“st-T33??? f‘. ;‘Y‘-*?*“‘.<‘=?‘-" a“: "““r'rfﬁw-tt 2*- -1 * “$793“? * if}: "5513"? "3 ......... Kohl. I ~ "1.. ,q M “~-f "\ V-\9‘\’>-;‘¢ ~ . V . n c n_. _ ('7‘, .__‘ ~ 1",, :.' *t-f-asﬁfw _ . U M Libraries Depository HIIIIHIIUHIHIH llllllllllllllllllllllllllllllllllllllllll ' "in“ B O O K Manufacturing Penm'R-R' ”010' 0“? 'Roull *3». .k’r .ﬂ AV. s'dﬂY A.“ K} WK‘WJA Y”?! -\O“‘ «'1. congenientin [:7- H -' W? 159.”: 11;.“ IV 59 '13:: {752% -' 21-31;:1323'} Jersey city - I Ebd‘q‘. :_:-:-'_- -1 Staten Island . '_ ' ( - M in . 0,. ;“v’;:. Show ew orko * - 77;: QUINN 8 BODEN 60 . (Plant at RAHWAY, N. J. ;J Wanhattan; M" “Lao;:ﬂ' (Penn. .6 Station WI)” Office m'9. ............ ................. 77m: between RAHWAY.N.] and N EW YORK '33 Railroad “Minutes ﬁyMoloan' 1 hour ‘ 1" .:-_ 41 Union #5911078”? ocation ...... THE QUINN c3» BODEN co. ) K > 3 ﬁ‘i at": Suawz'ug t/ze Plant and Product toget/z er wit/z useful zuﬁrmatz'ou for More eugugea’ in Me maéz'ug of Booé: Tue QUINN 8: BODEN Co. RAHWAY, N. J. New York Ofﬁce 41 UNION SQUARE AT 17TH ST. Copyrigbt 1922 by THE QUINN & BODEN CO. RAHWAY, N. J. PRINTED IN 1’"! U. 8. A. BY ‘I'Hl QUINN O IODIN COMPANY RAHWAY. N. .l. -\ 3459533; f a 2,3 A. .Z .>Z& Apostrophe. . / One-em dash. FY Mark in the Text Mark in the Margin Meaning . .L We print good books/\ /""""""/ T wo-em dash We print good books“ /—""‘! / En dash. We print well made =- Hyphen. books A / / We prinxood books #9!" Space. We‘print L{ood‘books ‘/« V l/ Make spacing uniform. Sic print good books X . Replace battered letter. We print books M‘w Correct the omission A from copy. CWe print good books 7/10 ﬂ. Join this to preceding W M paragraph. Welprint good books/1mm Put this on preceding line. We print goo books W W Put this on the follow- ing line. We printed'books W ”ML/Spell out. We print good books I // Make the type to line vertically. . f. ——-'-‘ o Q We print good books .——————- Straighten lines or type / A out of line. We print e//ective ﬂ Use logotype, i.e., two books or three letters cast on one type. [259] A PROOF WITH CORRECTIONS INDICATED CABOUT OURSELVES \ M/f Th___e Quinn & Bo den Com mpany h:ave j C located their complete printing plant at 117/) any, New Jersex-{W to have Lenty M //v13— of Fight and far. &/ g U /:h5 iah“ ay ixight near New York City—only iles distant/{o deliveries can be made WW X to New York in an hour by its fast motor 0/ ﬂ truck§\ II-Iere, in this expanded plant we 5246,. can give service which it would be difﬁcult torenderinabgcjty W .«' Here we cons ruc hundreds of books w ﬁijﬂ/ex ery day. (, ) Rahwsa convenience to the l{enter of 1/ V things/ is further shown by the fact that [5/ ﬁrst/\class macadam roads run from it in every direction/ and it also has the 5/ NW Wﬁnes kind of railroad facilities/\the main 5/ lin of the Pennsylvania Railroad runs right by the plant. Are you looking for service of an excep- ? tional quality/ If so, THE QUINN & Beam“ ,. § offer you all the facilities of their plant. J ghway, N. J., June lst, 1922. [260] THE SAME MATTER WITH CORRECTIONS MADE ABOUT OURSELVES THE QUINN & BODEN COMPANY have located their complete printing plant at Rahway, New Jersey, in order to have plenty of light and air. Rahway is right near New York City—- only nineteen miles distant—so deliveries can be made to New York in an hour by its fast motor trucks. Here, in this expanded plant we can give SERVICE which it would be difﬁcult to render in a BIG CITY. Here we construct thou- sands of books every day for the publishers of New York City. Rahway’s convenience to the “center of things” is further shown by the fact that ﬁrst-class macadam roads run from it in every direction; and it also has the ﬁnest kind of railroad facilities: the main line of the Pennsylvania Railroad runs right by the plant. Are you looking for service of an excep- tional quality? If so, THE QUINN & BODEN COMPANY offer you all the facilities of their plant. Rahway, N. J., June lst, 1922. [261] SECTION III DETERMINING THE SPECIFICATIONS COMPOSITION Speciﬁcations for Composition should cover the points mentioned in the list below. Following this list are technical notes on various matters concerned with such speciﬁcations. If the publisher desires specimen pages covering the various styles of composition called for by the manuscript we will gladly submit such on request. Specify as follows:. Number of words in the main text (approxi- mately). Number of pages in the book (approximately). Size of type to be used for the text and how leaded. Style of type to be used for the text. Size of page trimmed. Size of type-page and margins. Nature and order of front matter and back matter. Size and style of types for front matter and back matter. Size and style of types for footnotes, extracts, etc. Size and style of type for chapter headings. Ornamentation desired. Character of running titles. Position of new chapters. Position of folios. Column treatment, whether with rules or not. [262] Character and position of cuts in the text. Character and position of inserts. Number of sets of galley proofs wanted. Number of sets of page proofs wanted. Number of sets of foundry proofs wanted. Words in the Manuscript may be counted by taking a dozen or more pages, selected at random from different parts of the work, and determining the average number of words on these. By multiplying this average by the number of pages in the manuscript a sufﬁciently approxi- mate total is obtained. The Number of Pages in the book may be pre- determined and a size of type selected which will print the manuscript in this given space; or the size of the type (and the leading) may ﬁrst be settled on, and from this may be calculated the number of pages necessary to print the manuscript. A convenient way to ﬁnd the number of pages a book will require when number of words in manuscript is known: For example we have a manuscript of 84,000 words and want to make a book of 300 pages 12mo size. Allow 20 pages for preliminary matter and short pages. We now have 280 pages for text and will need a page of about 300 words. Referring to the specimen pages, we ﬁnd that II point Caslon set solid makes 304 words to page, IO point Old Style No. I, 2 points leaded, 319 words, etc. The Point System is used in measuring type and type-areas. A point is approximately the seventy—second part of an inch. The size of type is determined by the height, in points, of the body on which it is cast, “height” corresponding to vertical distance on the page. Accord- ingly, eight-point type will print nine lines to the vertical inch; ten—point will print seven lines plus; twelve-point [263] will print six lines, and so forth. The space of twelve points, called a pica, is also used as a standard of measure- ment for composition, as in measuring the width of type- pages, columns, etc. A nonpareil is equal to half a pica or six points, and is the smallest standard used in deter- mining the length of lines or otherwise calcuating type- areas. An cm is the square of any given type body; thus, a ten-point em measures ten points on each side; an eight-point em measures eight points on each side, etc. The pica em, or square measuring twelve points on each side, is the standard of measurement applied to type-areas in general. It is sometimes loosely termed a pica (which is strictly a linear measurement) or an em, the qualify- ing word pica being understood; but this is likely to lead to confusion; it is always safest to use the full term when the full term is meant. Size of Type Faces. Types cast on bodies of the same size are not necessarily of equal size with regard to face or printing area; that is to say, the letters them- selves of different kinds of roman twelve-point, for in- stance, may differ both in height and width. That this is so may be readily seen by referring to the type specimen pages of this book, where it will be noted that types of the same body. leaded to an equal extent, frequently show a wide divergence in the number of words of the same matter printed in a given space. Sometimes types which might appropriately be set on a body of a certain size will be cast on a larger or a smaller body, so