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| author | Roger Frank <rfrank@pglaf.org> | 2025-10-14 19:56:16 -0700 |
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| committer | Roger Frank <rfrank@pglaf.org> | 2025-10-14 19:56:16 -0700 |
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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..6833f05 --- /dev/null +++ b/.gitattributes @@ -0,0 +1,3 @@ +* text=auto +*.txt text +*.md text diff --git a/31704-0.txt b/31704-0.txt new file mode 100644 index 0000000..e3c7954 --- /dev/null +++ b/31704-0.txt @@ -0,0 +1,2034 @@ +Project Gutenberg's Type Cases and Composing-room furniture, by A. A. Stewart + +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: Type Cases and Composing-room furniture + +Author: A. A. Stewart + +Release Date: March 20, 2010 [EBook #31704] + +Language: English + +Character set encoding: UTF-8 + +*** START OF THIS PROJECT GUTENBERG EBOOK TYPE CASES, COMPOSING-ROOM FURN. *** + + + + +Produced by Barbara Tozier, Bill Tozier, Joseph R. Hauser +and the Online Distributed Proofreading Team at +https://www.pgdp.net + + + + + + + ++--------------------------------------------------------------------+ +| Transcriber's Note: | +| This text uses UTF-8 (unicode) file encoding. If the apostrophes | +| and quotation marks in this paragraph appear as garbage, you may | +| have an incompatible browser or unavailable fonts. First, make sure| +| that your browser’s “character set” or “file encoding” is set to | +| Unicode (UTF-8). You may also need to change the default font. | ++--------------------------------------------------------------------+ + + + + +TYPOGRAPHIC TECHNICAL SERIES FOR APPRENTICES—PART I, No. 3. + +TYPE CASES AND +COMPOSING-ROOM +FURNITURE + +A PRIMER OF INFORMATION ABOUT +TYPE CASES, WORK STANDS, CABINETS, +CASE RACKS, GALLEY RACKS, +STANDING GALLEYS, &c. + +COMPILED BY + +A. A. STEWART + +PUBLISHED BY THE COMMITTEE ON EDUCATION +UNITED TYPOTHETAE OF AMERICA + + + + +1918 + + + + +COPYRIGHT, 1918 +UNITED TYPOTHETAE OF AMERICA +CHICAGO, ILL. + + + + +Composition and Electrotypes contributed by +The Blanchard Press +New York + + + + +CONTENTS + + PAGE + +INTRODUCTORY 5 + +EARLY TYPE CASES 9 + +SIZES OF TYPE CASES 11 + +STRUCTURE OF TYPE CASES 12 + +CASES FOR VARIOUS PURPOSES 14 + +COMPOSITOR'S WORK STANDS 16 + +CASE STANDS AND RACKS 18 + +THE MODERN TYPE CABINET 20 + +IRON CASE BRACKETS 22 + +WOOD RUNS AND STEEL RUNS 24 + +EXTENSION FRONTS AND BACKS 25 + +FURNITURE RACKS 26 + +SPECIAL CABINETS 28 + +REVIEW QUESTIONS 30 + +GLOSSARY 32 + + + + +INTRODUCTORY + + +The essential articles of furniture in a modern composing room may be +classified broadly, omitting obvious details for the present, under the +following heads: + + 1. CASES for type for general composition; for borders, type + ornaments, accented letters, fractions, extra sorts, etc., and for + engraved plates, and electrotypes; for spaces and quads, brass + rules, leads, slugs, metal furniture and large spacing material, + and for wood type. Also cases in special cabinets for printed + specimens, paper samples, etc. + + 2. WORK STANDS AND CABINETS—Open wooden frames with or without + racks, to hold cases on top; made single or double; with working + top. Cabinets, with working top, holding cases, enclosed on sides + and back; made single, double, or triple size. Cabinets are made of + pressed steel as well as of hard wood. + + 3. CABINETS AND STORAGE RACKS FOR CASES—In addition to the racks + in working stands and cabinets, there are standing racks, cabinets + (flat top for holding miscellaneous articles or material, and + galley top for temporary storage of live or dead matter), etc. + + 4. GALLEY CABINETS AND RACKS—These are to hold galley matter + waiting return of proofs, or for pages made up and waiting to be + locked up for electro foundry or for the pressroom. They may be + placed in any convenient place, or are sometimes in movable form to + be taken from composing or correcting stands to the make-up stand + or imposing table. + + 5. FURNITURE RACKS AND CABINETS—For labor-saving fonts of reglet, + wood furniture, soft metal or steel furniture, etc. + + 6. STANDING GALLEYS—These are stands with inclined tops divided + sometimes horizontally and sometimes perpendicularly into narrow + columns, for holding live or dead standing matter—usually the + latter awaiting distribution. The lower part of the frame is + usually provided with racks for cases, letter-boards, galleys, or + other storage facilities. + + 7. IMPOSING TABLES—Large flat surfaces upon which pages and forms + are imposed and locked up for electrotype molding or prepared for + the press. These consist of polished marble slabs on strong frames + or tables, with drawer for quoins, etc., and also furnished below + with galley racks, receptacles for wood or metal furniture, + letter-boards, chase racks, etc. The more common modern imposing + tables are made of steel, on iron frames, with the lower parts + fitted for the storage of material used in locking up forms. + + 8. PROOFING APPARATUS—Proof planer and mallet, galley press, hand + press, modern curved-surface machines, automatic proofing machines, + self-feeding and self-inking. These also include proof rollers, ink + tables, shelves for proof paper, and receptacles for benzine or + other type-washing liquids. + +In addition to the foregoing brief summary there are numerous other +items of composing-room equipment, large and small, provided for the +particular needs of the work carried on in the place. Many of these +items, however, are not in extensive use, as in many places the needs +they would serve might not warrant the expense of their installation. +The specialties of the printing industry nowadays affect the +composing-room as well as the other departments. + +A particular article which is useful and profitable in one place may be +quite superfluous and an unnecessary expense in another. The kind and +quantity of the work done in any workroom usually governs the kind and +the extent of the equipment provided—making allowance always for the +customary variation in individual judgment and the proprietor's ability +to purchase. + +There is a wide range of choice from a plain wooden double stand with +two pairs of cases, at which two persons may work, costing six to ten +dollars, to a latest pattern steel working cabinet, also providing for +only two workers, costing one hundred dollars, or even more. + +There are, however, certain articles and facilities fundamentally +necessary to carry on the work of a composing room. The particular form +of these—whether simple and inexpensive or elaborate and costly—is a +question for the proprietor or manager to consider. + +The articles of furniture classified under items 1, 2, 3, 4, 5 and 6, in +the foregoing list, are those treated in this book; those referred to in +item 7, Imposing Tables and Lock-Up Appliances, being considered in a +separate volume (No. 4). Proof Presses, item 8, are also treated in a +separate book (No. 5). + + + + +COMPOSING-ROOM FURNITURE + + +_Early Type Cases_ + +Probably the first article which Gutenberg and his co-workers provided, +after their types were cast, was a tray with small compartments for +holding the various letters of the font, so that each letter, as it was +required for composing, could be readily selected. There may not have +been a composing stick used at first, it is reasonable to suppose, as it +was quite feasible for the types to be assembled in lines directly into +the frames in which they were held during the printing. A case in which +to hold the type, however, was a first and obvious necessity. + +The early type cases are shown in pictures of the time as made of a +single tray containing all the characters of the font and resting in a +slanting position on a rude frame or “horse,” at which the compositor is +usually seated. All the boxes of the case are represented as of the same +size, which probably was not the fact even in early practice any more +than it is today. Early designers and artists no doubt overlooked or +ignored what they considered an unimportant detail, just as today they +often persist in misrepresenting the true outline of the printer's +lower-case. One does not need to take much thought or to have much +experience to understand that in all printed languages some characters +are used more than others and therefore more types of these letters and +larger boxes to hold them should be provided. + +For a long time the large single case with boxes for the entire list of +characters was used, and these are still common in many European +composing rooms. In English and American workshops, however, the pair of +cases, one above the other, for many years has been the rule for large +fonts in book and news work. These cases, being smaller and holding but +a part of the font, are more convenient for storing and for moving from +place to place about the room as they are needed for use. + +The cases described by Moxon in 1683 are in pairs, and the arrangement +of the letters in the lower case, as shown in his illustrations, bear a +close similarity to the plan of English cases of today. + +[Illustration: Fig. 1. Early Type Case.] + +Early American cases came from England and naturally they conformed to +the customs of the time and place of origin. Probably in no other +important particular has the tendency of printers to hold to past +methods been more strongly emphasized than in their refusal to adopt any +important change in the style of the most used type cases and the +arrangement of the types in the boxes. Force of habit and dislike for +innovation have kept practically unchanged for two and a half centuries +the relative positions of the chief characters in the case. At the same +time there has been universal acknowledgment that the adoption of some +of the suggested improvements would add greatly to convenience and +economy; and further, that many of these improvements could be adopted +with an effort and expense so small as to be out of all proportion to +the advantages obtained. + + +_Sizes of Type Cases_ + +The standard type case of today is 32¼ inches wide, as it lies on the +work-stand, and 16⅝ inches—or slightly more than one half of the +width—from the front to the back or upper edge. The usual depth of the +outside frame is 1⅜ inches, the minor inside partitions being +slightly lower than the outside frame and middle crossbar, thus making +the normal depth of the boxes approximately 1 inch. These dimensions +vary only by fractions of an inch from those given by Moxon, and they +seem to have been quite uniformly adhered to as an acceptable size for +printers' cases. + +Other sizes of cases, however, have been made and quite commonly used +during the last half century. Those now listed in the dealers' catalogs +are known as three-quarter size (26½ inches wide by 16⅝ inches +front to back) and two-third size (21¾ by 16⅝ inches). There is +also another size known as the Rooker case, used to some extent in +newspaper composing rooms, the dimensions being 28½ x 14 inches, +which is about one-fifth smaller than the standard case. It holds nearly +the same quantity of the smaller sizes of type and has the advantage of +occupying less room. + +[Illustration: Fig. 2-a. Upper Case.[A]] + +[Illustration: Fig. 2-b. Lower Case.] + +When printing offices employed but few workmen and there was small +equipment, the need for economizing space did not seem a pressing one. +Large cases with small fonts, and open-frame working stands with few or +no racks or shelves for storage of extra material, were not considered +extravagant so long as the original cost was small. The employment of +larger numbers of workmen, however, and the consequent additional +equipment of cases, with racks, cabinets, imposing tables, and other +facilities concentrated in city buildings where the cost of rent, light, +heat, etc., is high and constantly increasing, have made the utilization +of waste space a matter of urgent necessity. The three-quarter, +two-third cases, and even smaller sizes, which can be kept in smaller +racks and cabinets, have therefore been found convenient in many places, +but these must be provided with suitable racks or cabinets of the proper +size. The smaller cases are sufficient to hold many of the usual small +fonts, as well as the ordinary auxiliary material, like type borders, +ornaments, small electros, etc. Small cases, with their lesser weight of +contents in type metal, often give distinct advantage in the ease with +which they may be handled. + +[A] In many composing-rooms the fractions and commercial signs +are not now kept in the regular cases, but in special cases apart from +the font. + + +_Structure of Type Cases_ + +Type cases are made of wood thoroughly seasoned to prevent as much as +possible any shrinking after they are finished and have remained for +some time in the usually dry air of a composing room. It is not so +common a custom now, as it was formerly, to sponge type on the galley +before distributing and to allow the surplus water to flow into the +case, thus subjecting parts of the case to excessive dampness. The old +type cases, under such careless usage, were quickly warped and cracked. +The splitting of the bottom and the separation of the partitions allowed +small types to drop out and to shift under the partitions. These defects +were partially overcome by papering the bottoms of the boxes, the +proper accomplishment of which was at one time considered a part of the +compositor's duty. + +The modern American type case is better made than its predecessors, +being so far superior in several essential particulars as to be a +distinct achievement in factory woodwork. A type case, with 49 to 100 or +more small boxes, is not a simple thing to make by hand labor. While the +making of the outside frame and the bottom involve no special +difficulties, the box partitions and their proper fastening to each +other and to the bottom of the case require patience and skill. Only a +highly developed system of specialization could provide the cases of +today at the prevailing cost. + +[Illustration: Fig. 3. Section Showing Triple-Veneer Bottom of Case.] + +The bottom of the old-time case warped and split easily because it was +made of a single thin board. The modern case has a bottom made of +three-ply wood, the middle layer having the grain across that of the +other two. (Fig. 3.) These three layers are thoroughly glued together +and the upper side is smoothly covered with a strong paper before the +partitions are fastened to the bottom. The common styles of case have a +strong bar of the same thickness as the outside frame across the middle. +In several styles there are two or even more crossbars. These crossbars +serve not only to divide the main sections of boxes, but they also act +as strong braces to which the bottoms are fastened, giving greater +rigidity to the entire case. + +[Illustration: Fig. 4. Detail of Type Case, showing at A how bottom is +fitted to side frame.] + +The bottom of the case is fitted into a groove made in the outside +frame, so that it cannot be easily separated. This groove being +slightly higher than the lower face of the side frame, upon which the +case slides back and forth in the rack, keeps the bottom up far enough +to allow it to pass clear of the runs, or of any case or shelf below. +The partitions are made by strips across the full width of each section +of the case from outer frame to outer frame or to crossbar. The strips +are crossed at the corners of the boxes by mortising each piece one half +of its depth at the proper place—one from above and the other from +below—and dovetailing the cross pieces together. (Fig. 4.) The corners +of the boxes are then re-enforced by brass clasps made to fit over the +top of the partitions and held by a long pin driven down through the +dovetailed partitions and clinched at the bottom of the case. (See Fig. +5.). + +[Illustration: Fig. 5. Clasp and Pin Fastening at corners of boxes in +modern type case.] + + +_Cases for Various Purposes_ + +While wooden cases are used by printers chiefly for holding type fonts, +they are now also used for a large variety of auxiliary material which +it is necessary to keep more or less carefully classified in convenient +containers. The increasing quantities and varieties of this material now +needed in an average composing-room make convenient receptacles and +orderly, systematic arrangement a necessity if the work is to be carried +on without excessive waste. In no other trade is there a greater +multiplicity of details to be considered in order to obtain a finished +product, and a thoughtless, unnecessary waste of time, effort, or +material in attending to these details adds enormously to the expense of +the product. And so it is becoming the practice of good managers to use +cases more abundantly than formerly and to store them in convenient +racks and cabinets, so that this large mass of material may be kept +classified and may be obtained quickly when needed. + +Besides the ordinary pair of upper case and lower case, many styles of +single cases are made to hold a complete font of capitals, lower case, +figures, points, etc., and others are planned to hold small capitals in +addition. Some are made for fonts of capitals, figures, and points only; +some for figures only (especially for time-tables and tabular work), for +fractions, accented letters, special characters and sorts, for leaders, +type borders and ornaments, etc. A large variety of cases are planned +for labor-saving fonts of brass rule. Others are made especially for +spaces and quads, for leads and slugs, and for metal furniture. These +are made in many sizes, from the small space-and-rule case, 5 inches by +6¼ inches, which can be placed beside the compositor's galley, up to +the mammoth metal furniture case, 18 inches by 72 inches, covering a +space equal to the top of a double stand. Dealers' catalogs now show +from seventy-five to a hundred or more different kinds of cases for +printers' use. + +[Illustration: Fig. 6. Italic Case.] + +[Illustration: Fig. 7. New York Job Case.] + +[Illustration: Fig. 8. Triple Case.] + +[Illustration: Fig. 9. Greek Case.] + +[Illustration: Fig. 10. Space and Quad Case.] + +[Illustration: Fig. 11. Lead and Slug Case.] + +[Illustration: Fig. 12. Wood Type Case.] + +[Illustration: Fig. 13. Metal Furniture Case.] + +[Illustration: Fig. 14. Wood Type Case, with cross bar.] + +[Illustration: Fig. 15. Blank Case for electrotypes.] + + +_Compositor's Work Stands_ + +Primarily a working case-stand for a compositor serves two purposes. It +should hold the cases in a position where he can work with reasonable +comfort, and it should be fitted to contain the necessary material for +his immediate use. For the first purpose the height of the case, working +top, or shelf, should conform approximately to a level that will be +comfortable for the individual workman. A tall man may work easily at a +case which would be too high for the comfort of an apprentice, and a +case at the right elevation for one below the average height would cause +a habit of tiresome, if not unhealthful, stooping in a tall person. It +often happens in some places that such conditions may not be adjusted +without some bother, and an uncomfortable temporary position may not be +a serious matter for very brief periods. The tendency in well-managed +workrooms, however, is to remedy such improper situations and not to +permit workmen to work habitually under conditions which may be easily +improved. “The height of a compositor and his frame,” said an early +authority among printers, “should be so adjusted that his right elbow +may just clear the front of the lower case by the _a_ box, without the +smallest elevation of the shoulder”; and this seems a wise general rule +to observe. + +When the type case is placed at a height at which the compositor may +stand erect before it, the boxes are more readily reached by the hand if +the back of the case is at a slight elevation. A case lying perfectly +flat must be somewhat lower, in relation to the compositor's arms, than +when it is resting at an inclination, in order to take types from it +with the same facility. Consequently the custom is to place working +cases and working tops or shelves at an inclination upward from the +front to the back. + +This inclination serves also as the most convenient kind of a rest for +galleys upon which loose lines of composed matter are handled. Lines of +small type will not stand upright without support of some kind, even on +a perfectly level, smooth, rigid surface. The universal custom, +therefore, is to place galleys of type matter in a slanting position, so +that the ends of the lines will be higher and all the matter will rest +firmly against the lower rim of the galley. A galley in this slanting +position, with the first letter in the line resting against the lower +rim and the words reading upward, is the safest and most practicable +manner in which to make corrections, lift out or insert whole lines +singly or in groups, or to handle types generally in certain difficult +composition, making-up pages, etc. After the pages are tied up or +surrounded by side supports in some manner they may be conveniently +handled on a level surface. Ordinary linotyped matter, which consists of +a single piece for each line of words, and consequently is not liable to +pi, may be, and usually is, handled throughout on level tables; but +types are easily and safely handled only when they may be placed against +the lower rim of an inclined galley. + +[Illustration: Fig. 16. Compositor's Work Stand—Front Side.] + +[Illustration: Fig. 17. Compositor's Work Stand—Rear View.] + + +_Case Stands and Racks_ + +A simple and inexpensive working stand to hold type cases for composing +is that shown in Fig. 18. This is made of wood and has a rack in the +lower part for holding extra cases. It will be noticed that because the +rack is wide enough to take the full-size case, the top of the stand is +several inches wider than the case, and the side frames are therefore +too far apart to support the ends of the case. To enable the cases to be +held safely, an extra arm is placed inside near the side frame to hold +one end of the case. The surplus space beside the working cases is +usually furnished with a sloping shelf or narrow galley rest convenient +for holding a galley, leads, or other articles, thus allowing the case +to be kept clear for composing. (See Fig. 19.) + +[Illustration: Fig. 18. Single Stand] + +[Illustration: Fig. 19. Iron Case Stand with Galley Rest on side.] + +A rack used to hold cases that are not often used is shown in Fig. 22. +Racks of this kind are made in different sizes to hold ten to thirty +cases, and in double tiers to hold forty to sixty cases. + +[Illustration: Fig. 20. Double Stand with Galley Rest between working +cases.] + +Tall racks which hold cases too high to be reached comfortably by a +person standing on the floor are not to be commended. While they may +occupy less floor space and because of this seem to be an advantage +where there are a great many cases that are seldom used, this advantage +is usually more than offset by their disadvantages. The upper cases are +difficult to handle and are liable to be pied. If the tall racks are +near a window they obstruct the light. + +[Illustration: Fig. 21. Double Stand for tier of full size cases and +tier of two-third cases.] + +A double stand of similar character to Fig. 18 is shown in Fig. 21, in +which the space below is fully utilized for two racks, one for full-size +cases and the other for two-third cases. + +[Illustration: Fig. 22. Case Rack] + +Many foremen do not approve the small size cases for type in common use, +preferring to have all the cases of a standard size, so that they may +fit the regular racks and stands and be interchangeable throughout the +department. To provide for this, double stands are made which have a +double tier of racks for full size cases, as shown in Fig. 20. This +double stand has the extra space on the top utilized by a narrow galley +shelf in the middle between the inclined case supports. + +Another class of wooden case-stands is made with the frame having a flat +top or table upon which is fastened a set of iron brackets to hold the +working cases in an inclined position. These styles are illustrated in +Fig. 23. + +[Illustration: Fig. 23. Double Stand with working cases held on iron +brackets.] + + +_The Modern Type Cabinet_ + +The closed-in cabinet is the modern plan for a compositor's working +stand and for holding cases of type in common use. This is a frame or +stand enclosed at the sides and back to exclude dust and debris from the +cases. The case runs are thin (often of steel) and close together and +the fronts of the cases are made with extra high rims, so that when all +are pushed into place they present a closed front also. + +[Illustration: Fig. 24. “Adman” Cabinet has equipment for two +compositors, supply of leads and slugs and assortment of materials such +as brass and copper thin spaces and quads.] + +The printer's cabinet is now made in a multiplicity of styles and in +several sizes. The frames are usually of hard wood, but during the past +few years they have been made of pressed steel. Usually they provide +for one or more tiers of standard wooden cases for type, etc. Some of +the latest patterns combine in one structure racks for type cases and +facilities for holding assortments of the various kinds of material +which a compositor ordinarily uses, with provision for some special +material, as well as ample working space for galleys, etc. They are +planned to concentrate the frequently used material near to the +compositor's hands, to enable him to save the time occupied in going +from place to place about the room. + +The old-style working stand or cabinet as illustrated in Figs. 20, 21, +usually made it necessary for a workman to stand directly in front of a +number of cases which he rarely used but which might be frequently used +by other compositors. In small workshops this arrangement offers no +inconvenience and there need be little loss of time or patience among +courteous fellow workmen. In large departments, however, especially +where floor space is pretty fully occupied and the working spaces are +narrow, a permanent workstand directly over a group of cases that are +frequently used by several persons has been found to be an annoying and +time-wasting arrangement. + +[Illustration: Fig. 25. Double “City” Stand with working cases and case +racks. Note that the lower case may be pushed up when necessary to allow +access to galley underneath.] + +About thirty years ago a radical change of this practice was proposed, +and is now being gradually adopted for modern equipments. This plan +places the working stand on one side of the cabinet and the case rack on +the other side, so that there is freer access to cases by all workmen. +The original styles of these stands and cabinets were called “Polhemus,” +after a New York printer, John Polhemus, who arranged his +composing-room in this manner. + +The case-front side of the cabinet is provided with a galley top for +holding standing matter, etc., while the opposite side (the closed-in +back of the case rack) is surmounted with brackets for type cases, +galley shelf, etc., and is used as the working stand. + +[Illustration: Fig. 26. Polhemus Cabinet, case rack and galley top.] + +[Illustration: Fig. 27. Polhemus Cabinet, working side, lower case on +tilting brackets.] + +Polhemus cabinets (Figs. 26 and 27) and others embodying this plan have +been made in a variety of sizes—single, double, and triple cabinets, +the larger sizes providing for galley racks and sorts drawers, as well +as the three tiers of type cases. + + +_Iron Case Brackets_ + +The cast-iron case brackets used on flat-top wooden cabinets and case +racks are made in a variety of styles. They have advantages over the +case supports formed by the top of side frames of the old style wooden +stands shown in Fig. 21, in that they allow use of the space below the +cases, and provide a more convenient placing of the upper case. The +style of bracket shown on the stands illustrated in Figs. 23 and 30 +allows the upper case to be brought nearer to the