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+The Project Gutenberg EBook of Type, 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
+ Typographic Technical Series for Apprentices #1
+
+Author: A. A. Stewart
+
+Release Date: June 10, 2011 [EBook #36372]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK TYPE ***
+
+
+
+
+Produced by Barbara Tozier, Bill Tozier, David Garcia and
+the Online Distributed Proofreading Team at
+https://www.pgdp.net
+
+
+
+
+
+
+TYPOGRAPHIC TECHNICAL SERIES FOR APPRENTICES--PART I. NO. 1
+
+
+
+
+ TYPE
+
+ A PRIMER _of_ INFORMATION ABOUT THE
+ MECHANICAL FEATURES OF PRINTING
+ TYPES: THEIR SIZES, FONT SCHEMES, &c.
+ WITH A BRIEF DESCRIPTION OF
+ THEIR MANUFACTURE
+
+ 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 by
+ PUPILS IN THE TYPOTHETAE SCHOOL OF PRINTING
+ NORTH END UNION, BOSTON
+
+
+
+
+PREFACE
+
+
+This treatise is the first of a series of text-books, published under
+the general title of _Typographic Technical Series for Apprentices_,
+which have been prepared under the auspices of the Committee on
+Education of the United Typothetae of America, for the use of
+printers' apprentices and students of typographic printing.
+
+As will be noted by the table of contents, only the mechanical
+features of type and the usual methods of its manufacture have been
+considered here. No attempt has been made to review the history of
+type-faces or the development of type-making processes. These phases
+of the subject are considered in other publications of the series (see
+p. 36) and in supplementary reading recommended for students (p. 28).
+
+It is not what they are but what they can be made to do under the
+control of trained intelligence and skilful hands that makes printer's
+types of importance to the world. No tools used in modern industry
+seem simpler than these little pieces of metal, yet they are the
+product of the most highly specialized skill and ingeniously perfected
+mechanisms. To the young printer their physical elements are matters
+of first concern. An understanding of these elements may be only a
+small part of his trade education, but it is important. The
+possibilities and the limitations of type can be appreciated only by
+thorough familiarity with the technical details and niceties provided
+by the modern typefounder.
+
+A special feature of this series of technical publications is the list
+of Review Questions, which will be found at the end of each treatise
+(see pp. 29-31). These questions cover the essential points in each
+subject and will be of assistance to instructors, for examinations,
+etc. A list of the other titles of the series, as well as a statement
+of their plan and scope, will be found on pp. i-vii of this
+publication.
+
+
+
+
+CONTENTS
+
+ PAGE
+
+ FEATURES OF A TYPE 7
+
+ A FONT OF TYPE 9
+
+ SCHEME FOR JOB FONT 11
+
+ SCHEME FOR 100-LB. FONT 12
+
+ THE SIZES OF TYPE 13
+
+ LINING TYPE FACES 16
+
+ KERNED TYPES 18
+
+ SPACES AND QUADS 19
+
+ HOW TYPE IS MADE 20
+
+ THE LINOTYPE 23
+
+ THE MONOTYPE 25
+
+ INGREDIENTS OF TYPE METAL 26
+
+ WOOD TYPE 27
+
+ SUPPLEMENTARY READING 28
+
+ REVIEW QUESTIONS 29
+
+ GLOSSARY OF TERMS 32
+
+
+
+
+MECHANICAL FEATURES OF TYPE
+
+
+Printing owes its development first and chiefly to movable metal
+types. The so-called invention of printing was the discovery of a
+method of making serviceable type in quantity. The idea of a separate
+type for each letter of the alphabet was probably conceived long
+before Gutenberg's time, but it remained for him and his associates to
+devise an apparatus for making them quickly and accurately enough to
+be of practical value. That apparatus was the type mold, which
+experience has since proved to be the most efficient means of securing
+exactness and uniformity in a number of small pieces of metal.
+
+Type is made of an alloy of lead, tin, and antimony. Its length
+(technically called height-to-paper) is .918 of an inch. Each type is
+cast separately in a mold, and has the letter or printing character in
+bold relief on one end.
+
+[Illustration]
+
+Exact uniformity of body is necessary in order that the types, when
+composed in lines and pages, may be locked together by pressure at the
+sides so as to make a compact mass. All types in a printing form must
+be of the same height, so that their faces may present a uniformly
+level surface from which an impression may be made that will show all
+the characters clearly. A short type will print faintly or will not
+print at all, while a long one will be unduly forced into the sheet.
+
+[Illustration]
+
+There are on an average about one hundred and fifty roman letters and
+other characters required in ordinary book printing. These letters are
+divided into a number of classes: full-body letters, ascending
+letters, descending letters, short letters; and in some cases, small
+capitals, which are larger than short letters but not so tall as
+capitals or ascenders. Only a few letters, like J and Q, cover
+nearly the entire surface on the end of the type; other letters, like
+B h l i, cover the upper portion chiefly and leave a blank space at
+the bottom; while the small letters, like a e o u v, occupy only the
+middle portion of the surface; still others, like g y p, cover the
+middle and lower portions of the surface. As all these irregular
+shapes must be made to appear in line with each other, the type-body
+on which they are made is larger than the letter. The blank parts
+around the face of a letter are called the counter, the shoulder, and
+the beard. The counter is the shallow place between the lines of the
+face. The shoulder is the low flat part of the type around the face.
+The beard is the sloping part between the face and the shoulder.
+
+[Illustration:
+ A A, the face
+ B B, the serifs
+ C C, the counter
+ E, the pin-mark
+ F F, the beard
+ G, the shoulder
+ H, the nick
+ J J, the feet
+ K, the groove]
+
+An important feature of a type is the nick on the side of the body. In
+many cases there may be two, three, or even four nicks on a type.
+Usually all the types of a font have nicks that are identical in
+number and position, and when the types are composed in lines these
+nicks match each other and form continuous grooves on the lower part
+of the line of type.
+
+The nicks serve as guides to the compositor when taking the type from
+the case to his composing stick, and they assist in distinguishing the
+types of one font or face from those of another on the same size of
+body.[1] Individual letters of different type faces sometimes bear
+such close resemblance that they are more readily distinguished by
+the nick or some other body-mark than by the face. A difference in
+alignment of nicks in a line will readily show the presence of a
+wrong-font letter. Typefounders sometimes make an extra nick on a few
+small-capitals (o s v w x z) in order to distinguish these types from
+the lower-case letters of the same font.
+
+
+_A Font of Type_
+
+A font of type is an assortment of one size and kind that is used
+together. It is usually all the type in the composing-room of a
+certain kind matching in body, nick, and face. A small font may be
+held in one case, but several cases may be required for a font of
+large quantity.
+
+An ordinary font of roman type for book work will include these
+characters:
+
+_Roman Capitals_--
+ A B C D E F G H I J K L M N O P Q R S T U V W X Y Z AE [OE]
+
+_Small Capitals_--
+ A B C D E F G H I J K L M N O P Q R S T U V W X Y Z AE [OE]
+
+_Lower-case Letters_[2]--
+ a b c d e f g h i j k l m n o p q r s t u v w x y z ae [oe]
+ [fi] [fl] [ff] [ffi] [ffl]
+
+_Figures_--
+ 1 2 3 4 5 6 7 8 9 0 (or oldstyle 1 2 3 4 5 6 7 8 9 0)
+
+_Marks of Punctuation_--Period . comma , colon : semi-colon ; hyphen -
+apostrophe ' exclamation mark ! question mark ? parenthesis ( bracket [
+The latter two are used in pairs () [], the second type being set in
+reversed position.
