Matrices, will give you both grades of composition This line is 8-point 8j^-set. A New Idea This line is 8-point 8%-set. A New Idea This line is 8-point 9- set. A New Idea This line is 8-point 9J^-set. A New Idea This line is 10-point 10- set. A New Idea This line is 10-point 10^-set. A New Idea This line is 10-point 10}"-set. A New Idea This line is 10-point 10%-set. A New Idea This line is 11-point 11- set. A New Idea This line is 11-point 11^-set. A New Idea This line is 11-point llj^-set. A New Idea This line is 11-point 11%-set. A New Idea This line is 11-point 12- set. A New Idea FIGURE 8 The first line of each (joint-size shows the face on its normal set (the smallest on which it can be cast), while the following lines show the effect of ' opening-up' the face by quarter sets. In all cases the spaces between words are three-lo-em of the set used To understand the commercial value of the ability of the Monotype to thus "open-up" faces, by putting white space between letters, we must appreciate clearly that there are two totally different kinds of composition: Monotype composition, the equivalent of brand-new type set by hand. The letters, cast separately, are so closely fitted that they flow together and make word pictures, with no per- ceptible white space between the letters composing a word. The spaces, always proportional to the size type used, give the close spacing between words demanded by typographic tra- ditionand essential if objectionable "rivers" are to be avoided. Line cast composition. All casting and composing ma- chines except the Monotype assemble the molds for the letters in a line and make one casting for a line. These letter molds must have side walls and obviously there must be space be- tween letters thus cast in bunches. Nor can words cast on these machines be as closely spaced as Monotype set words, because these spaces are made by wedges placed between the letter molds for the different words in the line. The Monotype produces, at will, either of these two kinds of composition. The left hand of these specimen pages shows Monotype quality, the cream of composition; the maximum number of words to the square inch, close fitted type, thin spaced the equivalent of the best foundry type, brand-new, set by the most skilful hand compositor. SEE THE SPACE SAVED SEE THE SPACE SAVED SEE THE SPACE SAVED SEE THE SPACE SAVED SEE THE SPACE SAVED To understand the commercial value of the ability of the Monotype to thus "open-up" faces, by put- ting white space between letters, we must appreciate clearly that there are two totally different kinds of composition: Monotype composition, the equivalent of brand-new type set by hand. The letters, cast separately, are so closely fitted that they flow together and make word pictures, with no perceptible white space between the letters composing a word. The spaces, always pro- portional to the size type used, give the close spacing between words demanded by typographic tradition and essential, if objectionable "rivers" are to be avoided. Line cast composition. All casting and composing machines except the Monotype assemble the molds for the letters in a line and make one casting for a line. These letter molds must have side walls and obviously there must be space between letters thus cast in bunches. Nor can words cast on these ma- chines be as closely spaced as Monotype set words, because these spaces are made by wedges placed be- tween the letter molds for the different words in the line. The Monotype produces, at will, either of these two kinds of composition. The left hand of these specimen pages shows Monotype quality, the cream of composition; the maximum number of words to the square inch, close fitted type, thin spaced the equiv- alent of the best foundry type, brand-new, set by the most skilful hand compositor. FIGURE 9 Monotype quality, the cream of composition; the maxi- mum number of words to the square inch, close fitted type, thin spaced, the equivalent of brand-new foundry type set by hand FIGURE 10 The same face, diluted with space between letters and words, gives the fatness and paper-covering quality of line-cast composi- tion plus every Monotype advantage except close fitting and thin spacing 20 MATRIX CLASSIFICATION Job Fonts of Matrices 12 Job Fonts of Matrices are listed under four classifications: (1) Cap and Lower Case Fonts; (2) Cap Fonts; (3) Cap and Small Cap Fonts; (4) Small Cap Fonts. The following listing shows the charac- ters that make up these fonts: Matrices Unit E 1 The Matrices for use with the Monotype Com- posing Machine and Type_&LRule Caster are a most important unit of the Monotype and are made in three forms or styles : (a) Cellular Matrices, which are used for all classes of composition and also for casting sorts for hand use; (6) Electro Display Matrices, which are used only for casting sorts and type for hand compo- Cap and Lower Case Fonts sition; (c) Continuous Rule Matrices, which are used ^ : x Vz fc^cE. " !. J KLM NOP . QRSTU 29 with special Molds for casting metal rule in continuous Lowercase: abcdef ghi jk i m nopq Y stu v wx strips of any length. Each style of Matrix has its spe- frl^-Vi 23^5 67 89 o.'.' '. 11 cial place and a complete Monotype plant will have use Points: .,-:;'!? 8 for all. J[ 2 Cellular Matrices, SO Called from the method of With Composition Matrices we invariably furnish the holding them in the Matrix Case by means of combs ^^o' mak ' me : *?*."**. . numbe . rofcharacters 82 which form individual cells, may all be used for ma- The diphthongs (^Voi, as', oe), the ligatures (fi, ff, in, ffi, i j.-;,^,-, ,-orrot-/-11occ r\f t-Vio ciVo nf fVip X/fot-riv ffl). an( i the inverted comma (') can be omitted, and the chine composition regardless ol the size ol the Matrix font rate retained This ma ^ es the minimum numb er and they may also be Used for Casting type for hand of characters in a Cap and Lower Case Job Font total . 72 composition. i i . i x it Cap Fonts 3 For machine composition these Matrices must Caps . AB CDEFGHIJKLMNOPQRSTU be carried in a Matrix Case in which they are laid out vwxvz&yECE 29 in accordance with one of the Standard Arrangements gf : $ _> 2 . 3 . f ? 5 6 7 8 9 ; ; ; ; ; ^ shown on pages 31, 32, and 33; or the Matrix Case may be laid out in special arrangement to conform to With Composition MatriC es, we invariably furnish the 4? the requirements Of exacting Or Unusual Conditions. inverted comma, making the total number of characters For casting type for hand setting these Matrices may The^iphThongs ^,'CE) and the inverted 'comma o can 4 ' be Carried either Collectively in a Matrix Case Or in- be omitted, and the font rate retained. This makes the dividually in a Matrix Holder. minimum number of characters in a Cap Job Font total . 