front, making it +easier to reach all the boxes and yet leave ample room to get at the +upper boxes of the lower case. The stand or cabinet may be placed close +against a wall or other frame, as the upper case does not overhang at +the back. The position of the inclined working cases on top may be fixed +at any desired place on the top of the cabinet by changing the position +of the brackets. One style of bracket (Fig. 29) is made to fasten to the +extreme fore edge of the shelf, this bringing the front of the lower +case out beyond the front line of the cabinet. + +[Illustration: Fig. 28. “Window” Cabinet, for two compositors.] + +[Illustration: Fig. 29. Case Cabinet with iron brackets for working +cases on top.] + +A number of years ago a tilting bracket (shown in Figs. 27 and 28) for +the lower case was introduced and this has been used to some extent. The +ostensible advantage of this is to allow the lower case to be tilted up +from the front so that easier access is given to a galley shelf or other +space under the case. This is a convenience in some instances, but the +unstable nature of the case support is liable to be a disadvantage; a +full case suddenly tilted is likely to cause types to be thrown into +adjoining boxes; or a galley, leads, or other material on top of the +case may slide down back when the case is tipped forward. A style of +bracket which has proved serviceable is that shown on the case stand in +Fig. 30. + +[Illustration: Fig. 30. Quadruple Stand.] + +Brackets for holding galleys are furnished in several varieties, one of +which is illustrated in Fig. 31, etc. These are temporary rests for +galleys, while the matter on them is waiting for return of proofs, for +making up, etc. They are fastened to a wall or strong frame in some +out-of-the-way place, or they may be fitted on special standards near +the type cases or the make-up table. The galley cabinet, similar to that +illustrated in Fig. 32, is a more expensive article of furniture for +this purpose, but it is usually more satisfactory. + +[Illustration: Fig. 31. Galley Brackets forming a rack fastened to +wall.] + +[Illustration: Fig. 32. Galley Cabinet.] + + +_Wood Runs and Steel Runs_ + +Early wooden case racks were fitted with strips of thin wood upon which +the cases were moved in and out. These slender strips were not always of +perfect grain and were difficult to attach firmly to the side frame. +They warped and split easily, and the nails and screws with which they +were fastened would work loose. In order to have them strong they had to +be thick, and this thickness gave a wide space between the cases so that +fewer cases could be kept in a given space. + +To avoid these disadvantages case runs are now made of flat strips of +steel fastened to the side frames of the rack or cabinet. In some +cabinets they are fitted between side slats of wood, and a couple of +perpendicular iron rods are run through holes in the slats and the steel +strips from top to bottom of the rack, binding the pieces together and +to the side frame, making a particularly substantial rack. Another style +of steel run is made of a wider strip of iron bent the entire length +into a right-angle shape. Screw holes on one side of this angle strip +enable it to be fastened to the side frame, the other angle of the +strip being used to support the case. + + +_Extension Fronts and Backs_ + +In all composing-rooms there are many cases at which it is necessary to +work for only a few moments at a time, to set a single line, or to make +a correction, etc. In order that cases kept in racks or cabinets may be +used quickly it is necessary that each one may be pulled out clear of +the case above, so that all the boxes at the rear are accessible. In the +old-style racks this was attained by having the runs several inches +longer than the width of the case, and placing an upright strip or stop +at the rear to allow the cases to be pushed back far enough to leave +three or more inches of the run exposed in front. This front space is +sufficient to support the case temporarily while it is pulled out from +those above in full view. (Fig. 33.) + +[Illustration: Fig. 33. Double Case Stand, showing the cases in rack +pushed back from front, to permit exposure of all boxes when a case is +pulled forward for setting type.] + +In many type cabinets, however, the practice is to keep the front of all +cases flush with the front of the cabinet frame. This allows no front +support for a case that is pulled out far enough to expose all the +boxes, and so the side frames or rims of the cases are extended three or +four inches back beyond the case itself. These extensions serve as stout +arms at the rear of the case to hold it in the front of the rack when +the case is pulled forward. When the case is carefully handled this plan +serves the purpose if the extensions themselves are not drawn entirely +clear of the case above. Its security depends somewhat upon the style of +the runs and how carefully the cases fit their places. A disadvantage +of this plan is that the cases having these long rear extensions are +awkward to place when they are taken from their racks to be used on top +of ordinary working stands. + +The later method of providing for this is to place the cases further +back in the rack, as in the old-style stand, and have the runs on the +cabinet extended entirely to the front. This is the extension front, and +in modern cabinets the rims are of thin steel, as already described. +(Fig. 34.) With this arrangement the cases have no protruding arms and +can be conveniently placed anywhere; standard cabinet cases can be +placed on working stands or temporarily in any convenient case rack. + +[Illustration: Fig. 34. Extension Front Case Rack.] + + +_Furniture Racks_ + +In the composing-room of a generation ago—and unfortunately in some +unprogressive places today—the strips of blank material known as reglet +and wood furniture were usually kept in disorderly manner in a large box +or drawer under or near the imposing stone. The material was usually +obtained in lengths of one yard and a small hand-saw was at hand to cut +any lengths required. In time there was an accumulation of all sorts +jumbled together in the drawer in a manner to make it difficult to find +needed pieces without loss of time. Often the quickest way to obtain +the right piece was to cut off a longer one. + +[Illustration: Fig. 35. Furniture Cabinet for labor-saving fonts of wood +or metal furniture.] + +[Illustration: Fig. 36. Imposing Stone Frame with labor-saving furniture +in side.] + +This wasteful method was the universal custom before the era of the +labor-saving assortment stored in orderly fashion in a cabinet and +placed within instant reach of the workman. The common-sense modern +method is the well-stocked rack or cabinet with a compartment for each +size of the series, with the compartments numbered and the larger pieces +of the material numbered to correspond. An arrangement like this invites +an orderly habit in persons who would otherwise be careless. + +The usual style of furniture rack is shown in Fig. 35. This is made in +several sizes to hold quantities large or small according to the +requirements of the room. The position of a rack like this should be +near the stone at a level near the height of the working surface. + +[Illustration: Fig. 37. Standing Galley, or Bank, with letter boards, +galley racks, and galley top.] + +Another style of furniture and reglet rack is that fitted into the frame +of the imposing table or into an adjoining stand or cabinet. This is +illustrated in Fig. 36. It will be noticed that all the different +lengths present a surface flush with the outside of the frame. This is +because the depth of the compartments is varied to accommodate the +several lengths of furniture at the back, instead of at the front as +shown in Fig. 35. + + +_Special Cabinets_ + +Among the new articles supplied for the compositor's use are cabinets +for holding assortments of metal furniture, brass rules, leads, slugs, +and small cases or drawers for special material. The tops of some of +these cabinets hold the lead and rule cutter and the rule-mitering +machine, with a small inclined shelf above, as shown in Fig. 38. These +cabinets will hold a large amount of material in small space. When +conveniently situated and properly supplied with material they save time +and effort on the part of the compositor. + +[Illustration: Fig. 38. Work Bench and Auxiliary Cabinet.] + +[Illustration: Fig. 39. Cabinet for Script Type, Borders, or other small +characters which can be kept standing face up.] + +Another cabinet that is useful is the script type cabinet. This holds +the cases inclined upward from the left. The compartments are narrow, +running horizontally with the front. In these the types are held face +up, so that they may not be injured by rattling about when the case is +moved back and forth. The cases may be used for borders, special +characters, or any small items which it is desired to keep standing face +upward. The compartments of the cases may be made wide or narrow to +accommodate the size of the types they are to hold. + +[Illustration: Fig. 40. Sort Cabinet, for storage of extra quantities of +type, etc.] + +[Illustration: Fig. 41. Rack for leads, or brass rules in assorted +standard lengths.] + +The apprentice who wants to learn about the latest and best feature of +composing room equipment should make a special point to examine the +catalogues of manufacturers and dealers in printers' supplies. These +catalogues continually show new and improved articles that are finely +illustrated and specifically described as to their particular +advantages. + + + + +REVIEW QUESTIONS + + +SUGGESTIONS TO STUDENTS AND INSTRUCTORS + +The following questions, based on the contents of this pamphlet, are +intended to serve (1) as a guide to the study of the text, (2) as an aid +to the student in putting the information contained into definite +statements without actually memorizing the text, (3) as a means of +securing from the student a reproduction of the information in his own +words. + +A careful following of the questions by the reader will insure full +acquaintance with every part of the text, avoiding the accidental +omission of what might be of value. These primers are so condensed that +nothing should be omitted. + +In teaching from these books it is very important that these questions +and such others as may occur to the teacher, should be made the basis of +frequent written work, and of final examinations. + +The importance of written work cannot be overstated. It not only assures +knowledge of material but the power to express that knowledge correctly +and in good form. + +If this written work can be submitted to the teacher in printed form it +will be doubly useful. + + +QUESTIONS + +1. What classes of furniture are essential in modern composing-rooms? + +2. Give a general statement of articles in each class. + +3. What determines the selection of furniture for any given office? + +4. What was the first thing needed in a composing-room after the type +had been cast? + +5. How was it made originally? + +6. How is it now made? + +7. What are the dimensions of the standard type case of the present +time? + +8. What other sizes are sometimes used? + +9. What effect has the need of economy of space had upon the use of type +cases? + +10. What are type cases made of? + +11. What difficulties were experienced? + +12. How were they avoided? + +13. Describe the construction of a modern type case. + +14. Give some of the uses for which special cases are provided. + +15. What are the two purposes of a working stand? + +16. What is the proper height for a stand? + +17. Should the case lie flat when in use, and why? + +18. How are galleys placed for holding type, and why? + +19. Describe a simple working stand. + +20. How are infrequently used cases stored? + +21. What should be avoided in this method of storage? + +22. Describe a modern type cabinet. + +23. What difficulty arose in working at the earlier forms of cabinet, +and how was it avoided? + +24. Describe a Polhemus cabinet. + +25. What is the advantage of iron case brackets? + +26. What are the advantages and disadvantages of tilting case brackets? + +27. What are galley brackets? + +28. What is a better article for the same purpose? + +29. Compare wooden and steel case runs. + +30. How are steel case runs constructed? + +31. Describe and compare several methods of constructing case racks so +that the case may be used without removing it from the rack. + +32. What was the old method of keeping reglets and wood furniture, and +what was its disadvantage? + +33. Describe some modern methods of keeping this material. + + + + +GLOSSARY OF TECHNICAL TERMS + + +ALLEY—The floor space between two stands or cabinets. + +ANNEX BOX—A small wood or metal cup or box attached to the type case +for holding special characters. + +BANK—A high table with the top inclined upon which composed type is +placed temporarily. See _Dump_. + +BLANK CASE—A wooden tray without partitions, or with one partition +only. + +BOX—A subdivision of a type case, in which a quantity of one particular +character is kept. + +BRACKET—An arm or support, usually of metal, to hold cases on top of a +stand, to hold galleys, etc. + +CABINET—An enclosure for cases, shelves, or boxes, closed up on the +sides and back. See _Stand_. + +CALIFORNIA JOB CASE—An extensively used type case arranged with boxes +to hold capitals, small letters, figures, points, and the usual +characters of a job font, complete in a single tray. + +CAP CASE—The top case of a standard pair of book or news cases. The +capital case, or upper case. + +CASE—The printer's name for the shallow wooden tray with small +compartments for holding types and other materials. + +CASE CLEANER—A frame like that of a type case with a wire bottom, used +to assist in cleaning out type cases that have become foul with dust, +grit, or similar dirt. The case cleaner is placed on top of the type +case, fitting snugly over each box, and the whole turned up-side-down to +transfer the type into the wire bottom. A gentle shaking then sifts out +the dirt. When the case is turned back again the types go back into +their original boxes. A vacuum cleaner, a small bellows, or an air pump +are sometimes used for cleaning type cases. + +COFFIN—The box-like frame surrounding an imposing stone on its stand. + +DUMP—The place in a composing room where dead matter is kept until it +is distributed; sometimes said of a standing galley where compositors +place their composed lines to be assembled for proofing, etc. See +_Bank_. + +EMPTY CASE—A case without the letters or types needed to compose lines. +The case may have other letters, but some boxes are empty. + +FORM RACK—For holding printing forms that are locked in chases, before +or after printing. It usually holds them in a perpendicular position. + +FOUL CASE, OR DIRTY CASE—One in which the type or other material is +badly mixed or which has material that does not properly belong there, +as in hasty distribution or because of carelessness. + +FRAME—Another name for the compositor's work stand or case rack. + +FURNITURE—In printing-office speech this term is used to mean small +pieces of wood or metal designed to fill the blank spaces larger than +leads, slugs, spaces, and quads. Furniture is placed between pages and +around forms locked in chases. + +GALLEY—A shallow tray used by compositors to hold type after the lines +have been set and transferred from the composing stick. + +GALLEY RACK—A place for holding a number of galleys in order. + +HARRIS RULE CASE—A quarter-size case for holding assortments of brass +rules. Four of these trays may be kept in a regular full size blank +case, similar to Wisconsin quarter cases. See size of cases. + +HELL-BOX—The receptacle for old, broken, or discarded types. + +ITALIC CASE—A style of case to hold a complete font of capitals, small +letters, points, figures, etc. Similar to the California job case, but +with more boxes on the capital letter side. See page 15. + +JOB CASE—A general term meaning a type case which holds a complete font +of type; in distinction from a case which holds only part of a font, +like the ordinary news or book case. + +JOB GALLEY—A short galley to place on the work stand for making up +pages, small forms, etc. + +LABOR-SAVING—Said of assortments of leads, rules, furniture, etc., +provided in assorted sizes. The sizes are commonly multiples of 6-point +or 12-point, and several small pieces may be combined to fill a large +space, thus saving the labor necessary to cut each piece to fit its +place. + +LAYING TYPE—Placing a new assortment of type in its case. + +LAY OF THE CASE—The particular plan or arrangement of the types in the +various boxes of a case. + +LEADER CASE—A small case or series of boxes for holding brass or +cast-type leaders. + +LETTER BOARDS—Movable shelves in racks, under imposing tables, and +elsewhere, to hold standing type matter, etc. + +LOW CASE—A case with a small portion of the font in it. See Empty Case. + +LOWER CASE—The bottom case of a pair of book or news cases, which rests +nearest the compositor. See page 12. + +NEW YORK JOB CASE—A case for holding a font of small capitals in +addition to the capitals, small letters, figures, etc., of the usual +fonts. See page 15. + +REGLET—Thin strips of wood, similar to thick leads; used for making up +large pages and filling in forms. + +SIZES OF CASES—There are a number of standard sizes of cases for +printers' purposes, allowing a considerable range in adapting these +important articles for particular uses. The common sizes are as follows: + +Regular full-size case 32¼ × 16¾ in. +Three-quarter size 26¼ × 16¾ in. +Two-third case 22¾ × 16¾ in. +Rooker Case (formerly popular in newspaper + composing rooms) 28½ × 14 in. +Wood type case 32¼ × 23 in. +Mammoth wood-type case 44 × 23 in. +Bettis case, for leads, rules, etc 72 × 18 in. +Bettis case, for leads, rules, border, etc 72 in. × 7 in. +Harris case, for rules, border, etc in. × 7 in. +Wisconsin quarter case in. × 7 in. +“Sanspareil” half-size case 15¼ × 14¾ in. + +SORT CASE—For holding extra or special types, etc., with open sides and +back. + +STAND—The working frame at which a compositor sets type; in distinction +from a cabinet, which has closed sides and no back. + +TRIPLE CASE—A case divided into three principal sections, each section +having forty-nine boxes, like one-half of the common capital case. + +UNIT TYPE CABINET—A container for type cases similar to a sectional +book case. The parts are built in sections about 12½ inches high, +holding eight or ten cases. There is a base piece upon which the cabinet +rests, and a top piece. Any number of the sections may be put together +to provide room for additional cases as needed. These cabinets have +cases of different depths to provide for fonts of different sizes; +shallow cases for job fonts of small types, and other cases of varying +depths to give room for larger fonts. + + + + +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 Sterotyping= 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. + + ++--------------------------------+ +| Transcriber's Notes: | +| Fixed inconsistent hyphenation.| ++--------------------------------+ + + + + + + +End of the Project Gutenberg EBook of Type Cases and Composing-room furniture, by +A. A. 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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: Type Cases and Composing-room furniture + +Author: A. A. Stewart + +Release Date: March 20, 2010 [EBook #31704] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK TYPE CASES, COMPOSING-ROOM FURN. *** + + + + +Produced by Barbara Tozier, Bill Tozier, Joseph R. Hauser +and the Online Distributed Proofreading Team at +https://www.pgdp.net + + + + + + + +TYPOGRAPHIC TECHNICAL SERIES FOR APPRENTICES--PART I, No. 3. + +TYPE CASES AND +COMPOSING-ROOM +FURNITURE + +A PRIMER OF INFORMATION ABOUT +TYPE CASES, WORK STANDS, CABINETS, +CASE RACKS, GALLEY RACKS, +STANDING GALLEYS, &c. + +COMPILED BY + +A. A. STEWART + +PUBLISHED BY THE COMMITTEE ON EDUCATION +UNITED TYPOTHETAE OF AMERICA + + + + +1918 + + + + +COPYRIGHT, 1918 +UNITED TYPOTHETAE OF AMERICA +CHICAGO, ILL. + + + + +Composition and Electrotypes contributed by +The Blanchard Press +New York + + + + +CONTENTS + + PAGE + +INTRODUCTORY 5 + +EARLY TYPE CASES 9 + +SIZES OF TYPE CASES 11 + +STRUCTURE OF TYPE CASES 12 + +CASES FOR VARIOUS PURPOSES 14 + +COMPOSITOR'S WORK STANDS 16 + +CASE STANDS AND RACKS 18 + +THE MODERN TYPE CABINET 20 + +IRON CASE BRACKETS 22 + +WOOD RUNS AND STEEL RUNS 24 + +EXTENSION FRONTS AND BACKS 25 + +FURNITURE RACKS 26 + +SPECIAL CABINETS 28 + +REVIEW QUESTIONS 30 + +GLOSSARY 32 + + + + +INTRODUCTORY + + +The essential articles of furniture in a modern composing room may be +classified broadly, omitting obvious details for the present, under the +following heads: + + 1. CASES for type for general composition; for borders, type + ornaments, accented letters, fractions, extra sorts, etc., and for + engraved plates, and electrotypes; for spaces and quads, brass + rules, leads, slugs, metal furniture and large spacing material, + and for wood type. Also cases in special cabinets for printed + specimens, paper samples, etc. + + 2. WORK STANDS AND CABINETS--Open wooden frames with or without + racks, to hold cases on top; made single or double; with working + top. Cabinets, with working top, holding cases, enclosed on sides + and back; made single, double, or triple size. Cabinets are made of + pressed steel as well as of hard wood. + + 3. CABINETS AND STORAGE RACKS FOR CASES--In addition to the racks + in working stands and cabinets, there are standing racks, cabinets + (flat top for holding miscellaneous articles or material, and + galley top for temporary storage of live or dead matter), etc. + + 4. GALLEY CABINETS AND RACKS--These are to hold galley matter + waiting return of proofs, or for pages made up and waiting to be + locked up for electro foundry or for the pressroom. They may be + placed in any convenient place, or are sometimes in movable form to + be taken from composing or correcting stands to the make-up stand + or imposing table. + + 5. FURNITURE RACKS AND CABINETS--For labor-saving fonts of reglet, + wood furniture, soft metal or steel furniture, etc. + + 6. STANDING GALLEYS--These are stands with inclined tops divided + sometimes horizontally and sometimes perpendicularly into narrow + columns, for holding live or dead standing matter--usually the + latter awaiting distribution. The lower part of the frame is + usually provided with racks for cases, letter-boards, galleys, or + other storage facilities. + + 7. IMPOSING TABLES--Large flat surfaces upon which pages and forms + are imposed and locked up for electrotype molding or prepared for + the press. These consist of polished marble slabs on strong frames + or tables, with drawer for quoins, etc., and also furnished below + with galley racks, receptacles for wood or metal furniture, + letter-boards, chase racks, etc. The more common modern imposing + tables are made of steel, on iron frames, with the lower parts + fitted for the storage of material used in locking up forms. + + 8. PROOFING APPARATUS--Proof planer and mallet, galley press, hand + press, modern curved-surface machines, automatic proofing machines, + self-feeding and self-inking. These also include proof rollers, ink + tables, shelves for proof paper, and receptacles for benzine or + other type-washing liquids. + +In addition to the foregoing brief summary there are numerous other +items of composing-room equipment, large and small, provided for the +particular needs of the work carried on in the place. Many of these +items, however, are not in extensive use, as in many places the needs +they would serve might not warrant the expense of their installation. +The specialties of the printing industry nowadays affect the +composing-room as well as the other departments. + +A particular article which is useful and profitable in one place may be +quite superfluous and an unnecessary expense in another. The kind and +quantity of the work done in any workroom usually governs the kind and +the extent of the equipment provided--making allowance always for the +customary variation in individual judgment and the proprietor's ability +to purchase. + +There is a wide range of choice from a plain wooden double stand with +two pairs of cases, at which two persons may work, costing six to ten +dollars, to a latest pattern steel working cabinet, also providing for +only two workers, costing one hundred dollars, or even more. + +There are, however, certain articles and facilities fundamentally +necessary to carry on the work of a composing room. The particular form +of these--whether simple and inexpensive or elaborate and costly--is a +question for the proprietor or manager to consider. + +The articles of furniture classified under items 1, 2, 3, 4, 5 and 6, in +the foregoing list, are those treated in this book; those referred to in +item 7, Imposing Tables and Lock-Up Appliances, being considered in a +separate volume (No. 4). Proof Presses, item 8, are also treated in a +separate book (No. 5). + + + + +COMPOSING-ROOM FURNITURE + + +_Early Type Cases_ + +Probably the first article which Gutenberg and his co-workers provided, +after their types were cast, was a tray with small compartments for +holding the various letters of the font, so that each letter, as it was +required for composing, could be readily selected. There may not have +been a composing stick used at first, it is reasonable to suppose, as it +was quite feasible for the types to be assembled in lines directly into +the frames in which they were held during the printing. A case in which +to hold the type, however, was a first and obvious necessity. + +The early type cases are shown in pictures of the time as made of a +single tray containing all the characters of the font and resting in a +slanting position on a rude frame or "horse," at which the compositor is +usually seated. All the boxes of the case are represented as of the same +size, which probably was not the fact even in early practice any more +than it is today. Early designers and artists no doubt overlooked or +ignored what they considered an unimportant detail, just as today they +often persist in misrepresenting the true outline of the printer's +lower-case. One does not need to take much thought or to have much +experience to understand that in all printed languages some characters +are used more than others and therefore more types of these letters and +larger boxes to hold them should be provided. + +For a long time the large single case with boxes for the entire list of +characters was used, and these are still common in many European +composing rooms. In English and American workshops, however, the pair of +cases, one above the other, for many years has been the rule for large +fonts in book and news work. These cases, being smaller and holding but +a part of the font, are more convenient for storing and for moving from +place to place about the room as they are needed for use. + +The cases described by Moxon in 1683 are in pairs, and the arrangement +of the letters in the lower case, as shown in his illustrations, bear a +close similarity to the plan of English cases of today. + +[Illustration: Fig. 1. Early Type Case.] + +Early American cases came from England and naturally they conformed to +the customs of the time and place of origin. Probably in no other +important particular has the tendency of printers to hold to past +methods been more strongly emphasized than in their refusal to adopt any +important change in the style of the most used type cases and the +arrangement of the types in the boxes. Force of habit and dislike for +innovation have kept practically unchanged for two and a half centuries +the relative positions of the chief characters in the case. At the same +time there has been universal acknowledgment that the adoption of some +of the suggested improvements would add greatly to convenience and +economy; and further, that many of these improvements could be adopted +with an effort and expense so small as to be out of all proportion to +the advantages obtained. + + +_Sizes of Type Cases_ + +The standard type case of today is 32-1/4 inches wide, as it lies on the +work-stand, and 16-5/8 inches--or slightly more than one half of the +width--from the front to the back or upper edge. The usual depth of the +outside frame is 1-3/8 inches, the minor inside partitions being +slightly lower than the outside frame and middle crossbar, thus making +the normal depth of the boxes approximately 1 inch. These dimensions +vary only by fractions of an inch from those given by Moxon, and they +seem to have been quite uniformly adhered to as an acceptable size for +printers' cases. + +Other sizes of cases, however, have been made and quite commonly used +during the last half century. Those now listed in the dealers' catalogs +are known as three-quarter size (26-1/2 inches wide by 16-5/8 inches +front to back) and two-third size (21-3/4 by 16-5/8 inches). There is +also another size known as the Rooker case, used to some extent in +newspaper composing rooms, the dimensions being 28-1/2 x 14 inches, +which is about one-fifth smaller than the standard case. It holds nearly +the same quantity of the smaller sizes of type and has the advantage of +occupying less room. + +[Illustration: Fig. 2-a. Upper Case.