that it will take up either more or less than the normal amount of space. Leading consists in introducing thin strips of metal between the lines of type as they are set, in order to increase the amount of white space between the lines as they appear on the printed page. Such white space makes for easier legibility; and, of course, leading is also [264] useful if it is desired to make a short manuscript cover an extended amount of space. When type is not leaded, i.e., when the lines of type are set snugly against one another, it is said to be set solid. A lead, when its thick- ness is not otherwise speciﬁed, is understood to be two points thick. Double-leading means leading to the extent of four points. Often, in the case of types smaller than eight point, and rarely with larger types, one-point leading is used. Some types, such as Caslon Old-style, for in- stance, may have a leaded appearance when they are set solid. Such types may either have a face properly belong- ing to a smaller body, or, like the Caslon, they may have long ascenders and descenders above and below the main part of the small letters, these taking up a proportionately large part of the type-face. Words to the Square Inch. The following table exhibits the number of words to the square inch that can be printed in average-proportioned types of sizes ranging from six to fourteen point; separate columns show this number according to whether the type is set solid, leaded or double-leaded. Size of Type Solid Leaded Double-leaded Five point ................ 70 50 Six point ................. 47 34 Seven point ............... 38 27 22 Eight point ............... 32 23 19 Nine point ................ 28 21 17 Ten point ................. 21 16 13 Eleven point .............. 17 14 12 Twelve point ............. 14 11 10 Fourteen point ............ 11 9 8 Type Measurement by Lines. The following method of type-space measurement is designed to correct errors arising out of the fact that different authors use words of different average length and the further fact that square-inch calculations do not primarily make allow- [265] ance for short lines. Typewriter types being made in two standard sizes—pica or large, and elite or small—it fol-- lows that a line of typewriter type of given length will make a line of type of a length that may be expressed by an average ratio for each size of type. These ratios are expressed as fractions in the following table, these fractions giving the proportionate length of line required by the sizes of type as designated. Pica Typewriter Elite Typewriter Six point ................ 5A2 15 Eight -point .............. 1,é 7/12 Ten point ............... 7A2 3% Twelve point ............ 9/3 5/6 Fourteen point ........... 7/6 1 If we determine the average number of lines, long and short, per page of manuscript, and multiply by the num- ber of pages, we shall arrive at the total number of lines in the manuscript. We now ﬁnd, by inspecting a number of pages, the average length of the long lines and ascertain how wide a line of such length would print in the type we have selected. We multiply the number of lines in the manuscript by this width and divide by the width of type page that is desired in the printed book. This tells us how many lines our manuscript actually will make. Finally we divide this last number by the number of lines to be printed per page, and thus we arrive at the number of pages the manuscript will take up in print. For example: the manuscript contains 6,000 lines. It is written in pica typewriter type, and the average length of the long lines is seven inches. We intend to put it into ten point leaded type in a type—pagexmeasuring three by ﬁve inches. By reference to the table we ﬁnd that ten point type will print a full line of the manuscript in two-thirds of the original space, or 4% inches. Mul- tiplying 6,000 by 4% and dividing by 3 we arrive at 9,314 as the number of printed lines the manuscript will [266] make. Since we shall print thirty lines to the page, we now divide by 30 to ﬁnd the number of printed pages, which comes to 31 I. Make Allowances of two pages per chapter or section to take care of possible large blanks at the ends of such divisions, the sinkage of chapter heads and the possibility of the matter running long. Matter in Other Type, such as foot-notes, extracts, tables and the like, if they form any considerable portion of the text, will have to be estimated separately and allowed for accordingly. Styles of Type. There are two general classes of roman type—old-style and modern-face—though there are certain types which combine the features of both styles. The distinguishing characteristics of old-style are as follows: there is not as much contrast between the thick and the thin strokes of the letters as in modern- face. The hair-lines (thin strokes) are not protracted but merge rapidly into the stems (thick strokes). The serifs are short, stubby, angular and bracketed (ﬁlled in at the angle made with the stem). In modern-face there is more contrast between the thick and thin strokes, the hair—lines in some types of this class being as ﬁne as it is possible to make them; the hair-lines are protracted and the serifs are straight, ﬁne and either unbracketed or bracketed lightly. There are several sub-classes of old-style types: the typical old-style as represented by Caslon; the heavy—faced old—style, represented by Chel- tenham and the various antiques; the light-faced or French old-style, such as Cadmus and Elzevir; and the “Venetian” faces modeled after the types of the early printer, Nicholas Jenson, such as Cloister, Kennerly and Goudy. Modern-face types are seen in their pure form in Bodoni and Bodoni Book, and with certain slight modiﬁcations in Scotch Roman. In general, old-style [267] types are to be preferred for easy legibility; the regular style is suitable for any purpose; the heavy faces were much in vogue a decade or more ago, but are not now so popular; the light faces express a delicacy which makes them appropriate for certain kinds of subject- matter; the “Venetian” forms, without being eccentric, have an “artistic” feeling. Modern-face in its pure form, as in the Bodoni styles, might be called Victorian in atmosphere—it is ﬁnicky, precise, fussy and well- suited to subject-matter reﬂecting or concerned with an atmosphere of this kind. In its modiﬁed forms, as in Scotch Roman, it is suitable for texts of any character. Proportions for Page and Type-page. The correct proportions for a book-page or a type-page are variously deﬁned; there are three forms that have particularly wide approval. First, the rectangle which is half again as long as it is wide; secondly, the rectangle whose diagonal is twice its width; thirdly, the golden oblong, in which the ratio of the width to the length is as the ratio of the length to the sum of the sides. The rectangle in which the diagonal is twice the width, sometimes called the printer’s oblong, may be determined, when the width is given, by drawing a line of the given length and erecting a perpendicular of indeﬁnite length at one end of it; from the other end swing, with the compasses, a line twice its length; the point where it intersects the perpendicular determines the rectangle. When the length is given, draw a line of this length; at one end erect a perpendicular half this length; draw a line to the orig- inal line, completing the triangle. Now from the point where the hypotenuse of this triangle intersects the short side, mark off on the hypotenuse a distance equal to the short side; the remainder of the hypotenuse is the dis- tance required to ﬁnd the width of the proposed rec- tangle. A 90-60-3o-degree draftsman’s triangle is itself [268] a printer’s oblong and can be used without compasses to make such a rectangle of any desired size. The golden oblong can be determined precisely by a somewhat in- volved geometrical process, but a simple way is to con- struct a printer’s oblong, as just described, and then cut off one-ﬁfteenth of its length or add one-fourteenth to its width. . Proportion of Page Covered by Type. The general rule is to use about half the