46 4 Cellular Matrices are made in several sizes, de- Cap and Small Cap Fonts termined by the point-size of the type-face to be cast. Caps: ABCDEFGHIJKLMNOPQRSTU All faces twelve-point and smaller are made in .2" by v w x Y z & / (E V) .2" Cellular Matrices, except a few of the larger sizes of g^ : . $ _' : 2 ; 3 - 1 1 . . :'.::::::::::::::::::: 8 very extended faces, some of the characters of which Small Caps: ABCDEFGHIJKLMNOPQRSTUV are too wide to go in a .2" by .2" Cellular Matrix, Figures-.^ f 3 '45' b 7 sg'6: '.'.'. '.'.'.'.'.'.'.'.'.'.'.'.'.'.'.'.'.'.'. n and which are, therefore, made in Electro Display Points: .,-:;'!? J* Matrices. 96 5 Display Figure Matrices, .2" by A", made for W' th Composition Matrices, we invariably furnish the xtofstat; s"' j inverted commas, making the total number of characters display figures, termed double Matrix figures, can be - m the font 98 used for Composition in the Matrix Case in COmbina- The diphthongs (/ECE,e// u i" u- u The diphthongs (/e, a;) can be omitted, and the font Of tWO Sizes, .2' by .3 and .3 by .3 , which are Com- rate retained. This makes the minimum number of char- bined for use in one Matrix Case. acters in a Small Cap Job Font total 27 7 Electro Display Matrices, made by the elec- trotyping process, are not used for machine composi- 13 Many fonts shown in our Specimen tion but for casting type, borders, and ornaments from have additional characters of different design, as fourteen-point to thirty-six-point, inclusive, for the use well as special signs, etc.', which are made as part of of the hand compositor. A few extended faces smaller the font. Any or all of these may be included at the than fourteen-point are also included in this style of font rate, with the font to which they belong, if spe- Matrix. cifically included in the order. 8 C"*'"""f * ule Matrices are used with Lead 14 The omission of any character or characters and Rule Molds for casting rules in continuous strips, from the minimum job fonts, as specified above, will which are accurately cut to desired lengths by the cause each character ordered to be billed at the single Automatic Cutter. Matrix rate instead of font rates. 9 Cellular Matrices are sold singly, in job fonts (see 1,12), or Full Fonts Standard Arrangements, as 15 Font characters: All characters shown above shown on pages 32, 33, and 34, complete in the Matrix in the various job fonts are hereafter referred to as C ase font characters. 10 Electro Display Matrices are sold singly or in 16 Blanks in Cellular Matrices: Two kinds of job fonts, see If 12. blank Matrices are furnished for casting quads and 11 Continuous Rule Matrices are sold singly. spaces: Steel blanks without cone holes for casting MATRIX CLASSIFICATION 21 high or low quads and spaces; bronze blanks with cone holes for casting high quads and spaces only. Both kinds of blanks may be carried at the same time in a Matrix Case to give low quads and spaces in one por- tion of the work and high in another. The bronze blanks with cone holes are, of course, used with Molds that do not cast low quads and spaces and also to fill out the Matrix Case when using a partial font. Unless otherwise instructed, we always furnish steel blanks. 17 Blanks for Electro Display Matrices: Blanks for Electro Display Matrices are made for use in the Matrix Holder when casting high or low quads and spaces of any body. Accent Matrices 18 It has been the policy of all manufacturers of composing ma- chines, except the MonotypeCom- pany, to show with the specimen of a type-face those ac- cents which they have made for use with that face. Thus, a user 4 of those ma- chines must limit his foreign language work to those faces for which accents are furnished. 19 We hold that modern foreign language accents are an integral part of a font, and that, consequently, it is our duty to furnish these accents. This policy makes available for foreign language composition every face shown in our Specimen Book. 20 Order accents by number, see page 34. 21 Accents for all Roman, Italic, and Boldface fonts, as shown in the Specimen Book, for the follow- ing modern languages : Bohemian ACDEElN6RSttJfjZ accTeeift6fst'uuy2 Brazilian AAACfiElCoOTJU FIGURE 1 1 The Monotype Matrix. Case, or "Magazine," holds 225 Matrices and weighs complete only thirty ounces Danish Dutch French German Greek Hungarian Italian Lithuanian Norwegian A U ao ii EachGreekcharacter hasitsindividual num- ber. See specimen sheet. AfilOOCtfUtf a6f 66 0tiu Q 4CEE.ISIJZU 4684 jiq 2 Polish 4CE.LNOSZZ Portuguese AAAgEEfoOptJU aaa-set, see 1177). 181 Borders and Ornaments: Designating letter, N . Since these Matrices are usually made for point-set (set-size same as point-size: 8-point 8-set), the letters to indicate set-size (11177) and unit-row (If 178) are rarely used ; of course, these letters would be used for any borders and ornaments not point-set. A ten-point ten-set border No. 15 in our series of borders would be marked Point Side 10, Series Side 15N. 182 Signs: Designating letter, P. Like borders and ornaments (^[181), the letters to indicate set-size and unit-row are not used for signs on point-set body. A ten-point plus mark of the No. 10 series of signs, being on ten-point ten- set body, would be symboled Point Side 10, Series Side 10P; an eight-point asterisk (8- set, 6-unit character) of the No. 40 series of signs carries the letters indicating set- and unit-size thus : Point Side 8W, Series Side 40Pc. 183 Logotypes: Designating letter, Q. The follow- ing applies to special logotypes like AM, and not to the diphthongs and the "f" ligatures, or similar letter combinations, for use with a particular font, which are symboled as part of the font with which they are used ( H 1 67) . EXAMPLE : the ten-point logotype AM of the No. 10 series of signs is marked Point Side 10U, Series Side 1 0Q ; since this character is on point-set body, the letter o to indicate eigh teen-unit row is not used. 184 Dashes: Designating letter, R. The ten-point ten-set dash of the No. 1 series of dashes is symboled Point Side 10U, Series Side 10R, the U indicating ten- set (HI 77). The same dash for ten-point and eight units of ten-and-one-quarter-set is marked Point Side 10Ub, Series Side 185 Leaders: Designating letter, R. All leaders, be- ing driven to the same Matrix line, can be used with Matrices of any point-size (H38), and consequently there is no point-size for leaders; the only marks on the Point Side are those required to indicate set. Thus, a ten-set eighteen-unit leader of the No. 20 series of leaders is marked Point Side U, Series Side 20R; the letter o to indicate eighteen units is not required on the Series Side (HI 78). The same kind of a leader for ten units of nine-and-three-quarter-set would be marked Point Side Vc, Series Side 20 Rg. 186 Brackets, Parentheses, Braces, and Piece Braces: Designating letter, S. The ten-point bracket of the No. 10 series of brackets made to cast on seven units of ten-set is symboled Point SidelQV, Series Side 10Sd. 187 Cross-Rule Matrices (H43) : Designating let- ter, T. The six-point six-set parallel oross (#) is sym- boled Point Side 6Y, Series Side T8E8; see specimen sheet of these Matrices for details of method of mark- ing these special matched Matrices. 