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 THE SCHOOL 
 PRINT SHOP 
 
 By 
 
 KATHARINE M. STILWELL 
 
 Teacher of Printing, University Elementary School 
 University of Chicago 
 
 48581 
 
 RAND McNALLY & COMPANY 
 :hicago new york
 
 Copyright, igio, by 
 Rand McNally & Company
 
 THE CONTENTS 
 
 PAGE 
 
 The Preface vii 
 
 The Introduction. By Charles H. Judd .... xi 
 
 CHAPTER 
 
 I. A Description of Type 1 
 
 II. Learning the Case 12 
 
 III. Spacing 22 
 
 IV. Directions for Composition 33 
 
 V. Proofreading 43 
 
 VI. Locking Up 45 
 
 VII. Imposition 51 
 
 VIII. The Press 59 
 
 IX. The Distribution of Type 67 
 
 X. ^Measuring 70 
 
 XI. English 73 
 
 A. Punctuation 73 
 
 B. Division of Words 83 
 
 C. Spelling 85 
 
 D. Capital Letters 87 
 
 E. Capitals and Small Capitals 90 
 
 F. Italics 90 
 
 XII. Art in Printing 92 
 
 XIII. How to Make Illustrations 108 
 
 XIV. Paper 117 
 
 XV. Suggestions to Young Printers .... 125 
 
 V
 
 vi THE CONTENTS 
 
 PAGE 
 
 Appendix for Teachers 131 
 
 A. The Value of Printing as an Educational 
 Subject 133 
 
 B. Selecting Equipment 139 
 
 C. The Arrangement of Printing Rooms . . 153 
 
 D. Outline of Course in Printing in the Elemen- 
 tary and High Schools of the School of Edu- 
 cation of the University of Chicago in 
 1916-1917 155 
 
 E. What to Print in the School Printshop . . 168 
 
 F. Samples of Work Actually Done in School 
 Printshops 175 
 
 Glossary 213 
 
 The Index 223
 
 THE PREFACE 
 
 The School Printshop had its inception in the 
 classroom. It is the outgrowth of teaching 
 classes of elementary-school pupils, high-school 
 pupils, after-school volunteer pupils among whom 
 the work was more or less of a vocational nature, 
 and college students who were fitting themselves 
 to teach printing. It is designed primarily for 
 these groups of students — a book to be owned 
 by the pupil and to be used by him as a shop 
 manual. There is need for a book to supplement 
 the oral instruction, one to which the pupil can 
 refer as questions arise and problems confront 
 him. It is not expected that this book will take 
 the place of the teacher, although a pupil can make 
 progress with no other than printed instruction. 
 
 Not everything pertaining to the broad subject 
 of printing, nor indeed to any one branch of it, 
 can or should be taught outside of a commercial 
 printshop or a highly specialized school of print- 
 ing. It is necessary then to select the printshop 
 material that is suitable for teaching purposes in 
 schools. In making such a selection for this 
 manual I have included only topics essential to a 
 proper understanding by the pupil and basic to 
 the subject of printing. I have attempted to 
 give in simple form, with no confusing details, 
 directions for setting type and printing, so that 
 the pupil can successfully and safely carry on all 
 the operations involved in a manner consistent
 
 Vlll THE PREFACE 
 
 with the best traditions of the craft. By direct- 
 ing the pupil's attention to the history of printing, 
 to its art possibiHties, to the interesting relations 
 that exist between printing and its allied indus- 
 tries, I have aimed to broaden the student's outlook 
 and to place printing where I believe it belongs 
 as a cultural study in the school curriculum. 
 
 No attempt has been made to present a series 
 of lessons in regular order. Rather the matter 
 and method of the book are to be regarded as 
 suggestive, as material which each teacher can 
 adapt to his own working conditions. In a 
 general way the order of the chapters follows the 
 logical development of the subject, but always 
 the time and manner of teaching any part of it 
 are conditioned by the pupils. 
 
 The pupil should be so trained in the use of 
 the book that he can readily find any needed 
 information or instruction. The printing pro- 
 cesses are so interrelated that no one of them can 
 be fully explained without a reference to some 
 other. Hence no one chapter contains all the 
 information about the topic it deals with, nor 
 can the pupil fully understand or remember it 
 all without the additional experience he must 
 gain through the work described in other chapters. 
 Thus he must refer time and again to the different 
 chapters. Some chapters are to be used only for 
 purposes of reference. The pupil will read such 
 chapters, the teacher illustrating and amplifying 
 wherever the pupil requires it. Since it is desir- 
 able to get the pupil to work as quickly as pos- 
 sible, chapter ii is suggested as the point of 
 departure. Because from the start both hand 
 and brain are employed, the pupil is interested
 
 THE PREFACE ix 
 
 throughout the usually stupid preliminary process 
 of learning the case. Definitions bore the child 
 if an attempt is made to teach them before he 
 feels the need of them. For that reason in this 
 book terms needing defining have been placed in a 
 glossary. 
 
 The Appendix has been prepared with the 
 intent of aiding both the trained printer who has 
 been called upon to teach before he has solved the 
 problems of pedagogy and the trained teacher 
 who is attempting to teach a new, untried subject. 
 Perhaps no question is more frequently asked 
 than, "What comprises a suitable equipment for 
 a school and what is its cost?" The announce- 
 ments sent out by dealers in printshop supplies 
 are often misleading, ranging from "a school 
 printing outfit for $195" to "an equipment that 
 can be purchased for $1,000." These indicate 
 to the inexperienced teacher only a money differ- 
 ence. The list of required articles in the Appen- 
 dix should help to make clear such notices, as it 
 states the quantity required in terms of the num- 
 ber of pupils, a definite quantity for each pupil or 
 for each group of ten pupils. 
 
 The course of study for the Elementary and 
 High Schools of the School of Education of the 
 University of Chicago has for three years been 
 used in its present form. A good course of study is 
 a growing one; this one is offered as a working 
 hypothesis. Experience and study will enable the 
 thoughtful teacher to suggest many changes and 
 improvements. 
 
 It is a pleasure to acknowledge indebtedness to 
 many friends and colleagues for encouragement 
 and help. Thanks are due to Mr. F. K. Phillips
 
 X THE PREFACE 
 
 of the Educational Department of the American 
 Type Founders Company for reading the manu- 
 script; to Mr. Walter Sargent of the School of 
 Education, the University of Chicago, to Miss 
 Rachel Whittier of the Boston Normal Art School, 
 and to Miss Louise Clark of Boston, Massachu- 
 setts, for practical art suggestions; to the late 
 Mr. William M. Shirley of the Shirley Press, 
 who in early days gave generous assistance 
 when assistance was most needed; to the various 
 manufacturing firms for pictures and printshop 
 machinery. 
 
 I take this opportunity to express an appre- 
 ciation of the attitude of the master printers 
 toward school printing. Their generous recogni- 
 tion and friendly spirit go far toward connecting 
 the work of the school with that of the trade and 
 make easy the passage from one to the other. 
 
 Katharine M. Stilwell
 
 THE INTRODUCTION 
 
 Among the manual arts there is none which is 
 more appropriate to the elementary school than 
 printing. The pupil is introduced in the first 
 grade to books, and all through his school life he 
 is what the economists call a "consumer" of print- 
 ing. He is influenced, without knowing the reasons 
 why, by the artistic arrangement of the pages of 
 his books and by the perfection of presswork and 
 binding. He reads easily when the printing is 
 well done. 
 
 As he uses books his curiosity is sure to be 
 aroused about the way in which they are made. 
 This curiosity will be increased by references in 
 his school work to the great changes which came 
 in civilization with the invention of printing. 
 To deprive the pupil of information about the 
 making of books would be to cut him off from 
 one of the most interesting lessons which the 
 school can teach. 
 
 Adequate knowledge about printing cannot be 
 drawn from mere description. It follows, there- 
 fore, as an easy deduction from what has been 
 said, that the pupil should be allowed to become 
 in a small way a producer of printing in order 
 that he may be an intelligent and satisfied con- 
 sumer. 
 
 There are many incidental advantages. As 
 the pupil tries to set up an artistic form he will 
 learn the distinction between well-arranged print- 
 ing and careless work. As he studies different
 
 xii THE INTRODUCTION 
 
 kinds of types he will discover the reasons for many 
 of the variations which he has seen but has 
 not noticed. He will also find that he needs to 
 master the mechanics of spelling and punctuation. 
 These lessons are worth learning, and they will 
 be much more vividly apprehended by a producer 
 than by a mere consumer. 
 
 The equipment of a printshop has certain advan- 
 tages over other equipments for manual work. It 
 can be used by many pupils many times over. 
 It puts out a product which is intrinsically 
 useful. 
 
 Above all, the pupils are very enthusiastic about 
 this kind of work. They need no artificial stimu- 
 lus to insure eager attention. The work is itself 
 exacting, and its relation to all the other activities 
 of the school prevents distraction. 
 
 Evidently the problem of teaching printing is 
 no narrow problem nor one relating merely to 
 preparation for a trade. It is a virtue of such a 
 text as this that it conceives the problem of the 
 school printshop in terms broader than the trade 
 and yet detailed enough to satisfy even the 
 technical printer. 
 
 The use of this material in the University Ele- 
 mentary School has been an unqualified success. 
 That the author of the text has put her experience 
 and her skill at the service of a larger group of 
 teachers and pupils is a matter of satisfaction to 
 all her colleagues. 
 
 Charles H. Judd
 
 Printing is preeminently the art of democracy. 
 — Henry Turner Bailey
 
 A class at ivork
 
 THE SCHOOL PRINTSHOP 
 
 CHAPTER I 
 
 A DESCRIPTION OF TYPE 
 
 Type consists of small pieces of metal with a 
 letter or character cast in relief on one end, which 
 is called the face. This name is sometimes con- 
 fusing to beginners because, in printing, the word 
 "face" is also used to distinguish one style of type 
 from another. 
 
 The end of the metal opposite the face is usually 
 grooved by the machine in casting. This makes 
 two projections called the feet. The term is 
 applied to the end opposite the face even when 
 the groove is omitted. (Fig. 1 shows parts of type.) 
 
 Body is that part of the type between the face 
 and the feet. It is sometimes called the shank. 
 Body also means sizes or depths of type. 
 
 On the front of the body near the feet are one 
 or more shallow grooves called nicks, which are 
 to guide the compositor. Were there no nicks, 
 he would have to examine the face of each piece 
 of type before setting it in the stick to make sure 
 that letters were right side up. In some cases 
 certain letters have an additional nick to dis- 
 tinguish them from others in the same case for 
 
 1
 
 2 THE SCHOOL PRINTSHOP 
 
 which they might be mistaken. For example, 
 in the 12-point Lining Caslon No. 540 the small 
 capitals o, s, v, w, x, and z have three nicks to 
 distinguish them from the same letters lower case, 
 which have the ordinar}^ two nicks of the font. 
 The nicks also serve to prevent the mixing of 
 different faces of the same body, as the type 
 founders vary the number and position of nicks 
 in the different faces. 
 
 As there must be space between the letters of a 
 printed word, a slight margin is left about the 
 letter on the metal. The margin between the 
 bottom of a letter and the outer edge of the body 
 is usually called the shoulder. The slope between 
 the face and the upper surface of the body is called 
 the beard or neck. 
 
 The different parts of the surface of the letter 
 are named. The stem, or body-mark, is the thick 
 line of the face of the letter. Printers call it 
 the thick-stroke. The fine cross line put in as 
 a finish to unconnected lines is called a serif. 
 The fine hair line connects the stem or body- 
 marks. Some letters, for example, / and /, some- 
 times project over the side of the body. This 
 projection is called a kern, and such letters are 
 spoken of as kerned letters. The depression 
 between the lines of a face is called the counter. 
 The pin-mark is a small circle indented in the 
 side of the body near the face. It is made by a
 
 A DESCRIPTION OF TYPE 
 
 'fr—Fc 
 
 ace 
 
 M 
 
 He I a fit 
 0.918'' 
 
 Point 
 
 Fig. 1. SJwiving the various parts of a piece of type 
 
 1. Neck or beard 
 
 2. Hair line 
 
 3. Pin-mark 
 
 4. Nick 
 
 5. Serif 
 
 6. Counter 
 
 7. Shoulder 
 
 8. Stem 
 
 9. Groove 
 10. Feet
 
 4 THE SCHOOL PRTNTSHOP 
 
 pin in the mold during casting and is used for 
 the purpose of designating the foundry at which 
 it was cast. 
 
 The standard height of type in this country is 
 0.918 inch. Type of this measurement from face 
 to feet is type-high. Type cast higher or lower 
 is high-to-paper or low-to-paper. 
 
 Type is uniform in height, but varies in depth 
 and width. The body measurement of a piece 
 of type is the depth of the end of the metal on 
 which the type face appears. It includes not 
 
 Fig. 
 
 Method of measuring a piece of type on a pica rule 
 
 only that part of the type which makes the 
 impression, but also the open spaces at the top 
 and bottom of the letter (Fig. 2). 
 
 The width of the letters in a font varies from the 
 wide m to the narrow i. The fonts themselves
 
 A DESCRIPTION OF TYPE 5 
 
 vary from "expanded," which magnifies the width, 
 to "condensed," which minimizes it. The posi- 
 tion of the letter on the body of the type also affects 
 its width. Only full-bodied letters occupy the 
 entire body of the type. The ascending letters 
 occupy the upper three-fourths of the body, the 
 descending letters the lower three-fourths, while 
 short letters like a and e occupy about one-half 
 of the body and are set in the middle part. Each 
 letter needs space about it to make it legible, and 
 this surrounding space should be uniform. If 
 this space is small, the letters are near together 
 and the type is consequently said to be close- 
 fitted; on the other hand, if the space is wide, 
 the type is wide-fitted. 
 
 Formerly body size of type was designated by 
 name. At that time there was not a uniform 
 standard of type sizes, and type cast by one 
 foundry was not always of the exact size of type 
 bearing the same name but cast by another 
 foundry. This disparity made difficult the using 
 together of type cast by different foundries. To 
 obviate this, the type founders of America adopted 
 what is known as the American Point System of 
 measuring type. They selected as the standard 
 the pica, about one-sixth of an inch, or, to be 
 exact, 0.1660044 inch, in length. They divided 
 this into twelve equal parts called points. All 
 bodies of type are now made on multiples of
 
 C THE SCHOOL PRINTSHOP 
 
 this point and are called by numerical names: 
 6-point, 8-point, 10-point, 12-point, 14-point, and 
 so on. One point is exactly 0.013837 inch, or, for 
 practical purposes, M2 of an inch (Fig. 3). Type 
 of 72 points, then, is about one inch in depth. 
 
 1 pica =0.1000044 inch 1 point =0.013837 inch 
 
 Fig. 3. Showing increase in thickness, by points, from 
 one to twelve 
 
 Type from 3-point to 84-point, and sometimes 
 as large as 144-point, is cast in metal, but large 
 sizes are commonly made of wood. Wood type 
 is lighter and cheaper than metal type and is 
 used for printing bills for posting, where large 
 sizes are required. This kind of type is made of 
 maple, box, pear, or other close-grained woods. 
 
 The following table gives the sizes of type with 
 their numerical names and their former names : 
 
 Numerical Name Former Name 
 
 60-point Five-line pica 
 
 48-point Canon, or four-line pica 
 
 44-point Meridian 
 
 40-point Double paragon 
 
 36-point Double great primer 
 
 32-point Four-line brevier 
 
 30-point Five-line nonpareil 
 
 28-point Double English 
 
 24-point Double pica
 
 A DESCRIPTION OF TYPE 7 
 
 Numerical Name Former Name 
 
 20-point Paragon 
 
 18-point Great primer 
 
 16-point Columbian 
 
 14-point English 
 
 12-point Pica 
 
 11-point Small pica 
 
 10-point Long primer 
 
 9-point Bourgeois 
 
 8-point Brevier 
 
 7-point Alinion 
 
 6-point Nonpareil 
 
 53^-point Agate 
 
 5-point Pearl 
 
 43^-point Diamond 
 
 4-point Brilliant 
 
 3-point Excelsior 
 
 An assortment of one kind and size of type used 
 together is called a font. The font is based upon 
 an estimate of the number required of each letter 
 in the language and is sold entirely by weight or 
 in job fonts. An ordinary font of roman type 
 contains the capitals, the small capitals, and the 
 lower-case letters. Included in these are the usual 
 ligatures {JE, (E, 3d, ce, ffl, ffi, ff, fl, fi), punctuation 
 marks, figures, dashes, braces, reference marks, 
 and spaces. Every roman face has its corre- 
 sponding italic (capitals and lower case). This 
 makes five scries in every complete font, thus 
 enabling the printer to do many kinds of work 
 with one size and style of type.
 
 8 THE SCHOOL PRINTSHOP 
 
 The bodies of type are described by numbers, 
 but the style of the face is designated by name. 
 Unless otherwise stated, roman face is always 
 understood. For example, 18-point Cheltenham 
 means: body-size, 18-point; face, roman; style, 
 Cheltenham. 
 
 The specimen books of the great type foundries 
 contain many styles of type faces grouped into 
 families. Type faces are constantly improving, 
 and printers now are using fewer styles, but of 
 better design, than was the case a few years ago. 
 
 The most common groups of type faces used in 
 this country are roman, italic, text, and got hie. 
 
 This line is set in roman type. 
 
 This line is set in italic type. 
 
 dTfjisi line i^ sict in text, or iilacfe letter, tppe. 
 This line is set in gothic type. 
 
 The roman type is that style which was based 
 on the old Roman manuscript. It was first used 
 by Sweynheim and Pannartz at Subiaco, Italy. 
 It has served as a model for the others. It is 
 the simplest and best form of type for ordinary 
 books and newspapers. Under the general name 
 of roman may be grouped Caslon, Cheltenham, 
 Century, Delia Robbia, Pabst, Goudy Old Style, 
 and many others in common use. Not all forms 
 of roman type are suitable for book printing.
 
 SPECIMENS OF TYPE SIZES 
 CASLON 
 
 FOURTEEN POINT 
 
 THE SCHOOL PRINTSHOP 789 
 
 EIGHTEEN POINT 
 
 THE SCHOOL PRI 74123 
 
 TWENTY-FOUR POINT 
 
 THE SCHOOL 6597 
 
 THIRTY POINT 
 
 THESCHO 091 
 
 THIRTY-SIX POINT 
 
 THESGH 26 
 
 FORTY-TWO POINT 
 
 THES 130 
 
 FORTY-EIGHT POINT 
 
 THE 1290
 
 10 THE SCHOOL PRINTSHOP 
 
 Certain families through their use as such have 
 come to be classed as ornamental job type. Such, 
 for example, are the Delia Robbia and the Pabst. 
 
 The italic is a slanting letter, also originating in 
 Italy, used as a companion type to the roman 
 letter. 
 
 Text is modeled after the hand used in the 
 manuscripts before the invention of printing. 
 It derived the name of text from the fact that 
 the early printers used it for the text or solid 
 part of the page. Printers call it black-letter 
 because it shows more black than white upon the 
 printed page. Bibliographers speak of it as 
 gothic simply because it has been favored by 
 people of Gothic descent. In its early use the 
 pointed letter was the formal and accepted style 
 for books of devotion. It retains this use today. 
 It appears in the type books under several families 
 with slightly different characteristics. Some of the 
 common names are Old English, Flemish, and 
 Cloister Black. German type is a black-letter 
 type. 
 
 The style of type known as gothic is not Gothic 
 at all. It also is an imitation of Roman writing. 
 It is a black-letter type made of even strokes with 
 no serifs. 
 
 In the selection of a type face legibility is the 
 first consideration. To secure this, the type 
 design must be simple in form, with a pure line
 
 A DESCRIPTION OF TYPE 11 
 
 unhampered by useless and meaningless turns. 
 It must combine well with other letters to form 
 words. Each letter and figure should be distinct 
 so that one cannot be mistaken for another. The 
 line should be firm and bold; strong enough to 
 have character; not so fine as to produce a weak 
 tone on the printed page. Type with hair lines 
 should be avoided; nor should type so condensed 
 as to require over-much spacing be chosen. The 
 type of today must be adapted for use in printing 
 by a power press on soft paper.
 