page-area for the type- page, leaving the rest for margins. In cheap editions the margins may be considerably less; in particularly ﬁne editions they should be somewhat more, the rule be- ing: the ﬁner the book the more ample its margins. But care should be taken that the rule is not overdone. Run- ning heads and folios at the bottom of the page are not considered part of the type-page. Margins and Type-page. Margins that are liberal in size and correctly proportioned add a great deal to the appearance of a book and hence to its appeal to the possible purchaser. Margins should be so arranged that the two facing pages, when looked on as a unit, lie well toward the center of the opened book and somewhat toward the head. This is brought about by making the back margin the smallest in size and increasing the size of the margins in the order of head, front and tail. There are several ways of determining the margins. Perhaps the simplest way is to- decide on the back margin ﬁrst, to double this for the front margin, to make the head margin half-way between the front and back and to make the tail twice the head. This produces an effect in the open book in which all the vertical white spaces are of equal width. Another method is to make the front margin half again as large as the back, to make the head margin midway between these two and the tail margin half again as large as the head. A third method is to make the type- [269] page exactly similar in proportion to the book-page and to set it on the book-page in such a way that the diagonals of both coincide. By setting it higher or lower a position will be found where the margins fall correctly. One way to work out the type-page by this method is to decide on the front and back margins and draw them on the page, then draw a diagonal across the page; the points where the diagonal crosses the vertical lines will deter- mine the type-page and the margins will be correct. Width of Page or Column. Specify the width of type-pages or columns in picas. Avoid bastard awasures, i.c., measures in half-picas. Front Matter. The correct order for front matter is as follows: Bastard Title (right—hand page). Blank or Advertising Card (left-hand page). Title (right). COpyright Notice and Printer’s Imprint (left). Dedication (right). Blank (left). Preface (starting on right). Contents (starting on right). List of Illustrations (starting on right). Introduction (starting on right). Half-title (right). Blank (left). First page of Text (right) or Half-title to First Chapter (right). Blank (left). First Page of Text (right). The Bastard Title, often wrongly called the half- titlc, consists of the name of the book standing alone on the page. It is intended merely to add elegance to the book. [270] The Title Page presents the full title of the book (in the largest type used on the page), the sub-title, if it has one, or a brief description of the book, the name of the author with his titles, degrees, past works, etc., the name of the publisher and the date of publication. The title page should be laid out to form a pleasing geometrical pattern. It should be set in a type conforming in general style with that used for the text, and, if practicable, not more than one face of type should be used in it. The Advertising Card or limit notice should be simply set in type to match the text. The Copyright Notice is usually set in small caps. The printer usually places his imprint on the same page. The Dedication may be, and often is, omitted from modern volumes. When used, it is set in monumental style, usually in small caps. The Preface, if written by the author, is usually set in the same type as the text. If written by another, it is often set in italic to mark the distinction. This is particularly done in cases where the book contains an introduction as well. Contents Pages may be printed in capitals, small capitals, or upper and lower case of the same size as the text. Sometimes italic is used with good effect. The List of Illustrations should be printed in type to conform with the contents pages. The Half-title usually consists of a single line on the right-hand page preceding the ﬁrst page of text. Half- titles may also be used to introduce the several chapters. Back Matter. The correct order for back matter is as follows: Appendices Glossary Index [271] Appendices are usually set in a type smaller than the text. The Glossary may be set in the text type or a smaller size of type, with the catch words in a bolder face or in italic. The Index is usually set in six-point or eight-point type, arranged in two or more columns to the page, with the catch words in bolder type or in italic. Extracts are usually set in type a size smaller than the text, or if the text be leaded, they may be set in the same size as the text, either isolid or leaded to a lesser degree. It is customary to indent extracts one em on both sides. Footnotes are customarily set in six— or eight-point type. Superior letters are to be preferred to arbitrary marks for identifying purposes. ' Running Titles usually repeat the name of the book on the left-hand page, with the name of the chapter on the right-hand page, or else a summary of the matter contained in the two pages. Rules may be used below, or above and below the running title, but are not to be recommended since they add to the cost of composi- tion and in the Opinion of most critics, detract from rather than add to the appearance of the page. Chapter Headings. Specify whether chapter head- ings are to be run into the text or to begin new pages— also, in the latter case, whether they are to be on right— hand pages. Ornamentation. Modern usage does not favor head-bands, tail-pieces and ornamental initials in books for every—day use. In modern novels even the two-line or three-line plain initials at the beginning of chapters are frequently omitted. In ﬁne editions ornamentation is, of course, highly appropriate. When used, it should conform in spirit to the subject-matter and care should be exer» [272] cised in seeing that the entire scheme of ornamentation is consistent in feeling. It is always better to err on the side of too little decoration. Folios. Specify Whether these are to be placed at the top of the page or centered at the bottom. Front matter is usually folioed separately with lower-case Ro- man numerals to mark a distinction from the Arabic numerals used for the text. A Dummy, even if a very rough one, sketching your ideas of arrangement and typographic style, will materially assist the work. We will gladly furnish blanks of any desired format for making such dummies and will also work out more ﬁnished dummies at your re»- quest. We Are at Your Service always in any way that will help you in making your book more correctly and more elegantly composed and arranged. Call on us with- out hesitation for any advice or other assistance in our power. PAPER Kinds of Paper. Machine-made book papers are primarily of three kinds: rough-ﬁnished (antique); me- chanically smoothed (machine—ﬁnished, calendered and super-calendered) ;and coated (including gloss, semi-gloss and dull ﬁnishes). There are, of course, numerous grades and varieties of each kind. Antique paper is the natural rough-surfaced paper as it comes from the Four- drinier machine. Machine-ﬁnished calendered and super- calendered papers in the order named, have a progressively greater degree of smoothness and gloss of ﬁnish, imparted by passing through stacks of steel rolls, or calenders, under heat and pressure. Coated papers are coated with a chemical substance, usually china clay, to give the sur- [273] face the greatest possible degree of smoothness. Antique papers are best for printing from type; they take the ﬁnest impression and are easiest on the eyes of the reader. Line cuts can be printed on them but half-tones cannot. The general class of calendered papers will take half- tones that are not too ﬁne in screen, with varying degrees of success—well enough to pass in a frankly cheap edi- tion intended for the uncritical. For really good half- tone work, however, coated paper is absolutely necessary. The usual method in