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diff --git a/24829-8.txt b/24829-8.txt new file mode 100644 index 0000000..297fb5a --- /dev/null +++ b/24829-8.txt @@ -0,0 +1,1729 @@ +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 + + + + + + + + + + TYPOGRAPHIC TECHNICAL SERIES FOR APPRENTICES--PART VI. NO. 38 + + + THE USES OF ITALIC + + + A PRIMER OF INFORMATION + REGARDING THE ORIGIN AND + USES OF ITALIC LETTERS + + + BY + FREDERICK W. HAMILTON, LL.D. + + EDUCATION DIRECTOR + UNITED TYPOTHETAE OF AMERICA + + + + + PUBLISHED BY THE COMMITTEE ON EDUCATION + UNITED TYPOTHETAE OF AMERICA + 1918 + + + + + COPYRIGHT, 1918 + UNITED TYPOTHETAE OF AMERICA + CHICAGO, ILL. + + + + +CONTENTS + + + PAGE + + HISTORICAL INTRODUCTION 1 + + RULES FOR THE USE OF ITALIC 5 + + SUPPLEMENTARY READING 16 + + REVIEW QUESTIONS 17 + + + + +THE USES OF ITALIC + + + + +HISTORICAL INTRODUCTION + + +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. + + [Illustration: Type of the Mazarin Bible (exact size).] + +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 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 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. + +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. + +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. + + [Illustration: Roman type of Nicholas Jenson, 1472 (exact size).] + +The next step was the invention of Italic types by Aldus Manutius, of +Venice, in 1501. He took for his model the 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. + + [Illustration: Type of the Aldine Virgil, 1501 (exact size).] + +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. + + + + +RULES FOR THE USE OF ITALIC + + +Italic has, in general, four uses: + + (1) for emphasis. + + (2) to set off a title, word, or passage from the context. + + (3) for running titles, sub-heads, the headings of tables, and other + like places where something different from the text letter seems + needed for variety. + + (4) for display purposes in commercial work. + +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. + +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. + + [Illustration: Page from a book of 1690. + + (The slurred appearance represents the printing of the original copy.)] + +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 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. + + +I. Italicize, subject to the caution just given, any words or phrases +which it is desired to emphasize. + + +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 _bona fide_ (Latin), _menu_ (French), _recto_ (Italian), or +_stein_ (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, _jeu d'esprit_ (French) or _inter alia_ +(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. + +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. _Dénouement_ is very often written without the +accent; _née_ 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. + + aide de camp + Alma Mater + a posteriori + a priori + à propos + attaché + bas-relief + beau ideal + bona fide + bric-à-brac + café + chargé d'affaires + chiaroscuro + clientèle + confrère + connoisseur + crèche + criterion, _pl._ -a + cul-de-sac + data + débris + début + décolleté + dénouement + dépôt (= depository) + doctrinaire + dramatis personæ + éclat + élite + ennui + entrée + ex cathedra + ex officio + exposé + façade + facsimile + fête + habeas corpus + habitué + innuendo + levée + littérateur + litterati + massage + matinée + mêlée + menu + motif + naïve + née + net + névé + niche + nil + nom de plume + papier mâché + per annum + per capita + per cent + per contra + personnel + postmortem (n. and adj.) + prima facie + pro and con(tra) + protégé + pro tem(pore) + questionnaire + queue + régime + rendezvous + résumé + reveille + rôle + savant + sobriquet + soirée + tête-à-tête + tonneau + umlaut + verbatim + verso + versus (v., vs.) + via + vice versa + vis-à-vis + viva voce + +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. + + _ab ovo_ + _ancien régime_ + _bête noire_ + _comme il faut_ + _de quoi vivre_ + _de trop_ + _en passant_ + _fait accompli_ + _grand monde_ + _hors de combat_ + _inter alia_ + _jeu d'esprit_ + _locum tenens_ + _mise en scène_ + _noblesse oblige_ + _raison d'être_ + _sans cérémonie_ + _tour de force_ + +The following words, phrases, and abbreviations used in literary and +legal references should be italicized. + + _ad loc._ + _circa_ (_ca._) + _et al._ + _ibid._ + _idem_ + _infra_ + _loc cit._ + _op. cit._ + _passim_ + _sic_ + _supra_ + _s. v._ + _vide_ + +Do not italicize: + + cf. + etc. + e. g. + i. e. + v. or