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| committer | Roger Frank <rfrank@pglaf.org> | 2025-10-15 02:14:34 -0700 |
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} + + #elite, + #per-capita { top: 35em; } + + ol.lower-alpha { list-style-type: lower-alpha; } + + ol.questions { list-style-type: decimal; } + ol.questions li { margin: 0; padding: 0.2em 0 0.2em 0; } + + div.books { position: relative; } + div.book-info { margin-left: 3em; font-size: 0.9em; } + .author { position: absolute; top: auto; right: 0px; } + + ul.no-bullets { list-style-type: none; width: 80%; margin: 0; padding: 0; } + ul.no-bullets li { margin: 0; padding: 0.1em 0 0.1em 0; } +// --> +/* XML end ]]>*/ + </style> + </head> +<body> + + +<pre> + +The Project Gutenberg EBook of The Uses of Italic, by Frederick W. Hamilton + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: The Uses of Italic + A Primer of Information Regarding the Origin and Uses of Italic Letters + +Author: Frederick W. Hamilton + +Release Date: March 14, 2008 [EBook #24829] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK THE USES OF ITALIC *** + + + + +Produced by Barbara Tozier, Bill Tozier, Jana Srna and the +Online Distributed Proofreading Team at http://www.pgdp.net + + + + + + +</pre> + + + + + +<p class="center" style="margin: 80px auto 3em auto;">TYPOGRAPHIC TECHNICAL SERIES FOR APPRENTICES—PART VI. NO. 38</p> + + +<h1 style="margin-bottom: 2em;">THE USES OF ITALIC<br/><br/> +<small style="font-size: 0.7em;">A PRIMER OF INFORMATION<br/> +REGARDING THE ORIGIN AND<br/> +USES OF ITALIC LETTERS</small></h1> + + +<p class="center" style="font-size: 1.3em;"><small>BY</small><br/> +FREDERICK W. HAMILTON, LL.D.</p> + +<p class="center" style="font-size: 0.8em;">EDUCATION DIRECTOR<br/> +UNITED TYPOTHETAE OF AMERICA</p> + +<div class="figcenter" style="width: 100px;"> +<img src="images/typothetae.png" width="100" height="69" alt="" title="" /> +</div> + + +<p class="center" style="font-size: 0.8em;">PUBLISHED BY THE COMMITTEE ON EDUCATION<br/> +UNITED TYPOTHETAE OF AMERICA<br/> +1918</p> + + + + +<p class="center smcap" style="font-size: 0.9em; margin: 10em 0 10em 0;">Copyright, 1918<br/> +United Typothetae of America<br/> +Chicago, Ill.</p> + + + +<div class="new-h2"></div> +<h2>CONTENTS</h2> + +<table summary="Contents" style="margin: auto; border: none;"> +<colgroup> + <col></col> + <col style="width: 6em;"></col> +</colgroup> +<tr> + <td colspan="2" class="right" style="font-size: 0.8em;">PAGE</td> +</tr> +<tr> + <td class="smcap">Historical Introduction</td> + <td class="right"><a href="#Page_1">1</a></td> +</tr> +<tr> + <td class="smcap">Rules for the Use of Italic</td> + <td class="right"><a href="#Page_5">5</a></td> +</tr> +<tr> + <td class="smcap">Supplementary Reading</td> + <td class="right"><a href="#Page_16">16</a></td> +</tr> +<tr> + <td class="smcap">Review Questions</td> + <td class="right"><a href="#Page_17">17</a></td> +</tr> + +</table> + + + + +<div style="margin: 6em auto 0 auto;"> </div> +<p><span class="pagenum"><a name="Page_1">[1]</a></span></p> +<p class="center" style="font-size: 1.75em; font-weight: bold; margin: 0;">THE USES OF ITALIC</p> + + + +<div class="new-h2"> </div> +<h2>HISTORICAL INTRODUCTION</h2> + + +<p>The first types were cut in imitation of the Gothic or +black letter handwriting employed at that period in +copying Bibles, missals, and the like. It was large and +angular and the lines were very coarse and black. These +peculiarities gave it the name. Its characteristics made it +easy to read even in the dim light of a church or by the +failing eyes of the aged. This form of type, however, was +only suitable for large pages. When reduced in size it +became very difficult to read, being an almost indistinguishable +blur on the page.</p> + +<div class="figcenter" style="width: 433px;"> +<img src="images/mazarin_bible.png" width="433" height="376" alt="" title="" /> +<span class="caption">Type of the Mazarin Bible (exact size).</span> +</div> + +<p>The cost of materials and the unwieldiness of the great +folio volumes soon caused a demand for smaller books. +Gutenberg's 36-line Bible was almost immediately replaced +<span class="pagenum"><a name="Page_2">[2]</a></span> +by the 42-line Bible. A reduction of one sixth in the number +of pages of a book as large as the Bible would effect a +very important saving in the cost of material and labor, +especially when we remember that the early printing press +was a very laborious and slow affair. Gutenberg's press +was capable of printing only twenty sheets an hour, or one +<span class="pagenum"><a name="Page_3">[3]</a></span> +sheet every three minutes. The invention of the movable +bed, about the year 1500, increased the output of the press +to two hundred sheets an hour. In 1786 the speed had +risen only to two hundred and fifty sheets an hour. Cheap +printing waited for the application of power to machinery.</p> + +<p>The big book with the big type was well enough for +churches and libraries. But the purpose of printing was +soon seen to be the spread of intelligence through the +popularizing of literature. Books were to be placed in the +hands of the people, not simply of the priests, nobles, and +professional men. That end could only be accomplished +by making books cheap and portable, that is to say small. +To this end the printers soon addressed themselves to the +task of devising forms of type which should be smaller, so +as to reduce the number and size of pages required for a +book without sacrifice of legibility. A clear, clean cut type, +with sharp lines and simple forms, capable of compression +without loss of distinction, was the great need.</p> + +<p>The first important departure was the cutting of Roman +type. The capitals were imitated from the letter forms +used in Roman inscriptions. In the earlier forms the lower-case +letters were rough and uncouth, much resembling the +Gothic forms. The inventor of this form is not known, +but it was certainly employed by the German printers +Sweynheim and Pannartz at Subiaco, near Rome, as early +as 1467. Their example was followed by several imitators +and improvers, but its form was not definitely settled until +Nicholas Jenson cast his fonts in Venice in 1470 or 1471. +It is doubtful if any more perfect Roman types than those +of Jenson have ever been produced. The superiority of +this type soon caused its general adoption except in Germany. +England was slow in coming into line. Caxton +never used anything but Gothic type. Roman type was not +introduced into England at all until 1509, and then had to +make its way against the older forms backed by English +conservatism. Germany has never adopted the Roman letter +for general use but makes some use of it in scientific works.</p> + +<div class="figcenter" style="width: 600px;"> +<img src="images/jenson.png" width="600" height="431" alt="" title="" /> +<span class="caption">Roman type of Nicholas Jenson, 1472 (exact size).</span> +</div> + +<p>The next step was the invention of Italic types by Aldus +Manutius, of Venice, in 1501. He took for his model the +<span class="pagenum"><a name="Page_4">[4]</a></span> +handwriting of the poet Petrarch and produced a type not +essentially different from the modern Italic. Originally the +Italic letters were lower-case only, Roman capitals being +retained. The incongruousness of this combination was, +however, so evident that Italic capitals were soon designed +and then the new fonts were complete. The Aldine capitals +used with Italic lower-case were small, the ancestors of +the small capitals of today. Aldus used the Italic type as a +text letter, and such use continued frequent for a century.</p> + +<div class="figcenter" style="width: 600px;"> +<img src="images/aldine_virgil.png" width="600" height="494" alt="" title="" /> +<span class="caption">Type of the Aldine Virgil, 1501 (exact size).</span> +</div> + +<p>At the present day, except in Germany, the three forms +of type have their distinct uses. Gothic, variously known +as Black Letter, Old English, Priory Text, Cloister, etc., is +used only for special work, particularly in ecclesiastical +printing. The modern type called "gothic" is not derived +from it. Roman is the general text letter. Italic has ceased +to be a text letter, but serves a useful purpose for certain +special uses which are to be considered at length in the +following pages.