188 Unclassified Characters: The letter X is re- served for characters that may be made for which the letters on the Series Side (A to T) do not apply. The X would be used in combination with the letters to indicate set- (HI 77) and unit-size (HI 78). Electro Display Matrix Symbols Point-Size Series No. 189 All the above refers to Composition Matrices for the casting of type in justified lines, as well as type for the cases. No letters are used fcr mark- ing Electro Display Mat- rices for casting type fcr the cases. In the upper left corner (Fig. 20) is stamped the point-size, and in the upper right corner the ser- ies number. The two num- bers at the bottom of the Matrix indicate the Wedge positions to make the cor- rect body size for this character. As explained in H52, the Italic of a face in Electro Display Matrices is indi- cated by the figure 1 added to the series number; thus, the Italic for the 37E series in Composition Matrices is symboled 371 in Display Matrices. Wedge positions FIGURE 20 Electro Display Matrix Symbols MATRIX CASE ARRANGEMENTS 31 The following tabulation gives the characters carried in the Matrix Case for the different standard Matrix Case arrangements; for details of the position of these characters in the Matrix Case see our book, "The Monotype System." The Key- bars (^[32) and Stopbars (^[33) required are specified for each arrangement; where the arrangement requires Matrices for modified characters (1J40), this also is noted. Matrix Case Arrangements for Standard Stopbars Arrangement C Roman caps, small caps, and Lower case with Italic caps and lower case ABCDEFGHIJKLMNOPQRSTUVWXYZ&,E(E ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CB abcdefghijklmnopqrstuvwxyzaecefiffflffiffi . , - : ; ' s J J J ! ? ABCDEFGHIJKLMNOPQRSTUVWXYZ&&CE abcdef ghijklmnopqrstuvwxyzcecefiffflffiffl : ; ! ? 7890M}" >A - UL ? 1 . ." 1 . [ ] ( ) $1234567890 Stopbars S> RIGHT Keybank CKeybars C I Keybutton Clip LEFT Keybank CKeybars C 3 Keybutton Clips Arrangement Cl Roman caps, small caps, and lower case with Boldface (Cl) caps and lower case ABCDEFGH IJ KLMNOPQRSTUVWX YZ&^ECE ABCDEFGHIJKLMNOPQRSTUVWXYZ&^ffi abcdefghijklmnopqrstuvwxyzaecefiffflffiffl . ,- : ;J} J J ! ? ABCDEFGHIJKLMNOPQRSTUVWXYZ&>ECE abcdef ghi jk I mnopqrstuvwxyzaecefiff flff iff I .,-::''!? $l234567890M^K*1tl%ft) 0i - u -? .". [ ] ( ) $1234567890 LEFT Stopbars S5 RIGHT Keybank C Keybars C Keybank C Keybars Cl 7 Keybutton Clips 3 Keybutton Clips Arrangement C2 Roman caps, small caps, and lower case with Boldface (C2) caps and lower case ABCDEFGHIJKLMNOPQRSTUVWXYZ&/E(E ABCDEFGH I J KLMNOPQRSTUVWXYZ abcdef ghijklmnopqrstuvwxyzaeoefiffflffiffl , - : ; 5 } 5 J ! ? ABCDEFGH I JKLMNOPQRSTUVWXYZ&XtCZ abcdef ghijklmnopqrstuvwxyzaeaefiffflffiffl .,-:;'!? $1234567890*tifl%lb'i -"-? '. .' [ ] ( )S1234567890 LEFT Stopbars Sf RIGHT Keybank CKeybars C Keybank CKeybars C2 on Cli 3 Keybutton Clips 9 Keybutton Clips Arrangement C3 , Roman caps, small caps, and lower case with text letter (C3) caps and lower case ABCDEFGH I J KLMNOPQRSTUVWX YZ&E(E ABCDEFGHIJKLMNOPQRTUVWXY& abcdefghijklmnopqrstuvwxyzaeoefiffflffiffl . , - : ; JJ J ', \ ? abc6efabuMmnopqrstuvwx?ixefiffflfFtffl .,-:;'' $1234567890t% - u -? 1 . ." ( )$1234567890 LEFT Stopbars S5 RIGHT Keybank CKeybars C Keybank CKeybars C3 II Keybutton Clips 13 Keybutton Clips Arrangement C4 Roman caps and lower case with Boldface (C4) caps and lower case ABCDEFGHIJKLMNOPQRSTUVWXYZ&yECE abcdef ghijklmnopqrstuvwxyzaecefiffflffiffl .,-:;<< j I ? ABCDEFGHIJKLMNOPQRSTUVWXYZ&/ECE abcdef ghijklmnopqrstu vwxyzsoefiffflff iff! .,-:;"!? $1234567890MKK*ttt%tt) OA - u -? 1 . .".[]()$123457890 LEFT Stopbars Sf RIGHT Keybank CKeybars C Keybank CKeybars C4 - ' on Clit 3 Keybutton Clips 1 1 Keybutton Clips Arrangement 6C1 Roman caps and lower case with Italic caps and lower case and Boldface (Cl) caps and lower case ABCDEFGHIJKLMNOPQRSTUVWXYZ& abcdefghijklmnoprirstuvwxyzfiffflffiffl . . - : ; J '. \ ? ABC1)1:1 ; C,IIIJKLMNOPQRSTUVWXYZ& abcdef p.hijklmnopqrst'iiivxvzfifrfl: ; 1 ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdef ghijklmnopqrstuvwxyzfifffl .,-::"!? $ 1 2.U.S67890*TTll * -"-? '. ." $1234567890 LEFT Stopbars S5 RIGHT Keybank 6C1 Keybars 6C1 Keybank 6C1 Keybars 6C1 I Keybutton Clip Arrangement 6C2 Roman caps and lower case with Italic caps and lower case and Boldface (C2) caps and lower case ABCDEFGHIJKLMNOPQRSTUVWXYZ& abcdefghijklmnopqrstuvwxyzfiffflffiffl . , - : ; J ' s \ ? A BCDEFGH1JKLMNOPQRSTU V WX YZ abcdef ghijklmnopqrstuvwxyzfifffl ; ? ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyzfifffl ..-::"!? $1234567890*tP A - UL ? .". 0$1234567890 LEFT Stopbars Sf RIGHT Keybank 6C1 Keybars 6C1 Keybank 6C1 Keybars 6C2 1 Keybutton Clip 7 Keybutton Clips Arrangement FC French: Roman caps, small caps, and lower case with Italic caps and lower case ABCCDEFGHIJKLMNOPQRSTUVWXYZ&^XE ABCDEFGHIJKLMNOPQRSTUVWXYZ^CE aaabccdeeeefghiiijklmnoopqrstuuuvwxyzjecefiffflffiffl .,-:;:;!? A BCDEFGHIJKLMNOPQRSTUVWXYZ&jECE aadbcfdeeeefghiiijklmnodpgrstuuuvwxyzaoefiflfjffijffl : ; J1234567890X %' * -"- - ' f ] ( )$1234567890 LEFT Stopbars Sf RIGHT Keybank FC Keybars FC Keybank FC Keybars FC 2 Keybutton Clips Arrangement FC1 French: Roman caps, small caps, and lower case with Boldface (Cl) caps and lower case ABC CDEFGH u KLMNOPQRSTUVWX YZ&^CE A BDEGH I J KMNORS VW YZ.SCE aaabccdeeeefghiiijklmnoopqrstuuuvwxyzaecefiffflffiffl . , - : : 1 1 ! ? ABCCDEFGH IJ KLMNOPQRSTUVWX YZ&XECE aaabccdceecf ghi li jk Im noopqrstu u u v wxyzaeoef iff f Iff iff I ..-:;"!? 1234567890>i% -"-'. ' ( ) 1234567890 LEFT Stopbars Sf RIGHT Keybank FC Keybars FC Keybank FC Keybars FC1 4 Keybutton Clips 14 Keybutton Clips Arrangement FC2 French: Roman caps, small caps, and lower case with Boldface (C2) caps and lower case ABCCDEFGHIJKLMNOPQRSTUVWXYZ&^XE ABCDEH J KLMNORSU WX YZ aaabccdeeeefghiiijklrnnoopqrstuufivwxyzcefiffflffiffl .,-:;::!? ABCDEFGHIJKLMNOPQRSTUVWXYZ& aaabccdeeeetgh iiij k I m noopqrstu u uvwxyzaecef iff f Iff iff I .,-:;"!? $1234567890%'] *-"-? .'.[]( ) $1234567890 LEFT Stopbars Sf RIGHT Keybank FC Keybars FC Keybank FC Keybars FC2 2 Keybutton Clips 13 Keybutton Clips Arrangement GC1 German: Lightface caps and lower case with Boldface caps and lower aabcbefflhiiflmnoSpqrfStutt&mnHiWfiffilllfiffftfil} ., . ( )*t c-& []( )*t $1234567890,4 XH* -"-''." ."- $1234567890 LEFT Stopbars Sf RIGHT Keybank GC Keybars GC Keybank GC Keybars GC Arrangement SC Spanish: Roman caps, small caps, and lower case with Italic caps and lower case ABCDEFGHIJKLMNNOPQRSTUVXYZ& ABCDEFGHIJKLMNfioPQRSTUWXYZft aabcdeefghiijlmnfloopqrstuuuvwxyzfi . , - : ; 5 J ! ? I i ABCDEFGHIJKLMNfiOPQRSTUVXYZb' a&bcdeefRhiijlmnflodpqrstuuiimvxyzfi : : ! 