vs. (versus) + viz. + +When an unfamiliar foreign word is used to convey precise description, +put it in italic, but use roman for repetition of the word. + +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. + + _De gustibus non est disputandum_, or as the French have it, _Chacun + a son gout_. + +Longer passages in foreign languages should be set in roman. + +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. + + +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. + + +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. + + Pere Ladeau; Freiherr von Schwenau; the Place de la Concorde; the + Museo delle Terme. + + +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 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 _the_. + +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. + +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. + + +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. + +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. + + D 16, M 6, P, J. + + +VII. Italicize _see_ and _see also_, in indices and similar compilations +when they are used for cross-reference, and when it is desirable to +differentiate them from the context. + + +VIII. Italicize _for_ and _read_ in lists of errata to separate the +incorrect from the correct. + + Page 999 _for_ Henry _read_ Henri. + + +IX. The phrases _prima facie_ and _ex officio_ 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. + + Prima-facie evidence. + An ex-officio member of all committees. + +When used as adverbs they may be printed in italics without the hyphen. + + The evidence is, _prima facie_, convincing. + The speaker is, _ex officio_, the chairman. + + +X. Names of ships, especially when they are taken from places, as in the +United States Navy, are often italicized. + + U.S.S. _Philadelphia_, U.S.S. _Alabama_. + + +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, _Julius Caesar_ is a character in the play. + + +XII. Italicize the symbols _a)_, _b)_, _c)_, etc., used to indicate +subdivisions when beginning a paragraph and _a_, _b_, _c_, etc., affixed +to the number of verse, page, etc., to denote a fractional part. + + See Chap. iii, sec. 2 _a)_. + Luke 4 : 31 _b_. + + +XIII. Italicize letters used to designate quantities, lines, etc., in +algebraic, geometrical, and similar matter, and in explanation of +diagrams and illustrations. + + (_a_+_b_)² = _a²_+2_ab_+_b²_; the line _a c_ = the line _a b_; + the _n_th power; at the point _B_. + + +XIV. Italicize particular letters of the alphabet when referred to as +such. + + We use _a_ much more frequently than _q_. + + +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. + +In general the following rules will be found serviceable. + +(a) 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. + + _Agaricus Campestris_, _Felis leo_, _Conodectes favosus_, _Phyteuma + Halleri_, _Pinus_, _Basidiabolus_, _Alternaria_, _Erythrosuchus_. + +(b) In medical matter the general practice is to print names of diseases +and remedies in roman. In the _Encyclopedia Britannica, Eleventh +Edition_, however, the scientific names of diseases are printed in +italics. + +(c) In astronomical and astrophysical matter italicize: + + 1. The lower-case letters designating certain Fraunhofer lines: _a_, + _b_, _g_, _h_. + + 2. The lower-case letters used by Baeyer to designate certain stars + in constellations for which the Greek letters have been exhausted: + _f_, Tauri; _u_, Hercules. + +(d) Italic should not be used for: + + 1. Greek, Latin, and Arabic names of planets, satellites, + constellations, and individual stars: Neptune, Thetys, Orionis. + + 2. Symbols for chemical elements: H. Ca. Ti. + + 3. Capital letters given by Fraunhofer to the lines of the spectrum: + A-H, K. + + 4. Letters designating the special types of stars: A 5, B 3, Mb. + + 5. The capital letter H with different Greek subscript letters, used + to designate symbols of hydrogen: H_a, H_b, etc. + + 6. Designations of celestial objects in well-known catalogues; also + the Flamstead numbers: + + M 13 (for No. 13 of Messier's _Catalogue of Nebulae and + Clusters_), Bond 619; N. G. C. 6165; B. D.