 CHAPTER II 
 LEARNING THE CASE 
 
 Formerly in the printshop type was kept in 
 what are called news cases — that is, a pair of 
 cases, upper and lower, so designated from their 
 position on the case stand, a light, wooden frame 
 made to support them. The top of the stand is 
 so arranged that it holds the two cases at different 
 angles. This is for the purpose of enabling the 
 compositor to see and reach all the type in each 
 case. 
 
 News cases are divided into compartments or 
 boxes so that there is a box for each character in 
 the font of type. The upper case contains on 
 the right the capitals (called caps) and on the 
 left the small capitals (called small caps). The 
 remaining boxes contain the fractions, signs, 
 diphthongs, and other characters used in printing. 
 The upper case is divided into ninety-eight boxes 
 of uniform size. In the lower case are the small 
 letters, the digits, the ligatures, the punctuation 
 marks, the spaces, and the quadrats, commonly 
 called quads. The lower case consists of fifty- 
 four rectangular compartments of unequal size. 
 
 12
 
 LEARNING THE CASE 
 
 13 
 
 The larger boxes are designed to hold the letters 
 most frequently used, while the smaller boxes 
 contain those less frequently used and therefore 
 fewer in number. 
 
 The easiest way to learn the case is by paper 
 folding. Fold a piece of paper eight by four into 
 thirty-two squares. (See Fig. 4.) 
 
 b 
 
 Fig. 4. First step in folding paper to learn the case 
 
 Now fold the upper edge aa to meet the first 
 crease hh, crease, and tear off, thus leaving the 
 rectangle eight by three and one-half. With a 
 pencil trace the lines as indicated in Fig. 5, on the 
 following page. 
 
 Next add the lines as shown in Fig. 6, and you 
 have a drawing of the lower case. From Fig. 7, 
 on page 15, you can readily learn the location of 
 the small letters, the digits, the ligatures (^z, f, ffi. 
 fl), the punctuation marks, the spaces, and the 
 quads.
 
 14 
 
 THE vSCHOOL PRINTSHOP 
 
 Fig. 5. Second step in learning the case 
 
 With ruler and cardboard draw Fig. 6 to any 
 scale desired, and as you learn the case complete 
 the diagram to the stage shown in Fig. 7, on 
 page 15. 
 
 Fig. 6. Diagram of the loiver rase 
 
 Commercial shops are now discarding the open- 
 case stands in favor of closed cabinets ; news cases 
 are therefore falling into disuse. The case stand 
 is made for men; the upper case is therefore too
 
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 LEARNING THE CASE 17 
 
 high for schoolroom use. Instead of the news 
 cases most school shops now use the California 
 job case. Its size is that of the lower case, but 
 one-third of the space is divided into thirty-five 
 compartments for the capitals and sorts, while 
 the remaining two-thirds has fifty-four smaller 
 boxes which hold the letters and other characters, 
 placed as in the ordinary lower case (see Fig. 8 
 on the preceding page). 
 
 The California job case can readily be learned by 
 paper folding as for the simple lower case. Use 
 paper eight by four. After folding it into three 
 vertical rectangles, tear off the right-hand one, 
 and then proceed as indicated in the directions 
 for the lower news case, which are given on 
 page 13. 
 
 The Yankee job case is used in many closed 
 cabinets. The case is made five and one-half by 
 eight instead of three and one-half by eight, and 
 the additional space is divided into two rows of 
 sixteen boxes each for the capital letters. This 
 case differs from the other cases not only in 
 having the capital letters on its long side, but 
 also in the order in which the capital letters are 
 laid in the case (see Fig. 9 on page 18). The lower- 
 case letters are laid as they are in the news and 
 in the California job cases (see Figs. 7 and 8).
 
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 ^ 
 
 - 
 
 
 y^ 
 
 Hd 
 
 -* 
 
 03 
 
 P-t 
 
 f-l 
 
 ^^ 
 
 N 
 
 CO 
 
 ►"* 
 
 1— 1 
 
 ;-^ 
 
 '^ 
 
 • ^ 
 
 o 
 
 c^ 
 
 
 M 
 
 rH 
 
 ^ 
 
 '^ 
 
 Oi 
 
 '^ 
 
 
 o 
 
 b 
 
 ;i^ 
 
 K' 
 
 l> 
 
 ^ 
 
 P! 
 
 ^ 
 
 w 
 
 H 
 
 '*■- > 
 
 c 
 
 m 
 
 
 a 
 
 a 
 
 ?i 
 
 o 
 
 ^ 
 
 
 w 
 
 a 
 
 ■^ 
 
 ,^ 
 
 - 
 
 >- 
 
 <1 
 
 ^ 
 
 -r-. 
 
 — - 
 
 .-V. 
 
 -• 
 
 s; 
 
 >< 
 
 a" 
 
 18
 
 LEARNING THE CASE 
 
 19 
 
 The most interesting way to learn the arrange- 
 ment of the case is to set up the type in each box. 
 Adjust your stick^ to any desired measure. Hold 
 it in your left hand at such an angle that the type 
 will not fall out (Fig. 10). With your right hand 
 pick up a piece of type and place it in the stick on 
 its feet with the nick up. Use your left thumb to 
 
 Fig. 10. Showing correct method of holding stick 
 
 hold it in position until the next piece of type is put 
 into the stick. When you have an entire line of 
 type, hold it up before your eyes and read it. Be 
 sure the nicks are up. Set lines of one letter until 
 you can readily recognize that letter upside down. 
 Then mark that letter in its compartment on your 
 diagram and set up the letters in another box. 
 Proceed in this manner until you know the entire 
 
 1 See direction Nn. 2, page 3.3. 
 3
 
 o 
 
 r 
 
 9 
 
 e- 
 
 O 
 
 ^ 
 
 1 
 
 \ 
 
 ^ 
 
 f^ 
 
 1-^ 
 
 ^ 
 
 k- 
 
 =i^ 
 
 
 I 
 
 
 W 
 
 V-l 
 
 H 
 
 P 
 
 ^ 
 
 CO ( 
 
 S 1 
 
 00 
 
 Pi 
 
 H^ 
 
 zn. 
 
 *~5 
 
 © 
 
 
 S 1 
 
 O 
 
 14 
 
 ^ 
 
 N 
 
 m^ 
 
 C+?. 
 
 i 
 
 p; 
 
 1 — 1 
 
 a 
 
 ;^ 
 
 
 €/:* 
 
 1 
 
 <1 
 
 W 
 
 Ph 
 
 ;-i 
 
 k 
 
 
 s 
 
 ci) 
 
 o 
 
 ^ 
 
 -- 
 
 w= 
 
 10\ 
 
 CJ 
 
 (^ 
 
 ^ 
 
 > 
 
 ^ 
 
 = 
 
 ;^ 
 
 e 
 
 H 
 
 ?? 
 
 H 
 
 l-j 
 
 (VA 
 
 ^ 
 
 tJ 
 
 - 
 
 1-1 
 
 rX 
 
 ^ 1 
 
 -Hi- 
 
 
 c<i 
 
 C" 
 
 1^ 
 
 r-» 
 
 s; 
 
 -^ 
 
 \M 
 
 
 « 
 
 hH 
 
 o- 
 
 r^ 
 
 * 
 
 :s; 
 
 
 -< 
 
 w 
 
 P4 
 
 X 
 
 c^ 
 
 20
 
 LEARNING THE CASE 21 
 
 case and can recognize every letter and punctua- 
 tion mark upside down} 
 
 The upper case can be learned very quickly, as 
 the capital letters are in regular alphabetical 
 order, with the exception of / and U, which were 
 not a part of the alphabet when the case was 
 planned. The Romans used I and V as both 
 consonants and vowels. Later, when / came to 
 be used for consonantal /, and U for vowel V , 
 these letters were placed in the case in boxes 
 following Z. The three upper rows of the upper 
 case contain the diphthongs, fractions, dashes, 
 braces, and various reference marks which young 
 printers seldom require. Not all school printshops 
 have a complete assortment of the type that is 
 kept in these boxes, but in those shops that have 
 them it is of advantage to the pupils to know 
 where they belong. Fig. 11 shows a diagram 
 of the upper case. 
 
 1 To the Teacher: See that each pupil learns in the beginning 
 to hold his stick correctly in his left hand. This direction may 
 be helpful: With the stick held in the right hand place the 
 left thumb in the corner made by the knee and the bottom of 
 the stick. Without moving the thumb, clasp the fingers around 
 the bottom of the stick and release the right hand. This applies 
 to the left-handed as well as to the right-handed child. Teach 
 him to pick up the type with his right hand and to put it in the 
 stick with the most direct movement. Whether he grasps it 
 between the thumb and the forefinger with the nick up, or 
 whether he turns the type over, depends upon the position it 
 occupies in the box. The imi)ortant thing is a steady, economi- 
 cal movement. This is the time to form correct habits of hand- 
 ling type. Have the pupil take a good position at a stand of 
 the proper height and do not permit him to slouch at the case.
 
 CHAPTER III 
 SPACING 
 
 Great care must be exercised in composition in 
 the matter of spacing. Not only the spacing 
 between the words, but the leading between the 
 lines, the indention of the lines, and, in some 
 cases, the spacing between the letters of a word 
 influence the final appearance of a page of print. 
 
 Spaces are shorter than type, being made about 
 four-fifths the height of the type, and of various 
 thicknesses. Quads are large blanks used to fill 
 out lines of paragraphs or poetry, or other uncom- 
 pleted lines. An em quad is a square of type 
 body of any size (Fig. 12). In 10-point type it is 
 10 points square; in 14-point it is 14 points square. 
 An en quad is half the size of the em. The two- 
 
 ■ ■ ■ ■ ■ ■ 
 
 Si.\-Pt. Eight-Pt. Ten-Pt. Eleven-Pt. Twelve-Pt. Fourtcen-Pt. 
 
 Fig. 12. Exact sizes of em quads 
 
 em quad is twice as long as it is thick. The three- 
 em quad is three times as long as it is thick. A 
 
 22
 
 SPACING 23 
 
 three-to-em space ^ (frequently called a thick 
 space) is one-third of the em ; a f our-to-em space 
 
 ■■ ■ II III nil 
 
 2-em 
 
 1-em 
 
 En 
 
 3-em 
 
 4-em 
 
 5-em 
 
 Hair 
 
 Quad 
 
 Quad 
 
 Quads 
 
 Spaces 
 
 Spaces 
 
 Spaces 
 
 Spaces 
 
 Fig. 13. Exact sizes of quads and spaces of 14- point type 
 
 is one-fourth of the em; a five-to-em space is 
 one-fifth of the em. A thin space is usually a 
 five-to-em space. The hair space varies from one 
 to two points in thickness as the type increases 
 in size. Hair spaces are also made of brass 
 and of copper, one point and one-half point thick, 
 respectively. (See Fig. 13 for spaces.) 
 
 It is necessary to know the blanks provided for 
 spacing. With experience one learns to recognize 
 the size of a space both by touching it and by 
 looking at it. 
 
 The following exercise is helpful to a beginner. 
 Use 12-point type. 
 
 1. With a pica ruler measure the em quad. Measure 
 the en quad. Compare them. The en quad equals what 
 part of the em quad? How many en quads in an em quad? 
 Prove by placing en quads side by side on an em quad. 
 How many points in each? 
 
 2. How many three-to-em spaces equal an em quad? 
 
 1 Printers commonly use the terms three-em, four-em, and 
 five-em in referring to the spaces. Do not let the similarity of 
 terms in three-em spaces and three-em quads confuse you as 
 to the meaning.
 
 24 THE SCHOOL PRINTSHOP 
 
 Prove this by placing the three-to-em spaces side by side 
 on the em quad. A three-to-em space equals what part of 
 the em quad? How many points in a three-to-em space? 
 How much wider is the en quad than the three-to-em space? 
 How many points in two three-to-em spaces? How many 
 points wider is this than the en quad? 
 
 3. Examine the four-to-em space. Compare it with the 
 em quad. How many four-to-em spaces equal the em quad? 
 Place them together. A four-to-em space is how many 
 points? Compare it with the en quad. How many points 
 difference? Compare it with the three-to-em space. How 
 many points difference? Which is wider and how much, 
 two three-to-em spaces or three four-to-em spaces? How 
 many points in a three-to-em and a four-to-em space together? 
 
 4. Ask yourself similar questions about the five-to-em 
 spaces. Study them until you readily know one space from 
 another. If in doubt, measure by the em quad. 
 
 5. With the other sizes of type study the spaces in the 
 same way. When setting type, know exactly the number 
 of points you are placing between the words. Do not vary 
 by more than the difference between a three-to-em space 
 and an en quad. 
 
 Spaces are aliquot parts in width of the em quad. 
 En quad equals Jo of the em quad 
 
 Three-to-em space " .^3 " " " " 
 Four-to-em space " M " " " " 
 Five-to-em space " }f, " " " " 
 
 The table on page 25 shows, in terms of the 
 em quad, the combinations^ that produce the 
 smallest increase in space between two words. 
 
 1 Reducing the fractional parts of the em to a common denomi- 
 nator enables even the youngest printers to see at a glance how 
 much they are increasing the space.
 
 SPACING 
 
 25 
 
 The three-to-em space (ordinarily used) equals 3 3, or 20/60 
 Two five-to-em spaces equal 2-5^ or 24/60 
 
 A four-to-em and a five-to-em (M+^o) " %o, or 27/60 
 An en quad equals >^, or 30/60 
 
 A three-to-em and a five-to-em (3^3+^5) equal ^{5, or 32/60 
 A three-to-em and a four-to-em (J'3+3'4) " K2» or 35/60 
 Two three-to-em spaces " 2^, or 40/60 
 
 Hair spaces are used between the words in this line. 
 Five-to-em spaces are used between the words in this line. 
 Four-to-em spaces are used between the words in this line. 
 Three-to-em spaces are used between the words in this line. 
 
 Leads and slugs irregularly placed on a galley 
 
 ■liiibuv 
 
 Leads anil slugs after rearrangement 
 
 Fit;. 14. Sorting leads and slugs 
 
 Space between lines of type is made by placing 
 leads between them. Leads (Fig. 14) are thin
 
 26 THE SCHOOL PRINTSHOP 
 
 strips of soft type-metal about three-fourths of an 
 inch high and varying in thickness from one to 
 six points. The two-point leads are commonly 
 used between lines of type. Six-point leads are 
 called slugs. Slugs are also made 8 points, 10 
 points, 12 points, and more in thickness. Brass 
 strips, which are more durable than lead, are 
 used in some newspaper offices. 
 
 Different printshops differ somewhat in their 
 style of work ; the following general rules, however, 
 seem to meet the approval of many good printers : 
 
 1. A three-to-em space is used between words 
 set in ordinary lower-case letters. 
 
 2. The en quad is used between words set in 
 capitals or in extended letters. 
 
 3. An en quad follows a colon, a semicolon, an 
 interrogation point, and an exclamation point 
 within the sentence. 
 
 4. The space placed after a period ^ is slightly 
 greater than the other spaces used in the line. 
 If spacing with the three-to-em space, use an en 
 quad after the period. 
 
 5. Because the comma has so much shoulder, 
 a word followed by a comma requires less space 
 
 ' Many printers follow the period with the em quad. The 
 end of one sentence is marked by the period. The capital letter 
 indicates the beginning of the next sentence. A wide space 
 is therefore not necessary to the thought. It may detract from 
 the appearance of the page. Hence some excellent printers are 
 using less space.
 
 SPACING 27 
 
 than other words in the same line not followed 
 by a comma. If the line is spaced with three-to- 
 em spaces, a four-to-em space should follow the 
 comma. This is also true of the period used to 
 mark abbreviations. 
 
 6. A three-to-em space precedes the first and 
 follows the last mark of parenthesis or bracket. 
 
 7. A thin space follows the first and precedes 
 the last mark of parenthesis or bracket if there is 
 not a wide shoulder. (The use of the one-point 
 or the one-half-point is determined by the width 
 of shoulder in the type.) 
 
 8. A thin space should be placed before the 
 exclamation point, the interrogation point, the 
 colon, and the semicolon, except when the marks 
 are cast (as they sometimes are) with sufficient 
 shoulder to render it unnecessary. 
 
 9. A thin space should separate the quotation 
 marks from adjacent letters which are too close. 
 
 10. No space is needed with the dash unless it 
 follows a comma. In that case a thin space 
 should be placed after the em dash. 
 
 11. In poetry and at ends of paragraphs in which 
 the type does not fill out the line, the blank is 
 completed with quads. If the quads do not fill 
 the line, spaces are used, placed next to the type. 
 
 12. The space on each side of a word of two 
 letters should not be greater than the space 
 between longer words.
 
 28 THE SCHOOL PRINTSHOP 
 
 13. Increase rather than diminish the space in 
 order to "justify." 
 
 Uneven spacing is to be avoided. Spacing 
 should seem to be the same in all lines on the page. 
 Absolute uniformity is impossible, but the best 
 compositors approach the ideal as nearly as they 
 can. The amount of spacing to be put between 
 words varies. It depends upon the measure, the 
 width and irregularity of the letters, and the 
 leading between the lines. While the three-to-em 
 space is generally accepted as the normal amount 
 of space to be used between words set in ordinary 
 lower-case roman, there are exceptions to this. 
 Condensed faces or closely fitted fonts are much 
 more easily read when spaced with the four-to-em 
 space than when the three-to-em is used. Extra 
 wide spacing is to be avoided whenever possible, 
 as it tends to produce the ' ' rivers of white ' ' which 
 greatly disfigure a page of print. In printing 
 around cuts, however, wide spacing is of course 
 often unavoidable, but the blemish can be some- 
 what hidden by normally spacing the lines which 
 immediately precede and follow these wide-spaced 
 ones. If there were the same slant to all the 
 letters, and if the shoulders on all letters were 
 equal, spacing would be reducible to a mathe- 
 matical computation. Spacing, however, should 
 only appear to be uniform. Consequently the 
 good typographer must gauge the spacing of words
 
 SPACING 29 
 
 according to the presence or absence of punctua- 
 tion, the slope and height of the end letters, and 
 the amount of shoulder these end letters bear. 
 It is this nicety of spacing which makes the com- 
 positor's work an art for which no rules can be 
 laid down, but which calls for constant exercise of 
 good taste and study on the part of the printer. 
 
 Because type is inflexible, the compositor is 
 frequently confronted with a choice of evils. 
 Sometimes a long word of one syllable cannot be 
 put in at the end of the line, and the space thus 
 left must be filled. Sometimes an improper divi- 
 sion of a word or the ending of several successive 
 lines in hyphens presents itself as an alternative to 
 poor spacing. In all such cases the best com- 
 positor will preserve his spacing as far as may be, 
 realizing that upon the spacing depends that even 
 tone of the page which is to give to his work the 
 effect of solidity. 
 
 Leads are placed between the lines of type 
 primarily to render the page more readable. As 
 a rule there should be more space between the 
 lines than between the words in the line. Type 
 without leads is said to be solid; with leads it 
 is spoken of as single-leaded, or wide-leaded, 
 according to the amount of space thus secured. 
 Either practice is good form, provided the style 
 chosen is consistently carried out. Roman type 
 is much more legible when leaded, but for economy
 
 30 THE SCHOOL PRIXTSHOP 
 
 of space it is sometimes set solid. Black-letter 
 should always be set solid. It is a decorative type 
 in which the black lines much exceed the white 
 spaces between the lines of the letter, and these 
 characteristics are greatly enhanced by close 
 spacing. This holds true of such heayy body type 
 as that designed by William Morris. 
 
 When the page is set in wide measure, it gener- 
 ally requires more leading than when set in nar- 
 row measure. Wide leading, however, does not 
 demand extremely wide spacing. On the contrary, 
 very wide spacing is fatal to the wide-leaded 
 page, the combination resulting in a lack of coher- 
 ence, giving a loose, scattered appearance. 
 