book printing is to use antique paper 'for the text. to run any illustrations from line plates on the same paper, and to print half-tones on inserts of coated paper. Sometimes inserts, especially maps, are printed on paper that is coated on only one side; this is known in the trade as litho paper. Laid and Wove Papers. This is a distinction apply- ing only to antique papers. Laid papers are those which show a ground of ﬁne parallel lines on the surface or when held up to the light. These are called wire-marks; at the least there are eight such lines to the inch. These lines are crossed by others, water-lines, at intervals of anything from an inch to several inches. Wove papers do not show parallel lines, but present a surface which, if examined closely, will be seen to resemble the weaving of cloth. Wove paper is the most-used kind for books. In the case of laid papers two special considerations arise. First, laid paper should not be used unless it will fold so that the wire-marks are parallel with the back of the book; otherwise it will warp in the opposite direction and eventually affect the binding. Secondly, laid paper may have a marked difference in the printing surface of the two sides of the sheet; all antique paper has a right and a wrong side, but the difference is of little consequence in the case of most wove papers. With laid papers it may be so great as to interfere with the uniformity of the [274] printed impression on the two sides. In choosing any paper the question of uniform printing surface on both sides should receive attention. Weights of Paper. A ream (500 sheets) of paper of size 25x38 inches is the standard to which the weight of paper is referred. “Sixty-pound paper” means that a ream of the pap-er in question, if made in the 25x38 size, would weigh sixty pounds. Speciﬁcations of weights of paper are made in either of the following forms: 24x32—45 or 24x32—5o—lb. basis. The former expres- sion means that a ream of the size designated weighs forty-ﬁve pounds; the second expression means that it would weigh ﬁfty pounds per ream if made in the 25x38 size. The usual weight of antique paper for pOpular books is about ﬁfty or sixty pounds. If very light papers are used, care should be exercised lest the paper is too transparent for good printing results. Book Sizes. The following table shows the size of leaf to which the standard sizes of book paper fold with- out waste: No.pp. to Size of Size of form sheet Name leaf 32 19x25 Thirty-twomo (32mo) 3%;x4% 32 22x29 Twenty-fourmo (24mo) 3%x5% 32 24x32 Eighteenmo (18mo) 4x6 32 27x34 Sixteenmo (16mo) 412x6% 32 30%x41 Duodecimo (12mo) 5%;x7% 32 33x44 Decimo (IOmo) 5V2x8% 16 24x36 Octavo (8vo) 6x9 8 18x24 Quarto (4to) 9x12 4 12x18 Folio 12x18 These are the basic sizes of books as understood in the trade. Different sizes can always be made, at slightly additional cost, if it be so desired by a publisher. Some- times an odd size increases the effectiveness of a book and renders it unique—to its advantage. Such changes from the prescribed form we are always ready to under- take and will give the lowest cost price, taking into [275] account any waste in the cutting of paper or in the order~ ing of paper of the size desired. The pages of type specimens in this book are of the pOpular Izmo size, as this is the prevailing type desired by most of our patrons. You will ﬁnd us ready to consult with you as to the size demanded by the best usage for your book and to give you the beneﬁt of our sixteen years of experience as to the size to further your best interests. PRESSWORK In General. The speciﬁcations covering presswork are. as a rule, a matter in which the publisher takes no direct interest. In the great majority of cases it is simply left to us to produce a ﬁnished job that will measure up to our regular production standards. Quantity and Ink. After all, there are usually only two matters in which a pressman must be speciﬁcally instructed in order to run a job—the size of the run and the color of the ink; all the other details covering kind and size of paper, composition and imposition will have been taken care of before the work comes to the press. The size of the run is, of course, taken care of by the general order, and the color of the ink is a matter which is usually left to the printer to decide. If, however, you have any preferences in regard to ink, if you desire to use a certain tone of black for the text or if colored inks are to be used anywhere in the work, you will of course state so in the order. Imposition. It is not customary for the printer who makes a complete book to submit to the publisher, previous to running, sheets showing the imposition of the pages, i.e., the manner in which they are laid out for [276] folding. The printer accepts the responsibility for cor- rectness in this matter. Sample Sheets. It is not customary to submit sample sheets, when the presses are ready to run, to show the adequacy of make-ready, ink, degree of impres- sion, etc. If you wish to pass on such matters, we should be instructed accordingly. The presses will, of course, be held up until your 0. K. is received, and this will involve an extra charge if they are kept standing idle for any length of time. To avoid such charges you should instruct us to notify you when we are ready to make the run, so that you can have somebody on the ground to pass on the work immediately. BINDING State number of copies to be bound. It is a rec- ognized trade custom that a binder may fold and gather an entire edition even if all the copies are not to be bound at one time. By so doing all the signatures may be tied up between boards with a consequent saving both to publisher and binder, through the elimination of double handling and the reduction of spoilage. Inserts. Specify the number of inserts, their char- acter, their positions in the book, and the manner in which they are to be fastened in. An insert may consist of a single leaf simply pasted along the back edge to a page of the book, or it may consist of four pages (or a multiple thereof) fastened in by one of several methods, visa: it may be folded around one of the signatures; or it may be bound into the middle of one of the signatures; or it may be pasted to one of the pages as in the case of a single leaf insert; or it may be pasted to a strip of cambric at the back. The last-mentioned method is [277] known as guarding. A single-leaf insert may, of course, be similarly guarded. Also specify whether inserts are to be protected by leaves of tissue paper. Headbands are the ornamental strips pasted to the back of a book at the head and tail. They were originally part of the sewing but are now put on separately and may be omitted if desired. Their purpose is both to strengthen the book and to give it a more ﬁnished ap- pearance. State whether or not they are wanted, also the particular kind desired. Size. Specify the size both of the cover and of the trimmed pages; in regard to the latter the size of the top margin should be speciﬁed as a guide in trimming. Edges, if not trimmed evenly, may be treated in one of several ways. The bolts, i.e., the folds of the sheet, may be left unopened; or they may be cut or ﬁled open and left in this condition, the latter operation being often done to effect an imitation of deckle edges; or they may be trimmed neatly but not absolutely evenly—a method favored by certain book-lovers; or the head alone may be trimmed even, with one of the other forms of treatment given to the fore-edge and tail. The question of color of the edges must also be decided. They may be left white, or plainly colored, or marbled, or gilt. Coloring or gilding, again, may be applied to the top with the other edges remaining untreated. Backs. State whether round, half-round or ﬂat back is desired. In modern cloth-bound books the distinction is simply a matter of taste. Cloth Binding. Specify the kind, quality, color and pattern of cloth to be used. We are at all times willing to submit samples to assist you'in a choice. Specify the kind and weight of board desired; on this depends the stiffness or ﬂexibility of the cover. State whether