-18° 4871; 85 Pegasi, + Lalande 5761. + + 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. + + _B. D._; _N. G. C._ + + +XVI. In resolutions italicize the word "_Resolved_," but not the word +"Whereas." + + +XVII. Italicize the names of plaintiff and defendant in the citation of +legal cases; also the titles of proceedings containing such prefixes as +_in re_, _ex parte_, _In the matter of_, etc. + + _The Boston Elevated Railway Co._ vs. _The City of Cambridge_. _In + re Johnson_; _ex parte Thomas_; _In the matter of the petition of + John Smith for a change of venue_. + + +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. + + _Mr. Toastmaster, Ladies and Gentlemen._ + _Mr. Henry P. Porter, 148 High St., Boston, Mass._ + + +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. + + Frederick W. Hamilton, _Clerk_. + +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. + + John F. Fitzgerald, + _Mayor of Boston_. + +If the title is longer than the name, center the name over the second +line and set this flush: + + Minton P. Warren, + _Professor of Latin Language and Literature_. + +Sometimes a long title may be set in a smaller type, or, if this is not +advisable, it may be put into two lines. + +These rules are generally sound, but may have to be varied to suit +special conditions. + +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. + + +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. + + +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. + + +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. + + Their quiver _is_ an open sepulchre; they _are_ all mighty men. + + I find in him no fault _at all_. + +These italics should never be mistaken for marks of emphasis. + + +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. + + +XXIV. Italics are indicated in manuscript by drawing a single line under +the words to be so printed. + + + + +SUPPLEMENTARY READING + + +Correct Composition. By Theodore L. DeVinne. Oswald Publishing Co., New +York. + +The Writer's Desk Book. By William Dana Orcutt. Frederick A. Stokes Co., +New York. + +A Manual for Writers. By John Matthews Manly and John Arthur Powell. The +University of Chicago Press, Chicago. + + + + +QUESTIONS + + +1. Describe the first types. + +2. What caused the demand for smaller books? + +3. What was done to meet this demand? + +4. What was the first step in the improvement of type? + +5. What was the next important step? + +6. What are the present uses of the three principal forms of letters? + +7. What are the general principles governing the use of italics? + +8. What important principle should be observed in the use of italic? + +9. Is a compositor ever justified in not following an author's marks +calling for italics, and why? + +10. For what, in general, is italic used? + +11. What is the general usage regarding foreign words and phrases? + +12. What decides whether they are italicized or not? + +13. What about accents in foreign words? + +14. Give a list of common words, phrases, and abbreviations used in +literary and legal references which should always be italicized. + +15. Give a short list of abbreviations of foreign origin which should +not be italicized. + +16. How should quotations in foreign languages be treated? + +17. What is the use of italic in English quotations? + +18. How should you treat foreign titles preceding names of persons, +streets, and the like? + +19. How are names of authors and of books, magazines, and the like, +treated? + +20. How do we use italics in citations, in footnotes, in indices, and in +errata? + +21. When are _prima facie_ and _ex officio_ italicized, and when not? + +22. How are names of ships printed? + +23. How are names of paintings, statues, musical compositions, and +characters in plays treated? + +24. What is the rule about letters used to indicate subdivisions, etc.? + +25. How do we print letters of the alphabet when referred to as such? + +26. What can you say of the use of italic in scientific matter +generally? + +27. Give the particular rules for the use of italic in certain sciences. + +28. What is the rule for italic in resolutions? + +29. How are italics used in legal matter? + +30. How are italics used in signatures? + +31. Where are titles placed when following names in signatures? + +32. How may texts of sermons and the like be printed? + +33. What can you say of the use of italic in running titles, table +heads, side notes, and the like? + +34. What should be looked out for in combining italic with roman? + +35. What has been the influence of machine composition in the use of +italic, and why? + +36. How does the use of italic in newspapers at present compare with +that of a hundred years ago, and why? + +37. How are italics indicated in manuscript? + + +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. + + + + +TYPOGRAPHIC TECHNICAL SERIES FOR APPRENTICES + + +The following list of publications, comprising the TYPOGRAPHIC TECHNICAL +SERIES FOR APPRENTICES, 