</p> + + + +<div class="new-h2"> </div> +<p><span class="pagenum"><a name="Page_5">[5]</a></span></p> +<h2>RULES FOR THE USE OF ITALIC</h2> + + +<p>Italic has, in general, four uses:</p> + +<ol> +<li>for emphasis.</li> + +<li>to set off a title, word, or passage from the context.</li> + +<li>for running titles, sub-heads, the headings of tables, +and other like places where something different +from the text letter seems needed for variety.</li> + +<li>for display purposes in commercial work.</li> +</ol> + +<p>One very important principle should always be observed +in the use of italic for emphasis. Emphasis should always +be used sparingly. Make the words do their work. Do not +try to supplement poverty of thought and weakness of expression +by italics, capitals, and other marks of emphasis. +Where there is too much emphasis attempted no emphasis +is secured. This fault was much more common formerly +than now.</p> + +<p>The accompanying reproduction of a page from a book +printed in 1690 (place not given, but probably London) +illustrates several of the faulty uses of italics common at +that time. An entire paragraph is italicized (quite unnecessarily) +for emphasis. All proper names and adjectives +derived from them are italicized where they occur in the +regular text and printed in roman where they occur in +italicized passages. Note the frequent capitalization for emphasis +and especially the italic capital with roman lower-case +in the first line of the second paragraph. This is a frequent +usage in this particular book. In this book all quotations +are printed in italic without quote marks. The paper, +composition, and presswork of the book are very poor. It +represents English printing in its worst period.</p> + +<div class="figcenter" style="width: 354px;"> +<span class="pagenum"><a name="Page_6">[6]</a></span> +<img src="images/book_1690.png" width="354" height="600" alt="" title="" /> +<span class="caption">Page from a book of 1690.<br/>(The slurred appearance represents the printing of the original copy.)</span> +</div> + +<p>Moderation in the use of italics is so important that in +many cases the compositor is justified in ignoring markings +for italic in his copy where they are too profuse. The +author is often surprised and disappointed at the appearance<span class="pagenum"><a name="Page_7">[7]</a></span> +of his proof when it comes back heavily italicized. Moreover +the occurrence of many italics increases the cost of +composition because of the greater labor involved.</p> + + +<p class="rule">I. Italicize, subject to the caution just given, any words +or phrases which it is desired to emphasize.</p> + + +<p class="rule">II. Foreign words and phrases incorporated into English +sentences are sometimes italicized and sometimes not so +distinguished. The deciding element in fixing the usage in +these cases would seem to be the commonness and familiarity +of the word or phrase. For example, the meaning of +<i lang="la" xml:lang="la">bona fide</i> (Latin), <i lang="fr" xml:lang="fr">menu</i> (French), <i lang="it" xml:lang="it">recto</i> (Italian), or <i lang="de" xml:lang="de">stein</i> +(German) are as well known as those of most English +words. To all intents and purposes these words have been +adopted into our language. On the other hand, <i lang="fr" xml:lang="fr">jeu d'esprit</i> +(French) or <i lang="la" xml:lang="la">inter alia</i> (Latin) would probably not be immediately +understood by the casual reader. Words of the +first type should not be italicized. Words of the second +type should be.</p> + +<p>Following is a partial list of words of foreign origin +which should not be italicized even when the original +accents are retained. It is better to retain the accents. +They are, however, often omitted. Familiarity plays its +part here also. <i lang="fr" xml:lang="fr">Dénouement</i> is very often written without +the accent; <i lang="fr" xml:lang="fr">née</i> is rarely so written. The absence of +accented letters from typewriters, from ordinary fonts of +type, and from the matrices ordinarily used in type-casting +machines probably contributes largely to their omission.</p> + +<p><span class="pagenum"><a name="Page_8">[8]</a></span></p> + +<div class="three-column"> +<ul class="three-column"> +<li id="aide-de-camp">aide de camp</li> +<li id="alma-mater">Alma Mater</li> +<li id="a-posteriori">a posteriori</li> +<li id="a-priori">a priori</li> +<li id="a-propos">à propos</li> +<li id="attache">attaché</li> +<li id="bas-relief">bas-relief</li> +<li id="beau-ideal">beau ideal</li> +<li id="bona-fide">bona fide</li> +<li id="bric-a-brac">bric-à-brac</li> +<li id="cafe">café</li> +<li id="charge-daffaires">chargé d'affaires</li> +<li id="chiaroscuro">chiaroscuro</li> +<li id="clientele">clientèle</li> +<li id="confrere">confrère</li> +<li id="connoisseur">connoisseur</li> +<li id="creche">crèche</li> +<li id="criterion">criterion, <i>pl.</i> -a</li> +<li id="cul-de-sac">cul-de-sac</li> +<li id="data">data</li> +<li id="debris">débris</li> +<li id="debut">début</li> +<li id="decollete">décolleté</li> +<li id="denouement">dénouement</li> +<li id="depot">dépôt (= depository)</li> +<li id="doctrinaire">doctrinaire</li> +<li id="dramatis-personae">dramatis personæ</li> +<li id="eclat">éclat</li> +<li id="elite">élite</li> +<li id="ennui">ennui</li> +<li id="entree">entrée</li> +<li id="ex-cathedra">ex cathedra</li> +<li id="ex-officio">ex officio</li> +<li id="expose">exposé</li> +<li id="facade">façade</li> +<li id="facsimile">facsimile</li> +<li id="fete">fête</li> +<li id="habeas-corpus">habeas corpus</li> +<li id="habitue">habitué</li> +<li id="innuendo">innuendo</li> +<li id="levee">levée</li> +<li id="litterateur">littérateur</li> +<li id="litterati">litterati</li> +<li id="massage">massage</li> +<li id="matinee">matinée</li> +<li id="melee">mêlée</li> +<li id="menu">menu</li> +<li id="motif">motif</li> +<li id="naive">naïve</li> +<li id="nee">née</li> +<li id="net">net</li> +<li id="neve">névé</li> +<li id="niche">niche</li> +<li id="nil">nil</li> +<li id="nom-de-plume">nom de plume</li> +<li id="papier-mache">papier mâché</li> +<li id="per-annum">per annum</li> +<li id="per-capita">per capita</li> +<li id="per-cent">per cent</li> +<li id="per-contra">per contra</li> +<li id="personnel">personnel</li> +<li id="postmortem">postmortem (n. and adj.)</li> +<li id="prima-facie">prima facie</li> +<li id="pro-and-contra">pro and con(tra)</li> +<li id="protege">protégé</li> +<li id="pro-tempore">pro tem(pore)</li> +<li id="questionnaire">questionnaire</li> +<li id="queue">queue</li> +<li id="regime">régime</li> +<li id="rendezvous">rendezvous</li> +<li id="resume">résumé</li> +<li id="reveille">reveille</li> +<li id="role">rôle</li> +<li id="savant">savant</li> +<li id="sobriquet">sobriquet</li> +<li id="soiree">soirée</li> +<li id="tete-a-tete">tête-à-tête</li> +<li id="tonneau">tonneau</li> +<li id="umlaut">umlaut</li> +<li id="verbatim">verbatim</li> +<li id="verso">verso</li> +<li id="versus">versus (v., vs.)</li> +<li id="via">via</li> +<li id="vice-versa">vice versa</li> +<li id="vis-a-vis">vis-à-vis</li> +<li id="viva-voce">viva voce</li> +</ul> +</div> + +<p>Following is a short list of words or phrases of foreign +origin which are used occasionally but are not familiar +enough to be printed in the text type.</p> + +<div class="three-column-2"> +<ul class="three-column"> +<li id="ab-ovo"><i>ab ovo</i></li> +<li id="ancien-regime"><i>ancien régime</i></li> +<li id="bete-noire"><i>bête noire</i></li> +<li id="comme-il-faut"><i>comme il faut</i></li> +<li id="de-quoi-vivre"><i>de quoi vivre</i></li> +<li id="de-trop"><i>de trop</i></li> +<li id="en-passant"><i>en passant</i></li> +<li id="fait-accompli"><i>fait accompli</i></li> +<li id="grand-monde"><i>grand monde</i></li> +<li id="hors-de-combat"><i>hors de combat</i></li> +<li id="inter-alia"><i>inter alia</i></li> +<li id="jeu-desprit"><i>jeu d'esprit</i></li> +<li id="locum-tenens"><i>locum tenens</i></li> +<li id="mise-en-scene"><i>mise en scène</i></li> +<li id="noblesse-oblige"><i>noblesse oblige</i></li> +<li id="raison-detre"><i>raison d'être</i></li> +<li id="sans-ceremonie"><i>sans cérémonie</i></li> +<li id="tour-de-force"><i>tour de force</i></li> +</ul> +</div> + +<p>The following words, phrases, and abbreviations used +in literary and legal references should be italicized.