[A]] + +[Illustration: Fig. 2-b. Lower Case.] + +When printing offices employed but few workmen and there was small +equipment, the need for economizing space did not seem a pressing one. +Large cases with small fonts, and open-frame working stands with few or +no racks or shelves for storage of extra material, were not considered +extravagant so long as the original cost was small. The employment of +larger numbers of workmen, however, and the consequent additional +equipment of cases, with racks, cabinets, imposing tables, and other +facilities concentrated in city buildings where the cost of rent, light, +heat, etc., is high and constantly increasing, have made the utilization +of waste space a matter of urgent necessity. The three-quarter, +two-third cases, and even smaller sizes, which can be kept in smaller +racks and cabinets, have therefore been found convenient in many places, +but these must be provided with suitable racks or cabinets of the proper +size. The smaller cases are sufficient to hold many of the usual small +fonts, as well as the ordinary auxiliary material, like type borders, +ornaments, small electros, etc. Small cases, with their lesser weight of +contents in type metal, often give distinct advantage in the ease with +which they may be handled. + +[A] In many composing-rooms the fractions and commercial signs +are not now kept in the regular cases, but in special cases apart from +the font. + + +_Structure of Type Cases_ + +Type cases are made of wood thoroughly seasoned to prevent as much as +possible any shrinking after they are finished and have remained for +some time in the usually dry air of a composing room. It is not so +common a custom now, as it was formerly, to sponge type on the galley +before distributing and to allow the surplus water to flow into the +case, thus subjecting parts of the case to excessive dampness. The old +type cases, under such careless usage, were quickly warped and cracked. +The splitting of the bottom and the separation of the partitions allowed +small types to drop out and to shift under the partitions. These defects +were partially overcome by papering the bottoms of the boxes, the +proper accomplishment of which was at one time considered a part of the +compositor's duty. + +The modern American type case is better made than its predecessors, +being so far superior in several essential particulars as to be a +distinct achievement in factory woodwork. A type case, with 49 to 100 or +more small boxes, is not a simple thing to make by hand labor. While the +making of the outside frame and the bottom involve no special +difficulties, the box partitions and their proper fastening to each +other and to the bottom of the case require patience and skill. Only a +highly developed system of specialization could provide the cases of +today at the prevailing cost. + +[Illustration: Fig. 3. Section Showing Triple-Veneer Bottom of Case.] + +The bottom of the old-time case warped and split easily because it was +made of a single thin board. The modern case has a bottom made of +three-ply wood, the middle layer having the grain across that of the +other two. (Fig. 3.) These three layers are thoroughly glued together +and the upper side is smoothly covered with a strong paper before the +partitions are fastened to the bottom. The common styles of case have a +strong bar of the same thickness as the outside frame across the middle. +In several styles there are two or even more crossbars. These crossbars +serve not only to divide the main sections of boxes, but they also act +as strong braces to which the bottoms are fastened, giving greater +rigidity to the entire case. + +[Illustration: Fig. 4. Detail of Type Case, showing at A how bottom is +fitted to side frame.] + +The bottom of the case is fitted into a groove made in the outside +frame, so that it cannot be easily separated. This groove being +slightly higher than the lower face of the side frame, upon which the +case slides back and forth in the rack, keeps the bottom up far enough +to allow it to pass clear of the runs, or of any case or shelf below. +The partitions are made by strips across the full width of each section +of the case from outer frame to outer frame or to crossbar. The strips +are crossed at the corners of the boxes by mortising each piece one half +of its depth at the proper place--one from above and the other from +below--and dovetailing the cross pieces together. (Fig. 4.) The corners +of the boxes are then re-enforced by brass clasps made to fit over the +top of the partitions and held by a long pin driven down through the +dovetailed partitions and clinched at the bottom of the case. (See Fig. +5.). + +[Illustration: Fig. 5. Clasp and Pin Fastening at corners of boxes in +modern type case.] + + +_Cases for Various Purposes_ + +While wooden cases are used by printers chiefly for holding type fonts, +they are now also used for a large variety of auxiliary material which +it is necessary to keep more or less carefully classified in convenient +containers. The increasing quantities and varieties of this material now +needed in an average composing-room make convenient receptacles and +orderly, systematic arrangement a necessity if the work is to be carried +on without excessive waste. In no other trade is there a greater +multiplicity of details to be considered in order to obtain a finished +product, and a thoughtless, unnecessary waste of time, effort, or +material in attending to these details adds enormously to the expense of +the product. And so it is becoming the practice of good managers to use +cases more abundantly than formerly and to store them in convenient +racks and cabinets, so that this large mass of material may be kept +classified and may be obtained quickly when needed. + +Besides the ordinary pair of upper case and lower case, many styles of +single cases are made to hold a complete font of capitals, lower case, +figures, points, etc., and others are planned to hold small capitals in +addition. Some are made for fonts of capitals, figures, and points only; +some for figures only (especially for time-tables and tabular work), for +fractions, accented letters, special characters and sorts, for leaders, +type borders and ornaments, etc. A large variety of cases are planned +for labor-saving fonts of brass rule. Others are made especially for +spaces and quads, for leads and slugs, and for metal furniture. These +are made in many sizes, from the small space-and-rule case, 5 inches by +6-1/4 inches, which can be placed beside the compositor's galley, up to +the mammoth metal furniture case, 18 inches by 72 inches, covering a +space equal to the top of a double stand. Dealers' catalogs now show +from seventy-five to a hundred or more different kinds of cases for +printers' use. + +[Illustration: Fig. 6. Italic Case.] + +[Illustration: Fig. 7. New York Job Case.] + +[Illustration: Fig. 8. Triple Case.] + +[Illustration: Fig. 9. Greek Case.] + +[Illustration: Fig. 10. Space and Quad Case.] + +[Illustration: Fig. 11. Lead and Slug Case.] + +[Illustration: Fig. 12. Wood Type Case.] + +[Illustration: Fig. 13. Metal Furniture Case.] + +[Illustration: Fig. 14. Wood Type Case, with cross bar.] + +[Illustration: Fig. 15. Blank Case for electrotypes.] + + +_Compositor's Work Stands_ + +Primarily a working case-stand for a compositor serves two purposes. It +should hold the cases in a position where he can work with reasonable +comfort, and it should be fitted to contain the necessary material for +his immediate use. For the first purpose the height of the case, working +top, or shelf, should conform approximately to a level that will be +comfortable for the individual workman. A tall man may work easily at a +case which would be too high for the comfort of an apprentice, and a +case at the right elevation for one below the average height would cause +a habit of tiresome, if not unhealthful, stooping in a tall person. It +often happens in some places that such conditions may not be adjusted +without some bother, and an uncomfortable temporary position may not be +a serious matter for very brief periods. The tendency in well-managed +workrooms, however, is to remedy such improper situations and not to +permit workmen to work habitually under conditions which may be easily +improved. "The height of a compositor and his frame," said an early +authority among printers, "should be so adjusted that his right elbow +may just clear the front of the lower case by the _a_ box, without the +smallest elevation of the shoulder"; and this seems a wise general rule +to observe. + +When the type case is placed at a height at which the compositor may +stand erect before it, the boxes are more readily reached by the hand if +the back of the case is at a slight elevation. A case lying perfectly +flat must be somewhat lower, in relation to the compositor's arms, than +when it is resting at an inclination, in order to take types from it +with the same facility. Consequently the custom is to place working +cases and working tops or shelves at an inclination upward from the +front to the back. + +This inclination serves also as the most convenient kind of a rest for +galleys upon which loose lines of composed matter are handled. Lines of +small type will not stand upright without support of some kind, even on +a perfectly level, smooth, rigid surface. The universal custom, +therefore, is to place galleys of type matter in a slanting position, so +that the ends of the lines will be higher and all the matter will rest +firmly against the lower rim of the galley. A galley in this slanting +position, with the first letter in the line resting against the lower +rim and the words reading upward, is the safest and most practicable +manner in which to make corrections, lift out or insert whole lines +singly or in groups, or to handle types generally in certain difficult +composition, making-up pages, etc. After the pages are tied up or +surrounded by side supports in some manner they may be conveniently +handled on a level surface. Ordinary linotyped matter, which consists of +a single piece for each line of words, and consequently is not liable to +pi, may be, and usually is, handled throughout on level tables; but +types are easily and safely handled only when they may be placed against +the lower rim of an inclined galley. + +[Illustration: Fig. 16. Compositor's Work Stand--Front Side.] + +[Illustration: Fig. 17. Compositor's Work Stand--Rear View.] + + +_Case Stands and Racks_ + +A simple and inexpensive working stand to hold type cases for composing +is that shown in Fig. 18. This is made of wood and has a rack in the +lower part for holding extra cases. It will be noticed that because the +rack is wide enough to take the full-size case, the top of the stand is +several inches wider than the case, and the side frames are therefore +too far apart to support the ends of the case. To enable the cases to be +held safely, an extra arm is placed inside near the side frame to hold +one end of the case. The surplus space beside the working cases is +usually furnished with a sloping shelf or narrow galley rest convenient +for holding a galley, leads, or other articles, thus allowing the case +to be kept clear for composing. (See Fig. 19.) + +[Illustration: Fig. 18. Single Stand] + +[Illustration: Fig. 19. Iron Case Stand with Galley Rest on side.] + +A rack used to hold cases that are not often used is shown in Fig. 22. +Racks of this kind are made in different sizes to hold ten to thirty +cases, and in double tiers to hold forty to sixty cases. + +[Illustration: Fig. 20. Double Stand with Galley Rest between working +cases.] + +Tall racks which hold cases too high to be reached comfortably by a +person standing on the floor are not to be commended. While they may +occupy less floor space and because of this seem to be an advantage +where there are a great many cases that are seldom used, this advantage +is usually more than offset by their disadvantages. The upper cases are +difficult to handle and are liable to be pied. If the tall racks are +near a window they obstruct the light. + +[Illustration: Fig. 21. Double Stand for tier of full size cases and +tier of two-third cases.] + +A double stand of similar character to Fig. 18 is shown in Fig. 21, in +which the space below is fully utilized for two racks, one for full-size +cases and the other for two-third cases. + +[Illustration: Fig. 22. Case Rack] + +Many foremen do not approve the small size cases for type in common use, +preferring to have all the cases of a standard size, so that they may +fit the regular racks and stands and be interchangeable throughout the +department. To provide for this, double stands are made which have a +double tier of racks for full size cases, as shown in Fig. 20. This +double stand has the extra space on the top utilized by a narrow galley +shelf in the middle between the inclined case supports. + +Another class of wooden case-stands is made with the frame having a flat +top or table upon which is fastened a set of iron brackets to hold the +working cases in an inclined position. These styles are illustrated in +Fig. 23. + +[Illustration: Fig. 23. Double Stand with working cases held on iron +brackets.] + + +_The Modern Type Cabinet_ + +The closed-in cabinet is the modern plan for a compositor's working +stand and for holding cases of type in common use. This is a frame or +stand enclosed at the sides and back to exclude dust and debris from the +cases. The case runs are thin (often of steel) and close together and +the fronts of the cases are made with extra high rims, so that when all +are pushed into place they present a closed front also. + +[Illustration: Fig. 24. "Adman" Cabinet has equipment for two +compositors, supply of leads and slugs and assortment of materials such +as brass and copper thin spaces and quads.] + +The printer's cabinet is now made in a multiplicity of styles and in +several sizes. The frames are usually of hard wood, but during the past +few years they have been made of pressed steel. Usually they provide +for one or more tiers of standard wooden cases for type, etc. Some of +the latest patterns combine in one structure racks for type cases and +facilities for holding assortments of the various kinds of material +which a compositor ordinarily uses, with provision for some special +material, as well as ample working space for galleys, etc. They are +planned to concentrate the frequently used material near to the +compositor's hands, to enable him to save the time occupied in going +from place to place about the room. + +The old-style working stand or cabinet as illustrated in Figs. 20, 21, +usually made it necessary for a workman to stand directly in front of a +number of cases which he rarely used but which might be frequently used +by other compositors. In small workshops this arrangement offers no +inconvenience and there need be little loss of time or patience among +courteous fellow workmen. In large departments, however, especially +where floor space is pretty fully occupied and the working spaces are +narrow, a permanent workstand directly over a group of cases that are +frequently used by several persons has been found to be an annoying and +time-wasting arrangement. + +[Illustration: Fig. 25. Double "City" Stand with working cases and case +racks. Note that the lower case may be pushed up when necessary to allow +access to galley underneath.] + +About thirty years ago a radical change of this practice was proposed, +and is now being gradually adopted for modern equipments. This plan +places the working stand on one side of the cabinet and the case rack on +the other side, so that there is freer access to cases by all workmen. +The original styles of these stands and cabinets were called "Polhemus," +after a New York printer, John Polhemus, who arranged his +composing-room in this manner. + +The case-front side of the cabinet is provided with a galley top for +holding standing matter, etc., while the opposite side (the closed-in +back of the case rack) is surmounted with brackets for type cases, +galley shelf, etc., and is used as the working stand. + +[Illustration: Fig. 26. Polhemus Cabinet, case rack and galley top.] + +[Illustration: Fig. 27. Polhemus Cabinet, working side, lower case on +tilting brackets.] + +Polhemus cabinets (Figs. 26 and 27) and others embodying this plan have +been made in a variety of sizes--single, double, and triple cabinets, +the larger sizes providing for galley racks and sorts drawers, as well +as the three tiers of type cases. + + +_Iron Case Brackets_ + +The cast-iron case brackets used on flat-top wooden cabinets and case +racks are made in a variety of styles. They have advantages over the +case supports formed by the top of side frames of the old style wooden +stands shown in Fig. 21, in that they allow use of the space below the +cases, and provide a more convenient placing of the upper case. The +style of bracket shown on the stands illustrated in Figs. 23 and 30 +allows the upper case to be brought nearer to the front, making it +easier to reach all the boxes and yet leave ample room to get at the +upper boxes of the lower case. The stand or cabinet may be placed close +against a wall or other frame, as the upper case does not overhang at +the back. The position of the inclined working cases on top may be fixed +at any desired place on the top of the cabinet by changing the position +of the brackets. One style of bracket (Fig. 29) is made to fasten to the +extreme fore edge of the shelf, this bringing the front of the lower +case out beyond the front line of the cabinet. + +[Illustration: Fig. 28. "Window" Cabinet, for two compositors.] + +[Illustration: Fig. 29. Case Cabinet with iron brackets for working +cases on top.] + +A number of years ago a tilting bracket (shown in Figs. 27 and 28) for +the lower case was introduced and this has been used to some extent. The +ostensible advantage of this is to allow the lower case to be tilted up +from the front so that easier access is given to a galley shelf or other +space under the case. This is a convenience in some instances, but the +unstable nature of the case support is liable to be a disadvantage; a +full case suddenly tilted is likely to cause types to be thrown into +adjoining boxes; or a galley, leads, or other material on top of the +case may slide down back when the case is tipped forward. A style of +bracket which has proved serviceable is that shown on the case stand in +Fig. 30. + +[Illustration: Fig. 30. Quadruple Stand.] + +Brackets for holding galleys are furnished in several varieties, one of +which is illustrated in Fig. 31, etc. These are temporary rests for +galleys, while the matter on them is waiting for return of proofs, for +making up, etc. They are fastened to a wall or strong frame in some +out-of-the-way place, or they may be fitted on special standards near +the type cases or the make-up table. The galley cabinet, similar to that +illustrated in Fig. 32, is a more expensive article of furniture for +this purpose, but it is usually more satisfactory. + +[Illustration: Fig. 31. Galley Brackets forming a rack fastened to +wall.] + +[Illustration: Fig. 32. Galley Cabinet.] + + +_Wood Runs and Steel Runs_ + +Early wooden case racks were fitted with strips of thin wood upon which +the cases were moved in and out. These slender strips were not always of +perfect grain and were difficult to attach firmly to the side frame. +They warped and split easily, and the nails and screws with which they +were fastened would work loose. In order to have them strong they had to +be thick, and this thickness gave a wide space between the cases so that +fewer cases could be kept in a given space. + +To avoid these disadvantages case runs are now made of flat strips of +steel fastened to the side frames of the rack or cabinet. In some +cabinets they are fitted between side slats of wood, and a couple of +perpendicular iron rods are run through holes in the slats and the steel +strips from top to bottom of the rack, binding the pieces together and +to the side frame, making a particularly substantial rack. Another style +of steel run is made of a wider strip of iron bent the entire length +into a right-angle shape. Screw holes on one side of this angle strip +enable it to be fastened to the side frame, the other angle of the +strip being used to support the case. + + +_Extension Fronts and Backs_ + +In all composing-rooms there are many cases at which it is necessary to +work for only a few moments at a time, to set a single line, or to make +a correction, etc. In order that cases kept in racks or cabinets may be +used quickly it is necessary that each one may be pulled out clear of +the case above, so that all the boxes at the rear are accessible. In the +old-style racks this was attained by having the runs several inches +longer than the width of the case, and placing an upright strip or stop +at the rear to allow the cases to be pushed back far enough to leave +three or more inches of the run exposed in front. This front space is +sufficient to support the case temporarily while it is pulled out from +those above in full view. (Fig. 33.) + +[Illustration: Fig. 33. Double Case Stand, showing the cases in rack +pushed back from front, to permit exposure of all boxes when a case is +pulled forward for setting type.] + +In many type cabinets, however, the practice is to keep the front of all +cases flush with the front of the cabinet frame. This allows no front +support for a case that is pulled out far enough to expose all the +boxes, and so the side frames or rims of the cases are extended three or +four inches back beyond the case itself. These extensions serve as stout +arms at the rear of the case to hold it in the front of the rack when +the case is pulled forward. When the case is carefully handled this plan +serves the purpose if the extensions themselves are not drawn entirely +clear of the case above. Its security depends somewhat upon the style of +the runs and how carefully the cases fit their places. A disadvantage +of this plan is that the cases having these long rear extensions are +awkward to place when they are taken from their racks to be used on top +of ordinary working stands. + +The later method of providing for this is to place the cases further +back in the rack, as in the old-style stand, and have the runs on the +cabinet extended entirely to the front. This is the extension front, and +in modern cabinets the rims are of thin steel, as already described. +(Fig. 34.) With this arrangement the cases have no protruding arms and +can be conveniently placed anywhere; standard cabinet cases can be +placed on working stands or temporarily in any convenient case rack. + +[Illustration: Fig. 34. Extension Front Case Rack.] + + +_Furniture Racks_ + +In the composing-room of a generation ago--and unfortunately in some +unprogressive places today--the strips of blank material known as reglet +and wood furniture were usually kept in disorderly manner in a large box +or drawer under or near the imposing stone. The material was usually +obtained in lengths of one yard and a small hand-saw was at hand to cut +any lengths required. In time there was an accumulation of all sorts +jumbled together in the drawer in a manner to make it difficult to find +needed pieces without loss of time. Often the quickest way to obtain +the right piece was to cut off a longer one. + +[Illustration: Fig. 35. Furniture Cabinet for labor-saving fonts of wood +or metal furniture.] + +[Illustration: Fig. 36. Imposing Stone Frame with labor-saving furniture +in side.] + +This wasteful method was the universal custom before the era of the +labor-saving assortment stored in orderly fashion in a cabinet and +placed within instant reach of the workman. The common-sense modern +method is the well-stocked rack or cabinet with a compartment for each +size of the series, with the compartments numbered and the larger pieces +of the material numbered to correspond. An arrangement like this invites +an orderly habit in persons who would otherwise be careless. + +The usual style of furniture rack is shown in Fig. 35. This is made in +several sizes to hold quantities large or small according to the +requirements of the room. The position of a rack like this should be +near the stone at a level near the height of the working surface. + +[Illustration: Fig. 37. Standing Galley, or Bank, with letter boards, +galley racks, and galley top.] + +Another style of furniture and reglet rack is that fitted into the frame +of the imposing table or into an adjoining stand or cabinet. This is +illustrated in Fig. 36. It will be noticed that all the different +lengths present a surface flush with the outside of the frame. This is +because the depth of the compartments is varied to accommodate the +several lengths of furniture at the back, instead of at the front as +shown in Fig. 35. + + +_Special Cabinets_ + +Among the new articles supplied for the compositor's use are cabinets +for holding assortments of metal furniture, brass rules, leads, slugs, +and small cases or drawers for special material. The tops of some of +these cabinets hold the lead and rule cutter and the rule-mitering +machine, with a small inclined shelf above, as shown in Fig. 38. These +cabinets will hold a large amount of material in small space. When +conveniently situated and properly supplied with material they save time +and effort on the part of the compositor. + +[Illustration: Fig. 38. Work Bench and Auxiliary Cabinet.] + +[Illustration: Fig. 39. Cabinet for Script Type, Borders, or other small +characters which can be kept standing face up.] + +Another cabinet that is useful is the script type cabinet. This holds +the cases inclined upward from the left. The compartments are narrow, +running horizontally with the front. In these the types are held face +up, so that they may not be injured by rattling about when the case is +moved back and forth. The cases may be used for borders, special +characters, or any small items which it is desired to keep standing face +upward. The compartments of the cases may be made wide or narrow to +accommodate the size of the types they are to hold. + +[Illustration: Fig. 40. Sort Cabinet, for storage of extra quantities of +type, etc.] + +[Illustration: Fig. 41. Rack for leads, or brass rules in assorted +standard lengths.] + +The apprentice who wants to learn about the latest and best feature of +composing room equipment should make a special point to examine the +catalogues of manufacturers and dealers in printers' supplies. These +catalogues continually show new and improved articles that are finely +illustrated and specifically described as to their particular +advantages. + + + + +REVIEW QUESTIONS + + +SUGGESTIONS TO STUDENTS AND INSTRUCTORS + +The following questions, based on the contents of this pamphlet, are +intended to serve (1) as a guide to the study of the text, (2) as an aid +to the student in putting the information contained into definite +statements without actually memorizing the text, (3) as a means of +securing from the student a reproduction of the information in his own +words. + +A careful following of the questions by the reader will insure full +acquaintance with every part of the text, avoiding the accidental +omission of what might be of value. These primers are so condensed that +nothing should be omitted. + +In teaching from these books it is very important that these questions +and such others as may occur to the teacher, should be made the basis of +frequent written work, and of final examinations. + +The importance of written work cannot be overstated. It not only assures +knowledge of material but the power to express that knowledge correctly +and in good form. + +If this written work can be submitted to the teacher in printed form it +will be doubly useful. + + +QUESTIONS + +1. What classes of furniture are essential in modern composing-rooms? + +2. Give a general statement of articles in each class. + +3. What determines the selection of furniture for any given office? + +4. What was the first thing needed in a composing-room after the type +had been cast? + +5. How was it made originally? + +6. How is it now made? + +7. What are the dimensions of the standard type case of the present +time? + +8. What other sizes are sometimes used? + +9. What effect has the need of economy of space had upon the use of type +cases? + +10. What are type cases made of? + +11. What difficulties were experienced? + +12. How were they avoided? + +13. Describe the construction of a modern type case. + +14. Give some of the uses for which special cases are provided. + +15. What are the two purposes of a working stand? + +16. What is the proper height for a stand? + +17. Should the case lie flat when in use, and why? + +18. How are galleys placed for holding type, and why? + +19. Describe a simple working stand. + +20. How are infrequently used cases stored? + +21. What should be avoided in this method of storage? + +22. Describe a modern type cabinet. + +23. What difficulty arose in working at the earlier forms of cabinet, +and how was it avoided? + +24. Describe a Polhemus cabinet. + +25. What is the advantage of iron case brackets? + +26. What are the advantages and disadvantages of tilting case brackets? + +27. What are galley brackets? + +28. What is a better article for the same purpose? + +29. Compare wooden and steel case runs. + +30. How are steel case runs constructed? + +31. Describe and compare several methods of constructing case racks so +that the case may be used without removing it from the rack. + +32. What was the old method of keeping reglets and wood furniture, and +what was its disadvantage? + +33. Describe some modern methods of keeping this material. + + + + +GLOSSARY OF TECHNICAL TERMS + + +ALLEY--The floor space between two stands or cabinets. + +ANNEX BOX--A small wood or metal cup or box attached to the type case +for holding special characters. + +BANK--A high table with the top inclined upon which composed type is +placed temporarily. See _Dump_. + +BLANK CASE--A wooden tray without partitions, or with one partition +only. + +BOX--A subdivision of a type case, in which a quantity of one particular +character is kept. + +BRACKET--An arm or support, usually of metal, to hold cases on top of a +stand, to hold galleys, etc. + +CABINET--An enclosure for cases, shelves, or boxes, closed up on the +sides and back. See _Stand_. + +CALIFORNIA JOB CASE--An extensively used type case arranged with boxes +to hold capitals, small letters, figures, points, and the usual +characters of a job font, complete in a single tray. + +CAP CASE--The top case of a standard pair of book or news cases. The +capital case, or upper case. + +CASE--The printer's name for the shallow wooden tray with small +compartments for holding types and other materials. + +CASE CLEANER--A frame like that of a type case with a wire bottom, used +to assist in cleaning out type cases that have become foul with dust, +grit, or similar dirt. The case cleaner is placed on top of the type +case, fitting snugly over each box, and the whole turned up-side-down to +transfer the type into the wire bottom. A gentle shaking then sifts out +the dirt. When the case is turned back again the types go back into +their original boxes. A vacuum cleaner, a small bellows, or an air pump +are sometimes used for cleaning type cases. + +COFFIN--The box-like frame surrounding an imposing stone on its stand. + +DUMP--The place in a composing room where dead matter is kept until it +is distributed; sometimes said of a standing galley where compositors +place their composed lines to be assembled for proofing, etc. See +_Bank_. + +EMPTY CASE--A case without the letters or types needed to compose lines. +The case may have other letters, but some boxes are empty. + +FORM RACK--For holding printing forms that are locked in chases, before +or after printing. It usually holds them in a perpendicular position. + +FOUL CASE, OR DIRTY CASE--One in which the type or other material is +badly mixed or which has material that does not properly belong there, +as in hasty distribution or because of carelessness. + +FRAME--Another name for the compositor's work stand or case rack. + +FURNITURE--In printing-office speech this term is used to mean small +pieces of wood or metal designed to fill the blank spaces larger than +leads, slugs, spaces, and quads. Furniture is placed between pages and +around forms locked in chases. + +GALLEY--A shallow tray used by compositors to hold type after the lines +have been set and transferred from the composing stick. + +GALLEY RACK--A place for holding a number of galleys in order. + +HARRIS RULE CASE--A quarter-size case for holding assortments of brass +rules. Four of these trays may be kept in a regular full size blank +case, similar to Wisconsin quarter cases. See size of cases. + +HELL-BOX--The receptacle for old, broken, or discarded types. + +ITALIC CASE--A style of case to hold a complete font of capitals, small +letters, points, figures, etc. Similar to the California job case, but +with more boxes on the capital letter side. See page 15. + +JOB CASE--A general term meaning a type case which holds a complete font +of type; in distinction from a case which holds only part of a font, +like the ordinary news or book case. + +JOB GALLEY--A short galley to place on the work stand for making up +pages, small forms, etc. + +LABOR-SAVING--Said of assortments of leads, rules, furniture, etc., +provided in assorted sizes. The sizes are commonly multiples of 6-point +or 12-point, and several small pieces may be combined to fill a large +space, thus saving the labor necessary to cut each piece to fit its +place. + +LAYING TYPE--Placing a new assortment of type in its case. + +LAY OF THE CASE--The particular plan or arrangement of the types in the +various boxes of a case. + +LEADER CASE--A small case or series of boxes for holding brass or +cast-type leaders. + +LETTER BOARDS--Movable shelves in racks, under imposing tables, and +elsewhere, to hold standing type matter, etc. + +LOW CASE--A case with a small portion of the font in it. See Empty Case. + +LOWER CASE--The bottom case of a pair of book or news cases, which rests +nearest the compositor. See page 12. + +NEW YORK JOB CASE--A case for holding a font of small capitals in +addition to the capitals, small letters, figures, etc., of the usual +fonts. See page 15. + +REGLET--Thin strips of wood, similar to thick leads; used for making up +large pages and filling in forms. + +SIZES OF CASES--There are a number of standard sizes of cases for +printers' purposes, allowing a considerable range in adapting these +important articles for particular uses. The common sizes are as follows: + + Regular full-size case 32-1/4 16-3/4 in. + Three-quarter size 26-1/4 16-3/4 in. + Two-third case 22-3/4 16-3/4 in. + Rooker Case (formerly popular in newspaper + composing rooms) 28-1/2 14 in. + Wood type case 32-1/4 23 in. + Mammoth wood-type case 44 23 in. + Bettis case, for leads, rules, etc 72 18 in. + Bettis case, for leads, rules, border, etc 72 in. 7 in. + Harris case, for rules, border, etc in. 7 in. + Wisconsin quarter case in. 7 in. + "Sanspareil" half-size case 15-1/4 14-3/4 in. + +SORT CASE--For holding extra or special types, etc., with open sides and +back. + +STAND--The working frame at which a compositor sets type; in distinction +from a cabinet, which has closed sides and no back. + +TRIPLE CASE--A case divided into three principal sections, each section +having forty-nine boxes, like one-half of the common capital case. + +UNIT TYPE CABINET--A container for type cases similar to a sectional +book case. The parts are built in sections about 12-1/2 inches high, +holding eight or ten cases. There is a base piece upon which the cabinet +rests, and a top piece. Any number of the sections may be put together +to provide room for additional cases as needed. These cabinets have +cases of different depths to provide for fonts of different sizes; +shallow cases for job fonts of small types, and other cases of varying +depths to give room for larger fonts. + + + + +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 Sterotyping= 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 DeVze + + 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. + + ++--------------------------------+ +| Transcriber's Notes: | +| Fixed inconsistent hyphenation.| ++--------------------------------+ + + + + + + + +End of the Project Gutenberg EBook of Type Cases and Composing-room furniture, by +A. A. 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A. Stewart. + </title> + <style type="text/css"> + +body { + margin-left: 10%; + margin-right: 10%; +} + + h1,h2,h3,h4,h5,h6 { + text-align: center; /* all headings centered */ + clear: both; +} + +p { + margin-top: .75em; + text-align: justify; + margin-bottom: .75em; +} + +hr { + width: 33%; + margin-top: 2em; + margin-bottom: 2em; + margin-left: auto; + margin-right: auto; + clear: both; +} + +ul {list-style-type: none} + +table {margin-left: auto; margin-right: auto;} +.toc {width: 50%; margin-left: auto; margin-right: auto;} +.tocname {text-align: left; font-variant: small-caps;} +.tocpage {text-align: right;} + +.pagenum { /* uncomment the next line for invisible page numbers */ + /* visibility: hidden; */ + position: absolute; + left: 92%; + font-size: smaller; + text-align: right; +} /* page numbers */ + + +.blockquot { + margin-left: 5%; + margin-right: 10%; +} + +.i4 {display: block; margin-left: 5em; + padding-left: 5em; text-indent: -3em; + margin-right: 5em} + +.i5 {display: block; margin-left: 5.5em; + padding-left: 5em; text-indent: -3em; + margin-right: 5em} + +.center {text-align: center;} + +.smcap {font-variant: small-caps;} + +.caption {font-weight: bold; + font-size: .75em;} + +.notes {background-color: #d3d3d3; color: #000000; + margin:auto; + width:50%;} + + +.floatleft {float: left; + margin-right: 1em;} +.floatright {float: right; + margin-left: 1em;} + +/* Images */ + +img { + border-style:none; + text-decoration: none; +} + +.figcenter { + margin: auto; + text-align: center; +} + +.figleft2 { + float: left; + /*clear: left;*/ + margin-left: 0; + margin-bottom: 1em; + margin-top: 1em; + margin-right: 1em; + padding: 0; + text-align: center; +} + +.figright2 { + float: right; + /*clear: right;*/ + margin-left: 1em; + margin-bottom: 1em; + margin-top: 1em; + margin-right: 0; + padding: 0; + text-align: center; +} + + +.figleft { + float: left; + clear: left; + margin-left: 0; + margin-bottom: 1em; + margin-top: 1em; + margin-right: 1em; + padding: 0; + text-align: center; +} + +.figright { + float: right; + clear: right; + margin-left: 1em; + margin-bottom: 1em; + margin-top: 1em; + margin-right: 0; + padding: 0; + text-align: center; +} + +/* Footnotes */ +.footnotes {border: dashed 1px;} + +.footnote {margin-left: 10%; margin-right: 10%; font-size: 0.9em;} + +.footnote .label {position: absolute; right: 84%; text-align: right;} + +.fnanchor { + vertical-align: super; + font-size: .8em; + text-decoration: + none; +} + + </style> + </head> +<body> + + +<pre> + +Project Gutenberg's Type Cases and Composing-room furniture, by A. A. Stewart + +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: Type Cases and Composing-room furniture + +Author: A. A. Stewart + +Release Date: March 20, 2010 [EBook #31704] + +Language: English + +Character set encoding: UTF-8 + +*** START OF THIS PROJECT GUTENBERG EBOOK TYPE CASES, COMPOSING-ROOM FURN. *** + + + + +Produced by Barbara Tozier, Bill Tozier, Joseph R. Hauser +and the Online Distributed Proofreading Team at +https://www.pgdp.net + + + + + + +</pre> + + + +<p class="notes">Transcriber's Note:<br /> +This text uses UTF-8 (unicode) file encoding. If the apostrophes +and quotation marks in this paragraph appear as garbage, you may +have an incompatible browser or unavailable fonts. First, make sure +that your browser’s “character set” or “file encoding” is set to +Unicode (UTF-8). You may also need to change the default font.</p> + + +<div><br /><br /></div> + +<h5>TYPOGRAPHIC TECHNICAL SERIES FOR APPRENTICES—PART I, No. 3.</h5> + +<h1>TYPE CASES AND<br /> +COMPOSING-ROOM<br /> +FURNITURE</h1> + +<h2>A PRIMER OF INFORMATION ABOUT<br /> +TYPE CASES, WORK STANDS, CABINETS,<br /> +CASE RACKS, GALLEY RACKS,<br /> +STANDING GALLEYS, &c.</h2> + +<h4><span style="font-size: smaller;">COMPILED BY</span><br /> +A. A. STEWART</h4> + +<hr style="width: 65%;" /> + + +<h5>PUBLISHED BY THE COMMITTEE ON EDUCATION<br /> +UNITED TYPOTHETAE OF AMERICA<br /> +1918</h5> + +<hr style="width: 65%;" /> + + +<h6><span class="smcap">Copyright, 1918<br /> +United Typothetae of America<br /> +Chicago, Ill.</span><br /><br /> +Composition and Electrotypes contributed by<br /> +The Blanchard Press<br /> +New York</h6> + + +<hr style="width: 65%;" /> + + + +<div> +<span class="pagenum"><a name="Page_3" id="Page_3">[Pg 3]</a></span> +</div> +<h2>CONTENTS</h2> + + +<table class="toc" summary="Table of Contents"> +<tr> + <td align="left"></td> + <td class="tocpage"><small>PAGE</small></td> +</tr> +<tr> + <td class="tocname"><a href="#INTRODUCTORY">Introductory</a></td> + <td class="tocpage">5</td> +</tr> +<tr> + <td class="tocname"><a href="#EARLY_TYPE_CASES"><span class="smcap">Early Type Cases</span></a></td> + <td class="tocpage">9</td> +</tr> +<tr> + <td class="tocname"><a href="#SIZES_OF_TYPE_CASES">Sizes of Type Cases</a></td> + <td class="tocpage">11</td> +</tr> +<tr> + <td class="tocname"><a href="#STRUCTURE_OF_TYPE_CASES">Structure of Type Cases</a></td> + <td class="tocpage">12</td> +</tr> +<tr> + <td class="tocname"><a href="#CASES_FOR_VARIOUS_PURPOSES">Cases for Various Purposes</a></td> + <td class="tocpage">14</td> +</tr> +<tr> + <td class="tocname"><a href="#COMPOSITORS_WORK_STAND">Compositor's Work Stands</a></td> + <td class="tocpage">16</td> +</tr> +<tr> + <td class="tocname"><a href="#CASE_STANDS_AND_RACKS">Case Stands and Racks</a></td> + <td class="tocpage">18</td> +</tr> +<tr> + <td class="tocname"><a href="#THE_MODERN_TYPE_CABINET">The Modern Type Cabinet</a></td> + <td class="tocpage">20</td> +</tr> +<tr> + <td class="tocname"><a href="#IRON_CASE_BRACKETS">Iron Case Brackets</a></td> + <td class="tocpage">22</td> +</tr> +<tr> + <td class="tocname"><a href="#WOOD_RUNS_AND_STEEL_RUNS">Wood Runs and Steel Runs</a></td> + <td class="tocpage">24</td> +</tr> +<tr> + <td class="tocname"><a href="#EXTENSION_FRONTS_AND_BACKS">Extension Fronts and Backs</a></td> + <td class="tocpage">25</td> +</tr> +<tr> + <td class="tocname"><a href="#FURNINTURE_RACKS">Furniture Racks</a></td> + <td class="tocpage">26</td> +</tr> +<tr> + <td class="tocname"><a href="#SPECIAL_CABINETS">Special Cabinets</a></td> + <td class="tocpage">28</td> +</tr> +<tr> + <td class="tocname"><a href="#REVIEW_QUESTIONS">Review Questions</a></td> + <td class="tocpage">30</td> +</tr> +<tr> + <td class="tocname"><a href="#GLOSSARY">Glossary</a></td> + <td class="tocpage">32</td> +</tr> +</table> + + + + + +<hr style="width: 65%;" /> +<div> +<span class="pagenum"><a name="Page_5" id="Page_5">[Pg 5]</a></span> +</div> +<h2><a name="INTRODUCTORY" id="INTRODUCTORY"></a>INTRODUCTORY</h2> + + +<p>The essential articles of furniture in a modern composing room may be +classified broadly, omitting obvious details for the present, under the +following heads:</p> + +<blockquote><p>1. <span class="smcap">Cases</span> for type for general composition; for borders, type +ornaments, accented letters, fractions, extra sorts, etc., and for +engraved plates, and electrotypes; for spaces and quads, brass +rules, leads, slugs, metal furniture and large spacing material, +and for wood type. Also cases in special cabinets for printed +specimens, paper samples, etc.</p> + +<p>2. <span class="smcap">Work Stands and Cabinets</span>—Open wooden frames with or without +racks, to hold cases on top; made single or double; with working +top. Cabinets, with working top, holding cases, enclosed on sides +and back; made single, double, or triple size. Cabinets are made of +pressed steel as well as of hard wood.</p> + +<p>3. <span class="smcap">Cabinets and Storage Racks for Cases</span>—In addition to the racks +in working stands and cabinets, there are standing racks, cabinets +(flat top for holding miscellaneous articles or material, and +galley top for temporary storage of live or dead matter), etc.</p> + +<p>4. <span class="smcap">Galley Cabinets and Racks</span>—These are to hold galley matter +waiting return of proofs, or for pages made up and waiting to be +locked up for electro foundry or for the pressroom. They may be +placed in any convenient place, or are sometimes in movable form to +be taken from composing or correcting stands to the make-up stand +or imposing table.</p> + +<p>5. <span class="smcap">Furniture Racks and Cabinets</span>—For labor-saving fonts of reglet, +wood furniture, soft metal or steel furniture, etc.</p></blockquote><p><span class="pagenum"><a name="Page_6" id="Page_6">[Pg 6]</a></span></p> + +<blockquote><p>6. <span class="smcap">Standing Galleys</span>—These are stands with inclined tops divided +sometimes horizontally and sometimes perpendicularly into narrow +columns, for holding live or dead standing matter—usually the +latter awaiting distribution. The lower part of the frame is +usually provided with racks for cases, letter-boards, galleys, or +other storage facilities.</p> + +<p>7. <span class="smcap">Imposing Tables</span>—Large flat surfaces upon which pages and forms +are imposed and locked up for electrotype molding or prepared for +the press. These consist of polished marble slabs on strong frames +or tables, with drawer for quoins, etc., and also furnished below +with galley racks, receptacles for wood or metal furniture, +letter-boards, chase racks, etc. The more common modern imposing +tables are made of steel, on iron frames, with the lower parts +fitted for the storage of material used in locking up forms.</p> + +<p>8. <span class="smcap">Proofing Apparatus</span>—Proof planer and mallet, galley press, hand +press, modern curved-surface machines, automatic proofing machines, +self-feeding and self-inking. These also include proof rollers, ink +tables, shelves for proof paper, and receptacles for benzine or +other type-washing liquids.</p></blockquote> + +<p>In addition to the foregoing brief summary there are numerous other +items of composing-room equipment, large and small, provided for the +particular needs of the work carried on in the place. Many of these +items, however, are not in extensive use, as in many places the needs +they would serve might not warrant the expense of their installation. +The specialties of the printing industry nowadays affect the +composing-room as well as the other departments.</p> + +<p>A particular article which is useful and profitable in one place may be +quite superfluous and an unnecessary expense in another. The kind and +quantity of the work done in any workroom usually governs the kind and +the extent of the equipment provided—making<span class="pagenum"><a name="Page_7" id="Page_7">[Pg 7]</a></span> allowance always for the +customary variation in individual judgment and the proprietor's ability +to purchase.</p> + +<p>There is a wide range of choice from a plain wooden double stand with +two pairs of cases, at which two persons may work, costing six to ten +dollars, to a latest pattern steel working cabinet, also providing for +only two workers, costing one hundred dollars, or even more.</p> + +<p>There are, however, certain articles and facilities fundamentally +necessary to carry on the work of a composing room. The particular form +of these—whether simple and inexpensive or elaborate and costly—is a +question for the proprietor or manager to consider.</p> + +<p>The articles of furniture classified under items 1, 2, 3, 4, 5 and 6, in +the foregoing list, are those treated in this book; those referred to in +item 7, Imposing Tables and Lock-Up Appliances, being considered in a +separate volume (No. 4). Proof Presses, item 8, are also treated in a +separate book (No. 5).</p> + + + +<hr style="width: 65%;" /> +<div> +<span class="pagenum"><a name="Page_9" id="Page_9">[Pg 9]</a></span> +</div> +<h2><a name="EARLY_TYPE_CASES" id="EARLY_TYPE_CASES"></a>COMPOSING-ROOM FURNITURE</h2> + + +<h3><i>Early Type Cases</i></h3> + +<p><span class="figright" style="width: 162px;"> +<a href="images/fig010-300dpifull.png"><img src="images/fig010-300dpi.png" width="162" height="207" alt="Fig. 1. Early Type Case." title="" /></a> +<span class="caption">Fig. 1. Early Type Case.</span> +</span> +Probably the first article which Gutenberg and his co-workers provided, +after their types were cast, was a tray with small compartments for +holding the various letters of the font, so that each letter, as it was +required for composing, could be readily selected. There may not have +been a composing stick used at first, it is reasonable to suppose, as it +was quite feasible for the types to be assembled in lines directly into +the frames in which they were held during the printing. A case in which +to hold the type, however, was a first and obvious necessity.</p> + +<p>The early type cases are shown in pictures of the time as made of a +single tray containing all the characters of the font and resting in a +slanting position on a rude frame or “horse,” at which the compositor is +usually seated. All the boxes of the case are represented as of the same +size, which probably was not the fact even in early practice any more +than it is today. Early designers and artists no doubt overlooked or +ignored what they considered an unimportant detail, just as today they +often persist in misrepresenting the true outline of the printer's +lower-case. One does not need to take much thought or to have much +experience to understand that in all printed languages some characters +are used more than others and therefore more types of these letters and +larger boxes to hold them should be provided.</p> + +<p>For a long time the large single case with boxes for the entire list of +characters was used, and these<span class="pagenum"><a name="Page_10" id="Page_10">[Pg 10]</a></span> are still common in many European +composing rooms. In English and American workshops, however, the pair of +cases, one above the other, for many years has been the rule for large +fonts in book and news work. These cases, being smaller and holding but +a part of the font, are more convenient for storing and for moving from +place to place about the room as they are needed for use. +</p> + +<p>The cases described by Moxon in 1683 are in pairs, and the arrangement +of the letters in the lower case, as shown in his illustrations, bear a +close similarity to the plan of English cases of today.</p> + +<p>Early American cases came from England and naturally they conformed to +the customs of the time and place of origin. Probably in no other +important particular has the tendency of printers to hold to past +methods been more strongly emphasized than in their refusal to adopt any +important change in the style of the most used type cases and the +arrangement of the types in the boxes. Force of habit and dislike for +innovation have kept practically unchanged for two and a half centuries +the relative positions of the chief characters in the case. At the same +time there has been universal acknowledgment that the adoption of some +of the suggested improvements would add greatly to convenience and +economy; and further, that many of these improvements could be adopted +with an effort and expense so small as to be out of all proportion to +the advantages obtained.</p> + +<div> +<span class="pagenum"><a name="Page_11" id="Page_11">[Pg 11]</a></span> +</div> +<h3><a name="SIZES_OF_TYPE_CASES" id="SIZES_OF_TYPE_CASES"></a><i>Sizes of Type Cases</i></h3> + +<p> +<span class="figright" style="width: 209px;"> +<a href="images/fig012a-300dpifull.png"><img src="images/fig012a-300dpi.png" width="209" height="107" alt="Fig. 2-a. Upper Case." title="" /></a> +<span class="caption">Fig. 2-a. Upper Case.<a name="FNanchor_A_1" id="FNanchor_A_1"></a><a href="#Footnote_A_1" class="fnanchor">[A]</a></span> +</span> + +<span class="figright" style="width: 204px;"> +<a href="images/fig012b-300dpifull.png"><img src="images/fig012b-300dpi.png" width="204" height="107" alt="Fig. 2-b. Lower Case." title="" /></a> +<span class="caption">Fig. 2-b. Lower Case.</span> +</span> + +The standard type case of today is 32¼ inches wide, as it lies on the +work-stand, and 16⅝ inches—or slightly more than one half of the +width—from the front to the back or upper edge. The usual depth of the +outside frame is 1⅜ inches, the minor inside partitions being +slightly lower than the outside frame and middle crossbar, thus making +the normal depth of the boxes approximately 1 inch. These dimensions +vary only by fractions of an inch from those given by Moxon, and they +seem to have been quite uniformly adhered to as an acceptable size for +printers' cases.</p> + +<p>Other sizes of cases, however, have been made and quite commonly used +during the last half century. Those now listed in the dealers' catalogs +are known as three-quarter size (26½ inches wide by 16⅝ inches +front to back) and two-third size (21¾ by 16⅝ inches). There is +also another size known as the Rooker case, used to some extent in +newspaper composing rooms, the dimensions being 28½ x 14 inches, +which is about one-fifth smaller than the standard case. It holds nearly +the same quantity of the smaller sizes of type and has the advantage of +occupying less room.</p> + +<p>When printing offices employed but few workmen and there was small +equipment, the need for economizing space did not seem a pressing one. +Large cases with small fonts, and open-frame working stands with few or +no racks or shelves for storage of extra material, were not considered +extravagant so long as the original cost was small. The employment of +larger numbers of workmen, however, and the consequent additional +equipment of cases, with racks, cabinets, imposing tables, and other +facilities concentrated in city buildings where the cost of rent, light, +heat, etc., is high and constantly increasing, have made the utilization +of waste space a matter of urgent necessity. The<span class="pagenum"><a name="Page_12" id="Page_12">[Pg 12]</a></span> three-quarter, +two-third cases, and even smaller sizes, which can be kept in smaller +racks and cabinets, have therefore been found convenient in many places, +but these must be provided with suitable racks or cabinets of the proper +size. The smaller cases are sufficient to hold many of the usual small +fonts, as well as the ordinary auxiliary material, like type borders, +ornaments, small electros, etc. Small cases, with their lesser weight of +contents in type metal, often give distinct advantage in the ease with +which they may be handled.