1 1 1 LEFT Stopbars S5 RIGHT Keybank SC Keybars SC Keybank SC Keybars SC 1 Keybutton Clip 32 MATRIX CASE ARRANGEMENTS Arrangement SCI Spanish: Roman caps, small caps, and lower case with Boldface (Cl) caps and lower case ABCDEFGHIJKLMNNOPQRSTUVXYZ& ABDEGH I J KMNN ORSUWXZ& aabcdeefghiijlmnnoopqrstuuuvwxyzfi . , - : ; J J ! ? 1 1 ABCDEFGHIJKLMNNOPQRSTUVXYZ& aabcdcefghiijlmnnoopqrstuuiivwxyzfi .,-:;''!?; i $1234567890MKKX^H^^?i mo %1Ilb i - u -? .".[] ()$1234567890 LEFT Stopbars S5 RIGHT Keybank SCKeybars SC Keybank SCKeybars SCI 1 Keybutton Clip 1 Keybutton Clip Arrangement SC2 Spanish: Roman caps, small caps, and lower case with Boldface (C2) caps and lower case ABCDEFGHIJKLMNNOPQRSTUVXYZ& ABCDEFGHIJKLMNNOPQRSTUWXYZ4 ABCDEFGHIJKLMNNOPQRSTUVXYZ& aabcdeefghii jlmnhoopqrstuuuvwxyzfi .,-:;" I ? U $1234567890KxiHHHK?i 1 " ) l'tt> A -'^? '*[]( )$1234567890 LEFT Stopbars Sf RIGHT Keybank SCKeybars SC Keybank SCKeybars SC2 3 Keybutton Clips 1 Keybutton Clip Matrix Case Arrangements for Special Stopbars Arrangement UC Arrangement WC2 Tabular for even sets, gives four nine-unit rows: Roman caps, small caps (or Gothic caps), and lower case with Italic caps and lower case: Modified characters ABCDEFGH IJ KLM NOPQRSTU VWX YZ&.ECE HIJKMNQRSUWYZ&.EIE abcdefghijklmnopqrstuvwxyzfiffflffiffl . , - : ; J} J J ! ? ABCDEFGHIJ KLMNOPQRSTUVWXYZ&&(E abcdef ghijklmnofujrstuvwxyztetfAfffljffiffl .','/? " LEFT Keybank CKeybars UC 14 Keybutton Clips J M L I / tb JUl -"-!' " Stopbars S27 .[ ] ()"$1234567890 RIGHT Keybank CKeybars C 1 Keybutton Clip Arrangement UC1 Tabular for even sets, gives four nine-unit rows: Roman caps, small caps (or Gothic caps), and lower case with Boldface (Cl) caps and lower case: Modified characters ABCDEFGHIJ KLMNOPQRSTUVWX YZ&ECE HIJ KMNRSU WZ& .-E(E abcdefghijklmnopqrstuvwxyzfiffflffiffl . . - : ; j 7 s 7 ! ? ABCDEFGHIJKLMNOPQRSTUVWXYZ&XECE abcdef ghi jklmnopqrstuvwxyza?oefiffflff iff I .,-:;"!? $1234567890^ K^*ttHI%tt> 4 * -*-! T '. .".[]() "$1234567890 LEFT Stopbars S27 RIGHT Keybank CKeybars UC Keybank CKeybars Cl 1 4 Keybutton Clips 3 Keybutton Clips Arrangement UC2 Tabular for even sets, gives four nine-unit rows: Roman caps, small caps (or Gothic caps), and lower case with Boldface (C2) caps and lower case: Modified characters ABCDEFGH I J KLM NOPQRSTUVWXYZ&jEffi HIJKMNQRSUWYZ abcdefghijklmnopqrstuvwxyzfiffflffiffl . , - : ; J } J { ! ? ABCDEFGHIJKLMNOPQRSTUVWXYZ&XECE abcdef ghijklmnopqrstuvwxyzaeoefiffflffiffl .,-:;"!? $1234567890*tt11%lb t - I1 -^''.".[]()"$1234567890 LEFT Stopbars S27 RIGHT Keybank CKeybars UC Keybank CKeybars C2 14 Keybutton Clips 9 Keybutton Clips Arrangement WC Tabular transforms eight-and-one-half-set faces into eight-set: Roman caps, small caps (or Gothic caps), and lower case with Italic caps and lower case: Modified characters ABCDEFGHIJKLMNOPQRSTUVWXYZ&jECE ABDEGHIJKMNQRUVWXY&xE' ' ) *W LEFT Stopbars S29 RIGHT Keybank CKeybars WC Keybank CKeybars C 17 Keybutton Clips 1 Keybutton Clip Arrangement WC1 Tabular transforms eight-and-one-half-set faces into eight-set: Roman caps, small caps (or Gothic caps), and lower case with Boldface (Cl) caps and lower case: Modified characters ABCDEFGH IJ KLMNOPQRSTUVWXYZ&^ECE ABDEGHIJKMNRUVWX&^CE abcdefghijklmnopqrstuvwxyzfiffflffiffl . ,- : ;' t ! ABCDEFGH I J KLMNOPQRSTU VWX YZ&XECE abcdef ghi jklmnopqrstuvwxyzaeoefiff flff iff! .,-:;''!? $1234567890KKK''ltf!%ft)* i - u -?' 1 . .".[]( )"$1234S67890 LEFT Stopbars S29 RIGHT Keybank CKeybars WC Keybank CKeybars Cl 19 Keybutton Clips 3 Keybutton Clips Tabular transforms eight-and-one-half-set faces into eight-set: Roman caps, small caps (or Gothic caps) , and lower case with Boldface (C2) caps and lower case: Modified characters ABCDEFGH I J KLM NOPQRSTUVWX YZ&^ECE A BDEGHIJ KMNQR U V WX Y abcdefX'hijklmnopqrstuvwxyzfiffflffiffl . , - : ;' '- I ABCDEFGHIJKLMNOPQRSTUVWXYZ&XECE abcdef ghi jklmnopqrstuvwxyzceoefiffflffiffl .,-:;"!? 1 M J f M 1 / $1234567890*ttt!%tb ii - UL f?'.. 18 [ ] ()" $1234567890 LEFT Stopbars S29 RIGHT Keybank CKeybars WC Keybank CKeybars C2 19 Keybutton Clips 9 Keybutton Clips Arrangement YC Tabular transforms seven-set faces into six-set: Roman caps, small caps (or Gothic caps), and lower case with Italic caps and lower case: Modified characters ABCDEFGHIJKLMNOPQRSTUVWXYZ& ABCDEFGHIJKLMNOPQRSTUVWXYZ& abcdefghi.iklmnopqrstuvwxyzfiffflffiffl .,-:; i 1 1 ? ABCDEFGH IJKLMNOPQRSTUVWXYZ& abcdef ghijklmnopqrstuirwxyzfiffflffiffl : ; t ? $1234567890iH*W I |' iJL -**-??? '.". ".[] ()"$1234567800 LEFT Stopbars S34 RIGHT Keybank CKeybars YC Keybank CKeybars YC 17 Keybutton Clips 8 Keybutton Clips Arrangement YC1 Tabular transforms seven-set faces into six-set: Roman caps, small caps (or Gothic caps), and lower case with Boldface (Cl) caps and lower case: Modified characters ABCDEFGH I J KLMNOPQRSTUVWX YZ& ABCDEFGHIJ KLMNOPQRSTUVWXYZ& abcdefghijklmnopqrstuvwxyzfiffflffiffl .,-:;',,, I J ! ? ABCDEFGH IJ KLMNOPQRSTU VWX YZ& abcdef ghi jklmnopqrstuvwxyzfiffflffiffl .,-:;"!? 1 M J f M I / $123456789(Hi2*tt1|[ \\% is -^". . 18 .[] () "$1234567890 LEFT Stopbars S34 RIGHT Keybank CKeybars YC Keybank CKeybars YC1 18 Keybutton Clips 10 Keybutton Clips Arrangement YC2 Tabular transforms seven-set faces into six-set: Roman caps, small caps (or Gothic caps), and lower case with Boldface (C2) caps and lower case: Modified characters ABCDEFGH I J KLM NOPQRSTU VWX YZ& ABCDEFGH IJ KLMNOPQRSTUV WXYZ abcdefghijklmnopqrstuvwxyzfiffflffiffl .,-:; J J J I ? ABCDEFGHIJKLMNOPQRSTUVWXYZ& abcdef ghi jklmnopqrstuvwxyzfiffflffiffl .,-:;"!? $12345678901 H*ttH! ||'ii-ii?'.o.i[] ( )$1234567890 LEFT Stopbars S34 RIGHT Keybank CKeybars YC Keybank CKeybars YC2 17 Keybutton Clips 10 Keybutton Clips Arrangement NCI Newspaper Ad: Roman caps and lower case with Boldface (Cl) caps and lower case and two-line figures ABCDEFGHIJKLMNOPQRSTUVWXYZ& abcdefghijklmnopqrstuvwxyzffffiffl . , - : ; J } J J ! ? ABCDEFGHIJ KLMNOPQRSTUVWX YZ& abcdef ghi jklmnopqrstuvwxyzfffl .,-:;"!? $1234567890! {!*tt 0i -^". .''[]() $1234567890* 123456780Oc., $1234567890c., LEFT Stopbars SI 5 RIGHT Keybank NCKeybars NC Keybank NCKeybars NCI 9 Keybutton Clips 2 Keybutton Clips MATRIX CASE ARRANGEMENTS 33 Arrangement NC2 Newspaper Ad: Roman caps and lower case with Boldface (C2) caps and lower case and two-line figures ABCDEFGHIJKLMNOPQRSTUVWXYZ& abcdefghijklmnopqrstuvwxyzfifffl . t- : .1} tJJ? ABCDEFGHIJKLMNOPQRSTUVWXYZ& abcdefghijklmnopqrstuvwxyzfifffl .,-::"!? $l234567890^fHH*1tr-" .".[] () $1234567890$ 123456789Oc., $1234567890c., LEFT Stopbars SI? RIGHT Keybank NCKeybars NC Keybank NCKeybars NC2 Arrangement 6N1 Newsf>af>er Ad: Roman caps and lower case with Italic caps and lower case, Boldface (CI) caps and lower case and two-line figures: Modi- fied characters ABCDEFGHIJKLMNOPQRSTUVWXY& abcdefghijklmnopqrstuvwxyz . , - : ; j 5 ? ABCDEFGHIJKLMNOPRSTUVWXY& abcdefghijklmnopqrstuvwxyz ABCDEFGH IJ KLMNOPQRSTUVWXY& abcdefghijklmnoprstuvwxyz . , - : ; $1234567890 A ?