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. + +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. + +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. + +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. + +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. + +These are the Official Text-books of the United Typothetae of America. + +Address all orders and inquiries to COMMITTEE ON EDUCATION, UNITED +TYPOTHETAE OF AMERICA, CHICAGO, ILLINOIS, U. S. A. + + +PART I--Types, Tools, Machines, and Materials + +1. =Type: a Primer of Information= By A. A. Stewart + + 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. + +2. =Compositors' Tools and Materials= By A. A. Stewart + + A primer of information about composing sticks, galleys, leads, + brass rules, cutting and mitering machines, etc. 47 pp.; + illustrated; 50 review questions; glossary. + +3. =Type Cases, Composing Room Furniture= By A. A. Stewart + + A primer of information about type cases, work stands, cabinets, + case racks, galley racks, standing galleys, etc. 43 pp.; + illustrated; 33 review questions; glossary. + +4. =Imposing Tables and Lock-up Appliances= By A. A. Stewart + + 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. + +5. =Proof Presses= By A. A. Stewart + + A primer of information about the customary methods and machines for + taking printers' proofs. 40 pp.; illustrated; 41 review questions; + glossary. + +6. =Platen Printing Presses= By Daniel Baker + + 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. + +7. =Cylinder Printing Presses= By Herbert L. Baker + + Being a study of the mechanism and operation of the principal types + of cylinder printing machines. 64 pp.; illustrated; 47 review + questions; glossary. + +8. =Mechanical Feeders and Folders= By William E. Spurrier + + The history and operation of modern feeding and folding machines; + with hints on their care and adjustments. Illustrated; review + questions; glossary. + +9. =Power for Machinery in Printing Houses= By Carl F. Scott + + 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. + +10. =Paper Cutting Machines= By Niel Gray, Jr. + + 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. + +11. =Printers' Rollers= By A. A. Stewart + + A primer of information about the composition, manufacture, and care + of inking rollers. 46 pp.; illustrated; 61 review questions; + glossary. + +12. =Printing Inks= By Philip Ruxton + + 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. + +13. =How Paper is Made= By William Bond Wheelwright + + A primer of information about the materials and processes of + manufacturing paper for printing and writing. 68 pp.; illustrated; + 62 review questions; glossary. + +14. =Relief Engravings= By Joseph P. Donovan + + 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. + +15. =Electrotyping and Stereotyping= By Harris B. Hatch and A. A. Stewart + + A primer of information about the processes of electrotyping and + stereotyping. 94 pp.; illustrated; 129 review questions; glossaries. + + +PART II--Hand and Machine Composition + +16. =Typesetting= By A. A. Stewart + + A handbook for beginners, giving information about justifying, + spacing, correcting, and other matters relating to typesetting. + Illustrated; review questions; glossary. + +17. =Printers' Proofs= By A. A. Stewart + + The methods by which they are made, marked, and corrected, with + observations on proofreading. Illustrated; review questions; + glossary. + +18. =First Steps in Job Composition= By Camille DeVéze + + 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. + +19. =General Job Composition= + + How the job compositor handles business stationery, programs and + miscellaneous work. Illustrated; review questions; glossary. + +20. =Book Composition= By J. W. Bothwell + + 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. + +21. =Tabular Composition= By Robert Seaver + + A study of the elementary forms of table composition, with examples + of more difficult composition. 36 pp.; examples; 45 review + questions. + +22. =Applied Arithmetic= By E. E. Sheldon + + 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. + +23. =Typecasting and Composing Machines= A. W. Finlay, Editor + + Section I--The Linotype By L. A. Hornstein + Section II--The Monotype By Joseph Hays + Section III--The Intertype By Henry W. Cozzens + Section IV--Other Typecasting and Typesetting Machines + By Frank H. Smith + + A brief history of typesetting machines, with descriptions of their + mechanical principles and operations. Illustrated; review questions; + glossary. + + +PART III--Imposition and Stonework + +24. =Locking Forms for the Job Press= By Frank S. Henry + + Things the apprentice should know