 The best results in wide-leaded pages may be 
 observed in the work of the French typographers 
 of the eighteenth century, who also used the 
 extremely wide margins which this style of lead- 
 ing must have to band in the page. 
 
 Indention is another form of spacing used prin- 
 cipally to mark the beginning of paragraphs. It 
 is also used in display and semi-display lines to 
 distinguish certain arrangements. 
 
 In ordinary book pages one em is the usual 
 indention used to indicate to the eye the beginning 
 of a new paragraph. Two ems are sometimes 
 used, but only when the line is long or the page 
 wide-leaded. The use of quotation marks (or of 
 certain initial letters) may render necessary the
 
 SPACING 
 
 31 
 
 use of additional indention in order to make the 
 capitals in dialogue or poetry align. 
 
 ■^*>^, 
 
 >'-iscd are c/icy who peaceably shall ei>- 
 .m: lor thou. O most Highesr, shall oiVe 
 iicn.icTow;i! '- 
 
 CbuJro 5,. m, s^-noro. per sera no.srra 
 ;...•.. o,p„fc. da hqu.,Ien>,llul,on,o 
 
 ..."■ '' P'f " "'"fT-J'.- beat, qudJ, ke 
 •■■ ..J nc Ic tuesancnssime voiunrar. 
 
 ^'■'■'™^h'- second 
 ^0 them 
 
 £j/ cuarUsu of Mrs. F. H. Lillie 
 
 Fig. 15. Reproduction of a page from a volume of St. Francis 
 printed by the Doves Press 
 
 Paragraph indention does not tend to make a 
 page beautiful. Therefore, if the copy consists 
 of one paragraph only, the indention may be 
 omitted. If, on the other hand, there are two or 
 more paragraphs, the omission of the indention 
 savors of a mannerism.
 
 32 THE SCHOOL PRINTSHOP 
 
 Whenever the style of type permits, printers 
 may resort to the insertion of the paragraph sign. 
 This was a common device of the early printers 
 and has been used effectively by William Morris 
 and by Cobden-Sanderson of the Doves Press, 
 but its general use cannot be commended. (See 
 Fig. 15.) 
 
 Hanging indention is sometimes 
 
 • used to show a change in subject 
 
 matter. In this form of inden- 
 
 tion, the first line is set the full 
 
 width of the measure, while all the following lines 
 are indented one or more ems on the left. 
 
 The squared indention consists of 
 
 shortening the width by indenting 
 
 ■ each line at both the beginning 
 
 and the end. It is very satis- 
 factory when the copy admits of even spacing 
 between the words. 
 
 The inverted pyramid is some- 
 
 times used on title pages. It was 
 
 used by the early printers as a 
 
 - form for chapter endings. It 
 
 makes an effective ending for a long paragraph on 
 a card which does not require special display.
 
 CHAPTER IV 
 DIRECTIONS FOR COMPOSITION 
 
 Composition in printing means setting type, 
 proving, correcting, and making up into pages 
 ready for the press. 
 
 1. Stand in front of your case. Never lean 
 against it. If your case is too high, use a plat- 
 "orm. Choose one which is low enough to keep 
 your body erect, but not too low to allow your 
 right arm free play. 
 
 2. Set your stick (Fig. 16) to the desired meas- 
 ure. To do this accurately, use a sufficient num- 
 
 Fig. 16. A composing stick 
 
 ber of 12-point em quads to make the desired 
 length of line. Then, in order that the type may 
 be a trifle loose when the stick is locked tight, 
 insert a thin piece of paper in one end. Move 
 the clamp up against the quads tight enough to 
 prevent the type from falling forward, but loose 
 
 33
 
 34 
 
 THE vSCHOOL PRINTSHOP 
 
 enough to permit lifting the Hne from the stick. 
 Adjust the clamp firmly at this point, then re- 
 move the quads and the paper and place in the 
 stick a lead the same length as the measure. Put 
 in a composing rule^ (Fig- 17), if you are using 
 one, the length of the measure. 
 
 3. Hold the stick in your left hand inclined at 
 such an angle that the type will strike the rule or 
 lead directly. Pick up the type between the 
 thumb and forefinger of the right hand. Select 
 a piece of type that you can pick up and place 
 in the stick with a direct movement of the hand, 
 if possible without turning the type. As you 
 place the type in the stick let your eye fall upon 
 the nick of the next piece you will use. 
 
 P 
 
 Fig. 17. A composing rule 
 
 1 A composing rule is made of metal, usually 2 points thick. 
 It is type-high and may be had in any length. At each end is 
 an ear by which to lift it out of the stick. Each piece of tj^pe 
 is set in the stick against the rule, and when the line is finished 
 the rule is taken out and placed in front of it. 
 
 A composing rule enables the compositor to set type rapidly. 
 It is necessary in setting matter that is not to be leaded. It is 
 useful in tying up. But in a class which docs a variety of work, 
 so many rules would be required that many elementary-school 
 shops do not use them for composition. In such shops tlie 
 teacher usually keeps a rule to be used in tying up the type. 
 Speed is not a factor in children's work, nor is it deemed advis- 
 able to have elementary-school children set matter without leads.
 
 DIRECTIONS FOR COxMPOSITION 35 
 
 4. Begin to set type in the left-hand corner of 
 the stick. Place the body of the type against the 
 lead or composing rule with the nicks out and the 
 face toward you. See that the type stands 
 firmly on its feet and hold it in place with your 
 left thumb. 
 
 5. Make the blank which appears between 
 words by the use of a space, the three-to-em size. 
 
 6. Read carefully each line when it is set and 
 correct all errors before putting in a lead. Be 
 sure that the nicks align. Learn at the start to 
 read your type with the letters upside down. 
 
 7. If the line is poetry which does not fill out 
 the measure, begin at the right end of the stick 
 and put in quads to meet the end of the type. 
 If the quads do not make the line tight enough, 
 add spaces, putting them next to the type. Fill- 
 ing the line in this manner makes distribution of 
 type much easier and prevents the spaces from 
 falling off the end of the line while being locked up. 
 
 8. A line of prose must end in a word or syllable. 
 In correcting errors in the line of type or in making 
 each line end with a completed word or syllable, 
 it may be necessary to change the spaces first 
 put between the words. This process is called 
 justification. If more room is needed for the 
 type, the spaces may be changed for thinner ones ; 
 if the line is too loose, wider spaces may be used. 
 In either case keep the spaces as nearly alike as 
 
 4
 
 36 
 
 THE SCHOOL PRINTvSHOP 
 
 possible. Where variation is necessary, place 
 the wider spaces between words ending with high 
 letters so that the spacing will appear the same. 
 
 9. Spacing should be uniform. Do not allow a 
 thin-spaced line to follow a wide-spaced line, nor 
 vice versa. 
 
 10. See that the type rests squarely on its 
 feet, and justify the line uniformly. A line that 
 will not stand in the stick unsupported is too 
 loose. If it cannot be easily removed from the 
 stick, it is too tight. 
 
 11. When the line has been justified, read it 
 once more, looking for outs and doublets. Mis- 
 takes should be detected and corrected while the 
 type is in the stick, before the lead is placed in 
 
 Fig. 18. Con-ret method of removing type from stick 
 
 position. Then put in a lead, place the composing 
 rule in front of it, and set another line of type.
 
 DIRECTIONS FOR COMPOSITION 
 
 37 
 
 12. When the stick is full, lift out the type 
 (Fig. 18) and place it in your galley (Fig. 19). 
 
 Fig. 19. Galleys 
 
 Set the stick in the galley. Never loosen the stick 
 to take out the type. Do not wet the type in the 
 stick. Always handle your type with the top of 
 the letters toward you. In removing the type 
 place your thumbs behind the first line in the 
 stick, and the forefingers in front of the last line 
 set. Press firmly together the lines of type thus 
 held and raise them slightly while the other fingers 
 push the stick downward. Use the sides of the 
 second fingers, bent, to hold the ends of the lines 
 as the type is lifted from the stick. Place it in a 
 corner of the galley so that it rests against the 
 left side of the galley, and with the first line of 
 type next to the closed end of the galley. 
 
 48581
 
 38
 
 DIRECTIONS FOR COiMPOSITION 39 
 
 13. Tie up your work (Fig. 20) at the end of each 
 lesson in the following manner : First moisten the 
 type with water. This will not injure the type, but 
 will cause it to stick together. When you have 
 become skillful in handling type, omit wetting it. 
 Make a knot in one end of a piece of cord long 
 enough to pass around the type from six to ten 
 times. Place the knot next the right end of the 
 last line set, holding it in place with the left hand 
 until you have wound the cord from left to right 
 to the starting point, then bind the knot in place 
 by crossing it. Then move the type out of the 
 corner and continue winding in even layers until 
 you reach the end of the cord. Cross the knot 
 each time and be sure that the cord passes in the 
 middle of the body, or shank, and is drawn firmly 
 and evenly. Fasten the cord by forming a loop 
 near the end and pushing this loop down in 
 between the type and the binding cord. Use 
 a composing rule to push the loop down. Draw 
 the loop to the end of the type line, leaving about 
 an inch of the end of the cord sticking out. To 
 untie, pull this end and gently unwind. When 
 you have untied a job, fold the cord and save it. 
 
 14. If you should pi your work, set it up in the 
 stick and distribute it immediately. Never leave 
 pi in your galley or on the imposing stone. If any 
 type is dropped upon the floor, pick it up at once 
 and put it in its proper place.
 
 40 THE SCHOOL PRINTSHOP 
 
 15. Proofs must be taken on the imposing stone 
 if you have oot a proof press. Do not take a proof 
 until you think your work is correct. Then see 
 that your type is on its feet and tied securely. 
 The ink should be thoroughly distributed on an 
 ink stone or on the disk of the press. Roll the 
 brayer or roller over this and then over the type 
 form, touching it at every point. If the roller 
 has too much ink on it, the proof will be muddy 
 and the imperfect letters not easily detected. 
 Try to take a gray proof. Dampen the proof 
 paper slightly and evenly by wiping it with a wet 
 sponge. Carefully lay the paper, dampened side 
 upward, on the type. With the left hand place 
 
 Fig. 21. Mallet 
 
 Coiirles]/ of Ameriran Ti/pr Founders Company 
 
 Fig. 22. Proof- planer 
 
 the proof-planer (Fig. 22) on top of the type and 
 hold it steady. Grasp the mallet (Fig. 21) with
 
 DIRECTIONS FOR COMPOSITION 41 
 
 the right hand and strike quickly and firmly a 
 perpendicular blow in the middle of the planer. 
 A .steadier blow may be struck with the end of 
 the handle than with the mallet. Lift the paper 
 easily from the type. Or, if you have a proof 
 press, run the roller over the proof paper. 
 
 16. Clean your type as soon as the proof is 
 taken. Wash it with a brush wet with benzine or 
 gasoline, and wipe it with a soft cloth. 
 
 17. Compare your proof with your copy. 
 Mark in the margin every deviation from copy, 
 using the proofreader's accepted marks (page 42). 
 
 18. If there are mistakes in your work, make 
 the necessary changes. In correcting a line raise 
 it by an upward pressure of the ends until the 
 wrong letter or letters can be lifted out by the 
 thumb and finger. Do not use anything but your 
 hands in working with type. If the spacing must 
 be changed, either compute the space mathe- 
 matically or use the stick and rejustify the line. 
 
 19. At the close of the lesson return to its proper 
 place everything you have used. 
 
 20. Leave your work in your own galley in the 
 galley rack. 
 
 21. See that your name is on your copy. Mark 
 on it the length of line and the size and style of 
 the type you are using. Indicate on your copy 
 just where you have left off. Leave your copy on 
 its proper hook.
 
 PROOFREADER'S MARKS 
 
 Marginal Mark 
 
 lo. 
 
 Axryyiy 
 
 X 
 
 D 
 
 L 
 
 _J 
 I \ 
 
 -/ 
 ® 
 
 Corresponding Mark in Proof 
 
 Make this mark 
 
 Make this mark 
 
 Make /his mark 
 
 Make ihxs mark 
 
 Make this mark 
 
 Make this mark 
 
 Make this rt{ark 
 
 Make thi|)mark 
 
 Make this mark^ 
 
 Make t+m- mark 
 
 Makethis mark 
 A 
 
 ^lak'^e this mark 
 
 J 
 Make this^mark 
 A 
 
 Make thisBmark 
 
 .Make this mark 
 L-Make this mark 
 
 M^ke this mark 
 kake 1-liis mark 
 ^l£]ia this mark 
 11 Make fhTs mark 
 Make this mark , 
 
 Make this mark 
 Make this mark. 
 
 A 
 
 Mcanin? 
 
 Set in capitals 
 Set in small raps 
 Set in lower case 
 Set in roman 
 Set in italic 
 Set in hold face 
 Wrong font 
 Imperfect type- 
 Delete — take out 
 Slet or restore 
 Put ill space 
 Close up space 
 Equalize space 
 Push down space 
 Indent one em 
 Move to left 
 Mote to right 
 Raise 
 Lower 
 
 Straighten alignment 
 Insert period 
 Insert comma 
 Insert apostrophe 
 
 Hyphenate well being Insert hyphen 
 
 .Make this mark 
 \ 
 
 Make tj(is mark 
 M ake (mark (this . 
 Make mark 
 
 Paragraph 
 Invert 
 Transpose 
 Query to author 
 
 42
 
 CHAPTER V 
 PROOFREADING 
 
 Notwithstanding the careful examination of 
 each Hne of type when it has been set in the stick, 
 mistakes do occur in the work. When the type 
 has been put into the galley, the compositor should 
 again read it over, making any corrections he finds 
 necessary. This trains his eye to see mistakes 
 in the type and helps him to secure clean proofs. 
 
 When the setting-up is completed, a proof 
 should be taken with a proof-planer or on a proof 
 press. (See " Directions for Composition," No. 15.) 
 
 This proof should be carefully read and all 
 mistakes marked in the margin. If more than 
 one mistake occurs in the same line, the marks 
 should appear in consecutive order in the margin 
 and on the same level as the line of type. Proof- 
 readers do not wholly agree in regard to the 
 formation of all marks, but if the list here given 
 is understood, minor deviations from it will be 
 intelligible. 
 
 The compositor is expected to follow the copy, 
 and in most printshops he is held responsible for 
 any divergence from it. Hence corrections marked 
 
 43
 
 44 THE SCHOOL PRINTSHOP 
 
 on the first proof are made by the compositor 
 before a proof is sent to the author. 
 
 The type to be corrected should be placed in a 
 galley and the string removed. The correcting 
 should begin with the first line and continue in 
 regular order. 
 
 No tools of any kind are needed in making cor- 
 rections. If the changes to be made affect the 
 spacing, put the line in the stick, make the correc- 
 tions, and rejustify the line. 
 
 If the correction involves only the substitution 
 of one letter for another of equal width, it may be 
 done in the galley. Lift the line in which the 
 mistake occurs about a pica above the rest of the 
 lines by pressing on the ends of the line with the 
 second fingers; then take out the wrong letter with 
 the thumb and first finger of the right hand, lower 
 the type, and insert the proper letter. 
 
 When all the corrections have been made, a 
 second proof may be taken. This is necessary 
 if mistakes are numerous and if outs and doub- 
 lets occur which require the running-over of the 
 paragraph. This second proof, called a revise, 
 should be compared with the first proof. If the 
 compositor has not made all the marked correc- 
 tions, if he has made other mistakes, or if lines 
 have been transposed, he again corrects his work. 
 When his proof is correct to copy, it is sent to the 
 author.
 
 CHAPTER VI 
 LOCKING UP 
 
 When the page or job has been spaced out to 
 the required length and tied up in a proper man- 
 ner, it is taken to the imposing stone to be locked 
 up preparatory to putting it in the press. The 
 imposing stone is a large, flat stone (although 
 sometimes an iron surface is used instead of a 
 stone) mounted upon a frame or cabinet usually a 
 little higher than the ordinary table. (vSee Fig. 23.) 
 
 The page or job is laid on the imposing surface 
 with the top of the type at the left hand of the 
 stoneman, unless the page or job is set in a measure 
 wider than its length, in which case the top of 
 the type is turned toward the body of the stone- 
 man. With the type in either of these positions 
 the impression taken on the press is easily read. 
 An iron frame called a chase is then put around 
 the type, which should be directly in the center 
 of the chase from right to left, but a trifle below 
 the center between the top and the bottom. 
 Placing the type below the center of the chase 
 prevents undue strain on the press. The bottom 
 of the chase is that part nearest to the body of the 
 
 45
 
 46
 
 LOCKING UP 
 
 47 
 
 stoneman. The space between the type and the 
 left side of the chase and that between the type 
 and the bottom of the chase is then completely 
 filled with wooden furniture. The remaining 
 space, namely, that between the type and the 
 right side of the chase and that between the type 
 and the top of the chase, is also filled in with 
 
 C'ourlesi/ of American Type Founders Company 
 
 Fig. 24. Quoin and quoin key 
 
 wooden furniture, but there should be left a space 
 large enough for the quoins (Fig. 24) and a 6-point 
 reglet on each side of the quoins. The object of this 
 arrangement is to bring the quoins on the side and 
 end opposite the feed gauges, an advantage if the 
 form is unlocked during the work. 
 
 Since the lengths of labor-saving wooden furni- 
 ture are multiples of ems, the pieces of furniture 
 when longer than the type must overlap so that 
 they do not bind. This can be accomplished by 
 placing at either side pieces of furniture slightly
 
 -A 
 
 Fig. 25. A locked chase with type in place 
 A, wooden furniture; B, reglets; C, quoins 
 
 48
 
 LOCKING UP 49 
 
 longer than the type form, the ends extending one 
 toward the left, the other toward the right. The 
 end furniture should be selected and placed in a 
 similar way. So arranged, the furniture gives as 
 the quoins move. The remaining pieces should be 
 of the same length as or of greater length than the 
 ones already in position. Quoins should be placed 
 one piece of furniture removed from the type on 
 the right of the chase, and similarly between the 
 type and the top of the chase. The quoins should 
 be so placed that the wedges next to the type 
 point toward the left and the bottom of the chase, 
 respectively. Reglets should be put on each side 
 of the quoins so that when the quoins are forced 
 together their sliding will not damage the wooden 
 furniture. (See Fig. 25, page 48.) After the 
 wooden furniture has been placed on all four sides 
 of the type, the string should be removed from 
 the type and the quoins slightly tightened with 
 the fingers. 
 
 Then plane the form lightly in order to make 
 sure that all the type is on its feet. The wooden 
 planer is laid gently on the type and tapped with 
 a mallet to force down such pieces of type as may 
 extend above the others. The quoins are then 
 turned with the quoin key, one after another, 
 beginning with those quoins which are placed 
 parallel to the leads. Turn the key until enough 
 pressure is secured to hold the entire form firmly
 
 50 THE SCHOOL PRINTSHOP 
 
 together when it is Hftcd from the imposing stone. 
 If too much pressure be applied, it will cause the 
 form to spring or will break the chase. Test by 
 lifting one side of the chase and shaking it gently. 
 Test further by pressing the type with the fingers. 
 The locking-up process is a measure of the com- 
 positor's work, for uneven justification may result 
 in the pulling out of the type while it is on the 
 press, causing spoilage and delay. If the form 
 holds, it is ready for the press.
 
 CHAPTER VII 
 IMPOSITION 
 
 A form may consist of a single page or of a num- 
 ber of pages. The proper placing on the stone 
 and the arranging of these pages in the chase is 
 called imposition. 
 
 All forms of imposition may be best understood 
 by paper folding. In the case of a folio the process 
 is simple. Fold a sheet of paper once lengthwise, 
 and without cutting the fold number the pages. 
 Open the paper and you will find pages 1 and 
 4, the first and the last, on the outside and pages 
 2 and 3 on the inside of the sheet. 
 