the corners are to be square or rounded. [278] Leather Binding. Leather binding may be full (all leather), half (leather back with cloth or paper sides), quarter (leather back and corners with cloth or paper sides) or three-quarter (extra-wide leather back and leather corners with cloth or paper sides). For any of these styles of binding the kind, quality and color of all materials should be speciﬁed. We will gladly assist with samples in deciding such speciﬁcations. Board Binding. Specify the weight of the boards, the kind of paper to be used in covering them and the kind of cloth to be used for the back. Paper Binding calls for a speciﬁcation of the kind and weight of paper. Cover Lettering and Omamentation should be speciﬁed. Cover designs may be furnished to us or left with us to originate. Stamping. Specify whether this is to be done blank, in gold, in leaf, in alchemic gold, in ink, in metal or in aluminum. In the case of inks specify the colors. Jackets, unless plain, call for a separate printing order with full details as to design, copy, engravings, num- ber of colors, kind and weight of paper, etc., etc- Plain jackets should be speciﬁed as to kind and weight of paper. Boxes, if desired, will be made to speciﬁcations of your own, or we will submit suggestions and samples to meet individual requirements. [279] SECTION IV GLOSSARY OF TECHNICAL TERMS Accents.—Marks added to particular letters to indi- cate pronunciation; also used to designate types so marked. Agate.—The old name for type corresponding in size to 5V2-point. American Russia—A trade name for cowhide. Antique Paper.—Paper with the natural rough ﬁnish; distinguished from machine-ﬁnished, calendered and coated. Antique Type.—A style of roman type in which all the lines of the characters are of almost uniform thickness, the serifs being square and bold. Arabic Numerals.—Ordinary numerals as distin— guished from Roman numerals. Art Canvas.—Buckram. Ascenders.—The rising strokes of such letters as b, d, 12. Author’s Proof.—Proof sent to the author for ap- proval or correction. Back Margin.—The margin next to the binding. Backing—Forming the back of a book in preparing it for the cover; commonly called rounding and backing. It is done either by hand, with a hammer or by a machine. Backing Up.—Printing the second side of a sheet. Bands.—The cords on which the sheets of a book are sewn. In “ﬂexible” sewing the bands show on the back of the book; when grooves are sawn to let the bands into the back, narrow strips of leather are sometimes glued across the back to look like raised bands. [28o] Basket Cloth.—-—A fancy weave of cover cloth, resem- bling the appearance of wickerwork. Bastard Title.———The name of the book standing by itself on a page preceding the full title-page. Battered—Damaged; used of type or engravings. Bed.—The ﬂat part of the press which holds the form to be printed. Ben Day.—A process of adding mechanical shading, by means of the Ben Day machine, to a drawing or plate in line, the shading consisting of a pat- tern of lines, dots or both. Ben Day is most connnonbrapphed‘u3theIﬁuﬁographk:negaﬁve from which the plate is made. Bible Paper.——A very thin book paper. Black Letter.—The style of letter or type used in the ﬁrst printed books. Ordinary German letters and “Old English” are of this class. Blanking—Stamping on cloth with a heated brass dk: Bleed—When the margins of a book are trimmed so close that they cut into the type matter, the page is said to bleed. The term is also used of an illustration or design that purposely runs off the edges of the sheet. Blind Tooling or Stamping—Impressions of tools or dies without ink or gold leaf. Blocking Press—A press for stamping blocks or dies on covers Blocks—The wood or metal bases on which engrav— ings or electrotypes are mounted. Boards—Cardboard. Body.——(I) The shank of a type. (2) The meausre- ment of the type which determines its size. Bold-face.—A heavy-faced type; it is also called full- face. [281] Bolt—The unopened edge presented by the folded sheetsin an uncut book. Bourgeois.—The old name for type corresponding in size to 9-point. Brass Rule.—Thin strips of brass, type-high, used for printing straight lines. Brasses or Brass Boards—Boards made for pressing books, so called because of the narrow brass strips on the edges by which grooves are formed at the joints or hinges of the cases. Brevier.—The old name for type corresponding in size to 8-point. Brochure.——-An unbound pamphlet in which the sheets are held together by sewing only; also used of a parﬁcukudy ﬁne connnerckd panqﬂﬂet Buckram.—A heavy book cloth with a linen-like ﬁn- ish. Bundling—The pressing and tying together of sig- natures of collated books. Burnished Edges.—-Colored edges which have been made smooth and bright by a polishing tool. Calendered Paper.—See Super-calendered Paper. Canvas.—See Duck. Caps—Paper coverings to protect the edges of a book in covering; also used of the leather covering the headband. Case.—(I) The cover of a cloth-bound book. (2) A shallow tray, divided into compartments, in which types are kept. The ordinary font of type requires a pair of cases—the upper case containing the capi- tals and small capitals and the lower case containing the small letters and numerals. Case Binding—A method of binding in which the case or cover is made separately and afterwards fastened on the book. [282] Casting Off.—Estimating the amount of space the matter will occupy when set in type. Catch-word.—A word placed under the last line of a page in anticipation of the ﬁrst word on the following page; many old-time books were printed this way. Also used of the ﬁrst word of an index entry. Ceriph.—See Serif. Chase.—The iron frame in which type and engrav- ings are locked up for placing on the press or sending to the foundry. Circuit Edges.——The projecting covers which turn over to protect the edges of a book, as on some Bibles and prayer-books. Also called divinity edges. Clean Proof.—A proof ready to be sent to the author, the printer having corrected his own ﬁrst errors. Cloth Boards—Stiff cloth covers. Coated Paper.—A paper covered with some such substance as china clay in order to make the smoothest possible kind of printing surface. Collating.——Examining the gathered signatures of a book for correct number and order. Colophon.—-—A notice at the end of a book correspond- ing in purpose to a title-page. Colophons were used by the early printers before the evolution of the title page took place. Columbian.——The old name for type corresponding in size to 16—point. Combs.—An instrument used in marbling. The comb is drawn across the colors on the surface in such a way as to produce a pattern. Common Cloths—Book cloths which have been dyed before receiving the ﬁnal coat of color. Common cloths do not take on a thready appearance as readily as linen-ﬁnished cloths. [283] Composing Stick—The small steel three-sided tray, adjustable on one side, in which a compositor sets type. Copperplate Engraving—Engraving from copper plates in which the design has been cut or etched in intaglio. The term is extended to cover this general style of printing, including steel engrav- ing, as distinguished from printing from raised surfaces. Copy.—The printer’s term for manuscript. Also used by engravers to designate the subject to be en- graved. Corners—The materials used in binding the corners of books. Also used of the triangular tools em- ployed in blind or gold tooling. Cowhide.—A tough, strong leather with a slight grain, used for book covers. Commonly called American russia. or imitation rzwsia. Cropped—Trimmed. Used speciﬁcally of a book that has been trimmed too much. Crushed Levant—Levant morocco on which the grain has been crushed down to a smooth surface. Cut—An engraving of any kind. Cut-in Note.—A note set into the text at the side. Cylinder Press—A press in which the paper is car- ried on a cylinder over a form of type moving back and forth on a horizontal bed; the usual type of large press for printing a single sheet at a time. Dandy Roll—A roller on a paper machine which, by pressing the wet paper, gives it the characteristic appearance of wove or laid ﬁnish. VVater-marks also are impressed by the dandy roll. De Luxe.