about locking up small forms, and + about general work on the stone. Illustrated; review questions; + glossary. + +25. =Preparing Forms for the Cylinder Press= By Frank S. Henry + + Pamphlet and catalog imposition; margins; fold marks, etc. Methods + of handling type forms and electrotype forms. Illustrated; review + questions; glossary. + + +PART IV--Presswork + +26. =Making Ready on Platen Presses= By T. G. McGrew + + 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. + +27. =Cylinder Presswork= By T. G. McGrew + + 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. + +28. =Pressroom Hints and Helps= By Charles L. Dunton + + 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. + +29. =Reproductive Processes of the Graphic Arts= By A. W. Elson + + 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. + + +PART V--Pamphlet and Book Binding + +30. =Pamphlet Binding= By Bancroft L. Goodwin + + A primer of information about the various operations employed in + binding pamphlets and other work in the bindery. Illustrated; review + questions; glossary. + +31. =Book Binding= By John J. Pleger + + 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. + + +PART VI--Correct Literary Composition + +32. =Word Study and English Grammar= By F. W. Hamilton + + A primer of information about words, their relations, and their + uses. 68 pp.; 84 review questions; glossary. + +33. =Punctuation= By F. W. Hamilton + + A primer of information about the marks of punctuation and their + use, both grammatically and typographically. 56 pp.; 59 review + questions; glossary. + +34. =Capitals= By F. W. Hamilton + + A primer of information about capitalization, with some practical + typographic hints as to the use of capitals. 48 pp.; 92 review + questions; glossary. + +35. =Division of Words= By F. W. Hamilton + + Rules for the division of words at the ends of lines, with remarks + on spelling, syllabication and pronunciation. 42 pp.; 70 review + questions. + +36. =Compound Words= By F. W. Hamilton + + A study of the principles of compounding, the components of + compounds, and the use of the hyphen. 34 pp.; 62 review questions. + +37. =Abbreviations and Signs= By F. W. Hamilton + + A primer of information about abbreviations and signs, with + classified lists of those in most common use. 58 pp.; 32 review + questions. + +38. =The Uses of Italic= By F. W. Hamilton + + A primer of information about the history and uses of italic + letters. 31 pp.; 37 review questions. + +39. =Proofreading= By Arnold Levitas + + 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. + +40. =Preparation of Printers' Copy= By F. W. Hamilton + + Suggestions for authors, editors, and all who are engaged in + preparing copy for the composing room. 36 pp.; 67 review questions. + +41. =Printers' Manual of Style= + + A reference compilation of approved rules, usages, and suggestions + relating to uniformity in punctuation, capitalization, + abbreviations, numerals, and kindred features of composition. + +42. =The Printer's Dictionary= By A. A. Stewart + + A handbook of definitions and miscellaneous information about + various processes of printing, alphabetically arranged. Technical + terms explained. Illustrated. + + +PART VII--Design, Color, and Lettering + +43. =Applied Design for Printers= By Harry L. Gage + + 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. + +44. =Elements of Typographic Design= By Harry L. Gage + + 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. + +45. =Rudiments of Color in Printing= By Harry L. Gage + + 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. + +46. =Lettering in Typography= By Harry L. Gage + + 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. + +47. =Typographic Design in Advertising= By Harry L. Gage + + 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. + +48. =Making Dummies and Layouts= By Harry L. Gage + + 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. + + +PART VIII--History of Printing + +49. =Books Before Typography= By F. W. Hamilton + + 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. + +50. =The Invention of Typography= By F. W. Hamilton + + A brief sketch of the invention of printing and how it came about. + 64 pp.; 62 review questions. + +51. =History of Printing--Part I= By F. W. Hamilton + + 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. + +52. =History of Printing--Part II= By F. W. Hamilton + + 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. + +53. =Printing in England= By F. W. Hamilton + + A short history of printing in England from Caxton to the present + time. 89 pp.; 65 review questions. + +54. =Printing in America= By F. W. Hamilton + + 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. + +55. =Type and Presses in America= By F. W. Hamilton + + A brief historical sketch of the development of type casting and + press building in the United States. 