+
+_Quotation Marks_ are made by two inverted commas " at the beginning
+and two apostrophes " at the end of the quoted matter. In some fonts
+there is a double mark |"| |"| cast on single bodies, but these are
+not often used.
+
+_Dashes_--En - em -- two-em ---- three-em ------
+
+_Reference Marks_--Asterisk or star * dagger [Symbol: dagger] double
+dagger [Symbol: double dagger] section [Symbol: section] parallel ||
+paragraph [Symbol: pilcrow] index (hand, or fist) [Symbol: right hand]
+
+_Braces_--Two-em [Graphic: two-em brace] three-em [Graphic: three-em
+brace] pieced braces [Graphic: pieced brace] made on em bodies, which
+may be extended more or less with dashes [Graphic: longer pieced brace]
+
+The dollar-mark $, short-and (or round-and) &, and sterling pound-mark
+L are also included with all full fonts.
+
+The character [ct] is an old-style ligature (two joined letters cast
+on one type) made in some fonts of old-style faces. It is one of the
+many letter combinations formerly common, in imitation of the work of
+old manuscript writers.
+
+Many styles of roman types have italic letters to match, but the
+italic fonts include only capitals, lower-case, figures, and
+punctuation marks:
+
+_Italic Capitals_--
+ _A B C D E F G H I J K L M N O P Q R S T U V W X Y Z AE [OE]_
+
+_Italic Lower-case_--
+ _a b c d e f g h i j k l m n o p q r s t u v w x y z ae [oe]_
+
+_Italic Figures_--
+ _1 2 3 4 5 6 7 8 9 0_ (_1 2 3 4 5 6 7 8 9 0_)
+
+_Italic Points, etc._[3]--
+ _. , : ; - ' ! ? ) $ &_
+
+Small capitals are not made for italic fonts, except in rare cases.
+When they are needed in composition, capitals of a smaller size of
+type are justified into the text line.
+
+Other extra characters, not included in ordinary fonts but which may
+be added when required, are accented letters (a e e [=i] [=o] u etc.),
+fractions 3/4 5/13 etc.), mathematical signs (+ x / = etc.),
+superior (^{ab 42}) and inferior (_{ab 12}) letters and figures,
+leaders (............), commercial signs (@ [Symbol: lb bar] [Symbol:
+per sign] [Symbol: account of] c), and many other characters for
+special kinds of printing.
+
+Fonts of advertising, jobbing, and display types usually consist
+of the capitals, lower-case letters, figures, and points, with
+occasionally a few extra characters. For many recent styles of heavy
+faces the founders furnish fractions, accented letters, and other
+special characters to match in boldness of face, but these are not
+included in ordinary letter-fonts.
+
+The quantity of each character apportioned to a regular font is the
+estimated average required for ordinary composition in the English
+language. It is rare that more than a fraction of a small font can
+be used in any piece of composition. No general scheme can meet the
+needs of every kind of work; tables and statistical matter will need
+extra figures, directories and other lists will call for surplus
+capitals, dialogue matter will need more than the usual portion of
+commas and apostrophes for quote-marks; even plain descriptive
+composition will often call for extra "sorts." For these and other
+peculiar kinds of composition extra quantities of some characters,
+as well as other material, must be provided.
+
+Ordinary roman and other faces used in large quantities are measured
+by weight. The proportion of letters in a 100-pound font, showing
+the proportions of each character, is given on the next page.
+Miscellaneous faces used in small quantities are put up in fonts
+containing a certain number of each letter, the size of the font
+being designated by the number of capital A's and lower-case a's
+it contains.
+
+_Scheme for 15-A 30-a Job Font of 12-Point[4]_
+
+ +------------+------------+---------------+
+ | CAPITALS | LOWER-CASE | POINTS |
+ | A 15 | a 30 | period 31 |
+ | B 6 | b 12 | comma 31 |
+ | C 10 | c 16 | colon 6 |
+ | D 8 | d 18 | semi-colon 6 |
+ | E 18 | e 40 | hyphen 9 |
+ | F 7 | f 12 | apostrophe 13 |
+ | G 7 | g 12 | ! 9 |
+ | H 8 | h 20 | ? 8 |
+ | I 15 | i 30 | ( 6 |
+ | J 5 | j 8 | |
+ | K 5 | k 8 | FIGURES |
+ | L 10 | l 20 | |
+ | M 8 | m 16 | 1 5 |
+ | N 15 | n 30 | 2 4 |
+ | O 15 | o 30 | 3 4 |
+ | P 8 | p 12 | 4 4 |
+ | Q 3 | q 6 | 5 4 |
+ | R 15 | r 30 | 6 4 |
+ | S 15 | s 30 | 7 4 |
+ | T 15 | t 30 | 8 4 |
+ | U 8 | u 16 | 9 5 |
+ | V 5 | v 8 | 0 6 |
+ | W 6 | w 12 | $ 4 |
+ | X 3 | x 6 | L 1 |
+ | Y 6 | y 12 | |
+ | Z 3 | z 6 | |
+ | & 6 | [fi] 3 | |
+ | | [fl] 3 | |
+ | | [ff] 3 | |
+ | | [ffi] 2 | |
+ | | [ffl] 2 | |
+ +------------+------------+---------------+
+
+A WEIGHT FONT
+
+_Proportion of Letters &c. in 100 lb. of Roman Type_
+
+ +-----------+------------+--------------+--------------------+
+ | CAPITALS | SMALL CAPS.| LOWER CASE | FIGURES |
+ | _oz_ | _oz_ | _lb_ _oz_ | _oz_ |
+ | A 8-1/2 | A 2-1/2 | a 4 6 | 1 8 |
+ | B 5 | B 1-1/2 | b 1 - | 2 6-1/2 |
+ | C 7-1/2 | C 2 | c 1 14 | 3 5-1/2 |
+ | D 6-1/2 | D 2 | d 3 - | 4 5 |
+ | E 10 | E 3-1/2 | e 6 8 | 5 6-1/2 |
+ | F 5 | F 1-1/2 | f 1 1 | 6 5 |
+ | G 5-1/2 | G 1-1/2 | g 1 4 | 7 5 |
+ | H 6-1/2 | H 2 | h 3 8 | 8 5 |
+ | I 6 | I 1-3/4 | i 2 12 | 9 5 |
+ | J 4-1/2 | J 1-1/4 | j - 5 | 0 10 |
+ | K 4 | K 1-1/4 | k - 8 | 2 |
+ | L 6 | L 2 | l 1 8 | L 1/2 |
+ | M 7-1/2 | M 2-1/4 | m 2 10 | ----- |
+ | N 7-1/2 | N 2-1/2 | n 4 6 | 4_lb_ |
+ | O 7-1/2 | O 2-1/2 | o 4 4 | |
+ | P 6 | P 1-3/4 | p 1 6 | POINTS |
+ | Q 2-1/2 | Q 3/4 | q - 5 | _lb_ _oz_ |
+ | R 8 | R 2-1/4 | r 3 5 | period 1 - |
+ | S 8 | S 2-1/4 | s 3 6 | comma 1 8 |
+ | T 9 | T 2-1/2 | t 3 12 | colon - 2 |
+ | U 5 | U 1-1/2 | u 2 2 | semi-colon - 3 |
+ | V 3-1/2 | V 1 | v - 14 | hyphen - 9 |
+ | W 7 | W 2 | w 1 10 | apostrophe - 4 |
+ | X 2 | X 3/4 | x - 5 | ! - 2 |
+ | Y 4-1/2 | Y 1-1/4 | y 1 4 | -- - 3 |
+ | Z 2 | Z 1/2 | z - 4 | ( - 2 |
+ | AE 3/4 | AE 1/4 | ae - 1 | [ - 1 |