( ) $1234567890 $1234567890c., LEFT Stopbars SI 5 RIGHT Keybank 6NlKeybars 6N1 Keybank 6NI Keybars 6N1 3 Keybutton Clips 6 Keybutton Clips Arrangement 6N2 Newspaper Ad: Roman caps and lower case with Italic caps and lower case. Boldface (C2) caps and lower case, and two-line figures: Modi- fied characters ABCDEFGHIJKLMNOPQRSTUVWXY& abcdefghijklmnopqrstuvwxyz . , - : ; ' 5 ' s ? ABCDEFGHUKLMNOPRSTUVWY abcdefghijklmnopqrstuirwxyz : ; ABCDEFGHIJKLMNOPQRSTUVWXY& abcdefghijklmnopqrstuvwxyz .,-:'' $1 234567890*? ( ) $1234567890 $1234567890c., LEFT Stopbars SI? RIGHT Keybank 6NlKeybars 6N1 Keybank 6NI Keybars 6N2 I Keybutton Clip 6 Keybutton Clips Arrangement FN French Newspaper Ad: Roman caps and lower case with Italic caps and lower case and two-line figures ABCCDEFGHIJKLMNOPQRSTUVWXYZ& aaabccdeeeef ghiiijklmnoopqrstuuuvwxyzfifffl .,-:;] J !? ABCCDEFGHIJKLMNOPQRSTUVWXYZ& adiabccdeeeefghiiijklmnoopqrsttiuumvxyzfiffflffiffl : ; 1 1 9l234567S90 1 -- a -r.[]()$1234567890 $1234567890c. LEFT Stopbars SI 5 RIGHT Keybank FN Keybars FN Keybank FN Keybars FN 3 Keybutton Clips Arrangement FN2 French Newspaper Ad: Roman caps and lower case with Boldface (C2) caps and lower case and two-line figures ABCCDEFGHIJKLMNOPQRSTUVWXYZ& aaabccdeeeefghiiijklmnoopqrstuuuvwxyzfifffl . , - : ; < ', '. } I ? ABCQDEFGHIJKLMNOPQRSTUVWXYZ& aaabccdeeeefghiiijklmnoopqrstuuuvwxyzfifffl .,-:;"!? $12345678901 tbi -i*- 1 '[]( ) $1234567890 $1234567890c., LEFT Stopbars SI 5 RIGHT Keybank FN Keybars FN Keybank FN Keybars FN2 Arrangement SN Spanish Newspaper Ad: Roman caps and lower case with Italic caps and lower case and two-line figures ABCDEFGHIJKLMNNOPQRSTUVWXYZ& aabcde6fghiijklmnflo6pqrstuuUvwxyzfi . , - : ; J ', ! ? | i ABCDEFGHIJKLMNNOPQRSTUVWXYZ&' aibcdeefghiijklmnilotipqrstuuuinvxyzfi : ; ! ? / 1 $1234567890>1II%lb' i -"-!?[] ()$IZ34567890 $1234567890c. LEFT Stopbars SI 5 RIGHT Keybank SN Keybars SN Keybank SN Keybars SN 2 Keybutton Clips 3 Keybutton Clips Arrangement SN2 Spanish Newspaper Ad: Roman caps and lower case with Boldface (C2) caps and lower case and two-line figures ABCDEFGH I J KLM NNOPQRSTUVWXYZ& aabcdeefghiijklmnnoopqrstuuuvwxyzfi . , - : ;S J I ? | f ABCDEFGHIJKLMNNOPQRSTUVWXYZ& aabcdeefghiijklmnnoopqrstuuiivwxyzfi .,-::"!?:; $1234567890*1J|tt>'*--!?[] ( ) $1234567890 $1234567890c., LEFT Stopbars SI 5 RIGHT Keybank SN Keybars SN Keybank SN Keybars SN2 2 Keybutton Clips 1 Keybutton Clip Arrangement GN1 German Newspaper Ad: Lightface caps and lower case with Boldface caps and lower case and two-line figures . aftbcbefgf)iiflmnooqrfgtuUBn)rt)3(l)cf fiffflfiff ft&fc ., = :;'!?"() . aa6cbef86ijflmno6ntf^tuiiDtt)rD,5rf)cffiffflfiffftftb ., = :;'!?"( ) * $1234567890Hi - a -' $12345"67890 $1234567890c. LEFT Stopbars SI? RIGHT Keybank GN Keybars GN Keybank GN Keybars GNI Arrangement R2 Cross-rule: T series of cross-rules with Boldface (CI) caps and lower case and Gothic (C2) caps and small caps: Modified characters ABCDEFGHIJKLMNOPQRSTUVWXYZ& abcdefghijklmnopqrstuvwxyzfiff flffiffl ..-:;"!? ABCDEFGHIJKLMNOPQRSTUVWXYZa .,-:;"!? ABCDEFGHIJKLMNOPORSTUVWXYZ& ..-:;" I T J1234567890S1 234567890SI234567S90 - "_ -" = - I +- L -r h^ +J-T H -~_ I + J -T H + ^-r hH The following characters are made for use with this Arrangement and furnished as side sorts: = =--~_ J L T r.|. -I ----- H J "-n r 14.= = = ||=fj:i^|(: =ll =U "=^1 I?n \l=P ^^ =*==*==? 1==! *^TT IhHI +^T IHI LEFT Stopbars SI? RIGHT Keybank C Keybars R Keybank C Keybars R2 26 Keybutton Clips 60 Keybutton Clips ?6 Additional Keybutton Clips Arrangement QC Fourteen- and Eighteen-Point Composition: Roman caps and lower case with Italic caps and lower case ABCDEFGH I J KLM NOPQRSTUVWX YZ& abcdefghijklmnopqrstuvwxyz .,-:;'? A BCDEFGHIJ KLMNOPQ RSTUV WX YZ& abcdefghijklmnopqrstuvwxyzfiffl ; ? S1234567890- 11 -. 18 . LEFT Stopbars S500 RIGHT Keybank C Keybars QC Keybank C Keybars QC 4 Keybutton Clips I Keybutton Clip Arrangement QC2 Fourteen- and Eighteen-Point Composition: Roman caps and tower case with Boldface (C2) caps and lower case ABCDEFGH I J KLM NOPQRSTUVWX YZ& abcdefghijklmnopqrstuvwxyz .,-:;' ABCDEFGHIJKLMNOPQRSTUVWXYZ& abcdefghijklmnopqrstuvwxyz .,-:'? $1234567890-**-.". LEFT Stopbars S?00 RIGHT Keybank C Keybars QC Keybank C Keybars QC2 4 Keybutton Clips I Keybutton Clip Plate Gothic Size No. 1 ABCDEFGHIJKLMNOPQRSTUVWXYZ& $1234567890.,-:;" Size No. 2 ABCDEFGHIJKLM NOPORSTUVWXYZa J1234567890.,-: ;' ' Size No. 3 ABCDEFGHIJKLMNOPORSTUVWXYZa $1234567890 .,-::" Size No. 4 ABCDEFGHIJKLMNOPORSTUVWXYZa IUUK7IM : : ' ' ?.". AJt m base of cap X LEFT Keybank PGKeybar PC RIGHT Keybank PGKeybar PC No. 1A. Book Arrangement C Composition Matrices 6 Point No. 1A, 6 Set MONOTYPE FACES The best kind of originality is that which comes after a sound apprenticeship; that which shall prove to be the blending of a firm conception of all useful pre- cedent and the progressive tendencies of an able mind. For, let a man be as able and original as he may, he cannot afford to discard knowledge of what has gone before or what is now going on in his own trade and profession. If the printers of today do not wish to be esteemed arrogant when they term this calling of theirs an art, they must be willing, and show that they are willing, to subject it to such laws as have made its sister arts so free. All those concerned in what are accepted as the fine arts, the learned sciences, and professions surround themselves with the history, literature, and concrete examples of the work with which they are particu- larly engaged. Yet it is only in rare instances that such an atmosphere, with its material appurtenances, is to be found in a printing office. Art does not flourish in hidden places, nor under restraint, nor in ignorance of what talent and genius have accomplished and are accomplishing throughout the world. For to follow precedent wisely does not mean to imitate slavishly one great exemplar, but to study all masters faithfully, letting their great achievements sink slowly into the mind in order that we may patiently derive from the richness of our acquired knowledge and organized system an attitude of our own. The sprightly minded young man, who with his first business breath projects the new and startling, inevitably becomes tiresome, and is driven to an early disappearance; while the slower, more solidly endowed student will at least spend as much of his time in avoiding mistakes as in evolving the brilliant schemes wherewith to dazzle his contemporaries. The best kind of originality is that which comes after a sound apprenticeship; that which shall prove to be the blending of a firm conception of all useful precedent and the progressive tendencies of an able mind. For, let a man be as able and original