</p> + + + + +<h3><a name="STRUCTURE_OF_TYPE_CASES" id="STRUCTURE_OF_TYPE_CASES"></a><i>Structure of Type Cases</i></h3> + +<p>Type cases are made of wood thoroughly seasoned to prevent as much as +possible any shrinking after they are finished and have remained for +some time in the usually dry air of a composing room. It is not so +common a custom now, as it was formerly, to sponge type on the galley +before distributing and to allow the surplus water to flow into the +case, thus subjecting parts of the case to excessive dampness. The old +type cases, under such careless usage, were quickly warped and cracked. +The splitting of the bottom and the separation of the partitions allowed +small types to drop out and to shift under the partitions. These defects +were partially overcome by papering the<span class="pagenum"><a name="Page_13" id="Page_13">[Pg 13]</a></span> bottoms of the boxes, the +proper accomplishment of which was at one time considered a part of the +compositor's duty.</p> + +<p> +<span class="figright" style="width: 204px;"> +<a href="images/fig013a-300dpifull.png"><img src="images/fig013a-300dpi.png" width="204" height="67" alt="Fig. 3. Section Showing Triple-Veneer Bottom of Case." title="" /></a> +<span class="caption">Fig. 3. Section Showing Triple-Veneer Bottom of Case.</span> +</span> +The modern American type case is better made than its predecessors, +being so far superior in several essential particulars as to be a +distinct achievement in factory woodwork. A type case, with 49 to 100 or +more small boxes, is not a simple thing to make by hand labor. While the +making of the outside frame and the bottom involve no special +difficulties, the box partitions and their proper fastening to each +other and to the bottom of the case require patience and skill. Only a +highly developed system of specialization could provide the cases of +today at the prevailing cost.</p> + +<p><span class="figleft" style="width: 171px;"> +<a href="images/fig013b-300dpifull.png"><img src="images/fig013b-300dpi.png" width="171" height="102" alt="Fig. 4. Detail of Type Case, showing at A how bottom is +fitted to side frame." title="" /></a> +<span class="caption">Fig. 4. Detail of Type Case, showing at A how bottom is +fitted to side frame.</span> +</span> +<span class="figright" style="width: 132px;"> +<a href="images/fig014-300dpifull.png"><img src="images/fig014-300dpi.png" width="132" height="124" alt="Fig. 5. Clasp and Pin Fastening at corners of boxes in +modern type case." title="" /></a> +<span class="caption">Fig. 5. Clasp and Pin Fastening at corners of boxes in +modern type case.</span> +</span> +The bottom of the old-time case warped and split easily because it was +made of a single thin board. The modern case has a bottom made of +three-ply wood, the middle layer having the grain across that of the +other two. (Fig. 3.) These three layers are thoroughly glued together +and the upper side is smoothly covered with a strong paper before the +partitions are fastened to the bottom. The common styles of case have a +strong bar of the same thickness as the outside frame across the middle. +In several styles there are two or even more crossbars. These crossbars +serve not only to divide the main sections of boxes, but they also act +as strong braces to which the bottoms are fastened, giving greater +rigidity to the entire case.</p> + +<p>The bottom of the case is fitted into a groove made in the outside +frame,<span class="pagenum"><a name="Page_14" id="Page_14">[Pg 14]</a></span> so that it cannot be easily separated. This groove being +slightly higher than the lower face of the side frame, upon which the +case slides back and forth in the rack, keeps the bottom up far enough +to allow it to pass clear of the runs, or of any case or shelf below. +The partitions are made by strips across the full width of each section +of the case from outer frame to outer frame or to crossbar. The strips +are crossed at the corners of the boxes by mortising each piece one half +of its depth at the proper place—one from above and the other from +below—and dovetailing the cross pieces together. (Fig. 4.) The corners +of the boxes are then re-enforced by brass clasps made to fit over the +top of the partitions and held by a long pin driven down through the +dovetailed partitions and clinched at the bottom of the case. (See Fig. +5.).</p> + + +<h3><a name="CASES_FOR_VARIOUS_PURPOSES" id="CASES_FOR_VARIOUS_PURPOSES"></a><i>Cases for Various Purposes</i></h3> + +<div class="floatleft"> +<span class="figleft2" style="width: 148px;"> +<a href="images/fig015a-300dpifull.png"><img src="images/fig015a-300dpi.png" width="148" height="57" alt="Fig. 6. Italic Case." title="" /></a> +<span class="caption">Fig. 6. Italic Case.</span> +</span> +<span class="figleft2" style="width: 148px;"> +<a href="images/fig015b-300dpifull.png"><img src="images/fig015b-300dpi.png" width="148" height="56" alt="Fig. 7. New York Job Case." title="" /></a> +<span class="caption">Fig. 7. New York Job Case.</span> +</span> +<span class="figleft2" style="width: 150px;"> +<a href="images/fig015c-300dpifull.png"><img src="images/fig015c-300dpi.png" width="150" height="50" alt="Fig. 8. Triple Case." title="" /></a> +<span class="caption">Fig. 8. Triple Case.</span> +</span> +<span class="figleft2" style="width: 153px;"> +<a href="images/fig015d-300dpifull.png"><img src="images/fig015d-300dpi.png" width="153" height="54" alt="Fig. 9. Greek Case." title="" /></a> +<span class="caption">Fig. 9. Greek Case.</span> +</span> +<span class="figleft2" style="width: 148px;"> +<a href="images/fig015e-300dpifull.png"><img src="images/fig015e-300dpi.png" width="148" height="49" alt="Fig. 10. Space and Quad Case." title="" /></a> +<span class="caption">Fig. 10. Space and Quad Case.</span> +</span> +</div> + +<p>While wooden cases are used by printers chiefly for holding type fonts, +they are now also used for a large variety of auxiliary material which +it is necessary to keep more or less carefully classified in convenient +containers. The increasing quantities and varieties of this material now +needed in an average composing-room make convenient receptacles and +orderly, systematic arrangement a necessity if the work is to be carried +on without excessive waste. In no other trade is there a greater +multiplicity of details to be considered in order to obtain a finished +product, and a thoughtless, unnecessary waste of time, effort, or +material in attending to these details adds enormously to the expense of +the product. And so it is becoming<span class="pagenum"><a name="Page_15" id="Page_15">[Pg 15]</a></span> the practice of good managers to use +cases more abundantly than formerly and to store them in convenient +racks and cabinets, so that this large mass of material may be kept +classified and may be obtained quickly when needed.</p> + +<div class="floatright"> +<span class="figleft2" style="width: 148px;"> +<a href="images/fig015f-300dpifull.png"><img src="images/fig015f-300dpi.png" width="148" height="50" alt="Fig. 11. Lead and Slug Case." title="" /></a> +<span class="caption">Fig. 11. Lead and Slug Case.</span> +</span> +<span class="figleft2" style="width: 148px;"> +<a href="images/fig015g-300dpifull.png"><img src="images/fig015g-300dpi.png" width="148" height="55" alt="Fig. 12. Wood Type Case." title="" /></a> +<span class="caption">Fig. 12. Wood Type Case.</span> +</span> +<span class="figleft2" style="width: 146px;"> +<a href="images/fig015h-300dpifull.png"><img src="images/fig015h-300dpi.png" width="146" height="52" alt="Fig. 13. Metal Furniture Case." title="" /></a> +<span class="caption">Fig. 13. Metal Furniture Case.</span> +</span> +<span class="figleft2" style="width: 148px;"> +<a href="images/fig016a-300dpifull.png"><img src="images/fig016a-300dpi.png" width="148" height="59" alt="Fig. 14. Wood Type Case, with cross bar." title="" /></a> +<span class="caption">Fig. 14. Wood Type Case, with cross bar.</span> +</span> +<span class="figleft2" style="width: 152px;"> +<a href="images/fig016b-300dpifull.png"><img src="images/fig016b-300dpi.png" width="152" height="57" alt="Fig. 15. Blank Case for electrotypes." title="" /></a> +<span class="caption">Fig. 15. Blank Case for electrotypes.</span> +</span> +</div> + + +<p>Besides the ordinary pair of upper case and lower case, many styles of +single cases are made to hold a complete font of capitals, lower case, +figures, points, etc., and others are planned to hold small capitals in +addition. Some are made for fonts of capitals, figures, and points only; +some for figures only (especially for time-tables and tabular work), for +fractions, accented letters, special characters and sorts, for leaders, +type borders and ornaments, etc. A large variety of cases are planned +for labor-saving fonts of brass rule. Others are made especially for +spaces and quads, for leads and slugs, and for metal furniture.<span class="pagenum"><a name="Page_16" id="Page_16">[Pg 16]</a></span> These +are made in many sizes, from the small space-and-rule case, 5 inches by +6¼ inches, which can be placed beside the compositor's galley, up to +the mammoth metal furniture case, 18 inches by 72 inches, covering a +space equal to the top of a double stand. Dealers' catalogs now show +from seventy-five to a hundred or more different kinds of cases for +printers' use.</p> + + +<h3><a name="COMPOSITORS_WORK_STAND" id="COMPOSITORS_WORK_STAND"></a><i>Compositor's Work Stands</i></h3> + +<p><span class="figleft" style="width: 339px;"> +<a href="images/fig017-300dpifull.png"><img src="images/fig017-300dpi.png" width="339" height="152" alt="Fig. 16. Compositor's Work Stand—Front Side." title="" /></a> +<span class="caption">Fig. 16. Compositor's Work Stand—Front Side.</span> +</span> +Primarily a working case-stand for a compositor serves two purposes. It +should hold the cases in a position where he can work with reasonable +comfort, and it should be fitted to contain the necessary material for +his immediate use. For the first purpose the height of the case, working +top, or shelf, should conform approximately to a level that will be +comfortable for the individual workman. A tall man may work easily at a +case which would be too high for the comfort of an apprentice, and a +case at the right elevation for one below the average height would cause +a habit of tiresome, if not unhealthful, stooping in a tall person. It +often happens in some places that such conditions may not be adjusted +without some bother, and an uncomfortable temporary position may not be +a serious matter for very brief periods. The tendency in well-managed +workrooms, however, is to remedy such improper situations and not to +permit workmen to work habitually under conditions which may be easily +improved. “The height of a compositor and his frame,” said an early +authority among printers, “should be so<span class="pagenum"><a name="Page_17" id="Page_17">[Pg 17]</a></span> adjusted that his right elbow +may just clear the front of the lower case by the <i>a</i> box, without the +smallest elevation of the shoulder”; and this seems a wise general rule +to observe.</p> + +<p><span class="figright" style="width: 341px;"> +<a href="images/fig018a-300dpifull.png"><img src="images/fig018a-300dpi.png" width="341" height="121" alt="Fig. 17. Compositor's Work Stand—Rear View." title="" /></a> +<span class="caption">Fig. 17. Compositor's Work Stand—Rear View.</span> +</span>When the type case is placed at a height at which the compositor may +stand erect before it, the boxes are more readily reached by the hand if +the back of the case is at a slight elevation. A case lying perfectly +flat must be somewhat lower, in relation to the compositor's arms, than +when it is resting at an inclination, in order to take types from it +with the same facility. Consequently the custom is to place working +cases and working tops or shelves at an inclination upward from the +front to the back.</p> + +<p>This inclination serves also as the most convenient kind of a rest for +galleys upon which loose lines of composed matter are handled. Lines of +small type will not stand upright without support of some kind, even on +a perfectly level, smooth, rigid surface. The universal custom, +therefore, is to place galleys of type matter in a slanting position, so +that the ends of the lines will be higher and all the matter will rest +firmly against the lower rim of the galley. A galley in this slanting +position, with the first letter in the line resting against the lower +rim and the words reading upward, is the safest and most practicable<span class="pagenum"><a name="Page_18" id="Page_18">[Pg 18]</a></span> +manner in which to make corrections, lift out or insert whole lines +singly or in groups, or to handle types generally in certain difficult +composition, making-up pages, etc. After the pages are tied up or +surrounded by side supports in some manner they may be conveniently +handled on a level surface. Ordinary linotyped matter, which consists of +a single piece for each line of words, and consequently is not liable to +pi, may be, and usually is, handled throughout on level tables; but +types are easily and safely handled only when they may be placed against +the lower rim of an inclined galley.</p> + + +<h3><a name="CASE_STANDS_AND_RACKS" id="CASE_STANDS_AND_RACKS"></a><i>Case Stands and Racks</i></h3> + +<div class="floatleft"> +<span class="figleft2" style="width: 84px;"> +<a href="images/fig018b-300dpifull.png"><img src="images/fig018b-300dpi.png" width="84" height="132" alt="Fig. 18. Single Stand" title="" /></a> +<span class="caption">Fig. 18. Single Stand</span> +</span> +<span class="figleft2" style="width: 82px;"> +<a href="images/fig019a-300dpifull.png"><img src="images/fig019a-300dpi.png" width="82" height="135" alt="Fig. 19. Iron Case Stand with Galley Rest on side." title="" /></a> +<span class="caption">Fig. 19. Iron Case Stand with Galley Rest on side.</span> +</span> +</div> +<div class="floatright"> +<span class="figleft2" style="width: 137px;"> +<a href="images/fig019b-300dpifull.png"><img src="images/fig019b-300dpi.png" width="137" height="133" alt="Fig. 20. Double Stand with Galley Rest between working +cases." title="" /></a> +<span class="caption">Fig. 20. Double Stand with Galley Rest between working +cases.</span> +</span> +<span class="figleft2" style="width: 120px;"> +<a href="images/fig019c-300dpifull.png"><img src="images/fig019c-300dpi.png" width="120" height="133" alt="Fig. 21. Double Stand for tier of full size cases and +tier of two-third cases." title="" /></a> +<span class="caption">Fig. 21. Double Stand for tier of full size cases and +tier of two-third cases.</span> +</span> +</div> + +<p>A simple and inexpensive working stand to hold type cases for composing +is that shown in Fig. 18. This is made of wood and has a rack in the +lower part for holding extra cases. It will be noticed that because the +rack is wide enough to take the full-size case, the top of the stand is +several inches wider than the case, and the side frames are therefore +too far apart to support the ends of the case. To enable the cases to be +held safely, an extra arm is placed inside near the side frame to hold +one end of the case. The surplus space beside<span class="pagenum"><a name="Page_19" id="Page_19">[Pg 19]</a></span> the working cases is +usually furnished with a sloping shelf or narrow galley rest convenient +for holding a galley, leads, or other articles, thus allowing the case +to be kept clear for composing. (See Fig. 19.)</p> + +<p> +<span class="figleft" style="width: 84px;"> +<a href="images/fig019d-300dpifull.png"><img src="images/fig019d-300dpi.png" width="84" height="137" alt="Fig. 22. Case Rack" title="" /></a> +<span class="caption">Fig. 22. Case Rack</span> +</span> +<span class="figright" style="width: 132px;"> +<a href="images/fig020a-300dpifull.png"><img src="images/fig020a-300dpi.png" width="132" height="137" alt="Fig. 23. Double Stand with working cases held on iron +brackets." title="" /></a> +<span class="caption">Fig. 23. Double Stand with working cases held on iron +brackets.</span> +</span> +A rack used to hold cases that are not often used is shown in Fig. 22. +Racks of this kind are made in different sizes to hold ten to thirty +cases, and in double tiers to hold forty to sixty cases.</p> + +<p>Tall racks which hold cases too high to be reached comfortably by a +person standing on the floor are not to be commended. While they may +occupy less floor space and because of this seem to be an advantage +where there are a great many cases that are seldom used, this advantage +is usually more than offset by their disadvantages. The upper cases are +difficult to handle and are liable to be pied. If the tall racks are +near a window they obstruct the light.</p> + +<p>A double stand of similar character to Fig. 18 is shown in Fig. 21, in +which the space below is fully utilized for two racks, one for full-size +cases and the other for two-third cases.</p> + +<p>Many foremen do not approve the small size cases for type in common use, +preferring to have all<span class="pagenum"><a name="Page_20" id="Page_20">[Pg 20]</a></span> the cases of a standard size, so that they may +fit the regular racks and stands and be interchangeable throughout the +department. To provide for this, double stands are made which have a +double tier of racks for full size cases, as shown in Fig. 20. This +double stand has the extra space on the top utilized by a narrow galley +shelf in the middle between the inclined case supports.</p> + +<p>Another class of wooden case-stands is made with the frame having a flat +top or table upon which is fastened a set of iron brackets to hold the +working cases in an inclined position. These styles are illustrated in +Fig. 23.</p> + + +<h3><a name="THE_MODERN_TYPE_CABINET" id="THE_MODERN_TYPE_CABINET"></a><i>The Modern Type Cabinet</i></h3> + +<p><span class="figleft" style="width: 177px;"> +<a href="images/fig020b-300dpifull.png"><img src="images/fig020b-300dpi.png" width="177" height="166" alt="Fig. 24. “Adman” Cabinet has equipment for two +compositors, supply of leads and slugs and assortment of materials such +as brass and copper thin spaces and quads." title="" /></a> +<span class="caption">Fig. 24. “Adman” Cabinet has equipment for two +compositors, supply of leads and slugs and assortment of materials such +as brass and copper thin spaces and quads.</span> +</span> +<span class="figright" style="width: 147px;"> +<a href="images/fig021-300dpifull.png"><img src="images/fig021-300dpi.png" width="147" height="133" alt="Fig. 25. Double “City” Stand with working cases and case +racks. Note that the lower case may be pushed up when necessary to allow +access to galley underneath." title="" /></a> +<span class="caption">Fig. 25. Double “City” Stand with working cases and case +racks. Note that the lower case may be pushed up when necessary to allow +access to galley underneath.</span> +</span> +The closed-in cabinet is the modern plan for a compositor's working +stand and for holding cases of type in common use. This is a frame or +stand enclosed at the sides and back to exclude dust and debris from the +cases. The case runs are thin (often of steel) and close together and +the fronts of the cases are made with extra high rims, so that when all +are pushed into place they present a closed front also.</p> + +<p> +The printer's cabinet is now made in a multiplicity of styles and in +several sizes. The frames are usually of hard wood, but during the past +few<span class="pagenum"><a name="Page_21" id="Page_21">[Pg 21]</a></span> years they have been made of pressed steel. Usually they provide +for one or more tiers of standard wooden cases for type, etc. Some of +the latest patterns combine in one structure racks for type cases and +facilities for holding assortments of the various kinds of material +which a compositor ordinarily uses, with provision for some special +material, as well as ample working space for galleys, etc. They are +planned to concentrate the frequently used material near to the +compositor's hands, to enable him to save the time occupied in going +from place to place about the room.</p> + +<p> +<span class="figleft" style="width: 138px;"> +<a href="images/fig022a-300dpifull.png"><img src="images/fig022a-300dpi.png" width="138" height="120" alt="Fig. 26. Polhemus Cabinet, case rack and galley top." title="" /></a> +<span class="caption">Fig. 26. Polhemus Cabinet, case rack and galley top.</span> +</span> +<span class="figright" style="width: 147px;"> +<a href="images/fig022b-300dpifull.png"><img src="images/fig022b-300dpi.png" width="147" height="127" alt="Fig. 27. Polhemus Cabinet, working side, lower case on +tilting brackets." title="" /></a> +<span class="caption">Fig. 27. Polhemus Cabinet, working side, lower case on +tilting brackets.</span> +</span> +The old-style working stand or cabinet as illustrated in Figs. 20, 21, +usually made it necessary for a workman to stand directly in front of a +number of cases which he rarely used but which might be frequently used +by other compositors. In small workshops this arrangement offers no +inconvenience and there need be little loss of time or patience among +courteous fellow workmen. In large departments, however, especially +where floor space is pretty fully occupied and the working spaces are +narrow, a permanent workstand directly over a group of cases that are +frequently used by several persons has been found to be an annoying and +time-wasting arrangement.</p> + +<p> +About thirty years ago a radical change of this practice was proposed, +and is now being gradually adopted for modern equipments. This plan +places the working stand on one side of the cabinet and the case rack on +the other side, so that there is freer access to cases by all workmen. +The original styles of these stands and cabinets were called “Polhemus,” +after a New York printer, John Polhemus, who <span class="pagenum"><a name="Page_22" id="Page_22">[Pg 22]</a></span>arranged his +composing-room in this manner.</p> + +<p>The case-front side of the cabinet is provided with a galley top for +holding standing matter, etc., while the opposite side (the closed-in +back of the case rack) is surmounted with brackets for type cases, +galley shelf, etc., and is used as the working stand.</p> + +<p>Polhemus cabinets (Figs. 26 and 27) and others embodying this plan have +been made in a variety of sizes—single, double, and triple cabinets, +the larger sizes providing for galley racks and sorts drawers, as well +as the three tiers of type cases.</p> + + +<h3><a name="IRON_CASE_BRACKETS" id="IRON_CASE_BRACKETS"></a><i>Iron Case Brackets</i></h3> + +<p><span class="figleft2" style="width: 126px;"> +<a href="images/fig022c-300dpifull.png"><img src="images/fig022c-300dpi.png" width="126" height="138" alt="Fig. 28. “Window” Cabinet, for two compositors." title="" /></a> +<span class="caption">Fig. 28. “Window” Cabinet, for two compositors.</span> +</span> + +<span class="figleft2" style="width: 178px;"> +<a href="images/fig023a-300dpifull.png"><img src="images/fig023a-300dpi.png" width="178" height="172" alt="Fig. 29. Case Cabinet with iron brackets for working +cases on top." title="" /></a> +<span class="caption">Fig. 29. Case Cabinet with iron brackets for working +cases on top.</span> +</span> +<span class="figright" style="width: 148px;"> +<a href="images/fig023b-300dpifull.png"><img src="images/fig023b-300dpi.png" width="148" height="133" alt="Fig. 30. Quadruple Stand." title="" /></a> +<span class="caption">Fig. 30. Quadruple Stand.</span> +</span> + +The cast-iron case brackets used on flat-top wooden cabinets and case +racks are made in a variety of styles. They have advantages over the +case supports formed by the top of side frames of the old style wooden +stands shown in Fig. 21, in that they allow use of the space below the +cases, and provide a more convenient placing of the upper case. The +style of bracket shown on the stands illustrated in Figs. 23 and 30 +allows the upper case to be brought nearer to the front, making it +easier to reach all the boxes and yet leave ample room<span class="pagenum"><a name="Page_23" id="Page_23">[Pg 23]</a></span> to get at the +upper boxes of the lower case. The stand or cabinet may be placed close +against a wall or other frame, as the upper case does not overhang at +the back. The position of the inclined working cases on top may be fixed +at any desired place on the top of the cabinet by changing the position +of the brackets. One style of bracket (Fig. 29) is made to fasten to the +extreme fore edge of the shelf, this bringing the front of the lower +case out beyond the front line of the cabinet.</p> + +<p><span class="figright" style="width: 72px;"> +<a href="images/fig023c-300dpifull.png"><img src="images/fig023c-300dpi.png" width="72" height="135" alt="Fig. 31. Galley Brackets forming a rack fastened to +wall." title="" /></a> +<span class="caption">Fig. 31. Galley Brackets forming a rack fastened to +wall.</span> +</span> +A number of years ago a tilting bracket (shown in Figs. 27 and 28) for +the lower case was introduced and this has been used to some extent. The +ostensible advantage of this is to allow the lower case to be tilted up +from the front so that easier access is given to a galley shelf or other +space under the case. This is a convenience in some instances, but the +unstable nature of the case support is liable to be a disadvantage; a +full case suddenly tilted is likely to cause types to be thrown into +adjoining boxes; or a galley, leads, or other material on top of the +case may slide down back when the case is tipped forward. A style of +bracket which has proved serviceable is that shown<span class="pagenum"><a name="Page_24" id="Page_24">[Pg 24]</a></span> on the case stand in +Fig. 30.</p> + + +<p><span class="figleft" style="width: 116px;"> +<a href="images/fig024-300dpifull.png"><img src="images/fig024-300dpi.png" width="116" height="133" alt="Fig. 32. Galley Cabinet." title="" /></a> +<span class="caption">Fig. 32. Galley Cabinet.</span> +</span> +Brackets for holding galleys are furnished in several varieties, one of +which is illustrated in Fig. 31, etc. These are temporary rests for +galleys, while the matter on them is waiting for return of proofs, for +making up, etc. They are fastened to a wall or strong frame in some +out-of-the-way place, or they may be fitted on special standards near +the type cases or the make-up table. The galley cabinet, similar to that +illustrated in Fig. 32, is a more expensive article of furniture for +this purpose, but it is usually more satisfactory.</p> + + +<h3><a name="WOOD_RUNS_AND_STEEL_RUNS" id="WOOD_RUNS_AND_STEEL_RUNS"></a><i>Wood Runs and Steel Runs</i></h3> + +<p>Early wooden case racks were fitted with strips of thin wood upon which +the cases were moved in and out. These slender strips were not always of +perfect grain and were difficult to attach firmly to the side frame. +They warped and split easily, and the nails and screws with which they +were fastened would work loose. In order to have them strong they had to +be thick, and this thickness gave a wide space between the cases so that +fewer cases could be kept in a given space.</p> + +<p>To avoid these disadvantages case runs are now made of flat strips of +steel fastened to the side frames of the rack or cabinet. In some +cabinets they are fitted between side slats of wood, and a couple of +perpendicular iron rods are run through holes in the slats and the steel +strips from top to bottom of the rack, binding the pieces together and +to the side frame, making a particularly substantial rack. Another style +of steel run is made of a wider strip of iron bent the entire length +into a right-angle shape. Screw holes on one side of this angle strip +enable it to be fastened<span class="pagenum"><a name="Page_25" id="Page_25">[Pg 25]</a></span> to the side frame, the other angle of the +strip being used to support the case.</p> + + +<h3><a name="EXTENSION_FRONTS_AND_BACKS" id="EXTENSION_FRONTS_AND_BACKS"></a><i>Extension Fronts and Backs</i></h3> + +<p><span class="figleft" style="width: 151px;"> +<a href="images/fig025-300dpifull.png"><img src="images/fig025-300dpi.png" width="151" height="133" alt="Fig. 33. Double Case Stand, showing the cases in rack +pushed back from front, to permit exposure of all boxes when a case is +pulled forward for setting type." title="" /></a> +<span class="caption">Fig. 33. Double Case Stand, showing the cases in rack +pushed back from front, to permit exposure of all boxes when a case is +pulled forward for setting type.