+ | [OE] 3/4 | [OE] 1/4 | [oe] - 1 | ------ |
+ | & 3-1/2 | & 1 | [fi] - 5 | 4 4 |
+ | ------ | ----- | [ff] - 4 | |
+ | 10_lb_ | 3_lb_ | [ffi] - 4 | SPACES AND QUADS |
+ |-----------+------------| [fl] - 3 | _lb_ _oz_ |
+ | | [ffl] - 3 | hair - 2 |
+ | TOTALS _lb_ | ------- | 5-to-em - 10 |
+ | Capitals 10 | 58 12 | 4-to-em 1 - |
+ | Small capitals 3 | | 3-to-em 6 - |
+ | Lower-case 58-3/4 | | en-quad 2 4 |
+ | Figures 4 | | em " 1 10 |
+ | Points 4-1/4 | | 2-em " 4 2 |
+ | Spaces 20 | | 3-em " 4 4 |
+ | and Quads ------- | | ------ |
+ | 100_lb_ | | 20_lb_ |
+ +------------------------+--------------+--------------------+
+
+Weight fonts of body type are usually put up by the founders in
+sections or parts of fonts as given in the above summary of totals,
+so that one or more of these sections may be obtained to supplement
+a font already in use.
+
+It will be noted that braces, dashes, and reference-marks are omitted
+in the above list. These characters, like fractions, commercial signs,
+etc., are not now considered parts of ordinary fonts, but are put up
+in separate packages and must be specially ordered when wanted.
+
+Font schemes apportioned in quantities like the foregoing are more or
+less closely adhered to for original packages of foundry-cast type. To
+insure precision, when ordering, it is necessary to state not only the
+quantity (by number of letters or weight) but also whether a complete
+font or part of a complete font (capital font, lower-case font, or
+figure font) is referred to.
+
+
+_The Sizes of Type_
+
+All printing type has, first, a name denoting its size, and second,
+one denoting the style of its face. For instance, the type used for
+the text of this book is 10-point (its size) Lining Caslon Oldstyle
+(the foundry name of its face).
+
+[Illustration]
+
+The _size_ of a type is the vertical thickness of its body--the
+thickness of a line up and down the page. The width of a type is its
+_set_. Thus a 12-point en-quad is 12-point body and 6-point set, a
+10-point figure of the thickness of an en quad is 10-point body and
+5-point set, etc. The total length of a type, including feet and face,
+is its _height-to-paper_.
+
+American type sizes conform to a graduated scale known as the point
+system. The unit of the system is a division of space called a
+_point_, which is .0138+ (approximately 1/72) of an inch. Type bodies
+are multiples of this point.
+
+The usual sizes are graduated by points up to 12-point. Sizes above
+18-point are multiples of 6-point up to 60-point (18, 24, 30, 36, 42,
+48, 54, 60). Larger sizes are 72-point, 84-point (rare), 96-point,
+120-point, and 144-point, the latter being the largest type commonly
+cast in a mold.
+
+[Illustration:
+
+ Agate ABCDEFGHIJKLMabcdefghijklmnop
+ 6-point ABCDEFGHIJKabcdefehijklmnopqrstw
+ 8-point ABCDEFabcdefghijklmnop
+ 10-point ABCDEabcdefghijklmr
+ 12-point ABCDEabcdefghi
+ 14-point ABCDabcdghi
+ 18-point DEFcdjklu
+ 24-point BCabyc
+ 30-point Bangl
+ 36-point Bats
+ 42-point Bld
+ 48-point Ht
+
+The above squares show one em of the sizes stated. The letters show
+the size of face made on the body.]
+
+In addition to the small sizes shown in the accompanying illustration,
+there are some intermediate sizes like 5-1/2-point and 4-1/2-point,
+and type as small as 3-point has been made. These are rare, however,
+as type smaller than 5-1/2-point is not practicable for extended use.
+These small sizes are employed for special purposes, like miniature
+editions of books (parts of the Bible, prayer books, etc.) cut-in
+notes, piece-fractions, small borders, special characters, and
+occasional words or lines that are required to be put in the smallest
+possible space. The size of type known as agate (fourteen lines to an
+inch) is considered the common standard of measurement for newspaper
+and magazine advertising space.
+
+Many plain types for books, periodicals, etc., are made only in small
+sizes. Certain faces are made in a few sizes only, while others are
+made in more or less complete series from 6-point to 48-point. The
+irregular sizes of 5-1/2-point, 7-point, 9-point, and 11-point are
+mostly roman faces, with companion italics, and a few bolder styles
+for headings and other display in combination with romans of the same
+body. Many new faces are now made by founders in graded series from
+6-point to 72-point, and in some cases even larger. Type faces adapted
+to many kinds of work are made in nearly all the regular sizes, while
+those faces designed for small and dainty work, like personal and
+society cards and stationery, are made only in the smaller sizes of
+the list.
+
+Types are now often cast with faces larger or smaller than is commonly
+made on the body, such as a 12-point face on 10-point body, giving the
+effect of compactness; or an 8-point face made on a 10-point body,
+which gives a lighter appearance as if opened with 2-point leads.
+These are known as bastard types. Because of this irregularity in the
+faces of types it is difficult to know the exact body-size of a type
+by merely examining a printed sheet.
+
+Borders, ornaments, florets, and decorative characters cast on
+type-bodies are now made mostly in sizes based on the 6-point as
+the unit (6, 12, 18, 24-point, and larger multiples), but 8-point,
+10-point, and 14-point sizes are sometimes used.
+
+Before the adoption of the point system, type sizes were named in
+a haphazard way. Arbitrary names were given to certain sizes and in
+many cases types of the same name made by different founders varied
+so much in size that they could not be used together without great
+inconvenience to the printer. Some of these old names still survive
+and are applied to the point-system bodies which approximate the old
+sizes.