 The outside pages, 1 and 4, may be locked in 
 one chase and the inside pages, 2 and 3, may be 
 locked in another. The first page is placed on 
 the stone at the right, the fourth page at the left. 
 The second page is placed on the stone at the 
 left, and the third page at the right (Fig. 26). 
 The head of the page should always be toward 
 the stoneman. 
 
 The printed folder is called a sheet, and this 
 manner of printing is spoken of as sheetwise. 
 Printing sheetwise requires double the presswork 
 5 51
 
 52 
 
 THE SCHOOL PRINTSHOP 
 
 that would be required if the matter were run in 
 a four-page form, but it is often necessary when 
 the press is small. 
 
 a. Inside section of folio 
 
 b. Outside section 
 4 occupies place of 2, and 1 occupies place of 3. 
 
 Fig. 26. Method of placing pages on stone to print folio sheetwise 
 
 Another scheme of imposition is, if the chase and 
 press are large enough, to place the four pages in 
 one form. After the paper has been printed on 
 one side, the sheet is turned "end for end" and 
 printed on the opposite side. When printed, page 
 1 is on the back of page 2 and page 4 is on the 
 back of page 3 (Fig. 27). The paper is then cut 
 in halves crosswise, which gives this manner of 
 imposing the name of half-sheet imposition, and 
 the form is called a " work-and-turn " form. This
 
 IMPOSITION 
 
 53 
 
 method saves presswork and permits an accurate 
 register. When a "work-and-turn" sheet is cut 
 in two, there are two folders as a result of the 
 sheet going through the press twice. When the 
 sheetwise method is used, the two runs through 
 the press result in only one folder. With either 
 method, sufficient time for drying should be 
 allowed before "backing up" is begun, or the 
 ink will be smeared on the page. 
 
 Fig. 27. Arrangement on stone of pages of a folio for half-sheet 
 imposition — a "ivork-and-turn" form 
 
 An imposition of eight pages is based upon the 
 same principle as is that of four pages. Make a 
 quarto by folding a sheet of paper first lengthwise, 
 then crosswise. Number the eight pages and open 
 the paper as before. Note carefully the pages that 
 must be printed in pairs. In the quarto, as in the 
 folio, there are an outside and an inside section.
 
 54 
 
 THE vSCHOOL PRINTvSHOP 
 
 The diagram (Fig. 28) shows the order of an 
 eight-page " work-and-turn " form imposition for 
 printing either sheetwise or half-sheet. It may be 
 printed as the foHo is printed. 
 
 1 
 
 
 8 
 
 i 
 
 / 
 
 
 9 
 
 
 
 
 1 
 
 1 
 1 
 
 
 
 
 Fig. 28. Arrangement of pages in an eight-page form for either 
 sheetwise or half -sheet imposition 
 
 Fig. 30 shows a simple method of determining 
 the proper arrangement of the pages on the stone 
 
 * 10 > — J — 
 
 8 
 
 5- 
 
 Fig. 29. Shoiving nuihod of folding paper 
 
 for an eight-page "work-and-turn" form. Fold a 
 sheet of paper as indicated in Fig. 29. Mark
 
 IMPOSITION 
 
 55 
 
 folio 1 on the inside of the first page — what 
 would really be page 2 of a printed folder. 
 Then mark folio 2 on what would be page 3. 
 Skip the next two pages and mark folios 3 and 4 
 on the next two. Skip the next two and mark 
 folios 5 and 6 on the next two following. Skip 
 the next two and mark folios 7 and 8 on the two 
 following pages. After marking the first four 
 folios slit the lower corners of the rest so that 
 you may mark them easily. Unfold the sheet 
 and you w411 find that the proper position for the 
 folios is shown. 
 
 Skip two 
 Number these two 
 
 Number these two 
 
 Sk,p these Cno ''iresV'c'-, SUp these i^o 
 
 Fig. 30. Method of numhering pages to determine proper 
 arrangement of pages in a form 
 
 Sheets as large as one hundred twenty-eight 
 pages may be imposed to be printed together on 
 the large cylinder presses, but in bookwork not 
 more than eight pages of thick paper or sixteen 
 pages of paper of medium thickness are printed 
 to be folded together. (The manner of folding,
 
 56 
 
 THE SCHOOL PRINTSHOP 
 
 hand or machine, also influences the imposition.) 
 Sixteen pages (Fig. 31), sixty-four pages, or one hun- 
 
 FiG. 31. Arrangetnetit of pages in a sixteen-page form on stone 
 
 dred twenty-eight pages are imposed on the same 
 principle as that shown in the folio and quarto.
 
 IMPOSITION 57 
 
 Fold paper to sixteen pages and compare the 
 relative position of the mated pages (beginning 
 with the first and the last) with those of the quarto. 
 
 Many stonemen determine the outside and 
 inside sections by beginning with two and cancel- 
 ing every alternate pair of pages. As this indi- 
 cates, page 1 is always on the outside section and 
 page 2 always on the inside section. 
 
 4 Pages 
 
 8 Pages 
 
 16 Pages 
 
 l^-^4 
 
 1^^4 SMT^S 
 
 1 + 16 = 17 
 13+ 4 = 17 
 
 1+4 = 5 
 
 1+8 = 9 
 
 5 + 12 = 17 
 
 2+3 = 5 
 
 2 + 7 = 9 
 
 8+ 9 = 17 
 
 
 3+6 = 9 
 
 7 + 10 = 17 
 
 
 4+5 = 9 
 
 11+ 6 = 17 
 3 + 14 = 17 
 
 15+ 2:^=17 
 
 A method of checking is to add the page num- 
 bers of any pair of pages. The sum is always one 
 greater than the whole number of pages in the 
 section. 
 
 In locking two or more pages in the same form 
 the stoneman must so arrange the furniture as to 
 give the printed page the proper margins. He 
 should know exactly what the head, back, front, 
 and tail margins are to be and should make up 
 the form to fit the paper. If the book is to be 
 trimmed, the stoneman must allow for trimming. 
 The usual allowance on an octavo for waste is 
 one-eighth inch for the head, one-fourth inch for 
 the front, and three-eighths inch for the tail.
 
 Courtesy of UiJG ChaJidler i& Fru 
 
 Pig. 32. A job press 
 
 a, rollers; h, ink plate; c, throw-off or trip; d, stock board; e, feed board; 
 
 /, platen; g, bed; h, pulley wheels; i, large cam wheel; j, small 
 
 cam wheel; k, right and left roller frames; I, fly-wheel; 
 
 m, rocker lock; it, treadle* o, belt shifter 
 
 58
 
 CHAPTER VIII 
 THE PRESS 
 
 The press should be kept clean and should be 
 oiled once each week. A little oil, but not enough 
 to run out on the machinery, should be put into 
 each hole. The machinery should be wiped and 
 examined weekly to see that all nuts and bolts are 
 tight. The rollers should not be left dry. Each 
 night a little machine oil should be put on the 
 disk and the rollers run over it. In the morning 
 wipe clean with a cloth wet with kerosene. 
 
 Put the ink on the extreme left hand of the disk, 
 squeezing a very little from the tube or, if it is 
 kept in cans, putting it on with an ink knife. The 
 ink should be thoroughly distributed upon the 
 disk and rollers before the form is placed in the 
 press. If the runs are large, an ink fountain 
 should be attached to the press and the ink thus 
 distributed. (Fig. 32 shows parts of press.) 
 
 The platen must be covered with a paper cover- 
 ing called the tympan, the number of sheets vary- 
 ing inversely with the area of the printing surface. 
 For a Gordon press an average tympan for a full 
 form of type consists of one sheet of hard press- 
 board and from three to five sheets of print 
 
 59 
 
 \
 
 60 THE SCHOOL PRINTSHOP 
 
 paper covered by a manila top sheet ; or, omitting 
 the print paper, use three or four manila sheets on 
 top of the pressboard. A small form requires 
 less tympan. It is better, when taking the first 
 impression, to have a light tympan, as a strong 
 impression is not so good a guide for making ready 
 as a light one. It is a good plan to start with a 
 light impression and add tympan until you get 
 sufficient impression. 
 
 When the form has been put upon the press, 
 the grippers should be adjusted immediately so 
 that they are clear of the form. If too close, they 
 may be moved outward from the center or even 
 removed from the press when necessary. 
 
 Next a press proof should be taken and care- 
 fully examined, not only for typographical errors, 
 but for defective type, improper planing, and other 
 oversights. The proof should be taken on clean 
 paper of the stock to be used. An examination 
 of the back of the impression will indicate whether 
 to add or subtract from the amount of print paper 
 used as packing. 
 
 The printing press is so constructed as to give 
 an even impression on every part of the printing 
 surface. But this can be done only when all parts 
 of the form resist pressure equally. If the form 
 is solid type and the type is not worn, or else is 
 worn evenly, the resistance is uniform. If the 
 form contains type, cuts, and blank spaces, the
 
 THE PRESS 61 
 
 resistance is not equal. The cuts may not be 
 exactly type-high, since the mount is not always 
 of uniform thickness. These defects may be 
 remedied by underlaying, which consists of put- 
 ting paper of varying thickness behind parts of 
 the form to bring the whole form up to the same 
 level. 
 
 The resistance of a cut varies with its character. 
 A soHd black cut resists more than the type does, 
 an outline cut resists less, while the blank spaces 
 in the form offer no resistance. Cuts with con- 
 trasts of light and shade resist more in the dark 
 portions than they do in the light parts. When a 
 form is made up of parts which differ in resistance, 
 this difference must be equalized by a correspond- 
 ing difference in the pressure applied. This is 
 secured by an overlay, as the process of pasting 
 bits of paper on the tympan is called. In taking 
 an impression for an overlay, it is better to loosen 
 the top sheets from the bottom bale, throw them 
 back, and print on the bottom tympan sheet. 
 The overlay should then be carefully cut and 
 pasted where it is needed over the impression on 
 the bottom sheet. Overlaying is a delicate oper- 
 ation that requires time, but it is time well spent. 
 
 The feed gauges should be placed on the top 
 sheet of the tympan. The width of the margins 
 should first be decided upon and then the exact 
 distances from the top and from the lower side
 
 G2 
 
 THE SCHOOL PRINTSHOP 
 
 of the impression measured and marked by points. 
 Then Hnes should be drawn through these points, 
 one parallel to the lines of the print and the other 
 at right angles to them. The following is an easy, 
 accurate method of drawing these lines: Place 
 one side of a mechanical draftsman's triangle 
 under the top line of the print in such a position 
 that the other side of the triangle cuts the point 
 marked below the lower side of the impression. 
 
 Fig. 33. The guide pins in position 
 
 .1 , guide pins; B, tympan bales; C, press-board; D, tympan sheet; 
 E, projecting edge of platen 
 
 Draw a line through this point, extending it long 
 enough for as many guide pins as are necessary. 
 Then, with the line just drawn as a base, draw the 
 other line at right angles to the first line and 
 running through the other point. The guide pins 
 can then be set on these lines in the exact position 
 at the first try. There is no guesswork about it. 
 (See Fig. 33.) Spring gauge pins are the best kind 
 to use, as they never slip out or become loose. 
 
 The impression should be carefully washed from 
 the tympan before one begins to feed. In feeding,
 
 Fig. 34. Correct method of holding paper in feeding the press 
 
 63
 
 64 THE SCHOOL PRINTSHOP 
 
 place the sheet on the tympan so that the side and 
 the top touch the respective guides (Fig. 34). If 
 not skillful enough to do this directly, feed to the 
 bottom gauges and slide to the end gauge. Put 
 the paper in with the right hand as the platen 
 opens and take it out with the left hand. Work 
 for a steady, direct movement in unison with the 
 press. Have the motor adjusted to the rate of 
 speed at which you can feed without feeling hur- 
 ried, and use the throw-off lever only when it is 
 necessary. 
 
 When the form has been printed, lift it from the 
 press, wash the type in benzine or gasoline, using 
 first a soft brush and then wiping dry with a 
 cloth. Then unlock the form and place the type 
 in a galley. Washing with benzine or gasoline 
 does not clean the type well; it is therefore better 
 to wash it in a weak lye solution before it is dis- 
 tributed. Use a lye brush with a handle and leave 
 the form under running water until all the lye 
 water has been washed out. 
 
 When washing the press wash the disk first. 
 Use waste, pouring kerosene directly on the disk. 
 Move the rollers up to the edge of the disk and 
 wash first the top one, then the others, with a 
 cloth wet with kerosene. End by going over the 
 disk after the rollers have been thoroughly cleaned. 
 Do not leave the rollers on the disk when the press 
 is not in motion. ^
 
 THE PRESS 65 
 
 Heat and humidity cause the roller composition 
 to soften, and the surface then does not take the 
 ink evenly. This difficulty may be obviated by 
 the use in warm weather of summer rollers, which 
 contain more glue than winter rollers and so are 
 harder and tend less to become soft and sticky.
 
 Fio. 35. Correct method of dropping letters in distribution 
 
 06
 
 CHAPTER IX 
 THE DISTRIBUTION OF TYPE 
 
 When the form has been printed, it is spoken 
 of as "dead," and the t^^-pe should be carefuhy 
 washed and put back into the case. The process 
 of returning the type to its proper compartments 
 in the case is called distribution. No one should 
 attempt distribution who has not acquired some 
 skill in handling type; in the beginning he should 
 distribute but one line at a time. With a sponge, 
 wet the type which is to be distributed. Pick up 
 the line on a slug or lead, hold it in the left hand 
 with the nicks up, the thumb pressed against 
 one end of the lead, the second finger against the 
 other, while the bent first finger supports the lead 
 in the middle. The line is thus in the same posi- 
 tion as when in a stick. Read the last word in 
 the line (next the second finger), at the same time 
 taking it up with the right hand. To take up the 
 word, slide it forward with the second finger, then 
 with the first and second fingers above and the 
 thumb below the type lift it off the lead. A slight 
 movement of the thumb and first and second fin- 
 gers (the type resting partly on the third finger)
 
 68 
 
 THE SCHOOL PRINTSHOP 
 
 will enable you to drop the letters one at a time, 
 each in its proper box, without again looking at 
 
 Fig. 36. Correct method of distributing type 
 
 the type (Fig. 35). Spell the word in your mind 
 as you go along. 
 
 Special attention should be given to the distri- 
 bution of spaces. They should be carefully sepa- 
 rated and each size put into its own box. The 
 mixing of the various sized spaces is a sure indica- 
 tion of a careless printer. 
 
 When you are able to distribute one line with- 
 out spilling the type, take up two or more lines at 
 one time. When you have become skillful, take
 
 THE DISTRIBUTION OP TYPE 69 
 
 up as many as you can hold in your hand, with the 
 first word of each Hne resting against the thumb, 
 the mass of type in the hand supported by the first 
 finger held back of the type and the bent second, 
 third, and fourth fingers underneath the bottom 
 lead or slug (Fig. 36). 
 
 Distribution should never be hurriedly or care- 
 lessly done. It means a ' ' dirty " proof on the next 
 job and time wasted in correcting. Distribution 
 is partly a matter of skill, but more largely a 
 matter of honesty — a desire to put the type where 
 it belongs.
 
 CHAPTER X 
 MEASURING 
 
 Composed type is measured by the em, a square 
 of the body set. The measure or width of any 
 page is expressed in picas. Leads and blanks are 
 measured as type. 
 
 To find the number of ems in composed type, 
 multiply the number of ems in the width by the 
 number of ems in the length. Example: 
 
 a) A page of 12-point type set 20 picas wide measures 
 33 picas in length. Find the number of ems. Answer: 
 33X20 = GG0ems. 
 
 b) A page of type set in S-point is 24 picas wide and 
 36 picas long. How many ems? 
 
 Soliilioii: 
 
 1 pica = 12 points. 
 24 picas = 24X12 points, or 2SS points (number in 
 
 line). 
 An em in this case is 8 points. 
 In 288 points (divide by 8) there are 3G ems 
 
 (width). 
 36 picas (the length) =36 X 12 points, or 432 
 
 points (in length). 
 In 432 points there are 54 ems in length. 54X36 
 
 ems =1944 ems. 
 
 70
 
 MEASURING 71 
 
 Compositors in commercial shops sometimes 
 work by the piece, in which case they are paid 
 according to the number of ems in the type set. 
 With a type gauge they measure the width and 
 length of the type set and compute the total num- 
 ber of ems. Sometimes the length is more than 
 an even number of ems of the size in which it is 
 set. In this case it is customary to drop the frac- 
 tion if it is less than half an em and to add one if 
 it is as much as or more than one-half an em. 
 
 To find the number of pages a manuscript will 
 make when set in type, first count the number of 
 words on a page which is set in the desired type. 
 Divide the number of words by the number of 
 square inches on the page. This will give the 
 number of words to the square inch on the page, 
 which is the unit of measurement. 
 
 Find next the number of square inches in the 
 type page in which the manuscript is to be printed 
 and multiply this by the number of words to the 
 square inch. The product is the number of words 
 to the printed page. 
 
 Then divide the number of words in the manu- 
 script by the number of words to the page, and 
 the result will be approximately the number of 
 pages required to set the manuscript. 
 
 It is frequently necessary to know the number 
 of pounds of type needed to set some job. It has 
 been estimated that type which weighs one-fourth
 
 72 THE SCHOOL PRINTSHOP 
 
 of a pound will set one square inch. To find, 
 then, the quantity of type required for a given 
 page, multiply the number of square inches on 
 the page by one-fourth. The following "rule-of- 
 thumb" is sometimes used for this purpose: 
 Divide the number of square inches in the page 
 by four. The result is approximately the number 
 of pounds of type needed to set the page. 
 
 Tables have been made showing the approxi- 
 mate number of words to the square inch when 
 type is set solid and when it is set leaded. 
 
 Number of Words to the Square Inch 
 
 8-point, solid 32 
 
 8-point, leaded 23 
 
 10-point, solid 21 
 
 10-point, leaded 16 
 
 11-point, solid 17 
 
 11-point, leaded 14 
 
 12-point, solid 14 
 
 12-point, leaded 11 
 
 14-point, solid ........ 11 
 
 14-point, leaded 9 
 
 18-point, solid 7 
 
 18-point, leaded 5
 
 CHAPTER XI 
 ENGLISH 
 
 A. PUNCTUATION 
 
 Many writers rely upon their printers for tech- 
 nical correctness in such details as spelling, punc- 
 tuation, and capitalization, and readers generally 
 ascribe any mistakes they find in these matters 
 to careless typesetting and proofreading. For 
 these reasons the printer must be prepared to avoid 
 mistakes himself and to correct those of others. 
 
 Printshops differ in their ways of doing things, 
 but each shop has for its own guidance a con- 
 sistent plan of work. The following fundamental 
 rules may be safely followed in the school print- 
 shop. They do not cover all questions of typo- 
 graphic style that will arise, but they are the 
 rules most frequently needed and are based upon 
 standard practice. They are grouped together 
 for reference. 
 
 Period 
 
 1. Use a period at the end of a declarative or 
 
 imperative sentence: 
 
 The year contains twelve months. 
 Do your work neatly. 
 
 73
 
 74 THE SCHOOL PRINTSHOP 
 
 2. Use a period after abbreviations : 
 Dr. Mr. Mrs. 
 
 Note. A period is not required after run- 
 ning heads, centered titles, date lines at the top 
 of letters, address lines at the end of articles, 
 Roman numerals when standing alone, chemical 
 symbols, or signatures. It may be used after 
 Arabic figures in the numbering of paragraphs. 
 
 Interrogation Point 
 
 Use an interrogation point at the end of an 
 interrogative sentence : 
 
 What time is it? Who goes there? 
 
 Note. An interrogation point is not required 
 after a question that is really a request : 
 Will you please close the door. 
 
 Note. A question within a declarative sentence 
 retains the question mark : 
 
 The question, What became of it? was never answered. 
 The two basic questions are: first. What do we desire? 
 second, How shall we attain our end? 
 
 Exclamation Point 
 
 Use an exclamation point at the end of an 
 exclamatory word, phrase, or sentence : 
 
 Phew! 
 