——A term applied to particularly ﬁne books. Dead Matter.——Type or plates which have been killed and are hence useless. [284] Dead Reprint—A line—for-line and page-for-page re- print. Deckle Edges.—The rough edges which are natural to hand-made paper. Deckle edges are also formed on two sides of machine-made paper, though usually they are trimmed off. Deckle edges are imitated in machine-made sheets by sawing, tearing, etc. Dedication.—An address inscribed to a patron or friend, preﬁxed to a literary composition. Dele.—The proof-reader’s mark to indicate matter to be deleted. Descenders.—The descending strokes of such letters as j), 3/, etc. Diamond—The old name for type corresponding in size to 4-point. Dies.-——Metal plates used in embossing and stamping. Display.—Composition in which individual lines or groups of lines are featured or displayed, as, for instance, in a title page. Display matter is usu- ally set in types of several sizes. Display Type—Types suitable for display matter; all types aside from ordinary text sizes may be said to be display type. Distributing—Putting back type that has been used into the proper compartments of the printer’s case. Divinity Edges.——See Circuit Edges. Doublé.—The ornamented inside cover of a book, con- sisting of tooled leather, silk or other material. Also called doublure. Double Pica—The old name for type corresponding in size to 24—point. Double small pica, double Eng- lish, double colimibian, double great primer and double paragon are terms that were similarly used. [285] Drop-folio.—A folio at the bottom of a page. Duck—A heavy cotton book cloth, often called canvas. Dummy.—The model of a book intended to show the general form of the ﬁnished work. Duodecimo.—See Twelvemo. Eighteenmo.——A book size formed by folding a sheet (measuring approximately 19x25 inches) so as to make eighteen leaves; written I8mo. Electrotype.—A printing plate, made by an electro- lytic process, which is an exact copy of another plate or of type matter. Em.—The square of a type body of any size. Embossing—The process of stamping any material so as to produce a raised or relief effect. En.——A rectangle half the width of an em. End-papers.——The sheets of white or colored paper, printed or unprinted, which are placed at the be- ginning and end of a book, one half being pasted to the inside of the cover. Called fly-leaves by the general public. English—The old name for type corresponding in size to 14-point. English-ﬁnish Paper.—A super-calendered paper with a somewhat dull ﬁnish. English Linen—A highly polished, colored book cloth. Also called low buckram. Engraving—The printing plate, made by any proc~ ess, which bears an illustration or design. Also used of the printed reproduction of such a plate. IErrata;——}\ ﬁst of errors. Etching—A process of engraving in which a hand- drawn design is “bitten” into a metal plate by acid. The term is also used of the acid-biting in connection with photo-engraving processes. [286] Extra Binding—A trade term for sewing and bind- ing done by hand. Extra Cloth.——A book cloth in which the coloring is so heavy as to conceal the weave. Extra cloths are ﬁnished plain or with pattern effects. Fanfare.—A style of binding decoration in which there is a great profusion of repeated ornamenta- tion. Figure.——The term used for a cut inserted in the text. Fillet—A cylindrical instrument engraved with sim- ple lines, used in ﬁnishing bindings. Finishing—Lettering and ornamenting the covers of a book. Flexible.—Designating a book sewn on raised bands with the sewing thread passing entirely around each band. Also used of the covers of a book, full-ﬂexible or limp denoting complete ﬂexibility, and half-ﬂexible being applicable when the cover material has been pasted to a thin board or heavy paper. Flore-t.—A small type ornament based on a ﬂower or leaf. Fly-leaves.——Properly blank leaves at the end of a volume; often applied to End-papers, (1.72. Fore-edge.—The edge opposite the binding; the front edge. Foil.—A special substance for stamping book covers. Foil is neither gold nor ink. Folder.——A ﬂat piece of bone, ivory or other material used in folding sheets by hand. Also used of a folding machine. Folio.—(I) A book size formed by folding a sheet (measuring approximately 19x25 inches) so as to make two leaves. (2) A page number. Follow Copy.—This is the regular form of expres- [287] sion, used on proofs returned to the printer, to indicate that no change is to be made from the manuscript. Font—A complete assortment of types of one face and size. A complete font includes capitals, small capitals, small letters, numerals, punctuation marks, and a variety of sorts embracing accents, arbitrary signs, etc. Foot-note.—An explanatory note at the bottom of a page. Form.—The type matter as imposed in the chase ready to prhn; Format—The size, shape and general appearance of a book. Forwarding—Used in connection with hand-bind- ing, this expression covers the operations per- formed up to the time it is sent to the ﬁnisher for tooling, etc. Foul Proof.—A corrected proof. Foundry. —An electrotyping (or stereotyping) plant. Foundry Proof.-—A proof of the matter as it is to be sent to the foundry for electrotyping. Four-color Process—See Process Printing. Front Margin—The margin next to the fore-edge. Front Matter.—The matter preceding the main text (ﬂ a pruned book. Frontispiece.—The picture or plate facing the title page. Full Binding—An all-leather binding. Full-face.—See Bold-face. Full Gilt—Gilded on all three edges. Furniture—Pieces of wood and metal of various sizes used by the compositor in ﬁlling blank spaces in a page and in ﬁtting the form into the chase. [288] Galley.—A shallow tray in which composed types are placed before being made up into pages. Galley Press—A press for taking proofs by hand from matter standing in galleys. Galley Proof.—A proof of matter standing in the galleys; i.e., of matter arranged continuously and not broken up into pages. Gathering—Bringing together the signatures of a book in the correct order. Glair.—A preparation consisting of the white of eggs, used in ﬁnishing and gilding the edges of the leaves. Gordon Press.—A small platen press used in job printing. Gothic.—The simplest form of letter, made without serifs and with practically no difference in thick- ness between the different strokes of the charac- ters. The term is also applied by bibliographers to black letter type. Grain.—The line of least resistance in machine-made paper; paper folded against the grain is likely to crack. . Gravure.—See Photogrcwure. Great Primer.———The old name for type correspond- ing in size to 18-point. Grippers.—-The iron ﬁngers on a platen press which take the sheet off the form after each impres- sion; the mechanism which catches and holds the sheets in position on a cylinder press. Guarded—Signatures with cambric pasted to the back for strengthening purposes are said to be guarded. First and last signatures are often guarded because of the extra strain which these receive. Plates and maps may be similarly guarded. Gutter.——The back margins of a book. [289] Hair-lines.—The ﬁne connecting strokes of letters, distinguished from the thicker strokes or stems. Hair-space.—The thinnest kind of spaces used in setting type. Half-binding.—Binding with leather back and cor- ners and cloth or paper sides. Half-title.—The title of a volume standing by itself on a page immediately preceding the text or appearing above the ﬁrst page of the text. Sometimes wrongly used as a synonym for bastard title. Half-tone.——A photo-engraved plate in which grada- tions of light and shade are reproduced by means of closely set lines of ﬁne dots. Hanging Indention.—That form of indention in which the ﬁrst line of type extends the full width of the measure with the succeeding lines set in one or more ems from the left. Sometimes called reverse indention. Head—The top of a page or book. Head-band.—A small band of silk or cotton ﬁxed to the head and tail of a book to give it greater strength and to add to its appearance. Head-piece.