+
+
+ POINT SIZE OLD NAME
+
+ 3-point excelsior
+ 4-point brilliant
+ 4-1/2-point diamond
+ 5-point pearl
+ 5-1/2-point agate
+ 6-point nonpareil
+ 7-point minion
+ 8-point brevier
+ 9-point bourgeois
+ 10-point long primer
+ 11-point small pica
+ 12-point pica
+ 14-point english
+ 16-point columbian
+ 18-point { great primer
+ { three-line nonpareil
+ 20-point paragon
+ 22-point two-line small pica
+ 24-point two-line pica
+ 28-point two-line english
+ 32-point two-line columbian
+ 36-point two-line great primer
+ 40-point two-line paragon
+ 44-point meridian
+ 48-point canon, four-line pica
+
+While these old names and their sizes are now nearly obsolete, young
+printers should learn the names and associate them with their
+corresponding sizes of the point system. In the foregoing list there
+are several intermediate sizes (16, 20, 22, 28, 32, 40, 44-point)
+rarely used for type of recent design. Fonts of these odd sizes may
+be sometimes found, and there has been a size of 15-point made, but
+little used. These odd sizes are, however, mostly old faces, scripts,
+and black-letter, originally cast on old bodies and later, after the
+introduction of the point system, made on new point-bodies which are
+nearest to their original sizes.
+
+The point system has been applied to the width of types, as well as
+to the body-size; that is, the set of each type is fixed at a given
+number of points or fraction thereof. This method simplifies in a
+degree the process of accurate justification, as each line, though
+containing various letters and spaces, is composed of the same number
+of units. An advantage over the old method of unrelated widths is in
+the saving of time in composition, by reducing the number of different
+widths in the characters of the alphabet. By the old method each type
+had its own special width; in a complete font there might be a hundred
+or more different widths. By the modern point system those characters
+which are nearly alike in width are made on the same set, or, if
+different, the variation is governed by the standard unit.
+
+
+_Lining Type Faces_
+
+American founders have adopted the practice of casting type-faces on
+uniform lining systems, variously known as American line, standard
+line, uniform line, etc. The earlier practice was to cast the type of
+a font so that the letters would align at the bottom only with their
+mates of the same font, without reference to any other face of type.
+When the compositor had occasion to use two or more different faces of
+type in the same line, these faces were rarely in even alignment, but
+were irregularly high or low, as shown in the accompanying example
+[A]. This lack of uniformity made it necessary when a different
+face was used in the line, as is often required in jobbing and
+advertisements, to use thin leads, cards, or pieces of paper above and
+below different parts of the type-line in order to get the faces in
+line--an operation more or less troublesome and expensive. By the
+modern lining system, the faces made on any given size of body are
+cast to align with each other, as shown in the second example [B].
+These different faces require no more adjustment than if they were
+all of one font.
+
+[Illustration:
+ Showing irregular alignment of faces, the old method.
+ Showing exact alignment of different faces, the modern way.]
+
+On different sizes of type the shoulder, or blank space, at the bottom
+of the letter increases gradually with the size of the type, so that a
+word of small type placed beside a larger size must have some spacing
+material below as well as above to keep it in its right alignment.
+This necessary difference in the face-alignment of various sizes is
+graduated by points, in the lining system, so that when more than one
+size type is used in the same line the justification is made by using
+point-body leads. This makes the use of slips of card and paper
+unnecessary and secures greater accuracy and solidity of the composed
+page.
+
+[Illustration: 30-point to 6-point lined up with 1-point]
+
+Faces of radically different style are not, however, all cast on the
+same alignment, but are classified into three groups. One group
+embraces the majority of type-faces, those having capitals and small
+letters, g y p j. Another group embraces fonts of capitals only,
+mostly faces known as title letters and combination lining faces
+which, having no descenders, may be made lower on the body. A third
+group includes those faces having long descenders, like script types,
+which must be placed high on the body.
+
+[Illustration:
+ These types show letters cast on [A] the common line, [B] title line,
+ [C] script line.]
+
+A common class of "lining" types for job work are the combination
+series, or those having two or more sizes of face (capitals only) cast
+on bodies of the same size. Each face is made to line with the others
+on the same body, and all the faces are readily used in combination,
+with a single size of spaces and quads. In order that the type of each
+face may be readily distinguished, the nicks are varied in number or
+position--a single nick for one face, two nicks for another, etc.
+
+[Illustration: AMERICAN LINING SYSTEM]
+
+_Kerned Types_
+
+When the face of a letter is so large that it projects over the
+type-body, it is known as a kerned type. Letters of this kind are
+common in italic and script fonts, and there are a few letters, like
+f and j, in some oldstyle roman fonts which have the tip of the letter
+overhang. Kerned types are a source of trouble because of the ease
+with which these projections break off during composition, proofing,
+etc. Yet they cannot be entirely dispensed with, especially in italic
+and script faces having a definite slope, where the long letters would
+have wide gaps on the side (as shown in the script line above) if they
+were cast on bodies wide enough to hold the entire face. In some
+styles of upright faces having extra long descending letters g, p, q,
+y, these descenders may be kerned.
+
+[Illustration:
+ s l o p i n g sloping
+ Showing why some letters must be made on kerned types.]
+
+[Illustration:
+ Large italic letters are sometimes mortised at the
+ corners, instead of kerned, to allow the next letter to fit close.]
+
+Modern type-makers try, by changing the shape of the letters slightly,
+to avoid kerns as much as possible, because of the extra care and
+expense involved in casting. Too often, unfortunately, this avoidance
+of the kern, in order to meet mechanical convenience, is secured by
+sacrificing the distinctive form of the letter.
+
+
+_Spaces and Quads_
+
+Short metal spaces and quads (from _quadrat_, a square), used for
+blanks between words and elsewhere, are of various thicknesses, as
+illustrated below. An em is a square of type body of any size. This
+10-point em [Symbol: hollow square] is ten points square; a 10-point
+three-to-em space is one third of the em, a four-to-em is one fourth,
+etc. The en quad is really a thick space, though called a quad, and
+is equal to half the em. Larger blanks are the two-em and three-em
+quads, used to fill the last lines of paragraphs and other wide spaces.
+
+[Illustration: 10-POINT SPACES AND QUADS
+ hair space
+ five-to-em
+ four-to-em
+ three-to-em
+ en-quad
+ em-quad
+ two-em
+ three-em]
+
+The metal blanks shown here are the regular spaces and quads belonging
+to a font of type of the size of 10-point. They enable the compositor
+to obtain the many different spacings required to make lines the
+required length, and to properly separate words and place them
+wherever desired in the line. While these thicknesses of spaces are
+the usual kinds for sizes of type up to 12-point, larger types may
+have other kinds of spaces, six-to-em, eight-to-em, and even smaller
+divisions. The thickness of the hair space does not always bear the
+same proportion to the em quad; in some sizes it is one sixth of the
+em, in others it may be one eighth or one twelfth. Very thin spaces
+(copper 1/2-point, brass 1-point), for exact spacing and justifying,
+are supplied by dealers.
+
+A space of the thickness intermediate between the three-to-em and the
+en quad, known as a patent space, has been made for use in book work.
+Although it has great advantage as a substitute for two of the thinner
+spaces when these are needed in spacing a line, its use has been
+limited and it is not included with the usual assortment furnished by
+dealers.
+
+The common spaces and quads for general work, when the type itself is
+used for printing, are about seven-eighths of the height of the type,
+so that they are well below the printing surface. A type-page composed
+with these spaces will have a little deep hole at the top of each
+space. These numerous little holes present a difficult surface for
+making a good wax mold when an electroplate is made for printing.