 What kindness! 
 
 Give me liberty or give me death!
 
 ENGLISH 75 
 
 Comma 
 
 1. Use a comma to indicate slight pauses in 
 thought, and wherever clearness requires it. The 
 following sentences illustrate the necessity of the 
 comma : 
 
 While he watched, a beggar passed by. 
 
 What we saw, proved the case. 
 
 As you know, the earth turns on its axis once a day. 
 
 The night before, he had said that there was no danger. 
 
 As I was passing, the house burst into flames. 
 
 Caution. Never separate the parts of a sen- 
 tence that belong together and are in their natural 
 order; as: subject and predicate; predicate and 
 complement; adjective and noun; adverb and 
 adjective. 
 
 2. Set off by commas all parenthetical elements: 
 
 a) Appositives: 
 
 WiUiam INIorris, the greatest art printer of modern 
 times, was also a poet. 
 
 b) Non-restrictive adjective clauses, that is, 
 adjective clauses that can be omitted and leave the 
 sentence complete: 
 
 The School of Education, which I attend, is situated 
 on the Midway. 
 
 The heights, which were at some distance from the 
 town, also were captured. 
 
 (Commas are always to be used in pairs in the 
 case of non-restrictive clauses.)
 
 76 THE SCHOOL PRINTSHOP 
 
 Note. A restrictive adjective clause, that is, 
 one that is essential to the meaning, should never 
 be set off by commas: 
 
 The heights which we stormed were finally captured. 
 
 3. Set off by commas words of direct address: 
 Henry, where are you going? 
 
 When you come, Jane, we will weed the garden. 
 
 4. Set off by commas absolute and participial 
 phrases : 
 
 The mail having come, we began to read our letters. 
 Being tired, he went home. 
 
 5. Set off by commas the words "yes" and 
 "no" when they are part of the answer to a 
 question : 
 
 Will you come? No, I cannot. 
 
 6. Use a comma to separate the terms of a 
 series, whether words, phrases, or clauses, where 
 no conjunctions are used or where one conjunction 
 is used to join the last two terms : 
 
 I came, I saw, I conquered. 
 We had cake, candy, and fruit. 
 
 The smoke was rising, the trees were crackling, and 
 the forest fire was well under way. 
 
 7. Use a comma to separate coordinate clauses 
 when they are joined by a simple conjunction: 
 
 No rule can be framed to cover all cases, but the under- 
 lying principle is clear. 
 
 Remove the clause, and the sentence is meaningless.
 
 ENGLISH 77 
 
 8. Use a comma after a dependent clause which 
 precedes the principal clause: 
 
 When the day came, we carried out our plan. 
 
 9. Use a comma to separate the parts of a date 
 or of an address: 
 
 January 27, 1916 
 CracAGO, Illinois 
 June 7, 1916 
 
 10. Use a comma after "alas" and "oh" in 
 sentences like the following : 
 
 Alas, we all suffer. 
 Oh, help the lady! 
 
 Do not use a comma after the vocative "O": 
 "0 world! Olife! Otime!" 
 
 Semicolon 
 
 1. A semicolon is used (a) sometimes like a 
 large comma and (b) sometimes like a small period : 
 
 a) The schoolhouse, being deserted, soon fell into 
 decay, and was reported to be haunted by the ghost of 
 the unfortunate pedagogue; and the plowboy, loitering 
 homeward of a still summer evening, has often fancied 
 his voice at a distance, chanting a melancholy psalm tune 
 among the tranquil solitudes of Sleepy Hollow. — Irving 
 
 b) To err is human; to forgive, divine. 
 
 2. The words "namely," "for example," "as," 
 and similar words, when used to introduce an 
 example or an enumeration, are usually preceded 
 by a semicolon and followed by a comma.
 
 78 THE SCHOOL PRINTSHOP 
 
 Colon 
 
 Use a colon in the following cases: 
 
 1. After a salutation: 
 
 Dear Sir: 
 
 Ladies and Gentlemen: 
 
 Friends, Romans, Countrymen: 
 
 2. After a word, phrase, or clause used to intro- 
 duce something that follows, such as a list or an 
 extended quotation : 
 
 The colors of the spectrum are these: red, orange, 
 yellow, green, blue, indigo, and violet. 
 
 3. Between the parts of a number denoting 
 time, and in Bible references citing chapter and 
 verse : 
 
 8:30 A.M. 
 
 Luke 17:20 
 
 Matt. 10:15 — 11:10 
 
 Quotation Marks 
 
 1. Use quotation marks, two turned commas at 
 the beginning and two apostrophes at the end, to 
 inclose a direct quotation: 
 
 The old man said, "It is time to go home." 
 
 Caution. Do not inclose indirect discourse in 
 quotation marks: 
 
 The old man said that it was time to go home. 
 
 2. When an extract consisting of more than one 
 paragraph is quoted, the turned commas are
 
 ENGLISH 79 
 
 placed at the beginning of each paragraph, but 
 the apostrophes are used only at the end of the 
 final paragraph : 
 
 "But that which endears Giotto to the hearts of his 
 countrymen, to the hearts of all those who love beauty, 
 in fact, is his exquisite bell-tower in Florence, Giotto's 
 Campanile. 
 
 "It is a tall, slender shaft of variegated marbles, 
 detached from the church, as all bell-towers are in Italy, 
 but it is so graceful, so beautiful, so rich in detail, and so 
 perfect in proportion, that you cannot wonder men gaze 
 on it with admiration." 
 
 Note. When the observance of Rule 2 causes 
 an unsightly appearance, the extracts may be set 
 in a smaller size or different style of type, or in 
 narrower measure, in a separate paragraph. The 
 quotation marks may then be omitted, as they are 
 not needed to show that the matter does not belong 
 to the text. When, however, a reduced size of 
 type is used for a series of quotations following 
 directly after one other, the quotation marks are 
 retained for each quotation. 
 
 3. A quotation within a quotation is indicated 
 by single quotation marks; one within that by 
 double marks again: 
 
 Bertholde an.swered, "I wish to remain free; but I 
 cannot if I accept your presents, for the proverb says, 
 'He who takes, sells himself.' " 
 
 4. Slang phrases, or others current in speech,
 
 so THE SCHOOL PRINTSHOP 
 
 but not in good taste for writing, are quoted when 
 they appear in print: 
 
 The boys thought they could "put one over" on the 
 
 teacher that day. 
 
 5. The punctuation of quotations is iHustrated 
 by the following sentences: 
 
 She answered, "I am here." 
 
 "This is the best of all!" they shouted. 
 
 Said he to the boy, "Whither wilt thou look for thy 
 goats? " 
 
 Did John say, "I know"? 
 
 "Yes," said Miss Polly, "three generations." 
 
 "No," said Mrs. Treadwell. "I'll tell you what I 
 did see." 
 
 "If he does," said King Hal, "I shall have him hanged 
 a quarter of an hour afterward." 
 
 "Ah, but that would not save my life," said the Fool. 
 "Couldn't you have him hanged a quarter of an hour 
 before?" 
 
 "Where are you going?" asked the man. 
 
 6. In dialogue each separate speech is quoted, 
 and a new paragraph is required for each speaker 
 in turn. 
 
 Note. The period and the comma are always 
 placed inside the quotation marks. The colon, 
 the semicolon, the exclamation, and the interro- 
 gation point are sometimes placed within and 
 sometimes without the quotation marks, depend- 
 ing upon whether the punctuation is part of the 
 quotation.
 
 ENGLISH 81 
 
 Dash 
 
 Use a dash: 
 
 1. To indicate the abrupt breaking off of a 
 sentence or thought: 
 
 Here are the tickets — don't lose them. 
 
 2. Before a word or group of words that repeats 
 or summarizes or modifies what has gone before: 
 
 We are not here to play, to sleep, to dream — in other 
 words, to drift. 
 
 Greece, Rome, Carthage — all are gone. 
 
 3. Sometimes before a quotation which begins 
 in the middle of a Hne of poetry: 
 
 We, too, were — 
 
 " — the first that ever burst 
 Into that silent sea." 
 
 4. As a substitute for marks of parenthesis: 
 
 She had a basket on her arm — she, too, in spite of her 
 pride — and very humbly she offered her wares. 
 
 Marks of Parenthesis 
 
 Ordinarily dashes may be used in place of marks 
 of parenthesis. When marks of parenthesis are 
 used, the inclosed matter is irrelevant. 
 
 Hyphen 
 
 1. When it is necessary to divide a word at the 
 end of a line, make the division by syllables and 
 place a hyphen at the end of the line. 
 
 2. The hyphen is used in many compound 
 words. No simple rule can be given for its use
 
 82 THE SCHOOL PRINTSHOP 
 
 or for its omission. Correct practice in each case 
 can be learned only from observation and the 
 study of the dictionary: 
 
 surgeon-general together 
 
 self-preservation without 
 
 3. Compound words denoting number are 
 hyphenated : 
 
 eighty-six forty-nine 
 
 4. Two words which are combined into one 
 adjective before a noun are hyphenated: 
 
 public-school curriculum baking-powder biscuit 
 
 Apostrophe 
 
 Use an apostrophe in forming: 
 
 1. The possessive case of nouns: 
 
 the boy's book James's ball boys' hats 
 
 Note. An apostrophe is never used to form 
 the possessive of personal or relative pronouns: 
 
 its theirs whose hers his 
 
 2. The plural of figures, signs, letters, and words 
 used as words: 
 
 The 2's and the 5's loolv alike. 
 + 's and — 's are confusing. 
 My father studied the three R's. 
 Use fewer "and's." 
 
 3. Use an apostrophe also to take the place of 
 the omitted letter or letters in a contracted word : 
 
 'Tis mine. Couldn't you do that?
 
 ENGLISH 83 
 
 Brackets 
 
 1. Brackets are used to inclose a word or words 
 of explanation inserted in a quotation by the 
 person quoting. The cjuoted words are shown by 
 the quotation marks; the interpolated words are 
 within the brackets: 
 
 The speaker declared, "The centuries of war are 
 passed [said in the nineteenth century] and an era of 
 peace is before us." 
 
 2. Brackets are used to supply omissions or to 
 correct errors in the text. (This is a common 
 practice of librarians on catalog cards when sup- 
 plying the date of publication or other missing 
 information.) 
 
 Our party explored the region last year [1910]. 
 
 3. Brackets are used to inclose a parenthesis 
 within a parenthesis: 
 
 "His last act (like a choleric old gentleman [though 
 evidently the writer's favorite]) was to kick his doctor." 
 
 B. DIVISION OF WORDS 
 
 There is much difference of opinion among 
 printers, writers, and makers of dictionaries as to 
 the division of words into syllables. The best 
 general practice is to follow the rules for pro- 
 nunciation. The following suggestions are made 
 on that basis. When in doubt, consult the dic- 
 tionary, following the one you are accustomed to 
 use as authority, but keep an open mind on the 
 7
 
 84 THE SCHOOL PRINTSHOP 
 
 subject and be ready to note the usage of author- 
 ities on printing. 
 
 1. A word of one syllable cannot be divided: 
 has did should though 
 
 2. Words can be divided only on a syllable; it 
 is best to divide on an accented syllable : 
 
 constitu-tion 
 
 Note. If the division on the accented syllable 
 interferes with the proper spacing of the line, the 
 printer should divide the word on an unaccented 
 syllable. 
 
 3. It is better to end a line with a single vowel 
 syllable than to begin the next line with the 
 vowel, even though the accented syllable may be 
 placed as in "bene-fit." 
 
 4. Unless the measure is very narrow, a syllable 
 of two letters should not be left at the end of a 
 line or carried to the beginning of the next. For 
 instance, do not carry over ly, ed, or er, and do not 
 divide such words as "al-most," "re-mit," and 
 "oc-cur." 
 
 5. Never separate a syllable of one letter from 
 the rest of the word : 
 
 a-way a-gain 
 
 Words ending in ed, as in the past tense of regu- 
 lar verbs, should not be divided: 
 
 lingered printed wronged
 
 ENGLISH 85 
 
 6. Do not divide words of four or five letters: 
 lady maybe 
 
 7. Compound words should be divided only at 
 the point of their union as compound words: 
 
 Irish-American self-filling 
 
 8. Do not separate the initials of a name. 
 Carry them over to the next line. This rule 
 applies also to p.m., a.m., a.d., and all similar 
 combinations. 
 
 9. Do not divide figures at the end of a line. 
 
 10. Do not end more than two consecutive 
 lines with a hyjDhen. 
 
 C. SPELLING 
 
 1. Titles of honor and respect preceding the 
 surname should be spelled in full; for example, 
 General Grant (although Gen. U. S. Grant may 
 be permitted) . 
 
 Note. " Mr., " " Mrs., " and "Dr." are excep- 
 tions to this rule. 
 
 Compound titles should always be spelled in 
 full, and both words should be capitalized: 
 
 Vice-President Marshall 
 
 2. Christian names should be written in full 
 unless they are used as a firm name or as a sig- 
 nature : 
 
 Woodrow Wilson 0. Henry T. B. Brown & Co.
 
 86 THE SCHOOL PRINTSHOP 
 
 3. All numbers of less than one hundred which 
 occur in ordinary reading matter should be spelled 
 out. Matter statistical or technical in character 
 is an exception to this rule. (See also Rule 4, 
 following.) 
 
 4. Numbers beginning a sentence should always 
 be spelled in full. 
 
 5. Round numbers should be spelled out; for 
 example, five hundred. 
 
 6. When round numbers and numbers not round 
 occur in the same sentence, use figures for both, 
 transposing the sentence, if necessary, in order to 
 avoid beginning it with figures. 
 
 7. Spell out the time of day when a.m. or p.m. 
 is not used in connection with it. In that case use 
 figures : 
 
 three o'clock half after nine 4:00p.m. 
 
 8. Spell out the ages of persons: 
 si.xty-five years old 
 
 9. Print in full the figures representing the 
 year: 
 
 1916 (not '16) 
 
 10. Spell out the names of states if they are 
 short. The name of any state occurring in ordi- 
 nary reading matter should be spelled out : 
 
 We visited Portland, Maine. 
 
 11. Spell out the names of months.
 
 EXGLISPl 87 
 
 D. CAPITAL LETTERS 
 
 Three lines under a letter or word indicate that 
 it is to be set in capitals (caps). 
 
 1. Capitalize proper nouns and adjectives. 
 Capitalize common nouns when they are used 
 as part of a title: 
 
 The United States of America is a republic. 
 The French are a more frtigal people than either the 
 English or the Americans. 
 Busy Bee Club 
 Mississippi Valley 
 Rheims Cathedral 
 
 Note. The word "Van" in Dutch proper 
 names is usually capitalized; the Moorish "Al" 
 and the Turkish "El" are always capitalized; the 
 German "von" is not capitalized unless it begins 
 a sentence; the French "de" is capitalized except 
 when it is preceded by a Christian name: 
 
 Dr. Van Hoosen, but: Henry van Dyke (changed by 
 Dr. van Dyke) 
 
 Haroun Al Raschid 
 Professor von Hoist 
 De Vigny, but: Georges de Vigny 
 
 2. Capitalize titles when they precede proper 
 names; titles of United States governmental of!i- 
 cers of high rank are always capitalized: 
 
 The matter was referred to Professor Angell. 
 The committee conferred with President Wilson. 
 The President sent orders to Commander-in-Chief 
 Pershing.
 
 88 THE SCHOOL PRINTSHOP 
 
 3. Capitalize names of societies and corpora- 
 tions : 
 
 The Red Cross Society 
 The Standard Oil Company 
 
 4. Capitalize the words ' ' street, " " avenue, ' ' and 
 similar words when they are used in connection 
 with names: 
 
 Massachusetts Avenue 
 Thirty -first Street 
 
 5. Capitalize the first word of a sentence and the 
 first word of every line of poetry: 
 
 Printing was invented by the Chinese. 
 
 Breathes there the man with soul so dead 
 Who never to himself hath said, 
 "This is my own, my native land!" 
 
 6. Capitalize important words in titles of books, 
 newspapers, and magazines; that is, nouns, pro- 
 nouns, verbs, adjectives, and adverbs: 
 
 A Tale of Two Cities 
 Chicago Tribune 
 The Nation 
 
 7. Capitalize the pronoun " I " and the vocative 
 "O": 
 
 He asked if I were going home. 
 
 Build thee more stately mansions, O my soul. 
 
 Note. The interjection "oh " is not capitalized 
 except when it begins a sentence: 
 
 We traveled, oh, so many miles across the snow.
 
 ENGLISH 89 
 
 8. Capitalize the names of the days of the week, 
 the months of the year, and civic holidays : 
 
 The class meets on Mondays and Thursdays. 
 In some climates November is a cheerless month. 
 The Fourth of July Memorial Day 
 
 Note. Do not use capitals for "spring," "fall," 
 "winter," and "summer." 
 
 9. Capitalize the names applied to the Deity: 
 God Almighty Jehovah 
 
 Note. Personal pronouns which refer to the 
 Deity are also capitalized, as "His," "Thy," 
 "Thine." Relative pronouns used of the Deity, 
 as "who," "which," are not capitalized. 
 
 10. Capitalize certain abbreviations, such as: 
 Mr. Dr. St. Ph.D. Co. 
 
 11. In hyphenated words occurring in titles, 
 capitalize the second member of the compound 
 only when it is a noun: 
 
 Twentieth-Century Inventions, but: Fifty-fifth Street; 
 So-called Wealth 
 
 12. Capitalize nouns or adjectives designating 
 sections of the country when they are used as 
 names : 
 
 The old Northwest 
 The solid South 
 
 Note. Do not capitalize the words "north," 
 "south," "east," and "west" and their deriva- 
 tives when they indicate direction.
 
 90 THE SCHOOL PRINTSHOP 
 
 E. CAPITALS AND SMALL CAPITALS 
 
 Two lines under a letter or word indicate that 
 it is to be set in small capitals (s.c). 
 
 1. Use caps and small caps for the salutation 
 of a letter: 
 
 Dear Sir: 
 
 2. Use caps and small caps for the names of the 
 town and state in a letter heading: 
 
 Chicago, Illinois 
 
 3. Use caps and small caps for signatures: 
 
 John Smith 
 
 4. Use caps and small caps for Section in con- 
 stitutions at the beginning of paragraphs. 
 
 5. Use caps and small caps for Note at the 
 beginning of a paragraph. 
 
 6. Use caps and small caps for Whereas in 
 resolutions at the beginning of a paragraph. 
 
 7. Small capitals, set close or with thin space, 
 are used for a.m. and p.m. and B.C. and a.d. 
 
 F. ITALICS 
 
 One line drawn under a letter or word indicates 
 that it is to be set in itaHcs. Italics may be used 
 for: 
 
 1. The preface of a book. 
 
 2. An introductory note. 
 
 3. A circular letter. 
 
 4. Short bits of poetry.
 
 ENGLLSH 91 
 
 5. Foreign words and phrases not yet angli- 
 cized : 
 
 Merci! 
 De gitstibus 
 
 6. Address lines in letters: 
 
 Mr. John Smith, Evanston, Illinois: 
 
 7. Address lines in speeches : 
 
 Mr. Speaker: 
 Friends: 
 
 8. The word Resolved in formal resolutions. 
 
 9. The signature at the end of an extract. 
 
 10. The title or office of a person following his 
 
 signature : 
 
 John Jones, Secretary 
 L. E. Brown, Chairman 
 
 11. The words To be continued at the end of 
 an article and the word Continued or Concluded 
 at the beginning of an article. 
 
 12. Subheads, side-heads, and running heads. 
 
 13. Titles of publications — books, pamphlets, 
 periodicals, and newspapers. 
 
 14. If the title of a book begins with "the," it 
 should be italicized and capitalized. In the name 
 of a periodical ' ' the ' ' should be printed in lower- 
 case roman even if a part of the title ; an exception 
 to this rule is the title of a periodical which con- 
 sists of only two words one of which is "the": 
 
 I read the Chicago Tribune, but: I read The Nation.
 