—A decorative design extending across the top of a page of type, as at the beginning of a chapter. Height to Paper.—The ﬁxed distance from the face or printing surface of a piece of type to its foot. Imposing Stone.—-A ﬂat table, formerly of stone but now usually of iron or steel, on which forms are locked up for the press. Imposition.—Arranging pages in proper positions in the chase, so that they will come out in correct order when the sheet is printed. [290] Imprint—The name of the printer afﬁxed to his work. In Boards—A book is cut in. boards when the cutting is done after the boards that are to form its sides are in place. It is cut out of boards when cut before the boards are afﬁxed. Most books, having pro— jecting covers, are necessarily cut the latter way. Indention.—The setting of one or more lines of type to a measure that is narrower than the full width of the type page. Indention is usually done so as to leave the white space at the left, as in in— denting the ﬁrst line of a paragraph or the entire matter contained in a quoted extract. India Paper.—An extremely thin paper made in China and Japan, or an imitation of such paper; used for making the ﬁnest impressions of engravings and also for thin-paper editions of books. India Proof.—A proof of an engraving on India paper. Inferior Figures or Letters—Small ﬁgures or letters such as are used in referring to foot-notes, being so placed as to appear at the bottom of the printed line. Distinguished from superior ﬁgures or letters, which appear at the top of the printed line. Inlay.—A piece of material, different from that of the cover of the book, set into the cover so as to be ﬂush with its surface. Insert—A separately printed sheet or signature bound into a book, as a map or half-tone engraving on coated paper bound into a book printed on antique paper. Also called inset. Inverted Commas—Quotation marks; the marks pre- ceding the quotation are actually made by turn- ing commas, those ending the quotation being a pair of apostrophes. [291] Italic.—A general class of type chieﬂy distinguished by its slanting to the right. Jacket—The printed or unprinted wrapper placed around a ﬁnished book. Japan Paper.—Applied to the kind of paper made in Japan (and imitated here) which is more speciﬁ- cally known as Japanese Vellum. Joints—The part of the cover where it joins the back on the inside, forming a- hinge. Justify—To manipulate the spacing of a line of type so that it exactly ﬁlls the required measure. Keep Standing—An order not to distribute the type, pending the possibility of reprinting. Kern.—-A part of a letter or other character which cannot be accommodated on the body of a type and which consequently projects from the side, receiving its support from the type or space set next to it. Kettle-stitch.—The chain-stitch made at the head and tail of a book. Laced In.—The boards of a book are laced in when the bands are passed through holes in such boards. Laid Paper.—Paper which has ﬁne parallel lines (wire marks) running continuously through it. Law Binding—A style of plain leather binding, as used for law books; also called law calf. Leaders—Dots or dashes set in succession so as to lead the eye, as in a table of contents. Leads—Thin strips of metal placed between succes- sive lines of type in order to increase the white space between them. Letterals.—See Literals. Letterpress—Printing from type as distinguished from printing from plates; also printing from [292] type and relief plates as distinguished from other processes such as lithography, copperplate, etc. Levant Moro~cco.—Morocco made from the skin of the Levant goat. Library Buckram.—A special heavy weave of buck- ram, dyed and covered with a light coat of color. Ligatures.—Two letters cast on one body with a con- necting stroke, as ﬁ, ﬂ, ff. Limit Page.—A special page devoted to the announce- ment that the edition is limited. Limp.—See Flexible. Line-cut.—A photo-engraving in zinc of a subject in solid lines, dots or masses, i.e., with no gradations of tone in the medium, which is usually black ink. Linen Cloth.—A kind of book-cloth with a linen-like ﬁnish, i.e., a somewhat thready appearance, due to the fact that the color does not altogether cover the weave. Lining—The re-enforcing applied to the back of a book before it is put into the cover. Lithography.—The process of printing from an even- surfaced stone which is so prepared that the ink adheres only to the parts covered by the design. Lithography is now also done from metal plates. See also Offset. Literals (or Letterals).—Individual errors in compo- sition, of which a printer’s ﬁrst proof usually con- tains many, these being corrected and a clean proof made. See Cleam Proof. Live Matter.—Type or plates that are to be used; the opposite of dead matter. Locking Up.———Tightening up the form in a chase pre- paratory to putting it on the press. Logotype.—Two or more letters cast on a single type. [293] Long Primer.—The old name for type corresponding in size to Io-point. Lower Case.—The type-case containing the small let- ters; the term is used as a synonym for small letters. Machine-ﬁnished Paper.—Paper which has been slightly smoothed by calendering. Making Up.—Arranging type and plates so as to make pages of the proper size. Making Ready.—Preparing a form on the press so that it will print in the correct position on the sheet and with the correct degree of impression in every part. Marbling.-—The process of decorating sheets of paper or the edges of books with a variety of colors in an irregular pattern. Matrix.—A metal mold for type; also a papier-maché mold for stereotype plates. Mezzotint.—A kind of copperplate engraving in which the entire surface of the plate is roughened be- fore receiving the drawing. Mill Board.—A thick, heavy cardboard used for book covers. Minion.—The old name for type corresponding in size to 7—point. Modern Face.—A class of roman type distinguished chieﬂy by the contrast between the thick and the thin strokes of the letters and by the straight serifs. Morocco.—A kind of leather made from goatskin; morocco is the most durable leather for book- binding. Nonpareil.—The old name for type corresponding in size to 6-point; the term is still in common use to designate a space equivalent to six points or ap- proximately one-twelfth of an inch. [294] Octav0.———A book size formed by folding a sheet of paper (measuring approximately 19x25 inches) so as to make eight leaves; also written 87/0. OPE Its Feet—Not standing squarely on its base; said of composed type. Offset—(I) The transfer of wet ink from a printed sheet to a sheet laid over it. (2) A lithographic process in which the design to be printed is trans- ferred to a rubber blanket and thence to the sheet Old Style.——A general class of roman type chiefly dis- tinguished by the lack of great contrast between the thick and the thin strokes of the characters and by the angularity of the serifs. Out of Boards.——-—See I n Boards. Out Page.—The ﬁrst page of a sheet. Outset.——A four-page sheet folded round a signature. Overlay.—A piece of paper or a pattern of pieces of paper pasted over one another, placed on the tympan of the press to give the proper degree of impression to every part of the form to be printed. Overrun—(1) To run words backward or forward from one line to another in correcting a proof. (2) To print more than the speciﬁed number. Oversheets.—The sheets or signatures remaining over after an edition is bound. Packing—The sheets of cardboard, paper, etc., used to make the tympan on a press. Paragon.—The old name for type corresponding in size to 20-point. Parchment—A paper-like sheet made from the skins of sheep or goats. Pearl.—The old name for type corresponding in size to 5-point. [295] Persian Morocco—A. kind of morocco made from the skin of the “Persian goat,” a kind of hairy sheep. Photogravure.—A photo-engraving process in which the design is made in intaglio. Also the process of printing from such plates. Pi.——Type that has been mixed up. Pica.