</p> + +<div class="three-column-3"> +<ul class="three-column"> +<li id="ad-loc"><i>ad loc.</i></li> +<li id="circa"><i>circa</i> (<i>ca.</i>)</li> +<li id="et-al"><i>et al.</i></li> +<li id="ibid"><i>ibid.</i></li> +<li id="idem"><i>idem</i></li> +<li id="infra"><i>infra</i></li> +<li id="loc-cit"><i>loc cit.</i></li> +<li id="op-cit"><i>op. cit.</i></li> +<li id="passim"><i>passim</i></li> +<li id="sic"><i>sic</i></li> +<li id="supra"><i>supra</i></li> +<li id="s-v"><i>s. v.</i></li> +<li id="vide"><i>vide</i></li> +</ul> +</div> + +<p>Do not italicize:</p> + +<div class="three-column-4"> +<ul class="three-column"> +<li id="cf">cf.</li> +<li id="etc">etc.</li> +<li id="e-g">e. g.</li> +<li id="i-e">i. e.</li> +<li id="v-or-vs">v. or vs. (versus)</li> +<li id="viz">viz.</li> +</ul> +</div> + +<p><span class="pagenum"><a name="Page_9">[9]</a></span> +When an unfamiliar foreign word is used to convey precise +description, put it in italic, but use roman for repetition +of the word.</p> + +<p>Italicize brief passages of foreign words which may be +incorporated into an English passage but may not be long +enough to be treated as regular quotations.</p> + +<blockquote><p><i lang="la" xml:lang="la">De gustibus non est disputandum</i>, or as the French have it, +<i lang="fr" xml:lang="fr">Chacun a son gout</i>.</p></blockquote> + +<p>Longer passages in foreign languages should be set in +roman.</p> + +<p>To set an entire paragraph of quoted matter in a foreign +language in italic, or even to use italic too freely for phrases, +practically nullifies the value of it as a display letter for the +sub-headings or for any other part of the book in which distinction +is really needed. Quotation marks, indention, +smaller type, or any of the marks which distinguish quoted +matter are sufficient.</p> + + +<p class="rule">III. At one time it was quite customary to set all quotations, +whether in English or a foreign language, prose or +verse, in italics, but that fashion is now happily obsolete. +Some modern printers use italic for bits of verse between +paragraphs in the text of roman, but it is a fancy and not +likely to be permanent.</p> + + +<p class="rule">IV. Do not italicize foreign titles preceding names of +foreign institutions or places, streets, etc., the meaning or +position of which in English would call for roman type.</p> + +<blockquote><p><span lang="fr" xml:lang="fr">Pere Ladeau</span>; <span lang="de" xml:lang="de">Freiherr von Schwenau</span>; the <span lang="fr" xml:lang="fr">Place de la +Concorde</span>; the <span lang="it" xml:lang="it">Museo delle Terme</span>.</p></blockquote> + + +<p class="rule">V. In text matter use roman for the name of any author, +but italicize the title of the work. This applies to books, +including plays, essays, cycles of poems, and single poems +of considerable length, usually printed separately, and not +from the context understood to form parts of a larger volume; +pamphlets, treatises, tracts, documents, and periodicals +(including regularly appearing proceedings and transactions). +In the case of newspapers and periodicals the +<span class="pagenum"><a name="Page_10">[10]</a></span> +name of the place of publication should be italicized when +it forms an integral part of the name, but do not under +ordinary circumstances italicize the article <i>the</i>.</p> + +<p>In many offices the names of papers, magazines, and +serials are not italicized. Roman is often used without +quotation marks, the title being indicated by capitalization. +When such names are used as credits at the end of citations +or notes they should always be italicized.</p> + +<p>This is largely a matter of individual taste and office +style. Ample warrant can be found for either form in the +writing of the best authorities and in the practice of the +best offices.</p> + + +<p class="rule">VI. In citations which make a full paragraph, and in +footnotes, the name of both author and book are commonly +set in roman lower-case. At the end of a paragraph +or footnote specification of author and book may be roman +for author and italic for book. When only the book is +given, use italics.</p> + +<p>These rules are often modified in long bibliographical +lists, tables, or other cases when following them would +cause a great accumulation of italics and spoil the appearance +of a page. Do not italicize the books of the Bible +(canonical or apocryphal) or titles of ancient manuscripts, +or symbols used to designate manuscripts.</p> + +<p class="center">D 16, M 6, P, J.</p> + + +<p class="rule">VII. Italicize <i>see</i> and <i>see also</i>, in indices and similar compilations +when they are used for cross-reference, and when +it is desirable to differentiate them from the context.</p> + + +<p class="rule">VIII. Italicize <i>for</i> and <i>read</i> in lists of errata to separate +the incorrect from the correct.</p> + +<p class="center">Page 999 <i>for</i> Henry <i>read</i> Henri.</p> + + +<p class="rule">IX. The phrases <i>prima facie</i> and <i>ex officio</i> are sometimes +used to qualify the nouns which follow, and sometimes +used as adverbs. As qualifiers they are often printed in +roman with the hyphen.</p> + +<blockquote><p><span class="pagenum"><a name="Page_11">[11]</a></span> +Prima-facie evidence.<br /> +An ex-officio member of all committees.</p></blockquote> + +<p>When used as adverbs they may be printed in italics +without the hyphen.</p> + +<blockquote><p>The evidence is, <i>prima facie</i>, convincing.<br /> +The speaker is, <i>ex officio</i>, the chairman.</p></blockquote> + + +<p class="rule">X. Names of ships, especially when they are taken from +places, as in the United States Navy, are often italicized.</p> + +<p class="center">U.S.S. <i>Philadelphia</i>, U.S.S. <i>Alabama</i>.</p> + + +<p class="rule">XI. Names of paintings, statues, musical compositions, +and characters in plays are sometimes italicized. This is +not ordinarily advisable. It violates the rule of never using +italics or other emphasizing devices needlessly and is liable +to mar the appearance of the page. It is sometimes necessary, +however, to avoid ambiguity. For example, Julius +Caesar is a historical personage, "Julius Caesar" is one of +Shakespeare's plays, <i>Julius Caesar</i> is a character in the play.</p> + + +<p class="rule">XII. Italicize the symbols <i>a)</i>, <i>b)</i>, <i>c)</i>, etc., used to indicate +subdivisions when beginning a paragraph and <i>a</i>, <i>b</i>, <i>c</i>, +etc., affixed to the number of verse, page, etc., to denote +a fractional part.</p> + +<blockquote style="width: 11em; margin: auto;"> +<p>See Chap. iii, sec. 2 <i>a)</i>.<br/> +Luke 4 : 31 <i>b</i>.</p> +</blockquote> + + +<p class="rule">XIII. Italicize letters used to designate quantities, lines, +etc., in algebraic, geometrical, and similar matter, and in +explanation of diagrams and illustrations.</p> + +<blockquote> +<p>(<i>a</i>+<i>b</i>)<sup>2</sup>=<i>a</i><sup>2</sup>+2<i>ab</i>+<i>b</i><sup>2</sup>; the line <i>a c</i>=the line <i>a b</i>; +the <i>n</i><sup>th</sup> power; at the point <i>B</i>.</p> +</blockquote> + + +<p class="rule">XIV. Italicize particular letters of the alphabet when +referred to as such.</p> + +<p class="center">We use <i>a</i> much more frequently than <i>q</i>.</p> + + +<p class="rule"><span class="pagenum"><a name="Page_12">[12]</a></span> +XV. Authorities in science differ in the use of italics +and capitals. In strictly scientific matter it is better to +follow copy if the copy is intelligently prepared; if not, +follow some recognized text-book on the subject.</p> + +<p>In general the following rules will be found serviceable.