 CHAPTER XII 
 ART IN PRINTING 
 
 Art as related to printing is generally taken to 
 mean printing done with specially designed type 
 on hand-made paper, producing a result that is 
 far removed from utility. Books thus made are 
 usually issued in a limited edition intended for 
 only a few persons — those artistic enough to 
 appreciate the excellence of such books or rich 
 enough to gratify their aesthetic whims. 
 
 Art in printing, however, is not mysterious; it 
 can be learned by any printer and achieved in any 
 printshop. It may be strictly utilitarian — in the 
 sense of being useful — and it may be attained 
 with purely commercial type. It is not necessa- 
 rily expensive. Well-designed type can be bought 
 as cheaply as poorly designed type, and a well- 
 arranged page costs no more than one that dis- 
 regards the principles of design. 
 
 Simplicity is the keynote of artistic printing, 
 which is, after all, only putting into consistent 
 relations with one another all the factors involved 
 in printing. Every beautiful page conforms to 
 certain principles of design. The printer who 
 
 92
 
 ART IN PRINTING 93 
 
 knows these principles — the laws governing har- 
 mony of shape, balance, and tone — can better 
 control any given situation than one who has not 
 this knowledge. 
 
 A knowledge of rules, however, can never take 
 the place of good taste and of a feeling for the 
 right arrangement. Since both are essential, the 
 pupil must study many examples of fine printing. 
 Printing was invented at a time when all crafts- 
 men worked for beauty, and, while much of the 
 early work was crude, it had in it genuine art. 
 Although not much early work is within our 
 reach, some city and university libraries contain 
 a few originals, and it is possible to secure 
 facsimiles of others. There are also many print- 
 ers of to-day whose work attains high artistic 
 excellence. 
 
 Artistic printing depends, first, on a high order 
 of typography; secondly, on the arrangement of 
 the type mass in conformity to the structural lines 
 of the paper; and thirdly, on the correct placement 
 of the block of type upon the page. 
 
 Good typography means, first of all, legibility. 
 The legibility of the page is affected by (a) the size 
 and shape of the type and the character of its line, 
 (b) the spacing between the words and the dis- 
 tance between the lines of type, (c) the color of 
 the ink and the quality of the presswork, and (d) 
 the shade and finish of the paper — the factors
 
 94 THE SCHOOL PRIXTSHOP 
 
 which determine the tone of the page. These are 
 also the factors which help to make the page 
 interesting or uninteresting; for, while legibility 
 is the chief consideration, the simple beauty of the 
 printed page is not of minor importance. 
 
 The student of printing must apply to his work 
 in the printing class the principles of design 
 learned in the art class. When undertaking a 
 piece of printing, he should begin by making a 
 plan for it. He must choose a style of type that 
 will harmonize with the subject. He must decide 
 upon the proportions of his type mass with rela- 
 tion to the space to be filled, and select a size of 
 type consistent with that space. He must then 
 make a pencil sketch upon a sheet of paper of the 
 proper size. This sketch, called in printing offices 
 a layout, should specify the exact size and style 
 of type, the size of the type mass and its location 
 on the paper, the place of the cut, if any is to be 
 used, and all other details necessary to show how 
 the work will appear when completed. The mak- 
 ing of the layout is important. The best com- 
 mercial shops find it quite worth while to employ a 
 professional typographic designer who does this 
 work for the compositors and pressmen. 
 
 In the making of a design, care must be exer- 
 cised to have the mass of type conform to the shape 
 and proportion of the paper. For example, a 
 scjuare mass printed on an oblong-shaped paper is
 
 ART IN PRINTING 95 
 
 not pleasing. If the length of the paper is to be 
 greater than the width, the type must be so set 
 
 (SNVOY 
 
 Jl little work., o little play 
 
 To k.eep us going — and so. 
 
 good- day! 
 
 Jl little warmth, a little light 
 
 Of love 's bestowing — and so. 
 
 good-night! 
 
 Ji little fun to match the sorrow 
 
 Of each day's growing — and so, 
 
 good-morrow! 
 
 Jl little trust that when we die 
 
 We reap our sowing — and so, 
 
 good-bye! 
 
 George T)u dM^aurier 
 
 Fig. 37. Type matter for a card {outline shows margins)
 
 96 THE SCHOOL PRINTSHOP 
 
 that the type mass is greater in its vertical than 
 in its horizontal direction, and vice versa. As 
 a rule the appearance is more pleasing when 
 the mass is decidedly vertical or decidedly horizon- 
 tal. There should be enough difference to lend 
 distinction. 
 
 The space surrounding the block of type must 
 be correctly proportioned if the page is to be 
 satisfactory. In a finely designed page this mar- 
 gin must be of sufficient width to serve as a frame. 
 So treated it helps to unify the block of printing 
 within, and leads the eye at once to the con- 
 sideration of the block itself. If the printed mat- 
 ter is on a card or a single sheet, not to be bound 
 in a book, the usual rule is to make the top and 
 the side margins equal, or nearly equal, and the 
 bottom margin wider. (See Fig. 37.) 
 
 In the case of a book the two open pages form 
 the unified block and the same general rule is 
 observed. (See Fig. 38.) Some otherwise good 
 printers make the mistake of regarding the single 
 page as the unit of the book and place the type 
 mass in the middle of the page. As a result of 
 this practice the binding edge appears wider than 
 the fore edge, and the top margin wider than the 
 bottom one. 
 
 From the time books took their present form, 
 about the fourth century, until the sixteenth 
 century, the book page was placed in a dignified
 
 ART IN PRINTING 
 
 97 
 
 position which young printers may safely adopt. 
 As may be seen from the illustrations, these 
 makers of books left the least margin on the bind- 
 
 
 '^''^^'VBBBMHHI 
 
 .nf,Til,.n '; 
 Aw,.t.„- , ,., '''/<"" O?"' 'Of nK«»to^^o«,V,i,li 
 
 -,j,,ia,-^ift«r^,y. r ^S^L'^'""' 'f^■''"'«?";'/■''^'''- 
 1 .. A , 
 
 Fig. 38. To show open page as a tmit. From the A Idine Press, 1522 
 
 ing edge, increased the width at the top, made the 
 width of the side margins still greater, and gave 
 the tail the widest margin of all (Figs. 38, 39). 
 It is said that this was done because the book is 
 handled at the sides and the bottom and mar- 
 ginal space was given for this purpose. Another 
 reason may be that the eye naturally focuses on
 
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 parem dp oJifir, : ut nuUo rcmpori Icgiocs deCtm populi ro.in har^p. 
 umcia hatwn. Apud uo^ Ixneficia f mileficws : malcfina pro bcnchciis 
 habent'. Ira nro- m oVio cJc-itii.i .ncq: m bcllo uirtuicm ullo tempore 
 reticle potuillis.'Pnuatus ex fuga ( n.P6pou'. adoUfccns a uobis rccep' 
 tus:faf<res fpenu ]: (ibi arnpuit'.MuIcK i;i-ife<ftis ciuihiis: auxilia contra 
 populiirornanu v-6parau!t;agros .puuKia\]i fli-ftioipuliudcpopulaius. 
 (n quT uos inclorcs exatabans .' .\n mr del. tu non animaduettcbins 
 decern habere Icgiones populu romanu: oi^it no I oluin uobis obfifter,- ■ 
 iVdetiimcilumdiaierepolTent.Quarum lauJibu!. &: luitute 
 
 CAII IVLII CAFSARIS COMMF>;TARIC3 PLLLI OAUJ' 1 
 aVU-IS POMPEIANI : ALhXA M ■' ICI : AC HIS 
 
 PANIfiNSlS NirOLAVS !- ' v'S VENETIIS 
 
 FELTOTFR IMPRESSIT M ■ ' • ' ' >. 
 
 Courtesy of the Newberry Library 
 
 Fig. 39. Printed at Venice by Nicolas Jenson 
 
 98
 
 ART IN PRINTING 99 
 
 the middle of the page and the space below is 
 consequently foreshortened. 
 
 The ink used in printing should be adapted to 
 the paper. There is a great difference in the char- 
 acter of even the black inks. A sample of paper 
 and the color of ink desired sent to the ink-maker 
 will bring ink of the proper tone and consistency 
 and reduce many ordinary pressroom troubles. 
 
 In selecting paper one should take into account 
 the skill of the pressman, the kind of work to be 
 done, and the style of type to be used. The color, 
 opacity, quality, and strength should all be con- 
 sidered. A paper with little or no sizing absorbs 
 the ink readily and enables the inexperienced 
 pressman to do satisfactory work. The presence 
 of cuts, whether line or halftone, necessarily 
 affects the choice of paper. Heavy type works 
 well on coarse, rough-textured stock. Fine hair- 
 line type prints to better advantage on wove 
 calendered paper. In general, the paper should 
 harmonize with the subject under treatment. 
 Obviously the quality and style used for an 
 evanescent announcement would differ, perhaps 
 greatly, from that selected for a dignified, per- 
 manent record. 
 
 To sum up: Paginal beauty depends upon a 
 text composed in well-designed type, of proper 
 measure, evenly spaced, well arranged with correct 
 margins, and printed in good ink with a clear and
 
 100 THE SCHOOL PRINTSHOP 
 
 even impression of the type upon a suitable qual- 
 ity and color of paper. 
 
 But what of ornamentation, initial letters (Fig. 
 40), illustrations, borders, head- and tail-pieces? 
 The page may very properly be decorated, but the 
 decoration must be such as to emphasize the 
 printing; it must be consistent with the general 
 design of the type and in no way attract attention 
 
 ^TT^E believe that God hath made of 
 1 I # ^^^ blood all nations of men, and 
 VAx that we are His children, brothers 
 and sixers all. We are citizens of the 
 United States, and believe our Flag ^ands 
 for self-sacrifice for the good of all the 
 people. We want to be true citizens of 
 this our city, and therefore will show our 
 love for her by our works. 
 
 Chicago does not ask us to die for her 
 welfare; she asks us to live for her good, so 
 to live and so to act that her government 
 may be pure, her officers honest, and every 
 home w^ithin her boundaries be a place fit 
 to grow the best kind of men and women 
 to rule over her. 
 
 :Mary ^cT>owell 
 
 Fig. 40. To show the use of an initial letter
 
 fC 
 
 
 o 
 ■1-1 
 
 
 
 <3J 
 
 ;-4 
 
 3 
 
 
 d 
 
 r") 
 
 o 
 
 ■— ] 
 
 O 
 
 
 o 
 
 CO 
 
 > 
 
 o 
 
 g 
 
 d 
 > 
 
 CO 
 
 CO 
 
 s 
 
 
 
 rt 
 
 w 
 
 U 
 
 <1> 
 
 
 u 
 
 ■M 
 
 X 
 
 -5 
 
 ( ) 
 
 o 
 
 
 
 0-1 
 
 rt 
 
 a: 
 X 
 
 CO 
 
 >- 
 
 > 
 
 "Sb 
 
 1) 
 
 
 03 
 
 nn 
 
 UJ 
 
 rt 
 
 D 
 
 ^ 
 
 
 d 
 
 z 
 
 
 
 
 ■M 
 
 o 
 
 UJ 
 
 F 
 
 (1) 
 
 
 i-j 
 
 
 u 
 
 (L) 
 
 
 1— > 
 
 a 
 
 CO 
 
 d 
 S 
 
 4:i 
 
 (U 
 
 < 
 
 'u5 
 
 X 
 W 
 
 ■M 
 O 
 
 
 > 
 
 
 d 
 
 T3 
 
 
 ■M 
 
 13 
 
 
 
 o 
 
 d 
 
 o 
 
 to 
 
 u 
 
 d 
 1-^ 
 
 0-1 
 
 d 
 o 
 a 
 iw 
 o 
 a 
 
 101
 
 102 THE SCHOOL PRINTSHOP 
 
 from the print to itself. Above all, the decoration 
 must mean something. The picture must illus- 
 trate the subject of the text (Fig. 41), The initial 
 letter, the border, the head- and tail-pieces should 
 symbolize the context. As the architectural deco- 
 rator must follow structural lines in themselves 
 ornamental, the book illustrator should be gov- 
 erned in his design by the form of the type page 
 (Fig. 42). The type itself also establishes a scale 
 and line character of its own, and the illustrator 
 must, perforce, choose a line which will range best 
 with the type line. He must then proportion the 
 white of his drawing so as to render the text dis- 
 tinctive. The artist and the printer must unite 
 — in one person, as in days of old, or in unity of 
 purpose in these days of specialization — to form 
 a homogeneous design, the page. 
 
 The average printer seems to find a squared-up 
 initial easier to handle than a large letter of the 
 page type, although the latter is always in better 
 taste than a stock design "of no particular signifi- 
 cance." The correct setting of an initial is not 
 altogether a simple matter. It should always 
 align with the type line at the bottom as well as 
 at the top. The shoulder can be removed when 
 necessary to bring the bottom into line with the 
 type. The space about the initial should be 
 uniformly white, the shoulder determining the 
 amount of indention required. Some letters,
 
 ^m^^m^mmm 
 
 ^ 
 
 m 
 
 u 
 
 m^ 
 M 
 
 Addmum Alfonfiini Ai.ij;onum icutriurq^Sicilij 
 legem in libtosciuiliu bellovu ex Appuno Alcxsn- 
 drino i!i latinurnduclosFicfauoinapicfdicuTime. 
 
 Arthoru icj:cm ur ibArineoJccepi' 
 iiiuslincniiincic IJIuMrenemopo' 
 tei'r. Egoiieioit:lono(ininicrexciini 
 cuam uirtutc humjuiut.' j c^'liJclo 
 rcirn cjceras nacurj dote; :(^ tubus in ' 
 tcr ctatis ncftre prmci'pes ucl in pri- 
 n)i5 illultris es: Itiblimc ingenium : 
 lunimi c.iri;.it^': liimniJ continentia 
 nulla ntionc .idJuci poiluni titiiQ;i 
 plunsapuitehJcni meaefleexirtinieni cj ullisopcs.Quip' 
 pcoJteinJigentibtis&ucluciennuluciocniciris ^| igiiocis 
 ofTerreuideam pi.ts mmirs.Ceteinecline nuinetea-itciieni 
 nccuactU5( uraiunt)m.ini!-iis tua maielutc liimadoratuius. 
 Namcti piioics Appuni libros.Libyciim: Syiiunr. Partbiai 
 & Mitbnd.inai Nicolaoquinto lumo pontitici diim i hunij' 
 nis agerct c gieco tranftulillem' Rcliquos cuiilium belloruni 
 conicntaiiosiqtieSenatus.'populur.^i'onianus iiiuiccmgciTic 
 niindu cdito; Jut perfec'tos a me ad qucm pDUus inittcicm ^ 
 adteiuiilifTune princcps Hilpanir pititei&kalijnoltrfde- 
 cus:&quinon minus optmianim annnr, rtuiijs:&]itcenS'q 
 armis indytus cs: atq memorandus. Accipies igit noiiii opus; 
 nee indignu tegio jnimc:iegio^ cofpeclu cuo.Sed quod cum 
 pnlciE illis ublumnnbus ab bisiqui biftonas Icnprcle poltciK 
 uti traditis. ikileojnfcrri qucat. v^, li in contrarium no nulli 
 reft'3gentur(uCEmuloruni mo5e[t)qiiemuelintcxlatinis 1:1 
 medium adducantrfiueCrirpuiriueCcraremtliueCuitiam: 
 fuie alia uulgata doftoiu noinma/ eorti : qui biftonas Icnple' 
 runcinullosexbis.'quicuni auilibus Appianilibnsconferri' 
 
 Anncus Seneca dc 
 regepartbotum. 
 
 NicoUus papa quiiv 
 Libycus. (, cus. 
 Synu5. 
 Paitliicus. 
 Mic!;ndaticus. 
 
 Crifpu 
 Ccfar. 
 CuiTit 
 
 Courtesy of the. Newberry Library 
 
 Fig. 42. A Ratdolt border 
 
 103
 
 104 THE SCHOOL PRINTSHOP 
 
 such as A when beginning a word, should always 
 be mortised, while the appearance of letters like 
 T and Y is improved by indenting the text lines 
 below the initial so that they align with the bottom 
 of the initial rather than with the top (Fig. 43). 
 This makes the initial project somewhat to the 
 left and causes the appearance of an alignment 
 of the initial with the text. 
 
 THAT thing which I understand 
 by real art is the expression by 
 man of his pleasure in labor I do 
 not believe he can be happy in his 
 labor without expressing that happi- 
 ness; and especially is this so when 
 he is at work at anything in which 
 
 he specially excels. 
 
 William Morris 
 
 Fig. 43. To show the use of " T" as an initial letter^ .: ■ 
 
 What has been said about the sort of line and the 
 relation of black and white properly applies also to 
 borders. The width of the border should be pro- 
 portioned to the width of the page margins, increas- 
 ing from the binding side to the tail (Fig. 44). 
 
 The best examples of borders also show a similar 
 treatment, on a very small scale, of the white space
 
 
 
 
 
 
 105
 
 106 THE SCHOOL PRINTSHOP 
 
 which should appear between the border and the 
 type mass. 
 
 Whatever appHes to other forms of page deco- 
 ration appHes with equal force to head-pieces and 
 tail-pieces. They should agree in design, the tail- 
 piece indicating its purpose both by its shape 
 and by its position. 
 
 In conclusion: Embellishment of the printed 
 page is legitimate and with restraint may be 
 effectively used; but the ideal of every young 
 printer should be that of the Doves Press: 
 
 To communicate to the imagination without loss by 
 the way the thought or image intended to be conveyed 
 by the author, — to attempt its sokition rather by the 
 arrangement of the book as a whole, with due regard 
 to its parts and emphasis of its divisions, than by the 
 splendor of ornament, intermittent page after page. 
 
 Nicolas Jensen was a Frenchman who from 1460 to 1480 
 published books in Venice. In common with all early printers, 
 he made his own type, using gothic and the newly invented 
 Roman and Greek characters. He designed a beautiful roman 
 type, clear and regular, which in 1889 served as a model for 
 the Golden Type of William Morris. 
 
 Erhard Ratdolt was an early Venetian printer, 1476-1485. 
 He was among the first printers to print flowered borders and 
 initials from woodcuts instead of the rubricated initials produced 
 by hand. His work is remarkable for the beauty both of its 
 illustrations and of its type. 
 
 The Aldine Press, best known of the early presses, was 
 founded at Venice in 1494 by Manutius Aldus. Aldus was a 
 scholar as well as a printer, and he printed many Greek
 
 ART IN PRINTING 107 
 
 books. He also designed italic type, imitating in this the hand- 
 writing of Petrarch. His descendants carried on the work after 
 his death. The Aldine books bear the sign of the dolphin and 
 anchor. 
 
 William Morris, an English artist and craftsman who be- 
 lieved that all art should be used for the benefit of humanity, 
 founded the Kelmscott Press in London. Influenced by his 
 study of early typography, he designed three styles of type 
 which he used in his work. His books were lavishly decorated 
 with initial letters and borders in keeping with the type. 
 
 The excellence of his work affected printing in both England 
 and America. Better styles of type came into use, and many 
 other private printing houses with high ideals were established. 
 Among these was the Doves Press of Cobden-Sanderson, also in 
 London. 
 
 The books printed by the Doves Press are devoid of ornament, 
 but the simplicity of design and the perfection of execution 
 make them even more attractive to many readers than are the 
 Kelmscott books.
 
 CHAPTER XIII 
 HOW TO MAKE ILLUSTRATIONS 
 
 Any boy or girl skilled in handicraft can design 
 and make simple illustrations for his own printing. 
 In drawing a design the principles of art empha- 
 sized in chapter xii should be carefully observed. 
 But it is always to be borne in rrAnd that illus- 
 trations which are to be reprodiiced by the children 
 themselves in form for printing should contain nc 
 attempt at gradation of tone — outline work and 
 mass drawing only are possible. Head- and tail- 
 pieces, silhouettes, and any simple drawing which 
 tells a story in a few lines can be easily managed 
 and make charming additions to any book. 
 