—-(I) The old name for type corresponding in size to 12-point. (2) The standard of measure- ment used for general calculation of type spaces, such as the width and depth of pages, the size of columns, etc. A pica contains twelve points and is equal, approximately, to a sixth of an inch. Pica is also frequently used to designate what is more correctly termed a pica em. Pica Em.—A square measuring twelve points on each side. Planer. —A smooth block used with a mallet to insure a perfect level of the type in a form. Plate. —(1) Any metal engraving used to print from. (2) A full- -page reproduction on paper different from that on which the text is printed. Platen Press.—A style of press in which the sheet to be printed rests on a ﬂat surface; ordinary job presses are of this type. Point—The unit of type measurement; approxi- mately one-seventy-second of an inch. Points—Marks of punctuation. Press Proof.—(I) The ﬁnal proof approved for run- ning on the press. (2) A sample sheet of the work as it is being run on the press. Process Printing—Printing in color from half tone plates, each of which carries one of the three pri- mary colors (in three-color process) or with a black plate added to these three (in four-color [296] process). These plates when superimposed on one another approximate all the gradations of color of the original subject. Publisher’s Binding—Ordinary cloth binding. Quad—Metal blanks used for ﬁlling spaces in com» position; abbreviated from quadrat. Quarter Binding—Binding with leather .back and cloth or paper sides, or cloth back with board sides. Quarto.—A book size formed by folding a sheet (measuring approximately 19x25 inches) so as to make four leaves; also written 4t0. Quoins.—Wedges used to lock up a form in chase. Quotations.——Hollow metal type furniture. Recto.—The right hand page of a book; the front cover. Register.——Correct position on the sheet; in book work accurate register means that one page of print exactly backs the other; in color work accu- rate register means that the separate colors are exactly placed with relation to each other. Reglets.—-Thin strips of wood similar to leads, used for larger spaces. Reverse Indention.—-See Hanging I ndention. Revise.—A proof taken after corrections have been made. Roman.—A general class of type; the ordinary book type; distinguished from black letter, gothic, italic, etc. Roman Numerals.—I, II, III, etc., used to express numbers; distinguished from Arabic numerals. Rotary Press.—A style of press which prints from plates held on a cylinder, the paper being fed from a continuous roll. Rounding—See Backing. [297] Routing—Removing from a plate dead metal or any other part that is not desired. Running Head or Title.—A title or other phrase ap- pearing at the top of each page. Russia.—A brownish red leather prepared in Russia. Score.—To put a creasing line in cardboard or heavy paper so that it will fold easily in the desired place. Script—A style of type imitating handwriting. Serif (or Ceriph).—The fine cross-line ending a stroke of a letter. Sheet-Wise.—A sheet which is printed from a differ- ent form on each side is said to be printed sheet-wise; distinguished from PVork-and-Tm'n, q.7/. Shoulder.——The blank space above and below the face of a character on the end of a type. Signature.—A section of a book folded to size from a single sheet; also the identifying letter or ﬁgure commonly printed at the bottom of the first page of such a section. Sixteenmo.—A book size formed by folding a sheet of paper (measuring approximately 19x25 inches) so as to make sixteen leaves; written I6m0. Slug—A thick lead, or a bar of linotype composition. Slur.—A blurred impression. Small Caps—Capitals smaller than the regular capi- tals of a font. Small Pica.—The old name for type corresponding in size to II-point. Sorts.— Individual types; out of sorts means to be short of certain characters; a run on sorts designates an extra heavy demand for certain characters. Spaces.—The small blanks between words. Standing Matter.—See Keep Standing. Steel Engraving—The process of printing from a [298] steel plate in which the lines of the design have been cut or etched in intaglio; the term is also applied to the plate itself as well as to the repro- duction made from the plate. Stereotype.——A duplicate of type or plates made in type metal from a mold of plaster, clay or papier- maché. Stet.——Signiﬁes let it stand; written in the margin of a proof to cancel an alteration, a line of dots being placed under the altered matter in the text. Stipple.—To produce a toned surface in a drawing or engraving by means of a mass of dots. Stone Hand—The man who works at the Imposing Stone, q.v. Style.——The system of punctuating, capitalizing, itali- cizing, etc., followed by a printer; every printer has his own style to a certain extent. Super.—A thin, loosely woven cotton cloth pasted over the back and extending to the inside covers, holding book and covers together. Super-calendered Paper.—Paper to which a smooth surface has been given by passing it between steel rollers under pressure. Superior Figures or Letters—See Inferior Figures or Letters. Swash Letters—Certain forms of italic letters which have fancy ﬂourishes. Tai1.—The bottom of a page or book. Tail-piece.—An ornament at the end of a piece of printed matter, as a chapter. Take.—A portion of copy assigned to a compositor. Tapes—(I) Strips of cloth extending over the back and on to the boards. (2) Strips of cloth placed between the covers and the ends of a stitched book to strengthen it and give it ﬂexibility. [299] Text Type.—The type used for the main portion of a book; the term is also applied to certain forms of Black Letter, q.v. Thirty-twomo.—A book size formed by folding a sheet (measuring approximately 19x25 inches) as to make thirty-two leaves; written 32117.0. Three-color Process—See Process Printing. Three-quarter Binding—Binding with extra wide leather back, leather corners and cloth or paper sides. Tissued.—Protected by a sheet of tissue paper; said of a plate in a book. Token—A unit of presswork. The New York token is 250 impressions of one form; the Boston token, 500. Tooling—The decoration of book covers by the im- pression of special tools. Twelvemo.—A book size formed by folding a sheet (measuring approximately 19x25 inches) so as to make twelve leaves; written Iemo. Twenty-fourmo.—A book size formed by folding a sheet (measuring approximately 19x25 inches) so as to make twenty-four leaves; written 24mo. Tympan.—The paper and cardboard covering the platen or cylinder of a press, making an even surface on which to place the sheet to be printed. Type-high.—Of correct Height to Paper, qxv. Underlay.—A piece of paper placed under the type or plate itself to correct the degree of impression. See Overlay. Upper Case—The type case containing the capital let- ters; the term is used as a synonym for capital letters. Vellum.——A paper-like sheet made from the skins of calves. [300] Verso.—The left hand page of a book; the back cover. Vignette.——An illustration which shades off gradually with no deﬁned edges. Web.—A roll (of paper). Web Press—A Rotary Press, qxv. Whipstitch.———To sew with an over-and-over stitch. Wire-marks.—-The closely set lines discernible in laid papen Work-and-Turn.—A sheet is printed work-and—tum when both sides are printed from the same form; subsequent cutting of the sheet in half yields two identically printed sheets. Cf. Sheet-wise. Workers.——The set of electrotype plates used to print the edition. Wove Paper.—Paper that does not show the wire- marks seen in Laid Paper, q.7/., the screen being woven like cloth or not discernible at all. Wrong Font—A character of wrong size or face oc- curring through an error in composition. Zinc Etching—See Line-cut, the more common term. [301] - yu r-‘u—m— - - 'nwvxn 1.. I. Mrmw --—W~mu w” I .M—u‘r -n.(-,.—— "0.....— rm—.mu~lw.~‘ m-“W'MM m-qu nnwmm—u—o-u “va-‘Nw‘v IW-\ m; , » .. 4 E E i E 955 MA n .--:m—W—am‘uw .n.‘ , .m- an a "0 - ___..‘ rm” -~~ - .V ‘- ~-wi ANI)J(NIVERSITY OF MISSOURI - COLUMBIA 655 044 191325 8_ m _ E EIIEEEIEIIIEEIEIE EL!!! um m“... ._ 4 _, . a' \ a E t » ‘ .' , I - K - , .~ 19¢. —-y—. - w .. I .- . ~ I . . C _ 4 ,9 _. ‘ v . 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