</span> +</span> +In all composing-rooms there are many cases at which it is necessary to +work for only a few moments at a time, to set a single line, or to make +a correction, etc. In order that cases kept in racks or cabinets may be +used quickly it is necessary that each one may be pulled out clear of +the case above, so that all the boxes at the rear are accessible. In the +old-style racks this was attained by having the runs several inches +longer than the width of the case, and placing an upright strip or stop +at the rear to allow the cases to be pushed back far enough to leave +three or more inches of the run exposed in front. This front space is +sufficient to support the case temporarily while it is pulled out from +those above in full view. (Fig. 33.)</p> + +<p><span class="figright" style="width: 97px;"> +<a href="images/fig026a-300dpifull.png"><img src="images/fig026a-300dpi.png" width="97" height="139" alt="Fig. 34. Extension Front Case Rack." title="" /></a> +<span class="caption">Fig. 34. Extension Front Case Rack.</span> +</span> +In many type cabinets, however, the practice is to keep the front of all +cases flush with the front of the cabinet frame. This allows no front +support for a case that is pulled out far enough to expose all the +boxes, and so the side frames or rims of the cases are extended three or +four inches back beyond the case itself. These extensions serve as stout +arms at the rear of the case to hold it in the front of the rack when +the case is pulled forward. When the case is carefully handled this plan +serves the purpose if the extensions themselves are not drawn entirely +clear of the case above. Its security depends somewhat upon the style of +the runs and how carefully the cases fit<span class="pagenum"><a name="Page_26" id="Page_26">[Pg 26]</a></span> their places. A disadvantage +of this plan is that the cases having these long rear extensions are +awkward to place when they are taken from their racks to be used on top +of ordinary working stands.</p> + +<p>The later method of providing for this is to place the cases further +back in the rack, as in the old-style stand, and have the runs on the +cabinet extended entirely to the front. This is the extension front, and +in modern cabinets the rims are of thin steel, as already described. +(Fig. 34.) With this arrangement the cases have no protruding arms and +can be conveniently placed anywhere; standard cabinet cases can be +placed on working stands or temporarily in any convenient case rack.</p> + + +<h3><a name="FURNINTURE_RACKS" id="FURNINTURE_RACKS"></a><i>Furniture Racks</i></h3> + +<p><span class="figleft" style="width: 154px;"> +<a href="images/fig026b-300dpifull.png"><img src="images/fig026b-300dpi.png" width="154" height="206" alt="Fig. 35. Furniture Cabinet for labor-saving fonts of wood +or metal furniture." title="" /></a> +<span class="caption">Fig. 35. Furniture Cabinet for labor-saving fonts of wood +or metal furniture.</span> +</span> + +<span class="figright" style="width: 151px;"> +<a href="images/fig027a-300dpifull.png"><img src="images/fig027a-300dpi.png" width="151" height="146" alt="Fig. 36. Imposing Stone Frame with labor-saving furniture +in side." title="" /></a> +<span class="caption">Fig. 36. Imposing Stone Frame with labor-saving furniture +in side.</span> +</span> +<span class="figright" style="width: 242px;"> +<a href="images/fig027b-300dpifull.png"><img src="images/fig027b-300dpi.png" width="242" height="133" alt="Fig. 37. Standing Galley, or Bank, with letter boards, +galley racks, and galley top." title="" /></a> +<span class="caption">Fig. 37. Standing Galley, or Bank, with letter boards, +galley racks, and galley top.</span> +</span> +In the composing-room of a generation ago—and unfortunately in some +unprogressive places today—the strips of blank material known as reglet +and wood furniture were usually kept in disorderly manner in a large box +or drawer under or near the imposing stone. The material was usually +obtained in lengths of one yard and a small hand-saw was at hand to cut +any lengths required. In time there was an accumulation of all sorts +jumbled together in the drawer in a manner to make it difficult to find +needed pieces without loss of time. Often the quickest<span class="pagenum"><a name="Page_27" id="Page_27">[Pg 27]</a></span> way to obtain +the right piece was to cut off a longer one.</p> + +<p> +This wasteful method was the universal custom before the era of the +labor-saving assortment stored in orderly fashion in a cabinet and +placed within instant reach of the workman. The common-sense modern +method is the well-stocked rack or cabinet with a compartment for each +size of the series, with the compartments numbered and the larger pieces +of the material numbered to correspond. An arrangement like this invites +an orderly habit in persons who would otherwise be careless.</p> + +<p>The usual style of furniture rack is shown in Fig. 35. This is made in +several sizes to hold quantities large or small according to the +requirements of the room. The position of a rack like this should be +near the stone at a level near the height of the working surface.</p> + +<p>Another style of furniture and reglet rack is that fitted into the frame +of the imposing table or into an adjoining stand or cabinet. This is +illustrated in Fig. 36. It will be noticed that all the different +lengths present a surface flush with the outside of the frame. This is +because the depth of the compartments is<span class="pagenum"><a name="Page_28" id="Page_28">[Pg 28]</a></span> varied to accommodate the +several lengths of furniture at the back, instead of at the front as +shown in Fig. 35.</p> + + +<h3><a name="SPECIAL_CABINETS" id="SPECIAL_CABINETS"></a><i>Special Cabinets</i></h3> + +<p><span class="figleft2" style="width: 205px;"> +<a href="images/fig028a-300dpifull.png"><img src="images/fig028a-300dpi.png" width="205" height="215" alt="Fig. 38. Work Bench and Auxiliary Cabinet." title="" /></a> +<span class="caption">Fig. 38. Work Bench and Auxiliary Cabinet.</span> +</span> +<span class="figleft2" style="width: 148px;"> +<a href="images/fig028b-300dpifull.png"><img src="images/fig028b-300dpi.png" width="148" height="133" alt="Fig. 39. Cabinet for Script Type, Borders, or other small +characters which can be kept standing face up." title="" /></a> +<span class="caption">Fig. 39. Cabinet for Script Type, Borders, or other small +characters which can be kept standing face up.</span> +</span> + +Among the new articles supplied for the compositor's use are cabinets +for holding assortments of metal furniture, brass rules, leads, slugs, +and small cases or drawers for special material. The tops of some of +these cabinets hold the lead and rule cutter and the rule-mitering +machine, with a small inclined shelf above, as shown in Fig. 38. These +cabinets will hold a large amount of material in small space. When +conveniently situated and properly supplied with material they save time +and effort on the part of the compositor.</p> + +<div class="floatright"> +<span class="figleft2" style="width: 132px;"> +<a href="images/fig029a-300dpifull.png"><img src="images/fig029a-300dpi.png" width="132" height="138" alt="Fig. 40. Sort Cabinet, for storage of extra quantities of +type, etc." title="" /></a> +<span class="caption">Fig. 40. Sort Cabinet, for storage of extra quantities of +type, etc.</span> +</span> +<span class="figleft2" style="width: 101px;"> +<a href="images/fig029b-300dpifull.png"><img src="images/fig029b-300dpi.png" width="101" height="132" alt="Fig. 41. Rack for leads, or brass rules in assorted +standard lengths." title="" /></a> +<span class="caption">Fig. 41. Rack for leads, or brass rules in assorted +standard lengths.</span> +</span> +</div> +<p>Another cabinet that is useful is the script type cabinet. This holds +the cases inclined upward from the left. The compartments are narrow, +running horizontally with the front. In these the types are held face +up, so that they may not be injured by rattling about when the case is +moved back and forth. The cases may be used for borders,<span class="pagenum"><a name="Page_29" id="Page_29">[Pg 29]</a></span> special +characters, or any small items which it is desired to keep standing face +upward. The compartments of the cases may be made wide or narrow to +accommodate the size of the types they are to hold.</p> + +<p>The apprentice who wants to learn about the latest and best feature of +composing room equipment should make a special point to examine the +catalogues of manufacturers and dealers in printers' supplies. These +catalogues continually show new and improved articles that are finely +illustrated and specifically described as to their particular +advantages.</p> + + +<hr style="width: 65%;" /> +<div> +<span class="pagenum"><a name="Page_30" id="Page_30">[Pg 30]</a></span> +</div> +<h2><a name="REVIEW_QUESTIONS" id="REVIEW_QUESTIONS"></a>REVIEW QUESTIONS</h2> + + +<h4>SUGGESTIONS TO STUDENTS AND INSTRUCTORS</h4> + +<p>The following questions, based on the contents of this pamphlet, are +intended to serve (1) as a guide to the study of the text, (2) as an aid +to the student in putting the information contained into definite +statements without actually memorizing the text, (3) as a means of +securing from the student a reproduction of the information in his own +words.</p> + +<p>A careful following of the questions by the reader will insure full +acquaintance with every part of the text, avoiding the accidental +omission of what might be of value. These primers are so condensed that +nothing should be omitted.</p> + +<p>In teaching from these books it is very important that these questions +and such others as may occur to the teacher, should be made the basis of +frequent written work, and of final examinations.</p> + +<p>The importance of written work cannot be overstated. It not only assures +knowledge of material but the power to express that knowledge correctly +and in good form.</p> + +<p>If this written work can be submitted to the teacher in printed form it +will be doubly useful.</p> + + +<h3>QUESTIONS</h3> + +<p> +<span class="i5">1. What classes of furniture are essential in modern composing-rooms?</span> +<span class="i5">2. Give a general statement of articles in each class.</span> +<span class="i5">3. What determines the selection of furniture for any given office?</span> +<span class="i5">4. What was the first thing needed in a composing-room after the type had been cast?</span> +<span class="i5">5. How was it made originally?</span> +<span class="i5">6. How is it now made?</span> +<span class="i5">7. What are the dimensions of the standard type case of the present time?</span> +<span class="i5">8. What other sizes are sometimes used?</span> +<span class="i5">9. What effect has the need of economy of space had upon the use of type cases?</span> +<span class="i4">10. What are type cases made of?</span> +<span class="i4">11. What difficulties were experienced?</span> +<span class="i4">12. How were they avoided?</span> +<span class="i4">13. Describe the construction of a modern type case.</span><span class="pagenum"><a name="Page_31" id="Page_31">[Pg 31]</a></span> +<span class="i4">14. Give some of the uses for which special cases are provided.</span> +<span class="i4">15. What are the two purposes of a working stand?</span> +<span class="i4">16. What is the proper height for a stand?</span> +<span class="i4">17. Should the case lie flat when in use, and why?</span> +<span class="i4">18. How are galleys placed for holding type, and why?</span> +<span class="i4">19. Describe a simple working stand.</span> +<span class="i4">20. How are infrequently used cases stored?</span> +<span class="i4">21. What should be avoided in this method of storage?</span> +<span class="i4">22. Describe a modern type cabinet.</span> +<span class="i4">23. What difficulty arose in working at the earlier forms of cabinet, and how was it avoided?</span> +<span class="i4">24. Describe a Polhemus cabinet.</span> +<span class="i4">25. What is the advantage of iron case brackets?</span> +<span class="i4">26. What are the advantages and disadvantages of tilting case brackets?</span> +<span class="i4">27. What are galley brackets?</span> +<span class="i4">28. What is a better article for the same purpose?</span> +<span class="i4">29. Compare wooden and steel case runs.</span> +<span class="i4">30. How are steel case runs constructed?</span> +<span class="i4">31. Describe and compare several methods of constructing case racks so that the case may be used without removing it from the rack.</span> +<span class="i4">32. What was the old method of keeping reglets and wood furniture, and what was its disadvantage?</span> +<span class="i4">33. Describe some modern methods of keeping this material.</span> +</p> + + +<hr style="width: 65%;" /> +<div> +<span class="pagenum"><a name="Page_32" id="Page_32">[Pg 32]</a></span> +</div> +<h2><a name="GLOSSARY" id="GLOSSARY"></a>GLOSSARY OF TECHNICAL TERMS</h2> + + +<p><span class="i4"><span class="smcap">Alley</span>—The floor space between two stands or cabinets.</span></p> + +<p><span class="i4"><span class="smcap">Annex Box</span>—A small wood or metal cup or box attached to the type case +for holding special characters.</span></p> + +<p><span class="i4"><span class="smcap">Bank</span>—A high table with the top inclined upon which composed type is +placed temporarily. See <i>Dump</i>.</span></p> + +<p><span class="i4"><span class="smcap">Blank Case</span>—A wooden tray without partitions, or with one partition +only.</span></p> + +<p><span class="i4"><span class="smcap">Box</span>—A subdivision of a type case, in which a quantity of one particular +character is kept.</span></p> + +<p><span class="i4"><span class="smcap">Bracket</span>—An arm or support, usually of metal, to hold cases on top of a +stand, to hold galleys, etc.</span></p> + +<p><span class="i4"><span class="smcap">Cabinet</span>—An enclosure for cases, shelves, or boxes, closed up on the +sides and back. See <i>stand</i>.</span></p> + +<p><span class="i4"><span class="smcap">California Job Case</span>—An extensively used type case arranged with boxes +to hold capitals, small letters, figures, points, and the usual +characters of a job font, complete in a single tray.</span></p> + +<p><span class="i4"><span class="smcap">Cap Case</span>—The top case of a standard pair of book or news cases. The +capital case, or upper case.</span></p> + +<p><span class="i4"><span class="smcap">Case</span>—The printer's name for the shallow wooden tray with small +compartments for holding types and other materials.</span></p> + +<p><span class="i4"><span class="smcap">Case Cleaner</span>—A frame like that of a type case with a wire bottom, used +to assist in cleaning out type cases that have become foul with dust, +grit, or similar dirt. The case cleaner is placed on top of the type +case, fitting snugly over each box, and the whole turned up-side-down to +transfer the type into the wire bottom. A gentle shaking then sifts out +the dirt. When the case is turned back again the types go back into +their original boxes. A vacuum cleaner, a small bellows, or an air pump +are sometimes used for cleaning type cases.</span></p> + +<p><span class="i4"><span class="smcap">Coffin</span>—The box-like frame surrounding an imposing stone on its stand.</span></p> + +<p><span class="i4"><span class="smcap">Dump</span>—The place in a composing room where dead matter is kept until it +is distributed; sometimes said of a standing galley where compositors +place their composed lines to be assembled for proofing, etc. See +<i>Bank</i>.</span></p> + +<p><span class="i4"><span class="smcap">Empty Case</span>—A case without the letters or types needed to compose lines. +The case may have other letters, but some boxes are empty.</span></p> + +<p><span class="i4"><span class="smcap">Form Rack</span>—For holding printing forms that are locked in chases, before +or after printing. It usually holds them in a perpendicular position.</span></p> + +<p><span class="i4"><span class="smcap">Foul Case, or Dirty Case</span>—One in which the type or other material is +badly mixed or which has material that does not properly belong there, +as in hasty distribution or because of carelessness.</span></p> + +<p><span class="i4"><span class="smcap">Frame</span>—Another name for the compositor's work stand or case rack.</span><span class="pagenum"><a name="Page_33" id="Page_33">[Pg 33]</a></span></p> + +<p><span class="i4"><span class="smcap">Furniture</span>—In printing-office speech this term is used to mean small +pieces of wood or metal designed to fill the blank spaces larger than +leads, slugs, spaces, and quads. Furniture is placed between pages and +around forms locked in chases.</span></p> + +<p><span class="i4"><span class="smcap">Galley</span>—A shallow tray used by compositors to hold type after the lines +have been set and transferred from the composing stick.</span></p> + +<p><span class="i4"><span class="smcap">Galley Rack</span>—A place for holding a number of galleys in order.</span></p> + +<p><span class="i4"><span class="smcap">Harris Rule Case</span>—A quarter-size case for holding assortments of brass +rules. Four of these trays may be kept in a regular full size blank +case, similar to Wisconsin quarter cases. See size of cases.</span></p> + +<p><span class="i4"><span class="smcap">Hell-box</span>—The receptacle for old, broken, or discarded types.</span></p> + +<p><span class="i4"><span class="smcap">Italic Case</span>—A style of case to hold a complete font of capitals, small +letters, points, figures, etc. Similar to the California job case, but +with more boxes on the capital letter side. See page 15.</span></p> + +<p><span class="i4"><span class="smcap">Job Case</span>—A general term meaning a type case which holds a complete font +of type; in distinction from a case which holds only part of a font, +like the ordinary news or book case.</span></p> + +<p><span class="i4"><span class="smcap">Job Galley</span>—A short galley to place on the work stand for making up +pages, small forms, etc.</span></p> + +<p><span class="i4"><span class="smcap">Labor-saving</span>—Said of assortments of leads, rules, furniture, etc., +provided in assorted sizes. The sizes are commonly multiples of 6-point +or 12-point, and several small pieces may be combined to fill a large +space, thus saving the labor necessary to cut each piece to fit its +place.</span></p> + +<p><span class="i4"><span class="smcap">Laying Type</span>—Placing a new assortment of type in its case.</span></p> + +<p><span class="i4"><span class="smcap">Lay of the Case</span>—The particular plan or arrangement of the types in the +various boxes of a case.</span></p> + +<p><span class="i4"><span class="smcap">Leader Case</span>—A small case or series of boxes for holding brass or +cast-type leaders.</span></p> + +<p><span class="i4"><span class="smcap">Letter Boards</span>—Movable shelves in racks, under imposing tables, and +elsewhere, to hold standing type matter, etc.</span></p> + +<p><span class="i4"><span class="smcap">Low Case</span>—A case with a small portion of the font in it. See Empty Case.</span></p> + +<p><span class="i4"><span class="smcap">Lower Case</span>—The bottom case of a pair of book or news cases, which rests +nearest the compositor. See page 12.</span></p> + +<p><span class="i4"><span class="smcap">New York Job Case</span>—A case for holding a font of small capitals in +addition to the capitals, small letters, figures, etc., of the usual +fonts. See page 15.</span></p> + +<p><span class="i4"><span class="smcap">Reglet</span>—Thin strips of wood, similar to thick leads; used for making up +large pages and filling in forms.</span></p> + +<div> +<span class="pagenum"><a name="Page_34" id="Page_34">[Pg 34]</a></span> +</div> +<p><span class="i4"><span class="smcap">Sizes of Cases</span>—There are a number of standard sizes of cases for +printers' purposes, allowing a considerable range in adapting these +important articles for particular uses. The common sizes are as follows:</span></p> + + +<table border="0" cellpadding="4" cellspacing="0" summary="Case Sizes"> +<tr> + <td align="left">Regular full-size case </td> + <td align="right">32¼ × 16¾ in.</td> +</tr> +<tr> + <td align="left">Three-quarter size</td> + <td align="right">26¼ × 16¾ in.</td> +</tr> +<tr> + <td align="left">Two-third case</td> + <td align="right">22¾ × 16¾ in.</td> +</tr> +<tr> + <td align="left">Rooker Case (formerly popular in newspaper composing rooms)</td> + <td align="right">28½ × 14 in.</td> +</tr> +<tr> + <td align="left">Wood type case</td> + <td align="right">32¼ × 23 in.</td> +</tr> +<tr> + <td align="left">Mammoth wood-type case</td> + <td align="right">44 × 23 in.</td> +</tr> +<tr> + <td align="left">Bettis case, for leads, rules, etc</td> + <td align="right">72 × 18 in.</td> +</tr> +<tr> + <td align="left">Bettis case, for leads, rules, border, etc</td> + <td align="right">72 in. × 7 in.</td> +</tr> +<tr> + <td align="left">Harris case, for rules, border, etc</td> + <td align="right">in. × 7 in.</td> +</tr> +<tr> + <td align="left">Wisconsin quarter case</td> + <td align="right">in. × 7 in.</td> +</tr> +<tr> + <td align="left">“Sanspareil” half-size case</td> + <td align="right">15¼ × 14¾ in.</td> +</tr> +</table> + + +<p><span class="i4"><span class="smcap">Sort Case</span>—For holding extra or special types, etc., with open sides and +back.</span></p> + +<p><span class="i4"><span class="smcap">Stand</span>—The working frame at which a compositor sets type; in distinction +from a cabinet, which has closed sides and no back.</span></p> + +<p><span class="i4"><span class="smcap">Triple Case</span>—A case divided into three principal sections, each section +having forty-nine boxes, like one-half of the common capital case.</span></p> + +<p><span class="i4"><span class="smcap">Unit Type Cabinet</span>—A container for type cases similar to a sectional +book case. The parts are built in sections about 12½ inches high, +holding eight or ten cases. There is a base piece upon which the cabinet +rests, and a top piece. Any number of the sections may be put together +to provide room for additional cases as needed. These cabinets have +cases of different depths to provide for fonts of different sizes; +shallow cases for job fonts of small types, and other cases of varying +depths to give room for larger fonts.</span></p> + + + +<hr style="width: 65%;" /> +<div> +<span class="pagenum"><a name="Page_i" id="Page_i">[Pg i]</a></span> +</div> +<h2><a name="TYPOGRAPHIC_TECHNICAL_SERIES_FOR_APPRENTICES" id="TYPOGRAPHIC_TECHNICAL_SERIES_FOR_APPRENTICES"></a>TYPOGRAPHIC TECHNICAL SERIES FOR APPRENTICES</h2> + +<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</span>, U. S. A.</p> + + +<div> +<span class="pagenum"><a name="Page_ii" id="Page_ii">[Pg ii]</a></span> +</div> +<h4>PART I—<i>Types, Tools, Machines, and Materials</i></h4> + +<p class="i4">1. <b>Type: a Primer of Information</b> By A. A. Stewart<br /> +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> + +<p class="i4">2. <b>Compositors' Tools and Materials</b> By A. A. Stewart<br /> +A primer of information about composing sticks, galleys, leads, +brass rules, cutting and mitering machines, etc. 47 pp.; +illustrated; 50 review questions; glossary.</p> + +<p class="i4">3. <b>Type Cases, Composing Room Furniture</b> By A. A. Stewart<br /> +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> + +<p class="i4">4. <b>Imposing Tables and Lock-up Appliances</b> By A. A. Stewart<br /> +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> + +<p class="i4">5. <b>Proof Presses</b> By A. A. Stewart<br /> +A primer of information about the customary methods and machines +for taking printers' proofs. 40 pp.; illustrated; 41 review +questions; glossary.</p> + +<p class="i4">6. <b>Platen Printing Presses</b> By Daniel Baker<br /> +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> + +<p class="i4">7. <b>Cylinder Printing Presses</b> By Herbert L. Baker<br /> +Being a study of the mechanism and operation of the principal types +of cylinder printing machines. 64 pp.; illustrated; 47 review +questions; glossary.</p> + +<p class="i4">8. <b>Mechanical Feeders and Folders</b> By William E. Spurrier<br /> +The history and operation of modern feeding and folding machines; +with hints on their care and adjustments. Illustrated; review +questions; glossary.</p> + +<p class="i4">9. <b>Power for Machinery in Printing Houses</b> By Carl F. Scott<br /> +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> + +<p class="i4">10. <b>Paper Cutting Machines</b> By Niel Gray, Jr.<br /> +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> + +<p class="i4">11. <b>Printers' Rollers</b> By A. A. Stewart<br /> +A primer of information about the composition, manufacture, and +care of inking rollers. 46 pp.; illustrated; 61 review questions; +glossary.</p> + +<p class="i4">12. <b>Printing Inks</b> By Philip Ruxton<br /> +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> +<span class="pagenum"><a name="Page_iii" id="Page_iii">[Pg iii]</a></span> +</div> +<p class="i4">13. <b>How Paper is Made</b> By William Bond Wheelwright<br /> +A primer of information about the materials and processes of +manufacturing paper for printing and writing. 68 pp.; illustrated; +62 review questions; glossary.</p> + +<p class="i4">14. <b>Relief Engravings</b> By Joseph P. Donovan<br /> +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> + +<p class="i4">15. <b>Electrotyping and Sterotyping</b> By Harris B. Hatch and A. A. Stewart<br /> +A primer of information about the processes of electrotyping and +stereotyping. 94 pp.; illustrated; 129 review questions; +glossaries.</p> + + +<h4>PART II—<i>Hand and Machine Composition</i></h4> + +<p class="i4">16. <b>Typesetting</b> By A. A. Stewart<br /> +A handbook for beginners, giving information about justifying, +spacing, correcting, and other matters relating to typesetting. +Illustrated; review questions; glossary.</p> + +<p class="i4">17. <b>Printers' Proofs</b> By A. A. Stewart<br /> +The methods by which they are made, marked, and corrected, with +observations on proofreading. Illustrated; review questions; +glossary.</p> + +<p class="i4">18. <b>First Steps in Job Composition</b> By Camille DeVéze<br /> +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> + +<p class="i4">19. <b>General Job Composition</b><br /> +How the job compositor handles business stationery, programs and +miscellaneous work. Illustrated; review questions; glossary.</p> + +<p class="i4">20. <b>Book Composition</b> By J. W. Bothwell<br /> +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> + +<p class="i4">21. <b>Tabular Composition</b> By Robert Seaver<br /> +A study of the elementary forms of table composition, with examples +of more difficult composition. 36 pp.; examples; 45 review +questions.</p> + +<p class="i4">22. <b>Applied Arithmetic</b> By E. E. Sheldon<br /> +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> + +<p class="i4">23. <b>Typecasting and Composing Machines</b> A. W. Finlay, Editor<br /> +A brief history of typesetting machines, with descriptions of their +mechanical principles and operations. Illustrated; review +questions; glossary.</p> + +<table border="0" cellpadding="2" cellspacing="0" summary="Typecasting and Composing Machines credits"> +<tr> + <td align="left">Section I—The Linotype</td> + <td align="right">By L. A. Hornstein</td> +</tr> +<tr> + <td align="left">Section II—The Monotype</td> + <td align="right">By Joseph Hays</td> +</tr> +<tr> + <td align="left">Section III—The Intertype</td> + <td align="right">By Henry W. Cozzens</td> +</tr> +<tr> + <td align="left">Section IV—Other Typecasting and Typesetting Machines</td> + <td align="right">By Frank H. Smith</td> +</tr> +</table> + + + +<div> +<span class="pagenum"><a name="Page_iv" id="Page_iv">[Pg iv]</a></span> +</div> +<h4>PART III—<i>Imposition and Stonework</i></h4> + +<p class="i4">24. <b>Locking Forms for the Job Press</b> By Frank S. Henry<br /> +Things the apprentice should know about locking up small forms, and +about general work on the stone. Illustrated; review questions; +glossary.</p> + +<p class="i4">25. <b>Preparing Forms for the Cylinder Press</b> By Frank S. Henry<br /> +Pamphlet and catalog imposition; margins; fold marks, etc. Methods +of handling type forms and electrotype forms. Illustrated; review +questions; glossary.