</p> + +<ol class="lower-alpha"> +<li><p>In botanical, zoological, geological, and paleontological +matter, italicize scientific (Latin) names of genera +and species when used together (the generic name being +in the nominative singular), and of the genera only, when +used alone. When genera and species are used together +the genus always comes first, species second.</p> + +<blockquote lang="la" xml:lang="la"><p><i>Agaricus Campestris</i>, <i>Felis leo</i>, <i>Conodectes favosus</i>, <i>Phyteuma +Halleri</i>, <i>Pinus</i>, <i>Basidiabolus</i>, <i>Alternaria</i>, <i>Erythrosuchus</i>.</p></blockquote> +</li> + +<li><p>In medical matter the general practice is to print +names of diseases and remedies in roman. In the <i>Encyclopedia +Britannica, Eleventh Edition</i>, however, the scientific +names of diseases are printed in italics.</p> +</li> + +<li><p>In astronomical and astrophysical matter italicize:</p> + +<ol> +<li><p>The lower-case letters designating certain Fraunhofer +lines: <i>a</i>, <i>b</i>, <i>g</i>, <i>h</i>.</p> +</li> + +<li><p>The lower-case letters used by Baeyer to designate +certain stars in constellations for which the Greek letters +have been exhausted: <i>f</i>, Tauri; <i>u</i>, Hercules.</p> +</li></ol></li> + +<li><p>Italic should not be used for:</p> + +<ol> +<li><p>Greek, Latin, and Arabic names of planets, satellites, +constellations, and individual stars: Neptune, Thetys, +Orionis.</p> +</li> + +<li><p>Symbols for chemical elements: H. Ca. Ti.</p> +</li> + +<li><p>Capital letters given by Fraunhofer to the lines of the +spectrum: A–H, K.</p> +</li> + +<li><p><span class="pagenum"><a name="Page_13">[13]</a></span> +Letters designating the special types of stars: A 5, +B 3, Mb.</p> +</li> + +<li><p>The capital letter H with different Greek subscript +letters, used to designate symbols of hydrogen: H<sub>a</sub>, H<sub>b</sub>, etc.</p> +</li> + +<li><p>Designations of celestial objects in well-known catalogues; +also the Flamstead numbers:</p> + +<blockquote><p>M 13 (for No. 13 of Messier's <i>Catalogue of Nebulae +and Clusters</i>), Bond 619; N. G. C. 6165; B. D.-18° 4871; +85 Pegasi, Lalande 5761.</p></blockquote> + +<p>But when initials are used to express the titles of catalogues, +as such, and not to designate a particular celestial +object, such initials are to be italicized, following the usual +rule of references by titles.</p> + +<p class="center"><i>B. D.</i>; <i>N. G. C.</i></p> +</li> +</ol> +</li> +</ol> + + +<p class="rule">XVI. In resolutions italicize the word "<i>Resolved</i>," but +not the word "Whereas."</p> + + +<p class="rule">XVII. Italicize the names of plaintiff and defendant in +the citation of legal cases; also the titles of proceedings containing +such prefixes as <i lang="la" xml:lang="la">in re</i>, <i lang="la" xml:lang="la">ex parte</i>, <i>In the matter of</i>, etc.</p> + +<blockquote><p><i>The Boston Elevated Railway Co.</i> vs. <i>The City of Cambridge</i>. +<i><span lang="la" xml:lang="la">In re</span> Johnson</i>; <i><span lang="la" xml:lang="la">ex parte</span> Thomas</i>; <i>In the matter of +the petition of John Smith for a change of venue</i>.</p></blockquote> + + +<p class="rule">XVIII. Italicize address lines in speeches, reports, etc., +and primary address lines in letters. Set the address flush, +in a separate line, with the nouns capitalized.</p> + +<blockquote> +<p><i>Mr. Toastmaster, Ladies and Gentlemen.</i><br/> +<i>Mr. Henry P. Porter, 148 High St., Boston, Mass.</i></p> +</blockquote> + + +<p class="rule">XIX. In signatures italicize the position or title added +after the name. If this consists of only one word, it is +usually run into the same line with the name.</p> + +<p class="center">Frederick W. Hamilton, <i>Clerk</i>.</p> + +<p><span class="pagenum"><a name="Page_14">[14]</a></span> +If the title consists of more than one word but is no +longer than the name, center the first letter under the name +line, and indent one em on the right.</p> + +<p class="center">John F. Fitzgerald,<br/> +<span style="margin-left: 7em;"><i>Mayor of Boston</i>.</span></p> + +<p>If the title is longer than the name, center the name over +the second line and set this flush:</p> + +<p class="center">Minton P. Warren,<br/> +<i>Professor of Latin Language and Literature</i>.</p> + +<p>Sometimes a long title may be set in a smaller type, or, +if this is not advisable, it may be put into two lines.</p> + +<p>These rules are generally sound, but may have to be +varied to suit special conditions.</p> + +<p>Italicize the signatures of contributors to magazines, etc., +when the names appear at the end of the article. If the +name appears at the head of the article use small capitals, +or, as is often done, the same type as the text.</p> + + +<p class="rule">XX. Italic may be used to distinguish the words or +clauses which serve as verbal texts for an extended comment. +In printed sermons, for example, the text is often +set in italics.</p> + + +<p class="rule">XXI. Italic may be used with good effect for running +titles, for table headings, and for sub-heads. It is not desirable +for side notes. It has many kerned letters which are +liable to break off at the ends of the lines in an exposed +position.</p> + + +<p class="rule">XXII. In the English Bible italics are used to print words +which are not expressed in the original Hebrew or Greek but +are implied in the original and expressed in the translation.</p> + +<blockquote><p>Their quiver <i>is</i> an open sepulchre; they <i>are</i> all mighty +men.</p> + +<p>I find in him no fault <i>at all</i>.</p></blockquote> + +<p>These italics should never be mistaken for marks of +emphasis.</p> + + +<p class="rule"><span class="pagenum"><a name="Page_15">[15]</a></span> +XXIII. Care should be taken that the italic type used +should mate well with the roman. The fact that it often +did not so mate, even in fonts supposed to go together, +was one cause for the disfavor which came to attend its use. +Typesetting machines constructed without proper provision +for the composition of italic have been very influential in +restricting its use. Italics are now practically abolished from +newspaper work except in advertising matter, though they +were used in newspapers to excess in the eighteenth century.</p> + + +<p class="rule">XXIV. Italics are indicated in manuscript by drawing a +single line under the words to be so printed.</p> + + + +<div class="new-h2"> </div> +<p><span class="pagenum"><a name="Page_16">[16]</a></span></p> +<h2>SUPPLEMENTARY READING</h2> + + +<p style="padding-left: 2em; text-indent: -2em;"><cite>Correct Composition. By Theodore L. DeVinne.</cite> Oswald Publishing +Co., New York.</p> + +<p style="padding-left: 2em; text-indent: -2em;"><cite>The Writer's Desk Book. By William Dana Orcutt.</cite> Frederick A. +Stokes Co., New York.</p> + +<p style="padding-left: 2em; text-indent: -2em;"><cite>A Manual for Writers. By John Matthews Manly and John Arthur +Powell.</cite> The University of Chicago Press, Chicago.</p> + + + +<div class="new-h2"> </div> +<p><span class="pagenum"><a name="Page_17">[17]</a></span></p> +<h2>QUESTIONS</h2> + + +<ol class="questions"> +<li>Describe the first types.</li> + +<li>What caused the demand for smaller books?</li> + +<li>What was done to meet this demand?</li> + +<li>What was the first step in the improvement of type?</li> + +<li>What was the next important step?</li> + +<li>What are the present uses of the three principal +forms of letters?</li> + +<li>What are the general principles governing the use of +italics?</li> + +<li>What important principle should be observed in the +use of italic?</li> + +<li>Is a compositor ever justified in not following an author's +marks calling for italics, and why?</li> + +<li>For what, in general, is italic used?</li> + +<li>What is the general usage regarding foreign words +and phrases?</li> + +<li>What decides whether they are italicized or not?</li> + +<li>What about accents in foreign words?</li> + +<li>Give a list of common words, phrases, and abbreviations +used in literary and legal references which +should always be italicized.</li> + +<li>Give a short list of abbreviations of foreign origin +which should not be italicized.</li> + +<li>How should quotations in foreign languages be +treated?