 Two methods of reproduction, the zinc etching 
 and the woodcut, are open to the young illus- 
 trator. The woodcut is a ruder form of expres- 
 sion, but is none the less effective. Its purpose 
 is not to express light and shade, but form. As a 
 medium of illustration, wood lends itself well to 
 broad lines and masses; hence, the pupil is advised 
 to begin with wood engraving. (See Figs. 45, 46.) 
 
 Commercial engravers generally use boxwood, 
 which, owing to the grain of the wood, cuts easily 
 
 108
 
 THE CENTENNIAL 
 
 t: 
 
 CARTER PRACTICE 
 SCHOOL JUNE, 1918 
 
 Fig. 45. Cover design for " The Centennial" cut in wood by the 
 pupils of the Carter Practice School, Chicago 
 
 109
 
 110
 
 HOW TO MAKE ILLUSTRATIONS 111 
 
 and evenly and is therefore the best wood for 
 engraving. But boxwood is imported, it is diffi- 
 cult to secure, and it is expensive. Art illustrators 
 sometimes draw on pear, apple, or other hard 
 woods, especially if the printing is to be done 
 directly from the woodcut. Pine cuts well, but 
 is soft and can be used only when the cut is to be 
 electrotyped. Many amateurs select birch, maple, 
 or black walnut, all of which can be used. Red 
 gum has also proved fairly satisfactory for the 
 purpose. The board should first be carefully 
 planed to a uniform thickness of 0. 918 inch (type- 
 high), and then sawed into pieces of suitable 
 size. 
 
 The design may be drawn on paper and trans- 
 ferred to the wood, but, if the pupil is reasonably 
 skillful, it is more direct to draw at once upon the 
 wood. If the picture has a right and a left side, 
 the drawing must be done in reverse. This, 
 however, is not a difficult thing to do, for by the 
 use of tracing paper, which will show the design on 
 both sides, and carbon paper, the drawing can be 
 traced in reverse on the wood. Pupils can make 
 their own carbon by rubbing the back of a piece 
 of paper with a crayon pencil. Sometimes the 
 artist photographs his picture on the wood. For 
 this purpose the wood is covered with a sensitized 
 wash and a print made on it in the same manner 
 that blueprints are made.
 
 112 THE SCHOOL PRINTSHOP 
 
 Few tools are needed. The earliest engravers, 
 indeed, worked only with a knife. Engravers' 
 tools cost from thirty-five cents to one dollar each 
 and can be purchased at a jeweler's establishment. 
 Usually from two to six tools are enough. All 
 lines of the drawing should be carefully cut around 
 with a knife or a small veining tool. Then with a 
 chisel or gouge the background should be cut out 
 deep enough not to print. The result shows the 
 design in relief ; from this the print is made. 
 
 Young pupils who cannot readily cut in wood 
 may obtain similar results with less effort by 
 using a piece of battleship linoleum mounted on 
 wood, the whole to be type-high. It cuts easily 
 and prints very well, although, of course, the grain 
 of the wood is lacking (Fig. 47). 
 
 The woodcut may be locked in the form with 
 type and printed on the school press. Commer- 
 cial shops do not ordinarily print directly from 
 the woodcut, but, as in pages of type for book- 
 work, an electroplate is made. This is necessary 
 because the action of the large presses in printing 
 the immense editions usually required would 
 batter down the wood. 
 
 In the making of an etching (Figs. 48, 49) the 
 design is placed upon the zinc plate, which is 
 .usually about one-sixteenth of an inch in thickness. 
 With a water-color brush all parts of the design 
 which are to be left in relief should be carefully
 
 Fig. 47. Cuts made in linoleum by Robert Harding, sixth 
 grade, University Elementary School, Chicago 
 
 113
 
 Fig. 48. Zinc-etching made by elementary 
 
 school pupils of the Blooniington, 
 
 Illinois, Public School 
 
 114
 
 HOW TO MAKE ILLUSTRATIONS 115 
 
 painted over with asphalt varnish to resist the 
 action of the acid. The back of the metal should 
 also be covered with a wash of varnish. The var- 
 nish should be applied with great care, no air holes 
 should be left, and the varnish line should be 
 slightly broader than the line of the drawing. 
 
 When it is perfectly dry the plate should be 
 immersed in the acid bath. This consists of a 
 solution (10 to 20 per cent) of nitric acid in a 
 glass or porcelain tray. The plate should remain 
 in the bath until the acid has eaten down the 
 parts not covered by the varnish. This will require 
 from five to twenty-four hours, depending upon 
 the strength of the solution. The plate need 
 not remain in the bath continuously. It should 
 be taken out at intervals and examined. It may 
 require an additional wash of varnish. It may 
 be advisable to make a fresh solution of nitric 
 acid. Shaking the tray will hasten the etching. 
 When the plate is etched deeply enough — that 
 is, when the ridges stand up enough for print- 
 ing — it should be taken out of the bath and 
 the varnish removed. The plate may be heated 
 to soften the varnish, and then soaked in tur- 
 pentine or kerosene. The varnish can then be 
 rubbed off with a soft cloth. 
 
 The plate should be mounted on a block of wood 
 by means of small nails. The cut when mounted 
 must be exactly type-high. 
 9
 
 Fig. 49. Zinc etching made by elementary- 
 school pupils of the Bloomington, Illinois, 
 Public School 
 
 116
 
 CHAPTER XIV 
 PAPER 
 
 While all paper is made according to the same 
 general plan, various blendings of the materials 
 and modifications of the machinery used enable 
 the manufacturers to produce many kinds of paper 
 suited to different purposes. Some knowledge 
 of the different ways of finishing paper, of the 
 qualities that adapt it to a particular use, of the 
 size and weight of the sheet or web in which it is 
 formed, and of how to order it from the dealer, 
 is to the printer indispensable. 
 
 The school printshop will make some use of 
 print paper, book paper, writing paper, cover 
 paper, and cardboard. 
 
 Print paper is a cheap paper made largely from 
 mechanical wood pulp. It is used for printing 
 newspapers, cheap magazines, mail-order cata- 
 logs, and directories. It usually comes in rolls of 
 different widths, the weight varying from 100 to 
 1,000 pounds. It is also cut into sheets. 
 
 Book paper, because the work is to be last- 
 ing, is of greater importance to the printer than 
 other kinds of paper. Antique paper is used for 
 
 117
 
 118 THE SCHOOL PRINTSHOP 
 
 high-class book work. It is uncalendered — that is, 
 not pressed by heated rolls — and has consequently 
 a rough surface. It requires more ink to make an 
 impression on a rough surface than on a smooth 
 one; therefore a large size of type which does not 
 easily fill up with ink is better than small type for 
 printing on antique paper. It is not well adapted 
 to illustrations, except possibly very coarse zinc 
 etchings. Fine halftones, unless they are deeply 
 engraved and printed by the offset process, cannot 
 be printed on its rough surface. For that reason 
 books printed on antique paper have their half- 
 tones printed on enameled paper and inserted. 
 
 Machine-finish paper is that which has been 
 passed over the calender rolls in the paper machine 
 in order to smooth and make even the surface. A 
 slight calendering gives a medium finish. After 
 leaving the paper machine, some paper is extra- 
 or super-calendered, that is, run through a stack 
 of calenders, which consists of rolls made of steel, 
 cotton, or granite, placed one above another. The 
 different finishes depend largely upon the partic- 
 ular roll it is run over and the number of times 
 it passes through the calenders. English -finish 
 papers are finished on cotton rolls, not steel. 
 Machine- finish book paper offers a good surface 
 for small type and for photo- engravings and 
 electros. It is used for printing magazines, high- 
 class catalogs, and school books.
 
 PAPER 119 
 
 Enameled or coated paper is obtained by apply- 
 ing a veneer of clay, glue, and sizing to the surface 
 of machine-finish paper. This is usually done 
 when the paper is in the web in a coating fac- 
 tory. The paper is run through a box containing 
 the coating material, and brushes passing over 
 the paper distribute the coating evenly over its 
 surface. It is then dried by being passed over 
 steam pipes, and from these it passes to the calen- 
 dering machine which gives it the gloss. Dull- 
 finish coated papers are calendered with felt 
 rolls. The process of coating results in a smooth, 
 fine surface which is desirable for reproducing 
 the finest halftone engravings or color plates. 
 
 A variety of paper comes under the heading of 
 writing paper — flat writing paper, bond paper, 
 and ledger paper. Writing paper should be 
 smooth and hard (but not glazed) for bearing ink. 
 High-grade writing paper is used for fancy sta- 
 tionery and documents of importance; bond 
 paper is used mostly for commercial letterheads, 
 envelopes, blanks, and other business stationery. 
 Ledger papers are strong in texture and are made 
 up into account books and ledgers which must 
 withstand the wear of constant use. 
 
 The fibers of which cover papers are made must 
 be very strong, for strength and toughness are 
 essential to cover papers, which are used to protect 
 the inside sheets. Coloring matter for these is
 
 120 THE SCHOOL PRKNTSHOP 
 
 usually put into the pulp. Cover papers are 
 thicker than book paper. Sometimes they are 
 made so in the pulp; sometimes two sheets 
 are put together in the web. Cover paper is sold 
 by the pound, or sometimes by the ream (500 
 sheets), and may be obtained in any quantity. 
 
 Bond papers and cover papers are finished by 
 an entirely different process from that used in 
 finishing book papers. They are first made on 
 the machine in the antique finish, then cut to 
 the desired size, and finislied by means of cloth 
 placed between the sheets of paper, and pressure. 
 Linen or cotton cloth w^hich has the finish desired 
 in the paper is used, each sheet of paper being 
 covered by a sheet of cloth. These sheets are 
 made into a pile (called a book) and then placed 
 in a pressing machine and pressed. The design 
 of the cloth is thus impressed upon the paper. 
 
 Cardboard is of different thicknesses. It is 
 sometimes made to the required thickness when 
 run on the machine, sometimes made of layers 
 of paper pasted together, as indicated by the 
 names two-ply, three-ply, and so on. Pasted card- 
 board can be detected from the other kind by 
 holding a lighted match to one corner and noting 
 whether the layers separate. If they do, the card- 
 board is pasted. Cardboard is given a smooth fin- 
 ish on both sides. It is used for business cards 
 and other purposes for which a stiff board is
 
 PAPER - 121 
 
 required. It is made in many grades and colors 
 and is usually priced by the hundred sheets. 
 
 In the manufacture of paper a vegetable size is 
 mixed with the pulp in the beater. For book 
 paper and cheap writing paper this is sufficient. 
 Good grades of writing paper are further sized and 
 thus rendered impervious to ink by passing the 
 web of paper, after the paper has been formed, 
 into a vat of hot animal size — that is, a size made 
 from the horns and hoofs of animals. Blotting 
 paper is altogether unsized. 
 
 Paper may be laid or wove. Laid paper is 
 water-marked paper with heavy lines running 
 with the grain and light lines running across. 
 Wove paper is made with fine lines running in 
 both directions. 
 
 Where possible, paper that is to be used folded 
 should be folded with the grain, as it folds more 
 easily, looks better, and does not crack so readily 
 as when folded across the grain. The grain — that 
 is, direction of the fiber — may be determined by 
 tearing, as the tear with the fiber is straighter and 
 more easily made than that across the grain. 
 
 Book paper comes from the mill in sheets. It 
 is made in a web and then cut into sheets. It is 
 usually priced by the pound and on the basis 
 of ream lots (500 sheets). If less than a full 
 package is ordered, the price is more proportion- 
 ally than when the full package is taken.
 
 122 
 
 THE SCHOOL PRINTSHOP 
 
 The usual sizes and weights are: 
 
 
 
 Weight 
 
 
 
 
 
 (Pounds to the Ream) 
 
 
 24X36 
 
 36 
 
 45 
 
 55 
 
 64 
 
 37 
 
 25X38 
 
 40 
 
 50 
 
 60 
 
 70 
 
 80 
 
 28X42 
 
 50 
 
 62 
 
 74 
 
 86 
 
 99 
 
 32X44 
 
 60 
 
 74 
 
 89 
 
 104 
 
 119 
 
 38 
 
 to 
 
 1 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 Fig. 50. Showing hoiv to cut a ^5X38 sheet of stock into 
 6}^ X^M inch pieces without waste 
 
 The various sizes enable one to cut stock with 
 a minimum of waste. For instance, if paper 
 6^X91^ is to be used, 25X38 will cut exactly 
 sixteen pieces without waste (Fig. 50). 
 
 25X38 
 
 6MX9H 
 4X4=1G
 
 PAPER 
 
 123 
 
 The paper is to be 5X7. The stock measures 
 24X36. 
 24X36 
 5X7 
 
 4X5 = 20, with strips of waste 4X36 and 1X20 
 
 If cut the other way, 
 
 24X36 
 7X5 
 3X7 = 21, with strips of waste 3X36 and 1X21. 
 
 This is the better way to cut this sheet. 
 
 -44 
 
 f\3 
 
 15 
 
 15 
 
 10 
 
 4 
 
 1 
 
 
 
 
 c^ fVa, ste 
 30 
 
 14 
 
 ■^ 
 ^ 
 
 Fig. 51. Showing how to cut a 28X44 sheet of stock into 10X15 
 inch pieces {less economical ivay than that shown in Fig. 52) 
 
 The sheet is 28X44. The paper is to be cut 
 10X15. The diagrams (Figs. 51, 52) illustrate 
 the method of cutting the paper to get the most 
 out of a sheet.
 
 124 
 
 THE SCHOOL PRINTSHOP 
 
 In this case the waste part that is trimmed off 
 should be saved for future use. 
 
 < 44 ^ 
 
 
 /o 
 
 10 
 
 10 
 
 10 
 
 4 
 
 
 
 
 
 
 1 
 
 
 15 
 
 
 
 15 
 
 14 
 
 "0 
 
 ^o 
 
 
 rVa-ste 
 
 30 
 
 
 
 Fig. 52. Showing hoii) to cut a ^5X44 sheet of stock into 
 10X15 inch pieces with least waste 
 
 If print paper is cut into sheets, the usual size 
 is 24X36 — 32 pounds to the ream. 
 
 It is sometimes necessary to know the equiva- 
 lent weight of one size of paper in a larger or 
 smaller size. For instance: 
 
 The stock is 25X38 — 40 pounds. I wish to 
 use size 32X44. What weight shall I order? 
 
 38X25—40. 
 
 38X25 = 950 square inches. 
 
 32X44=1,408 square inches. 
 
 1,408x40 = 56,320. 
 
 56,320-950 = 59 + . 
 
 Use 60 pounds weight. 
 
 Or stated proportionally: 25X38 : 32X44 :: 40 : 60.
 
 CHAPTER XV 
 SUGGESTIONS TO YOUNG PRINTERS 
 
 The first sections of this chapter are made up 
 of suggestions for avoiding common, everyday 
 errors. It would not be possible to include all 
 such mistakes in one list; hence those which occur 
 most frequently are given here. Each pupil is 
 advised to keep a notebook for suggestions, hints, 
 and "Don'ts," and from time to time to add to 
 this list such other mistakes as come to notice. 
 
 The composing-room and press suggestions are 
 more or less a summing up of earlier chapters, but 
 their importance justifies their repetition here in 
 this form. They should be read and re-read until 
 the pupil is so familiar with them that he will 
 automatically follow them. 
 
 English 
 
 1. Its is the possessive adjective. It's is the 
 contraction for it is. 
 
 2. Further means moreover. Farther means at 
 a greater distance. 
 
 3. Their is the possessive adjective. There is 
 an adverb meaning in that place, or it is an 
 
 125
 
 126 THE SCHOOL PRINTSHOP 
 
 introductory word; for example, There were giants 
 in those days. 
 
 4. A pronoun never requires the possessive sign : 
 his, hers, theirs, yours, ours. 
 
 5. Make two words of all right. 
 
 6. Do not confuse already with all ready; nor 
 altogether with all together. 
 
 7. Then and than are different words. 
 
 Punctuation 
 
 1 . A contraction is not an abbreviation and does 
 not require a period. The apostrophe is sufficient : 
 
 weren't hasn't ni'f g plant 
 
 Ours isn't the same as yours. 
 
 2. The period and the comma are always placed 
 inside the quotation marks (see page 80) : 
 
 "A stitch in time saves nine." 
 
 3. The comma is always placed outside the 
 parenthesis if the context requires its use: 
 
 The majority of cannas, however, are grown from 
 pieces of the roots (rhizomes), each piece having a bud. 
 
 4. The period is placed on the outside of a paren- 
 thesis except when the thought within the paren- 
 thesis is complete and independent: 
 
 •The plant is cucurbitaceous (allied to melons and 
 gourds) . 
 
 The composing rule has already been described. (See 
 page 34.)
 
 SUGGESTIONS TO YOUNG PRINTERS 127 
 
 The Composing Room 
 
 1. Examine your composing stick occasionally, 
 as it may work loose when you are using it. 
 
 2. Keep your case in order. A mixed case 
 indicates a poor workman. • 
 
 3. If you drop a piece of type on the floor, 
 pick it up at once. 
 
 4. Return leads to their proper place. Do not 
 leave them at the case or on the stone. 
 
 5. Be careful of all material. A good workman 
 takes good care of his tools. 
 
 6. Labor-saving wood furniture must not be 
 wet. It will shrink. 
 
 7. When correcting a line which requires 
 respacing, do it in the stick and not on the galley. 
 
 8. Do not distribute pi from your hand. Set 
 it up in the stick. 
 
 9. Do not use too much ink in taking proofs. 
 Try to secure a gray proof. 
 
 10. Do not lay the proof-planer down on the 
 stone. It collects dirt in that position. 
 
 11. Have your eye on the particular piece of 
 type that you wish to pick up and pick it up 
 with the nick toward you, if possible, so that you 
 need not turn it in your hand before setting it in 
 the stick. 
 
 12. Keep your mouth closed and your mind on 
 your work if you would avoid errors.
 
 128 THE SCHOOL PRINTSHOP 
 
 13. Letter spacing is very unworkmanlike and 
 should not be resorted to except in very narrow 
 measure. 
 
 14. When it is necessary to increase the spacing 
 in a line, do so after the kerned letters, as /, /, 
 then after the ascending letters, as b, h, I, then 
 after the descending letters, as g, y, and after any 
 punctuation marks except the comma. 
 
 15. Never thin-space (space less than a 5-em) 
 a line or em-quad it. 
 
 16. Short words require the same sized space 
 before them as after them. 
 
 17. Use two commas with the nicks down to 
 begin any quote marks; use two apostrophes for 
 ending quote marks. 
 
 18. Set B.C. and a.d., a.m. and p.m., in small 
 caps close or with thin space between them. 
 
 19. The hyphen, the en dash, and the em dash 
 are not interchangeable. The hyphen is used 
 only in compound words and to indicate the divi- 
 sion of a syllable at the end of a line. The en dash 
 is seldom used except to connect two dates; for 
 example, 1914-1915. The em dash is sometimes 
 used in parenthetical expressions, to connect the 
 end of the text with the name of the author, 
 and it may be used to mark a sudden change in 
 a thought or statement. Many writers use it 
 instead of other punctuation marks.
 
 SUGGESTIONS TO YOUNG PRINTERS 129 
 
 20. Do not let the last line of a paragraph con- 
 sist of a single short word or syllable. Do not 
 begin a page with the last line of a paragraph. 
 
 21. Do not let more than two consecutive lines 
 end with punctuation or hyphens. 
 
 22. Set up columns of figures with the decimal 
 points in a vertical line. 
 
 23. One line drawn under a word or words in 
 the copy means, Set it in italics ; two lines under a 
 word or words mean, Set it in small capitals; 
 three lines mean, Set it in capitals. A wavy line 
 means, Set it in boldface. 
 