+Where much molding is to be done, higher spaces, quads, and other
+blanks are provided. These high spaces and quads reach nearly to the
+shoulder of the type.
+
+
+_How Type is Made_
+
+[Illustration:
+ Solid lines indicate one half of the mold. Dotted lines show the other
+ half in position. Shaded portion represents type metal filling aperture
+ in the mold. The molten type metal flows through the opening at A, down
+ to the side B, where the matrix (not shown in this diagram) molds the
+ face of the type. The tag of metal, called the jet, marked C, is cut
+ off after casting. D is a narrow flange on the mold which forms the
+ nick on the under surface of the type body.]
+
+The mold in which type is cast consists of two essential parts--the
+steel box in which the body is formed, and the matrix which contains
+a sunken image of the character. The matrix covers the opening at one
+end of the mold, and on the opposite end (which is the foot of the
+type) is an opening through which the melted metal is injected. A mold
+is made for a single body-size of type but it is adjustable sideways
+to correspond to the various widths of the letters in an alphabet. One
+mold may be used to cast, in succession, all the letters of a font of
+type, or it may be used to cast any number of fonts of different faces
+that may be made on the same body, by merely changing the matrices
+that form the face. The mold is made in two sections, which are
+fitted together so as to close up to the required width of the letter,
+and, after the cast is made, to open slightly in order to release the
+type.
+
+[Illustration: Matrix]
+
+_The Matrix._ There are three different methods of making type
+matrices. By the oldest method the first step is to cut the character
+on the end of a small bar of soft steel, called a punch; when this is
+done, the steel is hardened and it is used to stamp an impression in a
+bar of copper. This copper bar is a matrix in the rough, and its sides
+are next trimmed and squared so that it will fit the mold.
+
+[Illustration:
+ Type-mold complete, in two parts, but without the matrix (which is
+ shown separately above). Position of the matrix when cast is made
+ is indicated by the letter H on the end of the type within the mold.
+ The upper and lower halves of the mold slide horizontally, to make
+ the interior casting-box wide or narrow to conform to the required
+ widths of various letters.]
+
+The second method of making a matrix is by electrotype process. The
+original pattern of the letter may be engraved by hand or by other
+operation, or it may be a perfect type-face of a previous casting.
+This is fitted into a small frame of brass and then held in the vat
+of an electro-galvanic battery, which deposits a thick film of copper
+around the pattern and fills the opening in the brass frame. When this
+electro-plating process is completed, the pattern letter is extracted
+and the brass frame, with its copper impression of the letter, becomes
+the essential feature of the matrix. It is then reinforced by riveting
+another plate on the back, and is trimmed and fitted to place on the
+mold.
+
+A third process of making matrices is with an automatic matrix-cutting
+machine, in which the shape of the desired letter is cut in the face
+of a plate of composition metal by a small rapidly-revolving cutting
+point. A large pattern of the letter is placed in one part of the
+machine, and while the operator traces the outline with the point of a
+lever all the motions are duplicated in miniature by the cutting tool
+on the bar of metal, which becomes, when completed, a matrix.
+
+_Casting the Type._ The old-time method of casting type was with hand
+molds, the melted metal being poured in at the foot of the mold with a
+small ladle while the mold was held in the hand. In the modern casting
+machine, the mold with its matrix, is assembled by the side of the
+metal pot, in which the metal is kept at a uniform temperature by
+means of a gas furnace.
+
+In the center of this metal pot is a rod with a spring attachment
+which, at each operation of the machine, acts as a plunger to force a
+small stream of hot metal through a side aperture into the jet-hole
+of the mold. After the casting, the two parts of the mold separate
+slightly, the matrix is drawn away from the face of the type, and the
+cast is moved out; then the mold and matrix close together again and
+the operation is repeated. Cold water or air is circulated near the
+mold to keep an even temperature. The matrix for one character only
+is placed in the machine and when enough types have been cast, it is
+taken out and replaced by another, the change usually requiring but
+a few moments.
+
+There are several kinds of type-casting machines in use, such as hand
+casters, steam casters, and automatic casters. The older style is
+the hand caster, which is operated by a small wheel with a handle
+attached. Steam casters are operated by mechanical power (originally
+steam power).
+
+When type is cast by a hand machine it is unfinished, as a piece of
+metal called the jet still adheres to the bottom of each type. This
+jet is broken off, and the types are set in long lines and fastened
+in a narrow channel, face down. A small plane smooths away the rough
+surface caused by breaking off the jet. This leaves a shallow groove
+on the bottom of each type and allows it to stand squarely on its
+feet. The types also have slight burs and sharp edges of metal which
+must be rubbed off before they are ready for inspection and for the
+font-room. Type cast on the older "steam" machines require the jet to
+be broken off after the casting, and the final finishing of the type
+is done afterward by other operations. These finishing touches are
+done mostly by hand, with the aid of a polishing stone or a small
+dressing wheel.
+
+On the automatic machine, which is the modern method of casting type,
+breaking off the jet, rubbing, dressing, etc., are all accomplished
+automatically on the machine, the types coming out in a continuous
+line practically ready for the compositor's case.
+
+ * * * * *
+
+The foregoing describes in a general way the methods of making type
+by the regular founders. There is now a great deal of type made by
+automatic composing and casting machines installed directly in many
+composing rooms.
+
+Two distinctive styles of these machines are now extensively used--the
+Linotype and the Monotype. Both of these have reached a high degree of
+efficiency because of their nice mechanisms, based on the principle of
+automatically operated molds, matrices, and delivery devices.
+
+In the Linotype the matrices for a desired line of words are assembled
+side by side and the line is cast in one piece.
+
+In the Monotype the mechanism automatically and rapidly adjusts the
+matrix of the desired letters one at a time over the mold, and each
+type is cast and moved along into lines and then into a column on a
+galley.
+
+
+_The Linotype_
+
+The Linotype (line-o'-type) consists of a mechanism for assembling
+brass dies or matrices in lines, presenting them in front of a mold
+in which a type-high metal bar, or slug, is cast, and returning the
+matrices to their respective channels for use again. The brass
+matrices have the characters of the alphabet, figures, points, etc.,
+sunk into their edges; these are held in a magazine, which is an
+arrangement of channels in an inclined position above a keyboard. By
+the pressing of a key the required matrix is released, which drops and
+is carried into place by a small belt. Wedge-shaped space-bands are
+also controlled by a key, and when sufficient matrices and space-bands
+are assembled to make the line a bell rings. By operating a lever the
+line of matrices then moves in front of the mold inserted in the side
+of a wheel and behind which is a pot of melted metal.
+
+[Illustration: Four-Magazine Linotype Machine]
+
+By the next operation the space-bands are pushed between the words,
+thus spreading them to the measure. The line justified, a plunger in
+the metal-pot forces a quantity of metal into the mold and against the
+line of matrices, forming a metal strip or slug with the letters in
+relief on one edge. After the cast is made, a turn of the mold-wheel
+and other mechanism shaves off the surplus metal on the foot of the
+slug and pushes it between knife-edges, where it is trimmed on the
+sides, and is then pushed on to a galley. The melting of the metal is
+done by a small gas furnace under the metal-pot.