</li> + +<li>What is the use of italic in English quotations?</li> + +<li>How should you treat foreign titles preceding names +of persons, streets, and the like?</li> + +<li>How are names of authors and of books, magazines, +and the like, treated?</li> + +<li>How do we use italics in citations, in footnotes, in +indices, and in errata?</li> + +<li>When are <i>prima facie</i> and <i>ex officio</i> italicized, and +when not?</li> + +<li><span class="pagenum"><a name="Page_18">[18]</a></span>How are names of ships printed?</li> + +<li>How are names of paintings, statues, musical compositions, +and characters in plays treated?</li> + +<li>What is the rule about letters used to indicate subdivisions, +etc.?</li> + +<li>How do we print letters of the alphabet when referred +to as such?</li> + +<li>What can you say of the use of italic in scientific +matter generally?</li> + +<li>Give the particular rules for the use of italic in certain +sciences.</li> + +<li>What is the rule for italic in resolutions?</li> + +<li>How are italics used in legal matter?</li> + +<li>How are italics used in signatures?</li> + +<li>Where are titles placed when following names in +signatures?</li> + +<li>How may texts of sermons and the like be printed?</li> + +<li>What can you say of the use of italic in running +titles, table heads, side notes, and the like?</li> + +<li>What should be looked out for in combining italic +with roman?</li> + +<li>What has been the influence of machine composition +in the use of italic, and why?</li> + +<li>How does the use of italic in newspapers at present +compare with that of a hundred years ago, and why?</li> + +<li>How are italics indicated in manuscript?</li> +</ol> + + +<p style="font-size: 0.9em;">As elsewhere in this section of the Typographic Technical Series, +the learning of the rules must be supplemented by extended practice +in their application. Constant drill should be given the apprentice in +the setting of matter requiring the use of italics, or in writing out +manuscripts with the italics properly indicated. There is no other +way in which accuracy and practical proficiency can be acquired. +Printed matter may be shown for criticism and discussion, and incorrectly +italicized matter may be given out for correction.</p> + + + +<div class="new-h2"> </div> +<p><span class="pagenum"><a name="Page_i">[i]</a></span></p> +<h1 style="font-size: 1.3em;">TYPOGRAPHIC TECHNICAL SERIES +FOR APPRENTICES</h1> + + +<p>The following list of publications, comprising the <span class="smcap">Typographic +Technical Series for Apprentices</span>, has been prepared +under the supervision of the Committee on Education of the +United Typothetae of America for use in trade classes, in course of +printing instruction, and by individuals.</p> + +<p>Each publication has been compiled by a competent author or +group of authors, and carefully edited, the purpose being to provide +the printers of the United States—employers, journeymen, +and apprentices—with a comprehensive series of handy and +inexpensive compendiums of reliable, up-to-date information upon +the various branches and specialties of the printing craft, all +arranged in orderly fashion for progressive study.</p> + +<p>The publications of the series are of uniform size, 5 × 8 inches. +Their general make-up, in typography, illustrations, etc., has +been, as far as practicable, kept in harmony throughout. A brief +synopsis of the particular contents and other chief features of each +volume will be found under each title in the following list.</p> + +<p>Each topic is treated in a concise manner, the aim being to +embody in each publication as completely as possible all the +rudimentary information and essential facts necessary to an understanding +of the subject. Care has been taken to make all statements +accurate and clear, with the purpose of bringing essential +information within the understanding of beginners in the different +fields of study. Wherever practicable, simple and well-defined +drawings and illustrations have been used to assist in giving +additional clearness to the text.</p> + +<p>In order that the pamphlets may be of the greatest possible +help for use in trade-school classes and for self-instruction, each +title is accompanied by a list of Review Questions covering +essential items of the subject matter. A short Glossary of technical +terms belonging to the subject or department treated is also +added to many of the books.</p> + +<p>These are the Official Text-books of the United Typothetae of +America.</p> + +<p>Address all orders and inquiries to <span class="smcap">Committee on Education, +United Typothetae of America, Chicago, Illinois, U. S. A.</span></p> + + +<div class="new-section"> </div> +<p><span class="pagenum"><a name="Page_ii">[ii]</a></span></p> +<h2 class="section">PART I—<i>Types, Tools, Machines, and Materials</i></h2> + +<div class="books"> +<p>1. <b>Type: a Primer of Information</b> <span class="author">By A. A. Stewart</span></p> + +<div class="book-info"><p>Relating to the mechanical features of printing types; their sizes, font +schemes, etc., with a brief description of their manufacture. 44 pp.; +illustrated; 74 review questions; glossary.</p></div> + +<p>2. <b>Compositors' Tools and Materials</b> <span class="author">By A. A. Stewart</span></p> + +<div class="book-info"><p>A primer of information about composing sticks, galleys, leads, brass +rules, cutting and mitering machines, etc. 47 pp.; illustrated; 50 review +questions; glossary.</p></div> + +<p>3. <b>Type Cases, Composing Room Furniture</b> <span class="author">By A. A. Stewart</span></p> + +<div class="book-info"><p>A primer of information about type cases, work stands, cabinets, case +racks, galley racks, standing galleys, etc. 43 pp.; illustrated; 33 review +questions; glossary.</p></div> + +<p>4. <b>Imposing Tables and Lock-up Appliances</b> <span class="author">By A. A. Stewart</span></p> + +<div class="book-info"><p>Describing the tools and materials used in locking up forms for the press, +including some modern utilities for special purposes. 59 pp.; illustrated; +70 review questions; glossary.</p></div> + +<p>5. <b>Proof Presses</b> <span class="author">By A. A. Stewart</span></p> + +<div class="book-info"><p>A primer of information about the customary methods and machines for +taking printers' proofs. 40 pp.; illustrated; 41 review questions; glossary.</p></div> + +<p>6. <b>Platen Printing Presses</b> <span class="author">By Daniel Baker</span></p> + +<div class="book-info"><p>A primer of information regarding the history and mechanical construction +of platen printing presses, from the original hand press to the modern +job press, to which is added a chapter on automatic presses of small size. +51 pp.; illustrated; 49 review questions; glossary.</p></div> + +<p>7. <b>Cylinder Printing Presses</b> <span class="author">By Herbert L. Baker</span></p> + +<div class="book-info"><p>Being a study of the mechanism and operation of the principal types of +cylinder printing machines. 64 pp.; illustrated; 47 review questions; +glossary.</p></div> + +<p>8. <b>Mechanical Feeders and Folders</b> <span class="author">By William E. Spurrier</span></p> + +<div class="book-info"><p>The history and operation of modern feeding and folding machines; with +hints on their care and adjustments. Illustrated; review questions; +glossary.</p></div> + +<p>9. <b>Power for Machinery in Printing Houses</b> <span class="author">By Carl F. Scott</span></p> + +<div class="book-info"><p>A treatise on the methods of applying power to printing presses and allied +machinery with particular reference to electric drive. 53 pp.; illustrated; +69 review questions; glossary.</p></div> + +<p>10. <b>Paper Cutting Machines</b> <span class="author">By Niel Gray, Jr.</span></p> + +<div class="book-info"><p>A primer of information about paper and card trimmers, hand-lever +cutters, power cutters, and other automatic machines for cutting paper, +70 pp.; illustrated; 115 review questions; glossary.</p></div> + +<p>11. <b>Printers' Rollers</b> <span class="author">By A. A. Stewart</span></p> + +<div class="book-info"><p>A primer of information about the composition, manufacture, and care of +inking rollers. 