</p> + + +<h4>PART IV—<i>Presswork</i></h4> + +<p class="i4">26. <b>Making Ready on Platen Presses</b> By T. G. McGrew<br /> +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> + +<p class="i4">27. <b>Cylinder Presswork</b> By T. G. McGrew<br /> +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> + +<p class="i4">28. <b>Pressroom Hints and Helps</b> By Charles L. Dunton<br /> +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> + +<p class="i4">29. <b>Reproductive Processes of the Graphic Arts</b> By A. W. Elson<br /> +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> + + +<h4>PART V—<i>Pamphlet and Book Binding</i></h4> + +<p class="i4">30. <b>Pamphlet Binding</b> By Bancroft L. Goodwin<br /> +A primer of information about the various operations employed in +binding pamphlets and other work in the bindery. Illustrated; +review questions; glossary.</p> + +<p class="i4">31. <b>Book Binding</b> By John J. Pleger<br /> +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> + + +<h4>PART VI—<i>Correct Literary Composition</i></h4> + +<p class="i4">32. <b>Word Study and English Grammar</b> By F. W. Hamilton<br /> +A primer of information about words, their relations, and their +uses. 68 pp.; 84 review questions; glossary.</p> + +<p class="i4">33. <b>Punctuation</b> By F. W. Hamilton<br /> +A primer of information about the marks of punctuation and their +use, both grammatically and typographically. 56 pp.; 59 review +questions; glossary.</p> + +<div> +<span class="pagenum"><a name="Page_v" id="Page_v">[Pg v]</a></span> +</div> +<p class="i4">34. <b>Capitals</b> By F. W. Hamilton<br /> +A primer of information about capitalization, with some practical +typographic hints as to the use of capitals. 48 pp.; 92 review +questions; glossary.</p> + +<p class="i4">35. <b>Division of Words</b> By F. W. Hamilton<br /> +Rules for the division of words at the ends of lines, with remarks +on spelling, syllabication and pronunciation. 42 pp.; 70 review +questions.</p> + +<p class="i4">36. <b>Compound Words</b> By F. W. Hamilton<br /> +A study of the principles of compounding, the components of +compounds, and the use of the hyphen. 34 pp.; 62 review questions.</p> + +<p class="i4">37. <b>Abbreviations and Signs</b> By F. W. Hamilton<br /> +A primer of information about abbreviations and signs, with +classified lists of those in most common use. 58 pp.; 32 review +questions.</p> + +<p class="i4">38. <b>The Uses of Italic</b> By F. W. Hamilton<br /> +A primer of information about the history and uses of italic +letters. 31 pp.; 37 review questions.</p> + +<p class="i4">39. <b>Proofreading</b> By Arnold Levitas<br /> +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> + +<p class="i4">40. <b>Preparation of Printers' Copy</b> By F. W. Hamilton<br /> +Suggestions for authors, editors, and all who are engaged in +preparing copy for the composing room. 36 pp.; 67 review questions.</p> + +<p class="i4">41. <b>Printers' Manual of Style</b><br /> +A reference compilation of approved rules, usages, and suggestions +relating to uniformity in punctuation, capitalization, +abbreviations, numerals, and kindred features of composition.</p> + +<p class="i4">42. <b>The Printer's Dictionary</b> By A. A. Stewart<br /> +A handbook of definitions and miscellaneous information about +various processes of printing, alphabetically arranged. Technical +terms explained. Illustrated.</p> + + +<h4>PART VII—<i>Design, Color, and Lettering</i></h4> + +<p class="i4">43. <b>Applied Design for Printers</b> By Harry L. Gage<br /> +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> + +<p class="i4">44. <b>Elements of Typographic Design</b> By Harry L. Gage<br /> +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> +<span class="pagenum"><a name="Page_vi" id="Page_vi">[Pg vi]</a></span> +</div> +<p class="i4">45. <b>Rudiments of Color in Printing</b> By Harry L. Gage<br /> +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> + +<p class="i4">46. <b>Lettering in Typography</b> By Harry L. Gage<br /> +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> + +<p class="i4">47. <b>Typographic Design in Advertising</b> By Harry L. Gage<br /> +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> + +<p class="i4">48. <b>Making Dummies and Layouts</b> By Harry L. Gage<br /> +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> + + +<h4>PART VIII—<i>History of Printing</i></h4> + +<p class="i4">49. <b>Books Before Typography</b> By F. W. Hamilton<br /> +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> + +<p class="i4">50. <b>The Invention of Typography</b> By F. W. Hamilton<br /> +A brief sketch of the invention of printing and how it came about. +64 pp.; 62 review questions.</p> + +<p class="i4">51. <b>History of Printing</b>—Part I By F. W. Hamilton<br /> +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> + +<p class="i4">52. <b>History of Printing</b>—Part II By F. W. Hamilton<br /> +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> + +<p class="i4">53. <b>Printing in England</b> By F. W. Hamilton<br /> +A short history of printing in England from Caxton to the present +time. 89 pp.; 65 review questions.</p> + +<p class="i4">54. <b>Printing in America</b> By F. W. Hamilton<br /> +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> + +<p class="i4">55. <b>Type and Presses in America</b> By F. W. Hamilton<br /> +A brief historical sketch of the development of type casting and +press building in the United States. 52 pp.; 61 review questions.</p> + + +<div> +<span class="pagenum"><a name="Page_vii" id="Page_vii">[Pg vii]</a></span> +</div> +<h4>PART IX—<i>Cost Finding and Accounting</i></h4> + +<p class="i4">56. <b>Elements of Cost in Printing</b> By Henry P. Porter<br /> +The Standard Cost-Finding Forms and their uses. What they should +show. How to utilize the information they give. Review questions. +Glossary.</p> + +<p class="i4">57. <b>Use of a Cost System</b> By Henry P. Porter<br /> +The Standard Cost-Finding Forms and their uses. What they should +show. How to utilize the information they give. Review questions. +Glossary.</p> + +<p class="i4">58. <b>The Printer as a Merchant</b> By Henry P. Porter<br /> +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> + +<p class="i4">59. <b>Fundamental Principles of Estimating</b> By Henry P. Porter<br /> +The estimator and his work; forms to use; general rules for +estimating. Review questions. Glossary.</p> + +<p class="i4">60. <b>Estimating and Selling</b> By Henry P. Porter<br /> +An insight into the methods used in making estimates, and their +relation to selling. Review questions. Glossary.</p> + +<p class="i4">61. <b>Accounting for Printers</b> By Henry P. Porter<br /> +A brief outline of an accounting system for printers; necessary +books and accessory records. Review questions. Glossary.</p> + + +<h4>PART X—<i>Miscellaneous</i></h4> + +<p class="i4">62. <b>Health, Sanitation, and Safety</b> By Henry P. Porter<br /> +Hygiene in the printing trade; a study of conditions old and new; +practical suggestions for improvement; protective appliances and +rules for safety.</p> + +<p class="i4">63. <b>Topical Index</b> By F. W. Hamilton<br /> +A book of reference covering the topics treated in the Typographic +Technical Series, alphabetically arranged.</p> + +<p class="i4">64. <b>Courses of Study</b> By F. W. Hamilton<br /> +A guidebook for teachers, with outlines and suggestions for +classroom and shop work.</p> + + + +<hr style="width: 65%;" /> +<div> +<span class="pagenum"><a name="Page_viii" id="Page_viii">[Pg viii]</a></span> +</div> +<h2><a name="ACKNOWLEDGMENT" id="ACKNOWLEDGMENT"></a>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> + +<p> + +<span style="margin-left: 55%;"><span class="smcap">Committee on Education</span></span>,<br /> +<span style="margin-left: 55%;"><span class="smcap">United Typothetae of America</span></span>.<br /> +<span style="margin-left: 60%;"><span class="smcap">Henry P. Porter</span>, <i>Chairman</i>,</span><br /> +<span style="margin-left: 60%;"><span class="smcap">E. Lawrence Fell</span>,</span><br /> +<span style="margin-left: 60%;"><span class="smcap">A. M. Glossbrenner</span>,</span><br /> +<span style="margin-left: 60%;"><span class="smcap">J. Clyde Oswald</span>,</span><br /> +<span style="margin-left: 60%;"><span class="smcap">Toby Rubovits</span>.</span><br /> +<span style="margin-left: 55%;"><span class="smcap">Frederick W. Hamilton</span>, <i>Education Director</i>.</span><br /> +</p> + + + +<hr style="width: 65%;" /> +<div> +<span class="pagenum"><a name="Page_ix" id="Page_ix">[Pg ix]</a></span> +</div> +<h2><a name="CONTRIBUTORS" id="CONTRIBUTORS"></a>CONTRIBUTORS</h2> + + +<div><b>For Composition and Electrotypes</b> +<ul><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> +</div> + +<div><b>For Composition</b> +<ul><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> +</div> + +<div><b>For Electrotypes</b> +<ul><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> +</div> + +<div><b>For Engravings</b> +<ul><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> +</div> + +<div><b>For Book Paper</b> +<ul><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> +</div> + + +<div class="footnotes"><h3>FOOTNOTES:</h3> + +<div class="footnote"><p><a name="Footnote_A_1" id="Footnote_A_1"></a><a href="#FNanchor_A_1"><span class="label">[A]</span></a> In many composing-rooms the fractions and commercial signs +are not now kept in the regular cases, but in special cases apart from +the font.</p></div> +</div> + + + + + + + + +<pre> + + + + + +End of the Project Gutenberg EBook of Type Cases and Composing-room furniture, by +A. A. 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a/31704.txt b/31704.txt new file mode 100644 index 0000000..ab70c66 --- /dev/null +++ b/31704.txt @@ -0,0 +1,2023 @@ +Project Gutenberg's Type Cases and Composing-room furniture, by A. A. Stewart + +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: Type Cases and Composing-room furniture + +Author: A. A. Stewart + +Release Date: March 20, 2010 [EBook #31704] + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK TYPE CASES, COMPOSING-ROOM FURN. *** + + + + +Produced by Barbara Tozier, Bill Tozier, Joseph R. Hauser +and the Online Distributed Proofreading Team at +https://www.pgdp.net + + + + + + + +TYPOGRAPHIC TECHNICAL SERIES FOR APPRENTICES--PART I, No. 3. + +TYPE CASES AND +COMPOSING-ROOM +FURNITURE + +A PRIMER OF INFORMATION ABOUT +TYPE CASES, WORK STANDS, CABINETS, +CASE RACKS, GALLEY RACKS, +STANDING GALLEYS, &c. + +COMPILED BY + +A. A. STEWART + +PUBLISHED BY THE COMMITTEE ON EDUCATION +UNITED TYPOTHETAE OF AMERICA + + + + +1918 + + + + +COPYRIGHT, 1918 +UNITED TYPOTHETAE OF AMERICA +CHICAGO, ILL. + + + + +Composition and Electrotypes contributed by +The Blanchard Press +New York + + + + +CONTENTS + + PAGE + +INTRODUCTORY 5 + +EARLY TYPE CASES 9 + +SIZES OF TYPE CASES 11 + +STRUCTURE OF TYPE CASES 12 + +CASES FOR VARIOUS PURPOSES 14 + +COMPOSITOR'S WORK STANDS 16 + +CASE STANDS AND RACKS 18 + +THE MODERN TYPE CABINET 20 + +IRON CASE BRACKETS 22 + +WOOD RUNS AND STEEL RUNS 24 + +EXTENSION FRONTS AND BACKS 25 + +FURNITURE RACKS 26 + +SPECIAL CABINETS 28 + +REVIEW QUESTIONS 30 + +GLOSSARY 32 + + + + +INTRODUCTORY + + +The essential articles of furniture in a modern composing room may be +classified broadly, omitting obvious details for the present, under the +following heads: + + 1. CASES for type for general composition; for borders, type + ornaments, accented letters, fractions, extra sorts, etc., and for + engraved plates, and electrotypes; for spaces and quads, brass + rules, leads, slugs, metal furniture and large spacing material, + and for wood type. Also cases in special cabinets for printed + specimens, paper samples, etc. + + 2. WORK STANDS AND CABINETS--Open wooden frames with or without + racks, to hold cases on top; made single or double; with working + top. Cabinets, with working top, holding cases, enclosed on sides + and back; made single, double, or triple size. Cabinets are made of + pressed steel as well as of hard wood. + + 3. CABINETS AND STORAGE RACKS FOR CASES--In addition to the racks + in working stands and cabinets, there are standing racks, cabinets + (flat top for holding miscellaneous articles or material, and + galley top for temporary storage of live or dead matter), etc. + + 4. GALLEY CABINETS AND RACKS--These are to hold galley matter + waiting return of proofs, or for pages made up and waiting to be + locked up for electro foundry or for the pressroom. They may be + placed in any convenient place, or are sometimes in movable form to + be taken from composing or correcting stands to the make-up stand + or imposing table. + + 5. FURNITURE RACKS AND CABINETS--For labor-saving fonts of reglet, + wood furniture, soft metal or steel furniture, etc. + + 6. STANDING GALLEYS--These are stands with inclined tops divided + sometimes horizontally and sometimes perpendicularly into narrow + columns, for holding live or dead standing matter--usually the + latter awaiting distribution. The lower part of the frame is + usually provided with racks for cases, letter-boards, galleys, or + other storage facilities. + + 7. IMPOSING TABLES--Large flat surfaces upon which pages and forms + are imposed and locked up for electrotype molding or prepared for + the press. These consist of polished marble slabs on strong frames + or tables, with drawer for quoins, etc., and also furnished below + with galley racks, receptacles for wood or metal furniture, + letter-boards, chase racks, etc. The more common modern imposing + tables are made of steel, on iron frames, with the lower parts + fitted for the storage of material used in locking up forms. + + 8. PROOFING APPARATUS--Proof planer and mallet, galley press, hand + press, modern curved-surface machines, automatic proofing machines, + self-feeding and self-inking. These also include proof rollers, ink + tables, shelves for proof paper, and receptacles for benzine or + other type-washing liquids. + +In addition to the foregoing brief summary there are numerous other +items of composing-room equipment, large and small, provided for the +particular needs of the work carried on in the place. Many of these +items, however, are not in extensive use, as in many places the needs +they would serve might not warrant the expense of their installation. +The specialties of the printing industry nowadays affect the +composing-room as well as the other departments. + +A particular article which is useful and profitable in one place may be +quite superfluous and an unnecessary expense in another. The kind and +quantity of the work done in any workroom usually governs the kind and +the extent of the equipment provided--making allowance always for the +customary variation in individual judgment and the proprietor's ability +to purchase. + +There is a wide range of choice from a plain wooden double stand with +two pairs of cases, at which two persons may work, costing six to ten +dollars, to a latest pattern steel working cabinet, also providing for +only two workers, costing one hundred dollars, or even more. + +There are, however, certain articles and facilities fundamentally +necessary to carry on the work of a composing room. The particular form +of these--whether simple and inexpensive or elaborate and costly--is a +question for the proprietor or manager to consider. + +The articles of furniture classified under items 1, 2, 3, 4, 5 and 6, in +the foregoing list, are those treated in this book; those referred to in +item 7, Imposing Tables and Lock-Up Appliances, being considered in a +separate volume (No. 4). Proof Presses, item 8, are also treated in a +separate book (No. 5). + + + + +COMPOSING-ROOM FURNITURE + + +_Early Type Cases_ + +Probably the first article which Gutenberg and his co-workers provided, +after their types were cast, was a tray with small compartments for +holding the various letters of the font, so that each letter, as it was +required for composing, could be readily selected. There may not have +been a composing stick used at first, it is reasonable to suppose, as it +was quite feasible for the types to be assembled in lines directly into +the frames in which they were held during the printing. A case in which +to hold the type, however, was a first and obvious necessity. + +The early type cases are shown in pictures of the time as made of a +single tray containing all the characters of the font and resting in a +slanting position on a rude frame or "horse," at which the compositor is +usually seated. All the boxes of the case are represented as of the same +size, which probably was not the fact even in early practice any more +than it is today. Early designers and artists no doubt overlooked or +ignored what they considered an unimportant detail, just as today they +often persist in misrepresenting the true outline of the printer's +lower-case. One does not need to take much thought or to have much +experience to understand that in all printed languages some characters +are used more than others and therefore more types of these letters and +larger boxes to hold them should be provided. + +For a long time the large single case with boxes for the entire list of +characters was used, and these are still common in many European +composing rooms. In English and American workshops, however, the pair of +cases, one above the other, for many years has been the rule for large +fonts in book and news work. These cases, being smaller and holding but +a part of the font, are more convenient for storing and for moving from +place to place about the room as they are needed for use. + +The cases described by Moxon in 1683 are in pairs, and the arrangement +of the letters in the lower case, as shown in his illustrations, bear a +close similarity to the plan of English cases of today. + +[Illustration: Fig. 1. Early Type Case.] + +Early American cases came from England and naturally they conformed to +the customs of the time and place of origin. Probably in no other +important particular has the tendency of printers to hold to past +methods been more strongly emphasized than in their refusal to adopt any +important change in the style of the most used type cases and the +arrangement of the types in the boxes. Force of habit and dislike for +innovation have kept practically unchanged for two and a half centuries +the relative positions of the chief characters in the case. At the same +time there has been universal acknowledgment that the adoption of some +of the suggested improvements would add greatly to convenience and +economy; and further, that many of these improvements could be adopted +with an effort and expense so small as to be out of all proportion to +the advantages obtained. + + +_Sizes of Type Cases_ + +The standard type case of today is 32-1/4 inches wide, as it lies on the +work-stand, and 16-5/8 inches--or slightly more than one half of the +width--from the front to the back or upper edge. The usual depth of the +outside frame is 1-3/8 inches, the minor inside partitions being +slightly lower than the outside frame and middle crossbar, thus making +the normal depth of the boxes approximately 1 inch. These dimensions +vary only by fractions of an inch from those given by Moxon, and they +seem to have been quite uniformly adhered to as an acceptable size for +printers' cases. + +Other sizes of cases, however, have been made and quite commonly used +during the last half century. Those now listed in the dealers' catalogs +are known as three-quarter size (26-1/2 inches wide by 16-5/8 inches +front to back) and two-third size (21-3/4 by 16-5/8 inches). There is +also another size known as the Rooker case, used to some extent in +newspaper composing rooms, the dimensions being 28-1/2 x 14 inches, +which is about one-fifth smaller than the standard case. It holds nearly +the same quantity of the smaller sizes of type and has the advantage of +occupying less room. + +[Illustration: Fig. 2-a. Upper Case.[A]] + +[Illustration: Fig. 2-b. Lower Case.] + +When printing offices employed but few workmen and there was small +equipment, the need for economizing space did not seem a pressing one. +Large cases with small fonts, and open-frame working stands with few or +no racks or shelves for storage of extra material, were not considered +extravagant so long as the original cost was small. The employment of +larger numbers of workmen, however, and the consequent additional +equipment of cases, with racks, cabinets, imposing tables, and other +facilities concentrated in city buildings where the cost of rent, light, +heat, etc., is high and constantly increasing, have made the utilization +of waste space a matter of urgent necessity. The three-quarter, +two-third cases, and even smaller sizes, which can be kept in smaller +racks and cabinets, have therefore been found convenient in many places, +but these must be provided with suitable racks or cabinets of the proper +size. The smaller cases are sufficient to hold many of the usual small +fonts, as well as the ordinary auxiliary material, like type borders, +ornaments, small electros, etc. Small cases, with their lesser weight of +contents in type metal, often give distinct advantage in the ease with +which they may be handled. + +[A] In many composing-rooms the fractions and commercial signs +are not now kept in the regular cases, but in special cases apart from +the font. + + +_Structure of Type Cases_ + +Type cases are made of wood thoroughly seasoned to prevent as much as +possible any shrinking after they are finished and have remained for +some time in the usually dry air of a composing room. It is not so +common a custom now, as it was formerly, to sponge type on the galley +before distributing and to allow the surplus water to flow into the +case, thus subjecting parts of the case to excessive dampness. The old +type cases, under such careless usage, were quickly warped and cracked. +The splitting of the bottom and the separation of the partitions allowed +small types to drop out and to shift under the partitions. These defects +were partially overcome by papering the bottoms of the boxes, the +proper accomplishment of which was at one time considered a part of the +compositor's duty. + +The modern American type case is better made than its predecessors, +being so far superior in several essential particulars as to be a +distinct achievement in factory woodwork. A type case, with 49 to 100 or +more small boxes, is not a simple thing to make by hand labor. While the +making of the outside frame and the bottom involve no special +difficulties, the box partitions and their proper fastening to each +other and to the bottom of the case require patience and skill. Only a +highly developed system of specialization could provide the cases of +today at the prevailing cost. + +[Illustration: Fig. 3. Section Showing Triple-Veneer Bottom of Case.] + +The bottom of the old-time case warped and split easily because it was +made of a single thin board. The modern case has a bottom made of +three-ply wood, the middle layer having the grain across that of the +other two. (Fig. 3.) These three layers are thoroughly glued together +and the upper side is smoothly covered with a strong paper before the +partitions are fastened to the bottom. The common styles of case have a +strong bar of the same thickness as the outside frame across the middle. +In several styles there are two or even more crossbars. These crossbars +serve not only to divide the main sections of boxes, but they also act +as strong braces to which the bottoms are fastened, giving greater +rigidity to the entire case. + +[Illustration: Fig. 4. Detail of Type Case, showing at A how bottom is +fitted to side frame.] + +The bottom of the case is fitted into a groove made in the outside +frame, so that it cannot be easily separated. This groove being +slightly higher than the lower face of the side frame, upon which the +case slides back and forth in the rack, keeps the bottom up far enough +to allow it to pass clear of the runs, or of any case or shelf below. +The partitions are made by strips across the full width of each section +of the case from outer frame to outer frame or to crossbar. The strips +are crossed at the corners of the boxes by mortising each piece one half +of its depth at the proper place--one from above and the other from +below--and dovetailing the cross pieces together. (Fig. 4.) The corners +of the boxes are then re-enforced by brass clasps made to fit over the +top of the partitions and held by a long pin driven down through the +dovetailed partitions and clinched at the bottom of the case. (See Fig. +5.). + +[Illustration: Fig. 5. Clasp and Pin Fastening at corners of boxes in +modern type case.] + + +_Cases for Various Purposes_ + +While wooden cases are used by printers chiefly for holding type fonts, +they are now also used for a large variety of auxiliary material which +it is necessary to keep more or less carefully classified in convenient +containers. The increasing quantities and varieties of this material now +needed in an average composing-room make convenient receptacles and +orderly, systematic arrangement a necessity if the work is to be carried +on without excessive waste. In no other trade is there a greater +multiplicity of details to be considered in order to obtain a finished +product, and a thoughtless, unnecessary waste of time, effort, or +material in attending to these details adds enormously to the expense of +the product. And so it is becoming the practice of good managers to use +cases more abundantly than formerly and to store them in convenient +racks and cabinets, so that this large mass of material may be kept +classified and may be obtained quickly when needed. + +Besides the ordinary pair of upper case and lower case, many styles of +single cases are made to hold a complete font of capitals, lower case, +figures, points, etc., and others are planned to hold small capitals in +addition. Some are made for fonts of capitals, figures, and points only; +some for figures only (especially for time-tables and tabular work), for +fractions, accented letters, special characters and sorts, for leaders, +type borders and ornaments, etc. A large variety of cases are planned +for labor-saving fonts of brass rule. Others are made especially for +spaces and quads, for leads and slugs, and for metal furniture. These +are made in many sizes, from the small space-and-rule case, 5 inches by +6-1/4 inches, which can be placed beside the compositor's galley, up to +the mammoth metal furniture case, 18 inches by 72 inches, covering a +space equal to the top of a double stand. Dealers' catalogs now show +from seventy-five to a hundred or more different kinds of cases for +printers' use. + +[Illustration: Fig. 6. Italic Case.] + +[Illustration: Fig. 7. New York Job Case.] + +[Illustration: Fig. 8. Triple Case.] + +[Illustration: Fig. 9. Greek Case.] + +[Illustration: Fig. 10. Space and Quad Case.] + +[Illustration: Fig. 11. Lead and Slug Case.] + +[Illustration: Fig. 12. Wood Type Case.] + +[Illustration: Fig. 13. Metal Furniture Case.] + +[Illustration: Fig. 14. Wood Type Case, with cross bar.] + +[Illustration: Fig. 15. Blank Case for electrotypes.] + + +_Compositor's Work Stands_ + +Primarily a working case-stand for a compositor serves two purposes. It +should hold the cases in a position where he can work with reasonable +comfort, and it should be fitted to contain the necessary material for +his immediate use. For the first purpose the height of the case, working +top, or shelf, should conform approximately to a level that will be +comfortable for the individual workman. A tall man may work easily at a +case which would be too high for the comfort of an apprentice, and a +case at the right elevation for one below the average height would cause +a habit of tiresome, if not unhealthful, stooping in a tall person. It +often happens in some places that such conditions may not be adjusted +without some bother, and an uncomfortable temporary position may not be +a serious matter for very brief periods. The tendency in well-managed +workrooms, however, is to remedy such improper situations and not to +permit workmen to work habitually under conditions which may be easily +improved. "The height of a compositor and his frame," said an early +authority among printers, "should be so adjusted