52 pp.; 61 review questions. + + +PART IX--Cost Finding and Accounting + +56. =Elements of Cost in Printing= By Henry P. Porter + + The Standard Cost-Finding Forms and their uses. What they should + show. How to utilize the information they give. Review questions. + Glossary. + +57. =Use of a Cost System= By Henry P. Porter + + The Standard Cost-Finding Forms and their uses. What they should + show. How to utilize the information they give. Review questions. + Glossary. + +58. =The Printer as a Merchant= By Henry P. Porter + + 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. + +59. =Fundamental Principles of Estimating= By Henry P. Porter + + The estimator and his work; forms to use; general rules for + estimating. Review questions. Glossary. + +60. =Estimating and Selling= By Henry P. Porter + + An insight into the methods used in making estimates, and their + relation to selling. Review questions. Glossary. + +61. =Accounting for Printers= By Henry P. Porter + + A brief outline of an accounting system for printers; necessary + books and accessory records. Review questions. Glossary. + + +PART X--Miscellaneous + +62. =Health, Sanitation, and Safety= By Henry P. Porter + + Hygiene in the printing trade; a study of conditions old and new; + practical suggestions for improvement; protective appliances and + rules for safety. + +63. =Topical Index= By F. W. Hamilton + + A book of reference covering the topics treated in the Typographic + Technical Series, alphabetically arranged. + +64. =Courses of Study= By F. W. Hamilton + + A guidebook for teachers, with outlines and suggestions for + classroom and shop work. + + + + +ACKNOWLEDGMENT + + +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. + +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. + +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. + +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. + +The Committee also desires to acknowledge its indebtedness to the many +subscribers to this Series who have patiently awaited its publication. + + COMMITTEE ON EDUCATION, + UNITED TYPOTHETAE OF AMERICA. + + HENRY P. PORTER, _Chairman_, + E. LAWRENCE FELL, + A. M. GLOSSBRENNER, + J. CLYDE OSWALD, + TOBY RUBOVITS. + + FREDERICK W. HAMILTON, _Education Director_. + + + + +CONTRIBUTORS + + +For Composition and Electrotypes + + ISAAC H. BLANCHARD COMPANY, New York, N. Y. + S. H. BURBANK & CO., Philadelphia, Pa. + J. S. CUSHING & CO., Norwood, Mass. + THE DEVINNE PRESS, New York, N. Y. + R. R. DONNELLEY & SONS CO., Chicago, Ill. + GEO. H. ELLIS CO., Boston, Mass. + EVANS-WINTER-HEBB, Detroit, Mich. + FRANKLIN PRINTING COMPANY, Philadelphia, Pa. + F. H. GILSON COMPANY, Boston, Mass. + STEPHEN GREENE & CO., Philadelphia, Pa. + W. F. HALL PRINTING CO., Chicago, Ill. + J. B. LIPPINCOTT CO., Philadelphia, Pa. + MCCALLA & CO. INC., Philadelphia, Pa. + THE PATTESON PRESS, New York, New York + THE PLIMPTON PRESS, Norwood, Mass. + POOLE BROS., Chicago, Ill. + EDWARD STERN & CO., Philadelphia, Pa. + THE STONE PRINTING & MFG. CO., Roanoke, Va. + C. D. TRAPHAGEN, Lincoln, Neb. + THE UNIVERSITY PRESS, Cambridge, Mass. + + +For Composition + + BOSTON TYPOTHETAE SCHOOL OF PRINTING, Boston, Mass. + WILLIAM F. FELL CO., Philadelphia, Pa. + THE KALKHOFF COMPANY, New York, N. Y. + OXFORD-PRINT, Boston, Mass. + TOBY RUBOVITS, Chicago, Ill. + + +For Electrotypes + + BLOMGREN BROTHERS CO., Chicago, Ill. + FLOWER STEEL ELECTROTYPING CO., New York, N. Y. + C. J. PETERS & SON CO., Boston, Mass. + ROYAL ELECTROTYPE CO., Philadelphia, Pa. + H. C. WHITCOMB & CO., Boston, Mass. + + +For Engravings + + AMERICAN TYPE FOUNDERS CO., Boston, Mass. + C. B. COTTRELL & SONS CO., Westerly, R. I. + GOLDING MANUFACTURING CO., Franklin, Mass. + HARVARD UNIVERSITY, Cambridge, Mass. + INLAND PRINTER CO., Chicago, Ill. + LANSTON MONOTYPE MACHINE COMPANY, Philadelphia, Pa. + MERGENTHALER LINOTYPE COMPANY, New York, N. Y. + GEO. H. MORRILL CO., Norwood, Mass. + OSWALD PUBLISHING CO., New York, N. Y. + THE PRINTING ART, Cambridge, Mass. + B. D. RISING PAPER COMPANY, Housatonic, Mass. + THE VANDERCOOK PRESS, Chicago, Ill. + + +For Book Paper + + AMERICAN WRITING PAPER CO., Holyoke, Mass. + WEST VIRGINIA PULP & PAPER CO., Mechanicville, N. Y. + + + + + +End of Project Gutenberg's The Uses of Italic, by Frederick W. 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