+
+After the matrices have been used for the line they are lifted by an
+arm to the top of the machine and distributed again, each character
+in its particular channel in the magazine. The matrices for each
+character have a set of notches or teeth different from every other
+character; and as they are moved along the distributing apparatus by
+horizontal screws each matrix reaches a point where its notches are
+matched and it drops into the top of its channel. There are a number
+of matrices of each character, and the arrangement of the machine
+is such that three lines of matrices may be kept in operation at
+once--one being assembled, one at the casting mold, and the third
+being distributed.
+
+The work of the operator is to manipulate the keyboard and, at the end
+of each line, move a lever which engages the mechanism that carries
+the assembled line to the mold. All other operations are performed by
+mechanical power.
+
+
+_The Monotype_
+
+[Illustration: Monotype Keyboard]
+
+The Lanston Monotype is a type-casting machine which produces separate
+types set in lines of any length, up to sixty ems pica, spaced and
+justified. It is in two parts--a keyboard and a casting machine. The
+function of the keyboard section is to punch a series of holes in a
+moving strip of paper, which unwinds from one spool to another,
+passing under a series of punches in its journey. The punches are
+operated by pressing the keys on the keyboard, the result of this
+operation being a roll of perforated paper ribbon. This ribbon is then
+taken to the casting machine, which contains a pot for melted metal, a
+stationary mold for the size of type to be cast, and a matrix-plate.
+The matrix-plate is about five inches square, and has on its face
+depressed images or matrices of each letter and character of the font.
+The perforated strip of paper, when fed to its place, controls the
+movement of the matrix-plate, so that the required letter is adjusted
+exactly in place over the mold, while the melted metal is squirted in
+to form the type. The type then moves away and takes its proper place
+in the line, until the line is completed, when it is automatically
+moved out on to a galley.
+
+The Monotype keyboard, being an entirely separate machine, may be and
+usually is operated in any place away from the casting apparatus and
+work may be executed on it anytime before casting. The perforated roll
+may be fed through any number of times to produce duplicate castings
+of the matter, and a matrix-plate for a different face may be used if
+desired. In the casting of the line the proper spaces are cast with
+it, the spacing needed to justify each line being indicated on the
+perforated record during composition on the keyboard.
+
+[Illustration: Monotype Casting Machine]
+
+A peculiarity of Monotype composition is that, while the keyboard
+produces the perforated roll in the usual sequence from beginning to
+end of the story, the casting machine reverses the process by starting
+at the end of the composition and finishing up with the beginning.
+
+
+_Ingredients of Type Metal_
+
+The metal used for casting type is a mixture of lead (five parts),
+antimony (two parts), tin (one part), and sometimes a small addition
+of copper. Lead forms the chief part of all type metal, as it melts
+easily and fuses readily with other metals; but lead alone is too
+soft for the service required of type. Antimony is brittle and gives
+hardness, and tin is added to impart toughness. Lead and antimony in
+approximately these proportions make an alloy which has the unusual
+quality of expanding slightly, instead of shrinking, when cooling,
+thus permitting a full, sharp cast in all parts of the mold. Tin flows
+readily when melted and increases the smoothness of the cast on the
+surface of the mold. A small quantity of copper may sometimes be added
+to give still greater toughness.
+
+The metal used for small sizes of type is commonly harder than that
+used for the large sizes, the softness of the metal gradually
+increasing with the size of type made. Script types and faces with
+delicate lines are usually cast with metal a little harder than that
+used for the normal and bolder faces.
+
+The foregoing refers more particularly to type cast by the regular
+foundries. The metal used in automatic casting machines, like the
+Monotype, contains a larger proportion of lead and less antimony;
+while the metal used for casting line-slugs in the Linotype machine is
+composed of still larger proportion of lead and very little of the
+other two metals. Stereotype metal and metals used for leads, slugs,
+furniture, etc., are largely lead.
+
+
+_Wood Type_
+
+Large types, such as are used for posters and large bills, are made of
+wood. The smallest size for practical use is 48-point, or 4-line pica.
+Sizes of wood type are multiples of the pica, and are so named, as
+8-line, 10-line, etc. They are much cheaper than metal types, though
+not as durable or satisfactory for printing. The wood commonly used is
+maple, and the letter is made on the end of the grain. It must be well
+seasoned and polished. Pine and other soft woods are used for very
+large sizes of wood type and poster engravings.
+
+The manner of cutting the letter is by routing away the blank parts
+with a small rapidly-revolving cutter. The strip of wood, large enough
+to make several letters, and planed type-high, is placed in a machine
+equipped with a pantagraph apparatus. A pattern letter is put in
+place, and over this a guide-point is moved. On another part of the
+machine is the revolving cutting tool. As the guide-point is moved
+over the pattern its motions are duplicated on the block under the
+cutting tool, which cuts away the wood. When the letters on a block
+are thus routed out, they are sawed apart, the finishing touches
+given, and the letters oiled.
+
+
+
+
+SUPPLEMENTARY READING
+
+
+ The Invention of Printing. By Theodore L. De Vinne. Oswald
+ Publishing Co., New York. Cloth, 557 pp. $6.
+
+ Plain Printing Types. By Theodore L. De Vinne. Oswald Publishing
+ Co., New York. Cloth, 476 pp. $2.
+
+ The Monotype System. Published by the Lanston Monotype Machine
+ Co., Philadelphia. 294 pp. and diagrams.
+
+ The Mechanism of the Linotype. By John S. Thompson. The Inland
+ Printer Co., Chicago. 216 pp. $2.
+
+ History of Composing Machines. By John S. Thompson. The Inland
+ Printer Co., Chicago. Cloth, 557 pp. $2.
+
+ Specimen Books of American Type Founders Co.; H. C. Hansen,
+ Boston; Barnhart Brothers & Spindler, Chicago; Keystone Type
+ Foundry, Philadelphia.
+
+
+
+
+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 was the so-called invention of printing?
+
+ 2. What was Gutenberg's contribution to printing?
+
+ 3. Describe a type.
+
+ 4. Upon what does the utility of type depend? Why?
+
+ 5. How many different characters are required in ordinary book
+ printing?
+
+ 6. Into what classes are they divided?
+
+ 7. How much of the surface of a type is covered by the letter?
+
+ 8. How is the type body related in size to the letter face? Why?
+
+ 9. What are the blank parts around the face of the letter called?
+
+10. Describe each part.
+
+11. What is the nick and what is its use?
+
+12. What is a font of type?
+
+13. In what is it kept for the compositor's use?
+
+14. What characters are included in an ordinary font of roman type
+ for book work?
+
+15. What can you say about small capitals?
+
+16. What can you say about other extra characters?
+
+17. What characters do fonts of advertising and jobbing type include?
+
+18. Name some other characters supplied by the foundries?
+
+19. What determines the number of characters of the various sorts in a
+ font of type?
+
+20. Is there any rule fitting all kinds of composition?
+
+21. Mention some special kinds of composition and tell what extra
+ sorts each demands.
+
+22. How are ordinary faces measured when used in large quantities?
+
+23. How are job fonts designated?
+
+24. To what kind of type do these schemes apply?
+
+25. What are the three measurements for type?
+
+26. What is the "size" of a type?