46 pp.; illustrated; 61 review questions; glossary.</p></div> + +<p>12. <b>Printing Inks</b> <span class="author">By Philip Ruxton</span></p> + +<div class="book-info"><p>Their composition, properties and manufacture (reprinted by permission +from Circular No. 53, United States Bureau of Standards); together with +some helpful suggestions about the everyday use of printing inks by +Philip Ruxton. 80 pp.; 100 review questions; glossary.</p></div> +</div> + +<p><span class="pagenum"><a name="Page_iii">[iii]</a></span></p> + +<div class="books"> +<p>13. <b>How Paper is Made</b> <span class="author">By William Bond Wheelwright</span></p> + +<div class="book-info"><p>A primer of information about the materials and processes of manufacturing +paper for printing and writing. 68 pp.; illustrated; 62 review questions; +glossary.</p></div> + +<p>14. <b>Relief Engravings</b> <span class="author">By Joseph P. Donovan</span></p> + +<div class="book-info"><p>Brief history and non-technical description of modern methods of engraving; +woodcut, zinc plate, halftone; kind of copy for reproduction; things +to remember when ordering engravings. Illustrated; review questions; +glossary.</p></div> + +<p>15. <b>Electrotyping and Stereotyping</b> <span class="author">By Harris B. Hatch and A. A. Stewart</span></p> + +<div class="book-info"><p>A primer of information about the processes of electrotyping and stereotyping. +94 pp.; illustrated; 129 review questions; glossaries.</p></div> + + +<div class="new-section"> </div> +<h2 class="section">PART II—<i>Hand and Machine Composition</i></h2> + +<p>16. <b>Typesetting</b> <span class="author">By A. A. Stewart</span></p> + +<div class="book-info"><p>A handbook for beginners, giving information about justifying, spacing, +correcting, and other matters relating to typesetting. Illustrated; +review questions; glossary.</p></div> + +<p>17. <b>Printers' Proofs</b> <span class="author">By A. A. Stewart</span></p> + +<div class="book-info"><p>The methods by which they are made, marked, and corrected, with +observations on proofreading. Illustrated; review questions; glossary.</p></div> + +<p>18. <b>First Steps in Job Composition</b> <span class="author">By Camille DeVéze</span></p> + +<div class="book-info"><p>Suggestions for the apprentice compositor in setting his first jobs, +especially about the important little things which go to make good +display in typography. 63 pp.; examples; 55 review questions; glossary.</p></div> + +<p>19. <b>General Job Composition</b></p> + +<div class="book-info"><p>How the job compositor handles business stationery, programs and +miscellaneous work. Illustrated; review questions; glossary.</p></div> + +<p>20. <b>Book Composition</b> <span class="author">By J. W. Bothwell</span></p> + +<div class="book-info"><p>Chapters from DeVinne's "Modern Methods of Book Composition," +revised and arranged for this series of text-books by J. W. Bothwell of +The DeVinne Press, New York. Part I: Composition of pages. Part II: +Imposition of pages. 229 pp.; illustrated; 525 review questions; glossary.</p></div> + +<p>21. <b>Tabular Composition</b> <span class="author">By Robert Seaver</span></p> + +<div class="book-info"><p>A study of the elementary forms of table composition, with examples of +more difficult composition. 36 pp.; examples; 45 review questions.</p></div> + +<p>22. <b>Applied Arithmetic</b> <span class="author">By E. E. Sheldon</span></p> + +<div class="book-info"><p>Elementary arithmetic applied to problems of the printing trade, calculation +of materials, paper weights and sizes, with standard tables and rules +for computation, each subject amplified with examples and exercises. +159 pp.</p></div> + +<p>23. <b>Typecasting and Composing Machines</b> <span class="author">A. W. Finlay, Editor</span></p> + +<div class="book-info"><p> +Section I—The Linotype <span class="author">By L. A. Hornstein</span><br /> +Section II—The Monotype <span class="author">By Joseph Hays</span><br /> +Section III—The Intertype <span class="author">By Henry W. Cozzens</span><br /> +Section IV—Other Typecasting and Typesetting Machines <span class="author">By Frank H. Smith</span></p> + +<p>A brief history of typesetting machines, with descriptions of their +mechanical principles and operations. Illustrated; review questions; +glossary.</p></div> +</div> + + +<div class="new-section"> </div> +<p><span class="pagenum"><a name="Page_iv">[iv]</a></span></p> +<h2 class="section">PART III—<i>Imposition and Stonework</i></h2> + +<div class="books"> +<p>24. <b>Locking Forms for the Job Press</b> <span class="author">By Frank S. Henry</span></p> + +<div class="book-info"><p>Things the apprentice should know about locking up small forms, and +about general work on the stone. Illustrated; review questions; glossary.</p></div> + +<p>25. <b>Preparing Forms for the Cylinder Press</b> <span class="author">By Frank S. Henry</span></p> + +<div class="book-info"><p>Pamphlet and catalog imposition; margins; fold marks, etc. Methods of +handling type forms and electrotype forms. Illustrated; review questions; +glossary.</p></div> + + +<div class="new-section"> </div> +<h2 class="section">PART IV—<i>Presswork</i></h2> + +<p>26. <b>Making Ready on Platen Presses</b> <span class="author">By T. G. McGrew</span></p> + +<div class="book-info"><p>The essential parts of a press and their functions; distinctive features of +commonly used machines. Preparing the tympan, regulating the +impression, underlaying and overlaying, setting gauges, and other +details explained. Illustrated; review questions; glossary.</p></div> + +<p>27. <b>Cylinder Presswork</b> <span class="author">By T. G. McGrew</span></p> + +<div class="book-info"><p>Preparing the press; adjustment of bed and cylinder, form rollers, ink +fountain, grippers and delivery systems. Underlaying and overlaying; +modern overlay methods. Illustrated; review questions; glossary.</p></div> + +<p>28. <b>Pressroom Hints and Helps</b> <span class="author">By Charles L. Dunton</span></p> + +<div class="book-info"><p>Describing some practical methods of pressroom work, with directions +and useful information relating to a variety of printing-press problems. +87 pp.; 176 review questions.</p></div> + +<p>29. <b>Reproductive Processes of the Graphic Arts</b> <span class="author">By A. W. Elson</span></p> + +<div class="book-info"><p>A primer of information about the distinctive features of the relief, the +intaglio, and the planographic processes of printing. 84 pp.; illustrated; +100 review questions; glossary.</p></div> + + +<div class="new-section"> </div> +<h2 class="section">PART V—<i>Pamphlet and Book Binding</i></h2> + +<p>30. <b>Pamphlet Binding</b> <span class="author">By Bancroft L. Goodwin</span></p> + +<div class="book-info"><p>A primer of information about the various operations employed in +binding pamphlets and other work in the bindery. Illustrated; review +questions; glossary.</p></div> + +<p>31. <b>Book Binding</b> <span class="author">By John J. Pleger</span></p> + +<div class="book-info"><p>Practical information about the usual operations in binding books; +folding; gathering, collating, sewing, forwarding, finishing. Case making +and cased-in books. Hand work and machine work. Job and blank-book +binding. Illustrated; review questions; glossary.</p></div> + + +<div class="new-section"> </div> +<h2 class="section">PART VI—<i>Correct Literary Composition</i></h2> + +<p>32. <b>Word Study and English Grammar</b> <span class="author">By F. W. Hamilton</span></p> + +<div class="book-info"><p>A primer of information about words, their relations, and their uses. +68 pp.; 84 review questions; glossary.</p></div> + +<p>33. <b>Punctuation</b> <span class="author">By F. W. Hamilton</span></p> + +<div class="book-info"><p>A primer of information about the marks of punctuation and their use, +both grammatically and typographically. 56 pp.; 59 review questions; +glossary.</p></div> +</div> + +<p><span class="pagenum"><a name="Page_v">[v]</a></span></p> +<div class="books"> +<p>34. <b>Capitals</b> <span class="author">By F. W. Hamilton</span></p> + +<div class="book-info"><p>A primer of information about capitalization, with some practical typographic +hints as to the use of capitals. 