as he may, be cannot afford to discard knowledge of what has gone before or what is now going on in his own trade and profession. If the printers of today do not wish to be esteemed arrogant when they term this calling of theirs an art, they must be willing, and show that they are willing, to subject it to such laws as have made its sister arts so free. All those concerned in what are accepted as the fine arts, the learned sciences, and professions surround themselves with the history, literature, and concrete examples of the work with which they are particularly engaged. Yet it is only in rare instances that such an atmosphere, with its material appurtenances, is to be found in a printing office. Art does not flourish in hidden places, nor under restraint, nor in ignorance of what talent 12345 ltS45 abcdefghijklmnopqrstuvwxyz 67890$ ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 678901 ABCDEFGHIJKLMNOPQRSTUVWXYZ 8 Point No. 1A, 7 Set MONOTYPE FACES The best kind of originality is that which comes after a sound appren- ticeship; that which shall prove itself to be the blending of a firm conception of useful precedent and the progressive tendencies of an able mind. For, let a man be as able and original as he may, he cannot afford to discard knowledge of what has gone before or what is now going on in his own trade and profession. If the printers of today do not wish to be esteemed arrogant, when they term this calling of theirs an art, they must be willing, and show that they are willing, to subject it to such laws as have made its sister arts so free. All those concerned in what are accepted as the fine arts, the learned sciences, and professions surround themselves with the history, litera- ture, and concrete examples of work with which they are particularly engaged. Yet it is only in very rare instances that such an atmos- phere, with its material appurtenances, is to be found in a printing office. Art does not flourish in hidden places, nor under restraint, nor in ignorance of what talent and genius have accomplished and are accomplishing throughout the world. For to follow precedent wisely does not mean to imitate slavishly one great exemplar, but to study all the masters faithfully, letting their great achievements sink slowly into the mind in order that we may patiently derive from the richness of our acquired knowledge and organized system an attitude of our own. The sprightly minded young man, who with his first business breath projects the new and startling, inevitably becomes tiresome, and is driven to an early disappearance; while the slower and more solidly endowed student will at least spend as much of his time in avoiding mistakes as in evolving brilliant schemes wherewith to dazzle his contem- 12345 abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 67890$ 10 Point No. 1A, 9 Set MONOTYPE FACES The best kind of originality is that which comes after a sound apprenticeship; that which shall prove itself to be the blending of a firm conception of useful pre- cedent and the progressive tendencies of an able mind. For, let a man be as able and original as he may, he cannot afford to discard knowledge of what has gone before or what is now going on hi his own trade and pro- fession. If the printers of today do not wish to be esteemed arrogant when they term this calling of theirs an art, they must be willing, and show that they are willing, to subject it to such laws as have made its sister arts so free. All those concerned in what are accepted as the fine arts, the learned sciences, and the professions surround themselves with the history, literature, and con- MONOTYPE FACES The best kind of originality is that which comes after a sound apprenticeship; that which shall prove itself to be the blending of a firm conception of useful pre- cedent and the progressive tendencies of an able mind. For, let a man be as able and original as he may, he cannot afford to discard knowledge of what has gone before or what is now going on in his own trade and pro- fession. If the printers of today do not wish to be esteemed arrogant when they term this calling of theirs an art, they must be willing, and show that they are willing, to subject it to such laws as have made its sister arts so free. All those concerned in what are accepted as the fine arts, the learned sciences, and professions surround themselves with the history, literature, and concrete examples of work with which they are par- ticularly engaged. Yet it is only in very rare instances that such an atmosphere, with its material appurtenances, 12345 abcdefghijklmnopqrstuvwxyz 67890$ ABCDEFGHIJKLMNOPQRSTUVWXYZ 12345 abcdefghijklmnopqrstuvwxyz 67890$ ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ No. 4A. Book Arrangement C Composition Matrices 10 Point No. 4A, 10 Set MONOTYPE FACES The best kind of originality is that which comes after a sound apprenticeship; that which shall prove to be the blending of a firm conception of all useful precedent and the progressive ten- dencies of an able mind. For, let a man be as able and original as he may, he cannot afford to discard knowledge of what has gone before or what is now going on in his own trade and pro- fession. If the printers of today do not wish to be esteemed arrogant when they term this calling of theirs an art, they must be willing, and show that they are willing, to subject it to such laws as have made its sister arts so free. All those who are concerned in what are accepted as the fine arts, the learned sciences, and the professions surround themselves with the history, the literature, and concrete examples of the work with which they may be particularly engaged. Yet it is only in very rare MONOTYPE FACES The best kind of originality is that which comes after a sound apprenticeship; that which shall prove to be the blending of a firm conception of all useful precedent and the progressive ten- dencies of an able mind. For, let a man be as able and original as he may, he cannot afford to discard knowledge of what has gone before or what is now going on in his own trade and pro- fession. If the printers of today do not wish to be esteemed arrogant when they term this calling of theirs an art, they must be willing, and show that they are willing, to subject it to such laws as have made its sister arts so free. All those who are concerned in what are accepted as the fine arts, the learned sciences, and the professions surround themselves with the history, the literature, and concrete examples of the work with which they are particularly engaged. Yet it is only in very rare instances that such an atmosphere, with its mate- rial appurtenances, is to be found in the printing office. Art does not flourish in hidden places, nor 12345 abcdefghijklmnopqrstuvwxyz 67890$ ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ 12345 abcdefghijklmnopqrstuvwxyz 