+
+27. What is the "set" of a type?
+
+28. Describe the point system.
+
+29. What are the usual sizes of type?
+
+30. What other sizes are made and for what are they used?
+
+31. What determines the choice of sizes for any particular face?
+
+32. What are bastard types?
+
+33. Can you always tell the size of type used by examining a printed
+ page? Why?
+
+34. What is meant by height-to-paper?
+
+35. How were types described before the adoption of the point system?
+
+36. Give the old names in common use and the approximate equivalents
+ in points.
+
+37. What can you say of 16, 20, 22, 28, and 40-point sizes?
+
+38. What are the advantages of the application of the point system to
+ the width of type?
+
+39. What is meant by "lining" type faces?
+
+40. What is the chief advantage of the lining system?
+
+41. What is needed when a word of small type is placed beside a word
+ of large type? Why?
+
+42. How is the line justified?
+
+43. Into what groups are type faces divided for aligning purposes?
+
+44. What are "combination series" of lining types?
+
+45. What are kerned types?
+
+46. How is kerning avoided?
+
+47. What are the advantages and disadvantages of these expedients?
+
+48. What is an em quad?
+
+49. Describe the spaces used in type composition.
+
+50. Describe the mold used in type casting.
+
+51. Describe the three methods of making the matrix.
+
+52. What was the old method of casting type?
+
+53. What is the modern method?
+
+54. Describe the different kinds of type-casting machines.
+
+55. Describe the finishing of type after casting.
+
+56. How is type made outside the type foundries?
+
+57. What is a Linotype?
+
+58. What does a Linotype produce?
+
+59. Describe briefly the operation of a Linotype.
+
+60. How are Linotype matrices distributed?
+
+61. What does the operator have to do?
+
+62. What is a Monotype?
+
+63. What does a Monotype do?
+
+64. What are the essential differences between a Monotype and a
+ Linotype?
+
+65. Describe the operation of the Monotype keyboard.
+
+66. Describe the operation of the casting machine.
+
+67. What peculiarity has the Monotype?
+
+68. What is type made of?
+
+69. What are the qualities of the several ingredients?
+
+70. What can you say of the uses of different metals in the type
+ foundries?
+
+71. What sort of type metal is used in composing machines?
+
+72. What other material is used for type?
+
+73. For what purpose is it used?
+
+74. How is this kind of type made?
+
+
+
+
+GLOSSARY OF TERMS RELATING TO TYPE
+
+The numbers in parentheses refer to preceding pages in the text, where
+further information about the different subjects may be found.
+
+
+AGATE--A small size of type, about 5-1/2-point. (14)
+
+ASCENDING LETTERS--The tall letters of the lower-case alphabet. (7)
+
+ANTIMONY--One of the ingredients of type-metal; a silver-white, hard
+crystalline metallic substance, used in chemistry and medicine, as well
+as in industrial arts. (26)
+
+BASTARD TYPES--Those with faces larger or smaller than is commonly made
+on a type-body. (15)
+
+BEARD--The beveled space below the face of a type. (15)
+
+BODY--The piece of metal upon which the face is cast. (7, 8, 13)
+
+BODY SIZE--The size of a type considered from top to bottom of the
+letter. (13)
+
+BODY TYPE--The kinds of type, mostly roman faces, used for plain
+composition in paragraphs or pages of one face; text letter.
+
+BORDERS--Characters cast in type, which may be adjustable in many ways,
+as for marginal lines, panels, and other decorative uses. (15)
+
+BOURGEOIS--An old size of type, about 9-point.
+
+BRASS TYPE--For stamping book covers, etc. Ordinary type-metal cannot
+endure the heat which must be applied for stamping gold leaf, or
+printing on hard, rough surfaces. Brass types are more expensive as well
+as more durable.
+
+BREVIER--An old size of type nearly equal to 8-point. (15)
+
+CANON--An old size of type approximately 48-point. (15)
+
+CAP.--Abbreviation for capital letter; s.c. or sm.cap., small capital.
+
+COPPER-FACED TYPE--New type coated by electric action, depositing a thin
+film of copper, to make it more durable.
+
+COPPER THIN SPACES--Extra thin spaces for justifying lines. (19)
+
+CORNER QUADS--Blanks cast in this shape [Symbol: thick right angle]
+matching 6-point and 12-point quads; placed outside the corners of
+pages with mitered brass rules to keep the joints in place.
+
+COUNTER--The blank space within the lines of a letter or other
+character. (8)
+
+DESCENDING LETTERS--Those which have part of the face below the regular
+alignment, g, p, y. (8)
+
+DIAMOND--A small size of type, equal to about 4-1/2-point. (15)
+
+DISPLAY TYPE--A general term meaning the kinds of type made for
+advertising, title pages, and other composition in which different sizes
+and faces are used; in distinction from body type.
+
+EM--The square of a type body. En, half the width of the square. (19)
+
+EXTENDED, EXPANDED--An extra wide face of type.
+
+FACE--That part of a type or printing surface which leaves its
+impression upon the sheet. (8)
+
+FEET--The bottom of the type body. (8)
+
+FONT--A complete assortment of type of one size and face. (9)
+
+FURNITURE--A general term applied to pieces of soft metal, steel, or
+wood, used to fill the large blank spaces in a printing form; made in
+different sizes based upon a 12-point (pica) unit.
+
+GREAT PRIMER--An old size of type nearly equal to 18-point. (15)
+
+HAIR SPACES--Very thin spaces. (19)
+
+HEIGHT-TO-PAPER--The length of a type from top to bottom, including feet
+and face. This is not measured by points, but by thousandths of an inch.
+See Type-high. (7, 13)
+
+HIGH SPACES AND QUADS--Used in type composition when the page is to be
+molded for electrotyping. (20)
+
+HIGH-TO-LINE--When the face of a type is above the regular alignment of
+the other letters in the line; when below the alignment it is
+low-to-line. (17)
+
+HOLLOW QUADS--Large blanks are sometimes cast with hollow parts to make
+them lighter and to economize metal. See Quotations.
+
+ITALIC--The style of letters that _slope forward_, in distinction from
+upright, or roman, letters. (10)
+
+JET--The waste metal at the bottom of a type when it is first cast,
+being the metal which cools in the aperture of the mold. (22)
+
+JOB FONT--A small assortment of type. (11)
+
+JOB TYPE--The kinds used for miscellaneous work, usually in small fonts,
+in distinction from book type, body letter, etc.
+
+KERNED TYPES--Those which have a small part of the face projecting over
+the body. (18)
+
+LAYING TYPE--Putting a font of type into cases.
+
+LEADERS--Dots or short dashes placed at intervals in open lines to guide
+the eye, as in indexes, price-lists, etc. They are cast like quads for
+sizes of type most used. Leaders are also made of brass.
+
+LETTER--Sometimes this word is used to mean type. Letter-press printing,
+that done with type. Letter foundry, a type foundry.