48 pp.; 92 review questions; +glossary.</p></div> + +<p>35. <b>Division of Words</b> <span class="author">By F. W. Hamilton</span></p> + +<div class="book-info"><p>Rules for the division of words at the ends of lines, with remarks on +spelling, syllabication and pronunciation. 42 pp.; 70 review questions.</p></div> + +<p>36. <b>Compound Words</b> <span class="author">By F. W. Hamilton</span></p> + +<div class="book-info"><p>A study of the principles of compounding, the components of compounds, +and the use of the hyphen. 34 pp.; 62 review questions.</p></div> + +<p>37. <b>Abbreviations and Signs</b> <span class="author">By F. W. Hamilton</span></p> + +<div class="book-info"><p>A primer of information about abbreviations and signs, with classified +lists of those in most common use. 58 pp.; 32 review questions.</p></div> + +<p>38. <b>The Uses of Italic</b> <span class="author">By F. W. Hamilton</span></p> + +<div class="book-info"><p>A primer of information about the history and uses of italic letters. +31 pp.; 37 review questions.</p></div> + +<p>39. <b>Proofreading</b> <span class="author">By Arnold Levitas</span></p> + +<div class="book-info"><p>The technical phases of the proofreader's work; reading, marking, +revising, etc.; methods of handling proofs and copy. Illustrated by +examples. 59 pp.; 69 review questions; glossary.</p></div> + +<p>40. <b>Preparation of Printers' Copy</b> <span class="author">By F. W. Hamilton</span></p> + +<div class="book-info"><p>Suggestions for authors, editors, and all who are engaged in preparing +copy for the composing room. 36 pp.; 67 review questions.</p></div> + +<p>41. <b>Printers' Manual of Style</b></p> + +<div class="book-info"><p>A reference compilation of approved rules, usages, and suggestions +relating to uniformity in punctuation, capitalization, abbreviations, +numerals, and kindred features of composition.</p></div> + +<p>42. <b>The Printer's Dictionary</b> <span class="author">By A. A. Stewart</span></p> + +<div class="book-info"><p>A handbook of definitions and miscellaneous information about various +processes of printing, alphabetically arranged. Technical terms explained. +Illustrated.</p></div> + + +<div class="new-section"> </div> +<h2 class="section">PART VII—<i>Design, Color, and Lettering</i></h2> + +<p>43. <b>Applied Design for Printers</b> <span class="author">By Harry L. Gage</span></p> + +<div class="book-info"><p>A handbook of the principles of arrangement, with brief comment on the +periods of design which have most influenced printing. Treats of harmony, +balance, proportion, and rhythm; motion; symmetry and variety; +ornament, esthetic and symbolic. 37 illustrations; 46 review questions; +glossary; bibliography.</p></div> + +<p>44. <b>Elements of Typographic Design</b> <span class="author">By Harry L. Gage</span></p> + +<div class="book-info"><p>Applications of the principles of decorative design. Building material +of typography paper, types, ink, decorations and illustrations. Handling +of shapes. Design of complete book, treating each part. Design of +commercial forms and single units. Illustrations; review questions; +glossary; bibliography.</p></div> +</div> + +<p><span class="pagenum"><a name="Page_vi">[vi]</a></span></p> + +<div class="books"> +<p>45. <b>Rudiments of Color in Printing</b> <span class="author">By Harry L. Gage</span></p> + +<div class="book-info"><p>Use of color: for decoration of black and white, for broad poster effect, +in combinations of two, three, or more printings with process engravings. +Scientific nature of color, physical and chemical. Terms in which color +may be discussed: hue, value, intensity. Diagrams in color, scales and +combinations. Color theory of process engraving. Experiments with +color. Illustrations in full color, and on various papers. Review questions; +glossary; bibliography.</p></div> + +<p>46. <b>Lettering in Typography</b> <span class="author">By Harry L. Gage</span></p> + +<div class="book-info"><p>Printer's use of lettering: adaptability and decorative effect. Development +of historic writing and lettering and its influence on type design. +Classification of general forms in lettering. Application of design to +lettering. Drawing for reproduction. Fully illustrated; review questions; +glossary; bibliography.</p></div> + +<p>47. <b>Typographic Design in Advertising</b> <span class="author">By Harry L. Gage</span></p> + +<div class="book-info"><p>The printer's function in advertising. Precepts upon which advertising +is based. Printer's analysis of his copy. Emphasis, legibility, attention, +color. Method of studying advertising typography. Illustrations; +review questions; glossary; bibliography.</p></div> + +<p>48. <b>Making Dummies and Layouts</b> <span class="author">By Harry L. Gage</span></p> + +<div class="book-info"><p>A layout: the architectural plan. A dummy: the imitation of a proposed +final effect. Use of dummy in sales work. Use of layout. Function of +layout man. Binding schemes for dummies. Dummy envelopes. +Illustrations; review questions; glossary; bibliography.</p></div> + + +<div class="new-section"> </div> +<h2 class="section">PART VIII—<i>History of Printing</i></h2> + +<p>49. <b>Books Before Typography</b> <span class="author">By F. W. Hamilton</span></p> + +<div class="book-info"><p>A primer of information about the invention of the alphabet and the +history of bookmaking up to the invention of movable types. 62 pp.; +illustrated; 64 review questions.</p></div> + +<p>50. <b>The Invention of Typography</b> <span class="author">By F. W. Hamilton</span></p> + +<div class="book-info"><p>A brief sketch of the invention of printing and how it came about. +64 pp.; 62 review questions.</p></div> + +<p>51. <b>History of Printing—Part I</b> <span class="author">By F. W. Hamilton</span></p> + +<div class="book-info"><p>A primer of information about the beginnings of printing, the development +of the book, the development of printers' materials, and the work +of the great pioneers. 63 pp.; 55 review questions.</p></div> + +<p>52. <b>History of Printing—Part II</b> <span class="author">By F. W. Hamilton</span></p> + +<div class="book-info"><p>A brief sketch of the economic conditions of the printing industry from +1450 to 1789, including government regulations, censorship, internal +conditions and industrial relations. 94 pp.; 128 review questions.</p></div> + +<p>53. <b>Printing in England</b> <span class="author">By F. W. Hamilton</span></p> + +<div class="book-info"><p>A short history of printing in England from Caxton to the present time. +89 pp.; 65 review questions.</p></div> + +<p>54. <b>Printing in America</b> <span class="author">By F. W. Hamilton</span></p> + +<div class="book-info"><p>A brief sketch of the development of the newspaper, and some notes on +publishers who have especially contributed to printing. 98 pp.; 84 review +questions.</p></div> + +<p>55. <b>Type and Presses in America</b> <span class="author">By F. W. Hamilton</span></p> + +<div class="book-info"><p>A brief historical sketch of the development of type casting and press +building in the United States. 52 pp.; 61 review questions.</p></div> +</div> + + +<div class="new-section"> </div> +<p><span class="pagenum"><a name="Page_vii">[vii]</a></span></p> +<h2 class="section">PART IX—<i>Cost Finding and Accounting</i></h2> + +<div class="books"> +<p>56. <b>Elements of Cost in Printing</b> <span class="author">By Henry P. Porter</span></p> + +<div class="book-info"><p>The Standard Cost-Finding Forms and their uses. What they should +show. How to utilize the information they give. Review questions. +Glossary.</p></div> + +<p>57. <b>Use of a Cost System</b> <span class="author">By Henry P. Porter</span></p> + +<div class="book-info"><p>The Standard Cost-Finding Forms and their uses. What they should +show. How to utilize the information they give. Review questions. +Glossary.</p></div> + +<p>58. <b>The Printer as a Merchant</b> <span class="author">By Henry P. Porter</span></p> + +<div class="book-info"><p>The selection and purchase of materials and supplies for printing. The +relation of the cost of raw material and the selling price of the finished +product. Review questions. Glossary.