67890$ ABCDEFGHIJKLMNOPQRSTUVWXYZ No. 5A. Book Arrangement C Composition Matrices Point No. 5A, 1\ Set MONOTYPE PACES The best kind of originality is that which comes after a sound ap- prenticeship; that which shall prove to be the blending of a firm conception of all useful precedent and the progressive tendencies of an able mind. For, let a man be as able and original as he may, he cannot afford to discard knowledge of what has gone before or what is now going on in his own trade and profession. If the printers of today do not wish to be esteemed arrogant when they term this calling of theirs an art, they must be willing, and show that they are willing, to subject it to such laws as have made its sister arts so free. All those concerned in what are accepted as the fine arts, the learned sciences, and professions surround themselves with the history, literature, and concrete examples of the work with which they are particularly engaged. Yet it is only in rare instances that such an atmosphere, with its material appurtenances, is to be found in a printing office. Art does not flourish in hid- den places, nor under restraint, nor in ignorance of what talent and genius nave accomplished and are accomplishing throughout the world. For to follow precedent wisely does not mean to imitate slavishly one great exemplar, but to study all masters faithfully, letting their great achievements sink slowly into the mind in order that we may patiently derive from the richness of our acquired knowledge and organized system an attitude of our own. The sprightly minded young man, who with his first business breath projects the new and startling, inevitably becomes tiresome, and is driven to an early disappearance; while the slower, more solidly endowed student will at least spend as much of his time in avoiding mistakes as in evolving brilliant schemes wherewith to dazzle his contemporaries. The best kind of originality is that which comes after a sound apprenticeship; that which shall prove to be the blending of a firm conception of all useful precedent and the pro- gressive tendencies of an able mind. For, let a man be as able and original as he may, he cannot afford to discard knowledge of what has gone before or what is now going on in his own trade and profession. If 12345 67890$ abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTTJVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 67890$ ABCDEFGHIJKLMNOPQRSTUVWXYZ Ems a to z 16.92 Words to Pica .61 12345 6 Point No. 5A, 7f Set MONOTYPE PACES The best kind of originality is that which comes after a sound apprenticeship ; that which shall prove itself to be the blending of a firm conception of all useful precedent and the progressive tendencies of an able mind. For, let a man be as able and original as he may, he cannot afford to discard knowledge of what has gone before or what is now going on in his own trade and profession. If all the printers of today do not wish to be esteemed arrogant when they term this calling of theirs an art they must be willing, and show that they are willing, to subject it to such laws as have made its sister arts so free. All those concerned in what are accepted as the fine arts, the learned sciences, and professions surround themselves with the history, literature, and concrete examples of the work with which they are particularly engaged. Yet it is only in very rare instances that such an atmosphere, with all its material appurtenances, is to be found in a printing office. Art does not flourish in hidden places, nor under restraint, nor in ignorance of all that talent and genius have accomplished and are now accomplishing throughout the world. For to follow all precedent wisely does not mean to imitate slavishly one great exemplar, but to study all the masters faithfully, letting their great achievements sink slowly into the mind in order that we may patiently derive from the richness of all our acquired knowledge and organized system an attitude of our own. The sprightly minded young man, who with his first business breath projects the new and the startling, inevitably becomes tiresome, and is driven to an early disappearance ; while the slower, the more solidly endowed student will at least spend as much of his time in avoiding mis- takes as in evolving brilliant schemes wherewith to dazzle his con- temporaries. The best kind of originality is that which comes after 12345 67890$ abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ 123Jf5 abcdefghijklmnopqrstuvwxyz 67890$ ABCDEFGHIJKLMNOPQRSTUVWXYZ Ems a to z 16.59 Words to Pica .57 7 Point No. 5A, 8| Set MONOTYPE FACES The best kind of originality is that which comes after a sound apprenticeship; that which shall prove to be the blending of a firm conception of all useful precedent and the progressive tendencies of an able mind. For, let any man be as able and original as he may, he cannot afford to discard knowledge of what has gone before or what is now going on in his own trade and profession. If the printers of today do not wish to be esteemed arrogant when they term this calling of theirs an art, they must be willing, and show that they are willing, to subject it to such laws as have made its sister arts so free. All those concerned in what are accepted as the fine arts, the learned sciences, and the professions surround themselves with the history, the literature, and concrete examples of the work with which they are more particularly engaged. Yet it is only in rare instances that such an atmosphere, with its material appurtenances, is to be found in a printing office. Art does not flourish in hidden places, nor under restraint, nor in ignorance of what talent and genius have accom- plished and are now accomplishing throughout the world. For to follow precedent wisely does not mean to imitate slavishly one great exemplar, but to study all the masters faithfully, letting their greatest achievements sink slowly into the mind in order that we may patiently derive from the richness of our acquired knowledge and organized sys- tem an attitude of our own. The sprightly minded young man, who with his first business breath projects the new and startling, inevitably becomes tiresome, and in driven to an early 12345 abcdefghijklmnopqrstuvwxyz 67890$ ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQR8TUVWXYZ 1234S abcdefghijklmnopqrstuvwxyz 67890$ ABCDEFGHIJKLMNOPQRNTUVWXYZ Ems a to z 15.60 Words to Pica .52 8 Point No. 5A, 9 Set MONOTYPE FACES The best kind of originality is that which conies after a sound apprenticeship; that which shall prove to be the blending of a firm conception of all useful precedent and the progressive tendencies of an able mind. For, let a man be as able and original as he may, he cannot afford to discard knowledge of what has gone before or what is now going on in his own trade and profession. If the