that his right elbow +may just clear the front of the lower case by the _a_ box, without the +smallest elevation of the shoulder"; and this seems a wise general rule +to observe. + +When the type case is placed at a height at which the compositor may +stand erect before it, the boxes are more readily reached by the hand if +the back of the case is at a slight elevation. A case lying perfectly +flat must be somewhat lower, in relation to the compositor's arms, than +when it is resting at an inclination, in order to take types from it +with the same facility. Consequently the custom is to place working +cases and working tops or shelves at an inclination upward from the +front to the back. + +This inclination serves also as the most convenient kind of a rest for +galleys upon which loose lines of composed matter are handled. Lines of +small type will not stand upright without support of some kind, even on +a perfectly level, smooth, rigid surface. The universal custom, +therefore, is to place galleys of type matter in a slanting position, so +that the ends of the lines will be higher and all the matter will rest +firmly against the lower rim of the galley. A galley in this slanting +position, with the first letter in the line resting against the lower +rim and the words reading upward, is the safest and most practicable +manner in which to make corrections, lift out or insert whole lines +singly or in groups, or to handle types generally in certain difficult +composition, making-up pages, etc. After the pages are tied up or +surrounded by side supports in some manner they may be conveniently +handled on a level surface. Ordinary linotyped matter, which consists of +a single piece for each line of words, and consequently is not liable to +pi, may be, and usually is, handled throughout on level tables; but +types are easily and safely handled only when they may be placed against +the lower rim of an inclined galley. + +[Illustration: Fig. 16. Compositor's Work Stand--Front Side.] + +[Illustration: Fig. 17. Compositor's Work Stand--Rear View.] + + +_Case Stands and Racks_ + +A simple and inexpensive working stand to hold type cases for composing +is that shown in Fig. 18. This is made of wood and has a rack in the +lower part for holding extra cases. It will be noticed that because the +rack is wide enough to take the full-size case, the top of the stand is +several inches wider than the case, and the side frames are therefore +too far apart to support the ends of the case. To enable the cases to be +held safely, an extra arm is placed inside near the side frame to hold +one end of the case. The surplus space beside the working cases is +usually furnished with a sloping shelf or narrow galley rest convenient +for holding a galley, leads, or other articles, thus allowing the case +to be kept clear for composing. (See Fig. 19.) + +[Illustration: Fig. 18. Single Stand] + +[Illustration: Fig. 19. Iron Case Stand with Galley Rest on side.] + +A rack used to hold cases that are not often used is shown in Fig. 22. +Racks of this kind are made in different sizes to hold ten to thirty +cases, and in double tiers to hold forty to sixty cases. + +[Illustration: Fig. 20. Double Stand with Galley Rest between working +cases.] + +Tall racks which hold cases too high to be reached comfortably by a +person standing on the floor are not to be commended. While they may +occupy less floor space and because of this seem to be an advantage +where there are a great many cases that are seldom used, this advantage +is usually more than offset by their disadvantages. The upper cases are +difficult to handle and are liable to be pied. If the tall racks are +near a window they obstruct the light. + +[Illustration: Fig. 21. Double Stand for tier of full size cases and +tier of two-third cases.] + +A double stand of similar character to Fig. 18 is shown in Fig. 21, in +which the space below is fully utilized for two racks, one for full-size +cases and the other for two-third cases. + +[Illustration: Fig. 22. Case Rack] + +Many foremen do not approve the small size cases for type in common use, +preferring to have all the cases of a standard size, so that they may +fit the regular racks and stands and be interchangeable throughout the +department. To provide for this, double stands are made which have a +double tier of racks for full size cases, as shown in Fig. 20. This +double stand has the extra space on the top utilized by a narrow galley +shelf in the middle between the inclined case supports. + +Another class of wooden case-stands is made with the frame having a flat +top or table upon which is fastened a set of iron brackets to hold the +working cases in an inclined position. These styles are illustrated in +Fig. 23. + +[Illustration: Fig. 23. Double Stand with working cases held on iron +brackets.] + + +_The Modern Type Cabinet_ + +The closed-in cabinet is the modern plan for a compositor's working +stand and for holding cases of type in common use. This is a frame or +stand enclosed at the sides and back to exclude dust and debris from the +cases. The case runs are thin (often of steel) and close together and +the fronts of the cases are made with extra high rims, so that when all +are pushed into place they present a closed front also. + +[Illustration: Fig. 24. "Adman" Cabinet has equipment for two +compositors, supply of leads and slugs and assortment of materials such +as brass and copper thin spaces and quads.] + +The printer's cabinet is now made in a multiplicity of styles and in +several sizes. The frames are usually of hard wood, but during the past +few years they have been made of pressed steel. Usually they provide +for one or more tiers of standard wooden cases for type, etc. Some of +the latest patterns combine in one structure racks for type cases and +facilities for holding assortments of the various kinds of material +which a compositor ordinarily uses, with provision for some special +material, as well as ample working space for galleys, etc. They are +planned to concentrate the frequently used material near to the +compositor's hands, to enable him to save the time occupied in going +from place to place about the room. + +The old-style working stand or cabinet as illustrated in Figs. 20, 21, +usually made it necessary for a workman to stand directly in front of a +number of cases which he rarely used but which might be frequently used +by other compositors. In small workshops this arrangement offers no +inconvenience and there need be little loss of time or patience among +courteous fellow workmen. In large departments, however, especially +where floor space is pretty fully occupied and the working spaces are +narrow, a permanent workstand directly over a group of cases that are +frequently used by several persons has been found to be an annoying and +time-wasting arrangement. + +[Illustration: Fig. 25. Double "City" Stand with working cases and case +racks. Note that the lower case may be pushed up when necessary to allow +access to galley underneath.] + +About thirty years ago a radical change of this practice was proposed, +and is now being gradually adopted for modern equipments. This plan +places the working stand on one side of the cabinet and the case rack on +the other side, so that there is freer access to cases by all workmen. +The original styles of these stands and cabinets were called "Polhemus," +after a New York printer, John Polhemus, who arranged his +composing-room in this manner. + +The case-front side of the cabinet is provided with a galley top for +holding standing matter, etc., while the opposite side (the closed-in +back of the case rack) is surmounted with brackets for type cases, +galley shelf, etc., and is used as the working stand. + +[Illustration: Fig. 26. Polhemus Cabinet, case rack and galley top.] + +[Illustration: Fig. 27. Polhemus Cabinet, working side, lower case on +tilting brackets.] + +Polhemus cabinets (Figs. 26 and 27) and others embodying this plan have +been made in a variety of sizes--single, double, and triple cabinets, +the larger sizes providing for galley racks and sorts drawers, as well +as the three tiers of type cases. + + +_Iron Case Brackets_ + +The cast-iron case brackets used on flat-top wooden cabinets and case +racks are made in a variety of styles. They have advantages over the +case supports formed by the top of side frames of the old style wooden +stands shown in Fig. 21, in that they allow use of the space below the +cases, and provide a more convenient placing of the upper case. The +style of bracket shown on the stands illustrated in Figs. 23 and 30 +allows the upper case to be brought nearer to the front, making it +easier to reach all the boxes and yet leave ample room to get at the +upper boxes of the lower case. The stand or cabinet may be placed close +against a wall or other frame, as the upper case does not overhang at +the back. The position of the inclined working cases on top may be fixed +at any desired place on the top of the cabinet by changing the position +of the brackets. One style of bracket (Fig. 29) is made to fasten to the +extreme fore edge of the shelf, this bringing the front of the lower +case out beyond the front line of the cabinet. + +[Illustration: Fig. 28. "Window" Cabinet, for two compositors.] + +[Illustration: Fig. 29. Case Cabinet with iron brackets for working +cases on top.] + +A number of years ago a tilting bracket (shown in Figs. 27 and 28) for +the lower case was introduced and this has been used to some extent. The +ostensible advantage of this is to allow the lower case to be tilted up +from the front so that easier access is given to a galley shelf or other +space under the case. This is a convenience in some instances, but the +unstable nature of the case support is liable to be a disadvantage; a +full case suddenly tilted is likely to cause types to be thrown into +adjoining boxes; or a galley, leads, or other material on top of the +case may slide down back when the case is tipped forward. A style of +bracket which has proved serviceable is that shown on the case stand in +Fig. 30. + +[Illustration: Fig. 30. Quadruple Stand.] + +Brackets for holding galleys are furnished in several varieties, one of +which is illustrated in Fig. 31, etc. These are temporary rests for +galleys, while the matter on them is waiting for return of proofs, for +making up, etc. They are fastened to a wall or strong frame in some +out-of-the-way place, or they may be fitted on special standards near +the type cases or the make-up table. The galley cabinet, similar to that +illustrated in Fig. 32, is a more expensive article of furniture for +this purpose, but it is usually more satisfactory. + +[Illustration: Fig. 31. Galley Brackets forming a rack fastened to +wall.] + +[Illustration: Fig. 32. Galley Cabinet.] + + +_Wood Runs and Steel Runs_ + +Early wooden case racks were fitted with strips of thin wood upon which +the cases were moved in and out. These slender strips were not always of +perfect grain and were difficult to attach firmly to the side frame. +They warped and split easily, and the nails and screws with which they +were fastened would work loose. In order to have them strong they had to +be thick, and this thickness gave a wide space between the cases so that +fewer cases could be kept in a given space. + +To avoid these disadvantages case runs are now made of flat strips of +steel fastened to the side frames of the rack or cabinet. In some +cabinets they are fitted between side slats of wood, and a couple of +perpendicular iron rods are run through holes in the slats and the steel +strips from top to bottom of the rack, binding the pieces together and +to the side frame, making a particularly substantial rack. Another style +of steel run is made of a wider strip of iron bent the entire length +into a right-angle shape. Screw holes on one side of this angle strip +enable it to be fastened to the side frame, the other angle of the +strip being used to support the case. + + +_Extension Fronts and Backs_ + +In all composing-rooms there are many cases at which it is necessary to +work for only a few moments at a time, to set a single line, or to make +a correction, etc. In order that cases kept in racks or cabinets may be +used quickly it is necessary that each one may be pulled out clear of +the case above, so that all the boxes at the rear are accessible. In the +old-style racks this was attained by having the runs several inches +longer than the width of the case, and placing an upright strip or stop +at the rear to allow the cases to be pushed back far enough to leave +three or more inches of the run exposed in front. This front space is +sufficient to support the case temporarily while it is pulled out from +those above in full view. (Fig. 33.) + +[Illustration: Fig. 33. Double Case Stand, showing the cases in rack +pushed back from front, to permit exposure of all boxes when a case is +pulled forward for setting type.] + +In many type cabinets, however, the practice is to keep the front of all +cases flush with the front of the cabinet frame. This allows no front +support for a case that is pulled out far enough to expose all the +boxes, and so the side frames or rims of the cases are extended three or +four inches back beyond the case itself. These extensions serve as stout +arms at the rear of the case to hold it in the front of the rack when +the case is pulled forward. When the case is carefully handled this plan +serves the purpose if the extensions themselves are not drawn entirely +clear of the case above. Its security depends somewhat upon the style of +the runs and how carefully the cases fit their places. A disadvantage +of this plan is that the cases having these long rear extensions are +awkward to place when they are taken from their racks to be used on top +of ordinary working stands. + +The later method of providing for this is to place the cases further +back in the rack, as in the old-style stand, and have the runs on the +cabinet extended entirely to the front. This is the extension front, and +in modern cabinets the rims are of thin steel, as already described. +(Fig. 34.) With this arrangement the cases have no protruding arms and +can be conveniently placed anywhere; standard cabinet cases can be +placed on working stands or temporarily in any convenient case rack. + +[Illustration: Fig. 34. Extension Front Case Rack.] + + +_Furniture Racks_ + +In the composing-room of a generation ago--and unfortunately in some +unprogressive places today--the strips of blank material known as reglet +and wood furniture were usually kept in disorderly manner in a large box +or drawer under or near the imposing stone. The material was usually +obtained in lengths of one yard and a small hand-saw was at hand to cut +any lengths required. In time there was an accumulation of all sorts +jumbled together in the drawer in a manner to make it difficult to find +needed pieces without loss of time. Often the quickest way to obtain +the right piece was to cut off a longer one. + +[Illustration: Fig. 35. Furniture Cabinet for labor-saving fonts of wood +or metal furniture.] + +[Illustration: Fig. 36. Imposing Stone Frame with labor-saving furniture +in side.] + +This wasteful method was the universal custom before the era of the +labor-saving assortment stored in orderly fashion in a cabinet and +placed within instant reach of the workman. The common-sense modern +method is the well-stocked rack or cabinet with a compartment for each +size of the series, with the compartments numbered and the larger pieces +of the material numbered to correspond. An arrangement like this invites +an orderly habit in persons who would otherwise be careless. + +The usual style of furniture rack is shown in Fig. 35. This is made in +several sizes to hold quantities large or small according to the +requirements of the room. The position of a rack like this should be +near the stone at a level near the height of the working surface. + +[Illustration: Fig. 37. Standing Galley, or Bank, with letter boards, +galley racks, and galley top.] + +Another style of furniture and reglet rack is that fitted into the frame +of the imposing table or into an adjoining stand or cabinet. This is +illustrated in Fig. 36. It will be noticed that all the different +lengths present a surface flush with the outside of the frame. This is +because the depth of the compartments is varied to accommodate the +several lengths of furniture at the back, instead of at the front as +shown in Fig. 35. + + +_Special Cabinets_ + +Among the new articles supplied for the compositor's use are cabinets +for holding assortments of metal furniture, brass rules, leads, slugs, +and small cases or drawers for special material. The tops of some of +these cabinets hold the lead and rule cutter and the rule-mitering +machine, with a small inclined shelf above, as shown in Fig. 38. These +cabinets will hold a large amount of material in small space. When +conveniently situated and properly supplied with material they save time +and effort on the part of the compositor. + +[Illustration: Fig. 38. Work Bench and Auxiliary Cabinet.] + +[Illustration: Fig. 39. Cabinet for Script Type, Borders, or other small +characters which can be kept standing face up.] + +Another cabinet that is useful is the script type cabinet. This holds +the cases inclined upward from the left. The compartments are narrow, +running horizontally with the front. In these the types are held face +up, so that they may not be injured by rattling about when the case is +moved back and forth. The cases may be used for borders, special +characters, or any small items which it is desired to keep standing face +upward. The compartments of the cases may be made wide or narrow to +accommodate the size of the types they are to hold. + +[Illustration: Fig. 40. Sort Cabinet, for storage of extra quantities of +type, etc.] + +[Illustration: Fig. 41. Rack for leads, or brass rules in assorted +standard lengths.] + +The apprentice who wants to learn about the latest and best feature of +composing room equipment should make a special point to examine the +catalogues of manufacturers and dealers in printers' supplies. These +catalogues continually show new and improved articles that are finely +illustrated and specifically described as to their particular +advantages. + + + + +REVIEW QUESTIONS + + +SUGGESTIONS TO STUDENTS AND INSTRUCTORS + +The following questions, based on the contents of this pamphlet, are +intended to serve (1) as a guide to the study of the text, (2) as an aid +to the student in putting the information contained into definite +statements without actually memorizing the text, (3) as a means of +securing from the student a reproduction of the information in his own +words. + +A careful following of the questions by the reader will insure full +acquaintance with every part of the text, avoiding the accidental +omission of what might be of value. These primers are so condensed that +nothing should be omitted. + +In teaching from these books it is very important that these questions +and such others as may occur to the teacher, should be made the basis of +frequent written work, and of final examinations. + +The importance of written work cannot be overstated. It not only assures +knowledge of material but the power to express that knowledge correctly +and in good form. + +If this written work can be submitted to the teacher in printed form it +will be doubly useful. + + +QUESTIONS + +1. What classes of furniture are essential in modern composing-rooms? + +2. Give a general statement of articles in each class. + +3. What determines the selection of furniture for any given office? + +4. What was the first thing needed in a composing-room after the type +had been cast? + +5. How was it made originally? + +6. How is it now made? + +7. What are the dimensions of the standard type case of the present +time? + +8. What other sizes are sometimes used? + +9. What effect has the need of economy of space had upon the use of type +cases? + +10. What are type cases made of? + +11. What difficulties were experienced? + +12. How were they avoided? + +13. Describe the construction of a modern type case. + +14. Give some of the uses for which special cases are provided. + +15. What are the two purposes of a working stand? + +16. What is the proper height for a stand? + +17. Should the case lie flat when in use, and why? + +18. How are galleys placed for holding type, and why? + +19. Describe a simple working stand. + +20. How are infrequently used cases stored? + +21. What should be avoided in this method of storage? + +22. Describe a modern type cabinet. + +23. What difficulty arose in working at the earlier forms of cabinet, +and how was it avoided? + +24. Describe a Polhemus cabinet. + +25. What is the advantage of iron case brackets? + +26. What are the advantages and disadvantages of tilting case brackets? + +27. What are galley brackets? + +28. What is a better article for the same purpose? + +29. Compare wooden and steel case runs. + +30. How are steel case runs constructed? + +31. Describe and compare several methods of constructing case racks so +that the case may be used without removing it from the rack. + +32. What was the old method of keeping reglets and wood furniture, and +what was its disadvantage? + +33. Describe some modern methods of keeping this material. + + + + +GLOSSARY OF TECHNICAL TERMS + + +ALLEY--The floor space between two stands or cabinets. + +ANNEX BOX--A small wood or metal cup or box attached to the type case +for holding special characters. + +BANK--A high table with the top inclined upon which composed type is +placed temporarily. See _Dump_. + +BLANK CASE--A wooden tray without partitions, or with one partition +only. + +BOX--A subdivision of a type case, in which a quantity of one particular +character is kept. + +BRACKET--An arm or support, usually of metal, to hold cases on top of a +stand, to hold galleys, etc. + +CABINET--An enclosure for cases, shelves, or boxes, closed up on the +sides and back. See _Stand_. + +CALIFORNIA JOB CASE--An extensively used type case arranged with boxes +to hold capitals, small letters, figures, points, and the usual +characters of a job font, complete in a single tray. + +CAP CASE--The top case of a standard pair of book or news cases. The +capital case, or upper case. + +CASE--The printer's name for the shallow wooden tray with small +compartments for holding types and other materials. + +CASE CLEANER--A frame like that of a type case with a wire bottom, used +to assist in cleaning out type cases that have become foul with dust, +grit, or similar dirt. The case cleaner is placed on top of the type +case, fitting snugly over each box, and the whole turned up-side-down to +transfer the type into the wire bottom. A gentle shaking then sifts out +the dirt. When the case is turned back again the types go back into +their original boxes. A vacuum cleaner, a small bellows, or an air pump +are sometimes used for cleaning type cases. + +COFFIN--The box-like frame surrounding an imposing stone on its stand. + +DUMP--The place in a composing room where dead matter is kept until it +is distributed; sometimes said of a standing galley where compositors +place their composed lines to be assembled for proofing, etc. See +_Bank_. + +EMPTY CASE--A case without the letters or types needed to compose lines. +The case may have other letters, but some boxes are empty. + +FORM RACK--For holding printing forms that are locked in chases, before +or after printing. It usually holds them in a perpendicular position. + +FOUL CASE, OR DIRTY CASE--One in which the type or other material is +badly mixed or which has material that does not properly belong there, +as in hasty distribution or because of carelessness. + +FRAME--Another name for the compositor's work stand or case rack. + +FURNITURE--In printing-office speech this term is used to mean small +pieces of wood or metal designed to fill the blank spaces larger than +leads, slugs, spaces, and quads. Furniture is placed between pages and +around forms locked in chases. + +GALLEY--A shallow tray used by compositors to hold type after the lines +have been set and transferred from the composing stick. + +GALLEY RACK--A place for holding a number of galleys in order. + +HARRIS RULE CASE--A quarter-size case for holding assortments of brass +rules. Four of these trays may be kept in a regular full size blank +case, similar to Wisconsin quarter cases. See size of cases. + +HELL-BOX--The receptacle for old, broken, or discarded types. + +ITALIC CASE--A style of case to hold a complete font of capitals, small +letters, points, figures, etc. Similar to the California job case, but +with more boxes on the capital letter side. See page 15. + +JOB CASE--A general term meaning a type case which holds a complete font +of type; in distinction from a case which holds only part of a font, +like the ordinary news or book case. + +JOB GALLEY--A short galley to place on the work stand for making up +pages, small forms, etc. + +LABOR-SAVING--Said of assortments of leads, rules, furniture, etc., +provided in assorted sizes. The sizes are commonly multiples of 6-point +or 12-point, and several small pieces may be combined to fill a large +space, thus saving the labor necessary to cut each piece to fit its +place. + +LAYING TYPE--Placing a new assortment of type in its case. + +LAY OF THE CASE--The particular plan or arrangement of the types in the +various boxes of a case. + +LEADER CASE--A small case or series of boxes for holding brass or +cast-type leaders. + +LETTER BOARDS--Movable shelves in racks, under imposing tables, and +elsewhere, to hold standing type matter, etc. + +LOW CASE--A case with a small portion of the font in it. See Empty Case. + +LOWER CASE--The bottom case of a pair of book or news cases, which rests +nearest the compositor. See page 12. + +NEW YORK JOB CASE--A case for holding a font of small capitals in +addition to the capitals, small letters, figures, etc., of the usual +fonts. See page 15. + +REGLET--Thin strips of wood, similar to thick leads; used for making up +large pages and filling in forms. + +SIZES OF CASES--There are a number of standard sizes of cases for +printers' purposes, allowing a considerable range in adapting these +important articles for particular uses. The common sizes are as follows: + + Regular full-size case 32-1/4 x 16-3/4 in. + Three-quarter size 26-1/4 x 16-3/4 in. + Two-third case 22-3/4 x 16-3/4 in. + Rooker Case (formerly popular in newspaper + composing rooms) 28-1/2 x 14 in. + Wood type case 32-1/4 x 23 in. + Mammoth wood-type case 44 x 23 in. + Bettis case, for leads, rules, etc 72 x 18 in. + Bettis case, for leads, rules, border, etc 72 in. x 7 in. + Harris case, for rules, border, etc in. x 7 in. + Wisconsin quarter case in. x 7 in. + "Sanspareil" half-size case 15-1/4 x 14-3/4 in. + +SORT CASE--For holding extra or special types, etc., with open sides and +back. + +STAND--The working frame at which a compositor sets type; in distinction +from a cabinet, which has closed sides and no back. + +TRIPLE CASE--A case divided into three principal sections, each section +having forty-nine boxes, like one-half of the common capital case. + +UNIT TYPE CABINET--A container for type cases similar to a sectional +book case. The parts are built in sections about 12-1/2 inches high, +holding eight or ten cases. There is a base piece upon which the cabinet +rests, and a top piece. Any number of the sections may be put together +to provide room for additional cases as needed. These cabinets have +cases of different depths to provide for fonts of different sizes; +shallow cases for job fonts of small types, and other cases of varying +depths to give room for larger fonts. + + + + +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 x 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 Sterotyping= 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 DeVeze + + 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. + + ++--------------------------------+ +| Transcriber's Notes: | +| Fixed inconsistent hyphenation.| ++--------------------------------+ + + + + + + + +End of the Project Gutenberg EBook of Type Cases and Composing-room furniture, by +A. A. 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