</p></div> + +<p>59. <b>Fundamental Principles of Estimating</b> <span class="author">By Henry P. Porter</span></p> + +<div class="book-info"><p>The estimator and his work; forms to use; general rules for estimating. +Review questions. Glossary.</p></div> + +<p>60. <b>Estimating and Selling</b> <span class="author">By Henry P. Porter</span></p> + +<div class="book-info"><p>An insight into the methods used in making estimates, and their relation +to selling. Review questions. Glossary.</p></div> + +<p>61. <b>Accounting for Printers</b> <span class="author">By Henry P. Porter</span></p> + +<div class="book-info"><p>A brief outline of an accounting system for printers; necessary books and +accessory records. Review questions. Glossary.</p></div> + + +<div class="new-section"> </div> +<h2 class="section">PART X—<i>Miscellaneous</i></h2> + +<p>62. <b>Health, Sanitation, and Safety</b> <span class="author">By Henry P. Porter</span></p> + +<div class="book-info"><p>Hygiene in the printing trade; a study of conditions old and new; practical +suggestions for improvement; protective appliances and rules for safety.</p></div> + +<p>63. <b>Topical Index</b> <span class="author">By F. W. Hamilton</span></p> + +<div class="book-info"><p>A book of reference covering the topics treated in the Typographic +Technical Series, alphabetically arranged.</p></div> + +<p>64. <b>Courses of Study</b> <span class="author">By F. W. Hamilton</span></p> + +<div class="book-info"><p>A guidebook for teachers, with outlines and suggestions for classroom and +shop work.</p></div> + +</div> + + + +<div class="new-section"> </div> +<p><span class="pagenum"><a name="Page_viii">[viii]</a></span></p> +<h2 class="section">ACKNOWLEDGMENT</h2> + + +<p>This series of Typographic Text-books is the result of the +splendid co-operation of a large number of firms and individuals +engaged in the printing business and its allied industries +in the United States of America.</p> + +<p>The Committee on Education of the United Typothetae of +America, under whose auspices the books have been prepared and +published, acknowledges its indebtedness for the generous assistance +rendered by the many authors, printers, and others identified +with this work.</p> + +<p>While due acknowledgment is made on the title and copyright +pages of those contributing to each book, the Committee nevertheless +felt that a group list of co-operating firms would be of +interest.</p> + +<p>The following list is not complete, as it includes only those who +have co-operated in the production of a portion of the volumes, +constituting the first printing. As soon as the entire list of books +comprising the Typographic Technical Series has been completed +(which the Committee hopes will be at an early date), the full list +will be printed in each volume.</p> + +<p>The Committee also desires to acknowledge its indebtedness to +the many subscribers to this Series who have patiently awaited its +publication.</p> + +<div style="margin: 0 0 0 auto; width: 21em;"> +<p><span class="smcap">Committee on Education,<br /> +United Typothetae of America.</span></p> + +<p style="margin-left: 4em;"><span class="smcap">Henry P. Porter</span>, <i>Chairman</i>,<br /> +<span class="smcap">E. Lawrence Fell</span>,<br /> +<span class="smcap">A. M. Glossbrenner</span>,<br /> +<span class="smcap">J. Clyde Oswald</span>,<br /> +<span class="smcap">Toby Rubovits</span>.</p> + +<p><span class="smcap">Frederick W. Hamilton</span>, <i>Education Director</i>.</p> +</div> + +<div class="new-section"> </div> +<p><span class="pagenum"><a name="Page_ix">[ix]</a></span></p> +<h2 class="section">CONTRIBUTORS</h2> + + +<h3>For Composition and Electrotypes</h3> + +<ul class="no-bullets"> +<li><span class="smcap">Isaac H. Blanchard Company</span>, New York, N. Y.</li> +<li><span class="smcap">S. H. Burbank & Co.</span>, Philadelphia, Pa.</li> +<li><span class="smcap">J. S. Cushing & Co.</span>, Norwood, Mass.</li> +<li><span class="smcap">The DeVinne Press</span>, New York, N. Y.</li> +<li><span class="smcap">R. R. Donnelley & Sons Co.</span>, Chicago, Ill.</li> +<li><span class="smcap">Geo. H. Ellis Co.</span>, Boston, Mass.</li> +<li><span class="smcap">Evans-Winter-Hebb</span>, Detroit, Mich.</li> +<li><span class="smcap">Franklin Printing Company</span>, Philadelphia, Pa.</li> +<li><span class="smcap">F. H. Gilson Company</span>, Boston, Mass.</li> +<li><span class="smcap">Stephen Greene & Co.</span>, Philadelphia, Pa.</li> +<li><span class="smcap">W. F. Hall Printing Co.</span>, Chicago, Ill.</li> +<li><span class="smcap">J. B. Lippincott Co.</span>, Philadelphia, Pa.</li> +<li><span class="smcap">McCalla & Co. Inc.</span>, Philadelphia, Pa.</li> +<li><span class="smcap">The Patteson Press</span>, New York, New York</li> +<li><span class="smcap">The Plimpton Press</span>, Norwood, Mass.</li> +<li><span class="smcap">Poole Bros.</span>, Chicago, Ill.</li> +<li><span class="smcap">Edward Stern & Co.</span>, Philadelphia, Pa.</li> +<li><span class="smcap">The Stone Printing & Mfg. Co.</span>, Roanoke, Va.</li> +<li><span class="smcap">C. D. Traphagen</span>, Lincoln, Neb.</li> +<li><span class="smcap">The University Press</span>, Cambridge, Mass.</li> +</ul> + + +<h3>For Composition</h3> + +<ul class="no-bullets"> +<li><span class="smcap">Boston Typothetae School of Printing</span>, Boston, Mass.</li> +<li><span class="smcap">William F. Fell Co.</span>, Philadelphia, Pa.</li> +<li><span class="smcap">The Kalkhoff Company</span>, New York, N. Y.</li> +<li><span class="smcap">Oxford-Print</span>, Boston, Mass.</li> +<li><span class="smcap">Toby Rubovits</span>, Chicago, Ill.</li> +</ul> + + +<h3>For Electrotypes</h3> + +<ul class="no-bullets"> +<li><span class="smcap">Blomgren Brothers Co.</span>, Chicago, Ill.</li> +<li><span class="smcap">Flower Steel Electrotyping Co.</span>, New York, N. Y.</li> +<li><span class="smcap">C. J. Peters & Son Co.</span>, Boston, Mass.</li> +<li><span class="smcap">Royal Electrotype Co.</span>, Philadelphia, Pa.</li> +<li><span class="smcap">H. C. Whitcomb & Co.</span>, Boston, Mass.</li> +</ul> + + +<h3>For Engravings</h3> + +<ul class="no-bullets"> +<li><span class="smcap">American Type Founders Co.</span>, Boston, Mass.</li> +<li><span class="smcap">C. B. Cottrell & Sons Co.</span>, Westerly, R. I.</li> +<li><span class="smcap">Golding Manufacturing Co.</span>, Franklin, Mass.</li> +<li><span class="smcap">Harvard University</span>, Cambridge, Mass.</li> +<li><span class="smcap">Inland Printer Co.</span>, Chicago, Ill.</li> +<li><span class="smcap">Lanston Monotype Machine Company</span>, Philadelphia, Pa.</li> +<li><span class="smcap">Mergenthaler Linotype Company</span>, New York, N. Y.</li> +<li><span class="smcap">Geo. H. Morrill Co.</span>, Norwood, Mass.</li> +<li><span class="smcap">Oswald Publishing Co.</span>, New York, N. Y.</li> +<li><span class="smcap">The Printing Art</span>, Cambridge, Mass.</li> +<li><span class="smcap">B. D. Rising Paper Company</span>, Housatonic, Mass.</li> +<li><span class="smcap">The Vandercook Press</span>, Chicago, Ill.</li> +</ul> + + +<h3>For Book Paper</h3> + +<ul class="no-bullets" style="margin-bottom: 80px;"> +<li><span class="smcap">American Writing Paper Co.</span>, Holyoke, Mass.</li> +<li><span class="smcap">West Virginia Pulp & Paper Co.</span>, Mechanicville, N. Y.</li> +</ul> + + + + + + + + +<pre> + + + + + +End of Project Gutenberg's The Uses of Italic, by Frederick W. Hamilton + +*** END OF THIS PROJECT GUTENBERG EBOOK THE USES OF ITALIC *** + +***** This file should be named 24829-h.htm or 24829-h.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/2/4/8/2/24829/ + +Produced by Barbara Tozier, Bill Tozier, Jana Srna and the +Online Distributed Proofreading Team at http://www.pgdp.net + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. Special rules, +set forth in the General Terms of Use part of this license, apply to +copying and distributing Project Gutenberg-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. 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