printers of today do not wish to be esteemed too arrogant when they term this calling of theirs an art, they must be willing, and show that they are willing, to subject it to such laws as have made its sister arts so free. All those concerned in what are accepted as the fine arts, the learned sciences, and the professions surround themselves with the history, literature, and concrete examples of the work with which they are particularly engaged. Yet it is only in rare instances that such an atmosphere, with its material appurten- ances, is to be found in a printing office. Art does not flourish in hidden places, nor under restraint, nor in ignorance of what talent and genius have accomplished and are accomplishing throughout the world. For to follow precedent wisely does not mean to imitate slav- ishly one great exemplar, but to study all masters faithfully, letting their great achievements sink slowly into the mind 12345 abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ 12345 abcdefghijklmnopqrstuvwxyz 67890$ ABCDEFGHIJKLMNOPQRSTUVWXYZ Ems a to z 14.42 Words to Pica .49 No. 5A. Book Arrangement C Composition Matrices 9 Point No. 5A, 9f Set MONOTYPE FACES The best kind of originality is that which comes after a sound apprenticeship; that which shall prove to be the blending of a firm conception of all useful precedent and the progressive tendencies of an able mind. For, let any man be as able and original as he may, he cannot afford to discard knowledge of what has gone before or what is now going on in his own trade and profession. If the printers of today do not wish to be esteemed too arrogant when they term this calling of theirs an art, they must be willing, and show that they are willing, to subject it to such laws as have made its sister arts so free. All those concerned in what are accepted as the fine arts, the learned sciences, and the professions surround themselves with the his- tory, the literature and concrete examples of the work with which they are particularly engaged. Yet it is only in rare instances that such an at- mosphere, with its material appurtenances, is to be found in a printing office. Art does not flourish in hidden places, nor under restraint, nor in ignor- ance of what talent and genius have accomplished and 12345 abcdefghijklmnopqrstuvwxyz 67890$ ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ 12345 abcdefghijklmnopqrstuvwxyz 67890$ ABCDEFGHIJKLMNOPQRSTUVWXYZ 11 Point No. 5 A, 11 J Set MONOTYPE FACES The best kind of originality is that which comes after a sound apprenticeship; that which shall prove to be the blending of a firm conception of all useful precedent and the progressive tendencies of an able mind. For, let any man be as able and as orig- inal as he may, he cannot well afford to discard knowledge of what has gone before or what is now going on in his own trade and profession. If the printers of today do not wish to be esteemed too arrogant when they term this calling of theirs an art, they must be willing, and show that they are willing, to subject it to such laws as have made its sister arts so free. All those con- cerned in what are accepted as the fine arts, the learned sciences, and the professions sur- 1234 abcdefghijklmnopqrstuvwxyz 567$ ABCDEFGHIJKLMNOPQRSTUVWX ABCDEFGHIJKLMNOPQRSTUVWXYZ 123456 abcdefghijklmnopqrstuvwxyz 7890$ A BCDEFGHIJKLMNOPQRS TUVWX Ems a to z 12.11 Words to Pica .52 Ems a to z 13.42 Words to Pica .38 The Monotype System COMPOSING room efficiency can be obtained only by keeping clearly in mind this fact : The composing room of a printing plant is a great deal more than a place in which to operate composing ma- chines; it is a department maintained to produce composition complete, locked-up in chases ready for printing. THE MONOTYPE is the only composing ma- chine that recognizes the existence of the hand compositor. It is not built upon the impossible theory that the compositor can be driven from the printing industry; in- stead, it provides the means for increasing his efficiency and making his work highly profitable to his employer. NOT ONLY does the Monotype furnish .a product that the compositor can correct and alter without the help of the machine operator, but also, since it is a complete type foundry, it supplies the compositor with all the equipment he requires to work efficiently type, space material, rules, leads, and slugs. THE MONOTYPE is the simplest and fastest composing machine, a machine so free from mechanical limitations that it handles the most intricate composition as easily as straight matter. THE MONOTYPE SYSTEM increases the effi- ciency of every composing room employee by eliminating distribution, thus giving a much lower cost than is possible with any other composing machine. No. 8A. Book Arrangement C Composition Matrices 4 Point No. 8A, 5 Set MONOTYPE FACES onception of all useful preceden shall prove to be tbe blending of a firm conception of all useful precedent and the progressive tendencies of an able mind. For, let a man be aa able and original as he may, he cannot afford to discard printers of today do not wish to be esteemed arrogant when they term this calling of theirs an art, they must be willing, and show that they are willing, to subject it to such laws as have made its sister arts so free. All those concerned in what are accepted as the fine arts, the learned sciences; and professions, surround themselves with the history, the literature, and concrete examples of the work with which they may be particularly engaged. Yet it is only in rare instances that such an and are now accomplishing throughout the world. For to follow precedent wisely does not mean to 4 Point No. 8A, 6 Set on 5 Point Body MONOTYPE FACES The best kind of originality is that which comes after a sound apprenticeship; that which shall prove to be the blending of a firm conception of all useful pre- cedent and the progressive tendencies of an able mind. For, let a man be as able and original as he may, he cannot afford to discard knowledge of what has gone before or what is now going on in his own trade and profession. If the printers of today do not wish to be esteemed arrogant when they term this calling of theirs an art, they must be willing, and show that they are willing, to subject it to such laws as have made its sister arts so free. All those concerned in what are accepted as the fine arts, the learned sciences, and professions surround themselves with the history, literature, and concrete examples of the work with which they are particu- litate slavishly one great example, but to study all the mastt hievements sink slowly into the mind in order that we may pat: ir acquired knowledge and organized system an attitude of our o larli -.Ml. n. The sprightly minded young vhile the slow olidly endowed student : brillu iicesnip: inai wnicn snail prove 10 oe me IJI^IIUIIIK 01 u iirni c