+
+LINING TYPE--The exact alignment at top or bottom of the face on a
+type-body. (16-18)
+
+LINOTYPE--A machine for casting type in solid lines. (23)
+
+LONG PRIMER--An old size of type nearly equal to 10-point. (15)
+
+LOW-TO-PAPER--Said of a type when it does not come up to the height of
+its mates; opposite of high-to-paper. (7)
+
+LOW SPACES AND QUADS--Those used for ordinary composition, about
+seven-eighths of the length of the type. (20)
+
+LOWER-CASE--The small letters of the alphabet. (9)
+
+MATRIX--The shallow mold in which the face of a type is cast. (21)
+
+MINION--An old size of type, about 7-point. (15)
+
+MONOTYPE--A machine for casting and composing type. (25)
+
+MORTISED TYPE--When some part of the body is cut away, either in the
+interior or on the sides, to allow the insertion of another letter, or
+to fit closer to an adjoining type. (18)
+
+MUSIC TYPE--An assortment of characters cast in type for printing
+music scores.
+
+NICK--The notch on the side of a type. (8) In fonts made for use on the
+Unitype composing machine each character has nicks in different
+position and combination from every other character, to fit its
+special channel, in order to control the various characters in the
+operation of the machine. Thus the nicks in a line of Unitype matter
+show great irregularity.
+
+NONPAREIL--Old name for size of type equal to 6-point; half pica (15)
+
+OFF ITS FEET--Type must stand squarely upright in order to give a good
+impression; when it leans one way or the other it is off its feet.
+
+PARAGON--An old size of type, about 20-point (15)
+
+PATENT SPACE--A type space thicker than three-to-em and less than the
+en-quad. (19)
+
+PEARL--An old size of type, about 5-point. (15)
+
+PI--Types of different kinds mixed up in confusion.
+
+PICA--Old name, but still commonly used, for a size of type equal to
+12-point. (15) A common unit of measurement in typography.
+
+PIECE FRACTIONS--Fractions made up of two or more types; the numerator
+and denominator cast separately, usually on bodies half the size of the
+whole numbers or the type with which they are used. Sometimes called
+split fractions.
+
+PIN-MARK--The little mark sometimes seen on the side of foundry-made
+type. (8)
+
+POINT SYSTEM--The standard system of type bodies, based on the point as
+a unit; in America the point is .0138 of an inch. Calculations are
+simplified ordinarily by assuming the point as 1/72 of an inch. (13)
+
+POSTER TYPE--Large sizes for billboard printing, mostly made of wood.
+(27)
+
+PUNCH--In typefounding, an original die of a letter or character cut
+on the end of a steel bar, used to make a matrix. (21)
+
+QUADS--Metal blanks used for large spaces in composing type. (19)
+
+QUOTATIONS--Large hollow quads; similar to metal furniture.
+
+RUBBER TYPE--Cast with a vulcanized-rubber face mounted on short metal
+bodies; not used in ordinary typographic printing, but classed with
+rubber hand stamps.
+
+SCRIPT--A general name for that class of type designed to imitate
+handwriting. (18)
+
+SECTIONAL TYPE--A style of type now in disuse, in which each letter was
+made in two parts, the upper half being separate from the lower. Any
+letter or character cast in two or more parts.
+
+SERIF--The short cross-line or tick at the end of the main strokes in
+roman letters. (8)
+
+SET--The width of a type. (13)
+
+SHOULDER--The blank space on the top of a type not covered by the
+letter; specifically, the space above and below the letter, the space on
+the side being designated by typefounders as side-bearings. (8)
+
+SMALL CAPS--A secondary set of capitals made for fonts intended for book
+work. They are slightly larger than the small (lower-case) letters, but
+smaller than the regular capitals. See the side-headings in this
+glossary. (9, 10, 12)
+
+SMALL PICA--An old size of type nearly equal to 11-point. (15)
+
+SPACES--Thin metal blanks used to separate words in a line. (19)
+
+SORT--Any particular letter or character of a font, in distinction from
+the complete assortment. "Out of sorts," when some needed letters of a
+font are missing.
+
+SORT ORDER--A request for some particular character of a font.
+
+TWO-LINE LETTER--A large letter covering two lines of the adjoining
+text, used for initials at the beginning of paragraphs. Two-line
+figures, used for displaying price-figures in advertisements, etc.
+
+TYPE-HIGH--Of the standard height of type; said of an electrotype or
+engraving that is the right height to accompany type. (7)
+
+TYPE METAL--A composition of lead, tin, and antimony. (26)
+
+TYPOGRAPHY--The process of printing with forms composed of movable types
+and small relief blocks.
+
+WEIGHT FONT--A complete assortment of type measured by its weight
+instead of by the number of each letter. (12)
+
+WEIGHT OF TYPE--Four square inches of type, composed solid, weigh
+approximately one pound. Thus, to find the weight of any given amount of
+type composition, find the number of square inches and divide by four.
+
+One pound of type (about 4 square inches) contains the following number
+of ems (solid) of the different sizes:
+
+ 18-point 64 ems
+ 12-point 144 ems
+ 11-point 170 ems
+ 10-point 207 ems
+ 9-point 256 ems
+ 8-point 324 ems
+ 7-point 423 ems
+ 6-point 576 ems
+
+
+
+
+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 Stereotyping= By Harris B. Hatch and A. A. Stewart
+
+ A primer of information about the processes of electrotyping and
+ stereotyping. 94 pp.; illustrated; 129 review questions;
+ glossaries.
+
+
+PART II--_Hand and Machine Composition_
+
+16. =Typesetting= By A. A. Stewart
+
+ A handbook for beginners, giving information about justifying,
+ spacing, correcting, and other matters relating to typesetting.
+ Illustrated; review questions; glossary.
+
+17. =Printers' Proofs= By A. A. Stewart
+
+ The methods by which they are made, marked, and corrected, with
+ observations on proofreading. Illustrated; review questions;
+ glossary.
+
+18. =First Steps in Job Composition= By Camille 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.
+
+
+
+
+Footnotes:
+
+[1] In old or much-used fonts to which additions have been made after
+the first supply, the new letters, being cast later in a different
+mold, may often show a difference in the position or the number of
+nicks. In cases of this kind the apprentice should observe carefully
+and inquire before deciding that a type with a different nick does not
+belong to the font.
+
+[2] The small letters are called lower-case by printers, because they
+are commonly kept in the lower case of a pair on the case-stand.
+
+[3] The period, comma, hyphen, apostrophe, and occasionally some other
+character (such as the $) are often the same in both roman and italic
+fonts that are intended as companion faces.
+
+[4] Job fonts are usually put up by founders in two sections, one
+containing capitals, figures, and points; the other lower-case, with a
+small portion of points. Diphthongs AE [OE] ae [oe] are not now included
+in job fonts, and many advertising type fonts do not include the
+lower-case ligatures [fi] [ff] [fl] [ffi] [ffl].
+
+
+
+
+[Transcriber's Note: The original printed text contains a significant
+number of characters which are not included in standard ASCII or
+ISO-8859-1 encodings. Those glyphs are represented in this file either
+as square-bracketed sets of letters (for accents or ligatures), or
+as square-bracketed type/description pairs, e.g. [Symbol: per sign].
+These limitations are not present in the HTML version of this document,
+which uses numeric entities of the Unicode characters which accurately
+represent these glyphs as printed in the original.]
+
+
+
+
+
+
+
+End of the Project Gutenberg EBook of Type, by A. A. Stewart
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