 24. Read copy a few words ahead. This enables 
 you to grasp the meaning and thus avoid mistakes. 
 
 The Press 
 
 1. See that the press is well oiled before starting. 
 
 2. Note the position of the grippers before 
 taking an impression. 
 
 3. Place the sheets of paper lightly against the 
 feed gauges. Never touch the printing when 
 removing the paper. 
 
 4. In feeding, handle the stock with care. Be 
 sure your hands are clean. Grasp the paper 
 lightly. Do not draw your thumb and finger 
 across the paper. Do not wet your finger with 
 your tongue. Use glycerin if your fingers are 
 too drv.
 
 130 THE SCHOOL PRINTSHOP 
 
 5. Never place your hands or feet against any 
 part of the press while it is in motion. 
 
 6. Always stop the press before leaving it, even 
 if you are only going to cross the room. A cut 
 or quoin falling out would probably break the 
 press. 
 
 7. Keep the ink covered; keep the ink knife 
 clean. 
 
 8. Be very careful in handling ink not to smear 
 it on the outside of the tube or can. 
 
 9. Do not leave the rollers resting on the disk 
 or on the type. 
 
 10. Do not leave the rollers dry at night. 
 Apply a few drops of oil. 
 
 11. Waste paper should be placed in a waste 
 basket, not allowed to accumulate on the floor. 
 
 12. Waste used in washing up the press should 
 be kept in a covered metal receptacle. Being 
 saturated with benzine, it is easily inflammable. 
 
 13. Do not talk while you are running the press. 
 Keep your attention on your work. It is safer.
 
 APPENDIX FOR TEACHERS 
 
 10
 
 Let no act he done haphazard, nor other- 
 wise than according to the finished rules that 
 govern its kind. 
 
 — Marcus Aurelius
 
 APPENDIX FOR TEACHERS 
 
 A. THE VALUE OF PRINTING AS 
 AN EDUCATIONAL SUBJECT 
 
 Two views prevail as to the place of printing in 
 education. The advocates of vocational training 
 believe that printing should be taught in industrial 
 classes to such boys as expect to become printers. 
 They hold that the pu:-pose of teaching it is to train 
 a boy in the technic of the trade, to teach him to 
 turn out good printing according to accepted com- 
 mercial standards, and to fit him to enter the ranks 
 of industry. There are other educators who believe 
 that printing is a means to general education; that 
 it is a manual-training subject based upon the same 
 general principles that underlie all the manual arts, 
 and as such it should be taught to all pupils. 
 
 It is upon this latter conception of its purpose that 
 the work in the School of Education is based. The 
 idea is broad enough in scope to include many of the 
 basic demands of vocational training. The pupil who 
 learns printing must gain control of his tools. He 
 must learn what can and what cannot be done with 
 printshop material. He must measure his own work 
 by accepted printing standards. In everything but 
 speed, which should not figure largely in a school 
 
 133
 
 134 APPENDIX 
 
 printshop, the work furnishes the training desired by 
 the master printer. Furthermore, if the pupil has 
 estabHshed correct habits of doing his work, if he has 
 been so trained that he has nothing to unlearn in the 
 shop, the lack of speed may be readily overcome. 
 Moreover, the general course, since it is fuller and 
 broader, may prove to be a valuable asset to the boy 
 who when he has completed his school work chooses 
 printing for his life's occupation. 
 
 At some point or other printing touches every 
 study and every force in the school. Though it is not 
 dependent upon the other subjects in the curriculum 
 for its intellectual content, it does make practical 
 demands upon the English, the history, the science, 
 the mathematics, and the art of the school, and 
 in return it reinforces and vitalizes these subjects. 
 
 Something of history should enter into a course in 
 printing, for the pupil will have a greater appreciation 
 of the industry if he has, for instance, knowledge of 
 early methods of bookmaking, if he knows the effect 
 upon the world of the invention and development of 
 printing. These facts are more significant if taught 
 in connection with printing than when learned simply 
 as historical facts apart from the shopwork. They 
 cause the pupil to think, and lead to such questions as: 
 Since China used movable type and invented paper, 
 why did she not develop the art of printing? Why 
 for twenty years after Coster and Gutenberg did the 
 art remain stationary? 
 
 The manufacture of the various materials used by 
 the printer (the industrial history of the present) is
 
 PRINTING AS AN EDUCATIONAL SUBJECT 135 
 
 also full of meaning and interest. Those processes 
 arouse many questions which can be answered only 
 by some knowledge of science. What is cellulose? 
 What causes the odor that arises when paper is made 
 from wood? Why are antimony and tin mixed with 
 the lead in making type metal? 
 
 The answers not only help the child to understand 
 the process he is studying, but are sometimes of further 
 value in teaching him why the article in question — 
 type, for instance — requires careful handling. A series 
 of readings on the history of printing and on allied 
 subjects should form part of the course. The order 
 of their arrangement in the course should be deter- 
 mined partly by the relation of the topic to the other 
 work of the child, and partly by the difficulty of the 
 process described. 
 
 Perhaps no subject asks more of art than does 
 printing, for into every printing problem comes an 
 art problem. The choice of type, the spacing, the 
 shape of the type mass, the shape and size of the 
 paper, the margins, the decoration of the page, the 
 initial letter, all are points to be considered in every 
 bit of work done in the shop. The principles of art 
 are taught by the art teacher in the art class. These 
 same principles as applied to printing are emphasized 
 in the printshop when the pupil feels the necessity 
 of knowing them in order to apply them. The close 
 relation that exists between art and printing, and the 
 advantage of receiving the art from another and 
 different source, give to the child an added power in 
 the application of these principles.
 
 136 APPENDIX 
 
 In the same manner printing demands a knowledge 
 of the fundamentals of English. The pupil realizes 
 that he cannot print without that knowledge. He is 
 driven to the dictionary to learn how to divide a word, 
 or to his manual for some forgotten or never learned 
 rule of punctuation. This searching for what he 
 wishes to know in order to make direct application of 
 it helps the pupil to remember the general rule as well 
 as its specific application. To illustrate : A pupil may 
 place a period after a title. When asked why, he has 
 no particular reason — merely thinks it is customary. 
 Then he is questioned as to the rules for the use of 
 the period. He may recite them glibly or he may 
 refer to his manual. He finds (a) a period is used to 
 mark the end of a declarative or an imperative sen- 
 tence; (b) a period is used to indicate an abbreviation. 
 Clearly the period after the title falls under neither of 
 these rules, nor does the special note in his manual 
 account for it. Therefore the period does not belong 
 there. He is further instructed in the practice of 
 to-day by an examination of standard books. In all 
 his written and oral work the pupil has been trained 
 in the correct use of English forms, but the training 
 in the printshop is more effective because failure to 
 know the form and apply the rule results in much 
 unnecessary work, which the pupil must do in order 
 to attain a result which he himself desires. In time 
 the pupil forms the habit of using the dictionary; it 
 comes to be a real friend; he spells correctly; his use 
 of the mechanics of English becomes automatic. He 
 is quick to recognize and correct errors in copy.
 
 PRINTING AS AN EDUCATIONAL SUBJECT 137 
 
 The mathematical problems are for the most part 
 those of measuring, but as they require accuracy they 
 are important. The guide pins must be placed 
 exactly, or the page is crooked. Spacing cannot be 
 reduced to a mathematical basis, as is attempted in 
 some schools, for the aim is spacing that appears 
 even, and other factors enter into the problem. But 
 the pupils are aided in learning the relative sizes of 
 spaces and the combinations that may be made with 
 them by a drill in fractions, using the spaces as the 
 Ijasis for such drill. In the elementary school the 
 commercial side of the work should be kept in the 
 background, but in the high school the pupil who 
 buys paper or cardboard for his work is interested in 
 ]-)lanning the number of pieces he can cut from a given 
 sized sheet, and in figuring for himself its cost. 
 
 Printing as construction work makes as strong an 
 appeal to girls as it does to boys. This is partly 
 because it demands deft fingers rather than special 
 manual skill and partly because of its artistic nature. 
 The work tends to develop the child's ingenuity, 
 because the medium is not flexible. At the same 
 time mistakes can be corrected, so that discourage- 
 ment does not follow failure. It makes for habits of 
 order, carefulness, honesty, directness of purpose, and 
 other virtues. It develops initiative in the child and 
 satisfies his natural desire to do creative work. 
 Withal, it gives a regard for books, an appreciation of 
 their artistic worth as well as of their intellectual content. 
 
 Printing is an incentive to social service, for it is 
 in its very nature a social occupation. One never
 
 138 APPENDIX 
 
 prints for the sake of printing — there is ahvays need 
 of the output, a product which is rarely if ever made 
 for the printer himself. It is done for the home, or 
 the school, or the larger life outside the school. To 
 print from this motive, to perform an act of social 
 usefulness, reacts upon the pupil. If he is producing 
 something he knows is really needed in the community, 
 he comes to feel himself a necessary part of the com- 
 munity. It thus becomes his community, valuable to 
 him for what he has put into it. He takes a pride in 
 making it good, and in being himself a good citizen 
 thereof. Oftentimes by this means an indifferent, 
 lawless lad is led to recognize his social responsibilities. 
 The printing problems are great enough to engage 
 the attention and the efforts of the entire school. 
 Cooperation on a piece of work results necessarily in 
 unity. In the printing of a book for some special 
 purpose, or a school calendar, or any similar project, 
 the other departments of the school bring in their 
 contributions to assist in the work. The art teacher 
 helps in drawing the illustrations which later may be 
 worked out in a zinc etching under the direction of 
 the science department, or ciit out in wood with the 
 aid of the woodworking teacher. The history, the 
 geography, and the literature furnish suggestions as 
 to content; the library and the museum offer knowl- 
 edge. The result is a product of the school. Its 
 effect is to bring the workers sympathetically together; 
 not to make prominent the work of any individual or 
 department, but to use what each child and each 
 department can bring to the whole.
 
 SELECTIXG EQUIPMENT 139 
 
 B. SELECTING EQUIPMENT 
 Since the school printshop differs from the com- 
 mercial printshop in its aims and purposes, it should 
 differ in its plan of work and in its equipment. The 
 shop equipment should accordingly be selected with 
 a view to the teaching of printing. Too often is the 
 school shop fitted out as a commercial shop; too 
 seldom is it recognized that printing has become an 
 educational factor in the school. Even in vocational 
 or continuation work, which must conform more or 
 less to commercial conditions, some concessions must 
 be made to the teaching aspects of the subject. Much 
 more essential is the adaptation of equipment and 
 method to this end in school work with young children. 
 This, however, does not debar the selection of a 
 practical equipment. 
 
 The number of pupils in the class, the number of 
 hours a week which each pupil works, and the age, 
 ability, and previous training of the pupils are all to 
 be considered when one is deciding upon the quantity 
 and the size of type and the variety of faces to be 
 purchased. More type will be needed when pupils 
 work in groups on alternating days than when the 
 same number of pupils work in one group on con- 
 secutive days, since in the latter case there is less 
 necessity for standing type. A child should use only 
 large type for his major work until such time as his 
 smaller muscles, which make all the delicate adjust- 
 ments, shall have developed. Steady work with small 
 type tends to injure the eyes and to be harmful to the 
 nervous system. The custom which now prevails in
 
 140 APPENDIX 
 
 many schools of giving 10-point as body type is to 
 be deprecated. For general work elementary-school 
 pupils will find 14-point more satisfactory in the first 
 composition. 
 
 There is much to be said in favor of pupils doing 
 their early work with few type faces. The cases are 
 more easily kept in order, which is an important con- 
 sideration when different classes use the same cases. 
 Also, when the child is working with few rather than 
 many type faces, he learns the possibilities and the 
 limitations of printing materials, his power to think 
 develops better, and his taste improves more rapidly. 
 Certainly more artistic results are secured by requiring 
 the pupil to choose his type within narrow limits. 
 Good work does not require a variety of type faces, 
 popular opinion to the contrary. Some of the most 
 pleasing designs in the shops of today are worked out 
 with but one series of type. William Morris himself 
 used but three. Of course, as the pupil advances in 
 knowledge and skill, and as his work becomes more 
 refined, other type faces may be added to the original 
 equipment, but any type selected should be free from 
 hair lines. Text letters are not recommended for 
 general use, as they are confusing even to experienced 
 printers. 
 
 The character of the work which should be done 
 by printing classes should be determined by the grade 
 of pupils, by their ages, and by their previous training. 
 The selection should not be influenced by the kind of 
 work done in the commercial printshops, nor by the 
 financial needs of the school. For pupils to solicit
 
 SELECTING EQUIPMENT 141 
 
 work which properly belongs to the neighborhood 
 printer in order to earn money for the school is, to 
 say the least, unwise. The reduction in prices, possible 
 because no account is taken of overhead expenses, and 
 because the value of the pupils' time is not ordinarily 
 reckoned in dollars and cents, works a hardship to 
 the printing trade and also brings about opposition 
 to the school printshop from that very source which 
 should bring to this work efficient aid and cooperation. 
 The work chosen should be adapted to the worker. 
 It should be a job that interests him, that presents 
 itself to him as a problem, but it should not be of such 
 difficulty that it demands the teacher's attention at 
 every step of the process. The point cannot be over- 
 emphasized that in public schools the work must be 
 chosen and the equipment selected with a view to 
 the fact that printing is a class exercise and classes 
 are likely to be large. These considerations naturally 
 bar out some types of printing needed in the school; 
 but no one expects the manual-training classes to do 
 all the carpentry of a school, and there should be 
 the same frank recognition of the limitations of the 
 printshop. The equipment should be selected with a 
 view to such work as the pupils can do with profit to 
 themselves. Furthermore, all work should be barred 
 which does not have a distinct social value recog- 
 nizable by the pupil who does the work. 
 
 It is almost a truism to say that the equipment 
 must accord with the amount of money available. 
 Yet with a small amount of money there is still a 
 choice to be exercised. If a full initial equipment is
 
 142 APPENDIX 
 
 not possible, it is advisable to start with properly 
 selected essentials, which can be added to later as the 
 use of the shop increases and as the teacher sees the 
 need. Aside from the question of money, it is a good 
 rule to buy what is needed only when it is needed. 
 This habit acts as a check to the tendency to fill up 
 the shop with non-usable material. 
 
 The following list is suggested as a workable equip- 
 ment for an ordinary school printshop: 
 
 An 8X12 New Series Chandler & Price Job Press com- 
 plete with throw-off treadle, 3 chases, a set of cast 
 rollers, a set of extra stocks, and a wrench 
 
 Roman type, either 12-point or 14-point (according to 
 the grade of pupils), in 20-pound fonts, one font for 
 every two pupils in the group 
 
 5 pounds quads and spaces for each 20-pound font of type 
 
 One font each, roman and italic, of the series selected, 
 in the following sizes: 6-point, 8-point, 10-point, 
 12-point, 14-point, 18-point, 24-point 
 
 Quads and spaces for each of the above sizes 
 
 A 5-pound font of 2-point rule (light face), 2-point rule 
 (full face), and 6-point rule (1-point face, beveled 
 on side). These may be used to form plain borders 
 
 Buckeye composing sticks (one for each pupil in the 
 the group) 
 
 One galley for each pupil, 6^-^X24 
 
 One galley rack 
 
 One brayer 
 
 One hickory mallet, 2>^X4^ 
 
 One proof -planer 
 
 One imposing stone 
 
 Case stands 
 
 California job cases, two for each 20-pound font of type
 
 SELECTING EQUIPMENT 143 
 
 Three one-quarter size rule cases 
 
 A paper cutter 
 
 One Eureka lead and slug case 
 
 100 pounds 2-point leads cut labor-saving from 4 to 25 ems 
 
 50 pounds 6-point slugs cut same 
 
 20 pounds labor-saving metal furniture 
 
 One case wooden furniture 
 
 10 yards assorted reglet 
 
 A planer 
 
 An oil can 
 
 One dozen challenge Hempel quoins, No. 1 
 
 A quoin key, No. 1 
 
 One safety benzine can 
 
 1 pound black ink 
 
 Three cans concentrated lye 
 
 A lye brush with handle 
 
 A benzine brush 
 
 10 pounds waste 
 
 One dozen pica rulers 
 
 A metal safety waste box 
 
 Paper for press, cut to size of press: 
 
 1. Manila paper 
 
 2. Cardboard 
 
 3. Print paper 
 
 The first and greatest expenditure will be for the 
 press. The one suggested is durable and does not easily 
 get out of order. It can be bought in various sizes, but 
 an 8x12 chase can be handled by elementary-school 
 pupils and is at the same time large enough for most 
 high-school jobs. A small hand press, which will do 
 good work, costs much less, but there are limitations 
 to the work that can be done on it. A rebuilt press 
 can be bought at a reduction, but is not advised unless
 
 144 APPENDIX 
 
 that is the only condition under which printing can 
 be estabhshed in the schooh Such a press rarely 
 gives satisfaction. It is usually a press out of date; 
 accordingly parts that may be broken cannot be 
 replaced. Since a press is part of the permanent 
 equipment of the school, it should be purchased with 
 the idea of permanency. If, later, additional presses 
 are needed, the job press, of the size and kind sug- 
 gested, will still be useful, hence will not be discarded 
 (see page 58). 
 
 The kind, size, and quantity of type form the next 
 important item. Type is not permanent; it wears 
 down with use and must be frequently replaced. The 
 best printer cannot turn out good work with poor type. 
 It is therefore mistaken economy to buy used type. 
 Whatever else must be bought second-hand, let it not 
 be type. A good roman face should be selected, a 
 face that is not too extended or "fat" — such type as 
 will space easily. Enough should be bought for the 
 entire class. The different sizes of the series chosen 
 will enable the pupils to secure variety without resort- 
 ing to the use of different and frequently inharmonious 
 faces in the same piece of work. It is essential that 
 each pupil in the class shall have enough type to work 
 with. Idleness breeds disorder, and disorder means 
 slack work. There is a widespread fallacy among 
 school children (perhaps not confined to them) that 
 work with the hands is dissociated from work with 
 the head. Insufficient material fosters this idea. 
 Proper equipment tends to keep each pupil at work 
 in an orderly manner.
 
 SELECTING EQUIPMENT 145 
 
 Various forms of sticks are on the market. The 
 simplest form is the best to use in school, the size of 
 the stick depending upon the size of the hand that 
 holds it. The two-inch stick is not too large for the 
 smallest child. As many sticks should be provided 
 as there are pupils in the group. Every stick may not 
 be in use all the time, but each pupil should be able 
 to secure a stick whenever he requires one. Patent 
 sticks, that is, those which automatically clamp at 
 em and en measurements, are not recommended, as 
 they tend to make the pupil inaccurate. 
 
 An imposing stone (Fig. 53) can be purchased, 
 mounted upon a cabinet containing sort drawers, letter 
 boards, chase racks, furniture, reglet, and tool drawers. 
 It is very convenient, providing places for the many 
 things needed by the stoneman. These cabinets vary 
 in price. They do away with the necessity for buying 
 other pressroom belongings and they prolong the 
 usefulness of many articles by making it possible for 
 them to be taken care of properly. If, however, not 
 miuch money can be spent for a stone, one mounted 
 on a frame containing one drawer can be bought at 
 a low price; or, if this is too expensive, an unmounted 
 stone, which can be placed on a common deal table, 
 costs even less. 
 
 Cabinets or stands to contain cases of type are now 
 made in various styles and at varying prices. One 
 of the best arrangements for a school is found in the 
 American School Printshop compositor's stand and 
 desk (Fig. 54). This is an individual case stand, lower 
 than the stands made for men, with the top an^anged
 
 146 
 
 APPENDIX 
 
 Courtesy of the American Type Founders Companu 
 
 Fig. 53. Imposing stone 
 
 a. Stnrafje side 
 
 b. Materials side
 
 SELECTING EQUIPMENT 
 
 147 
 
 to hold a California job case, a galley, a small rule 
 or border case, and a lead and slug case. This places 
 all material at hand for the compositor. The rack 
 below holds ten full-size cases. The stand is also pro- 
 vided with a drawer to contain books, notebooks, or 
 other such material. A galley for unfinished work 
 also finds place in it. A writing board can be put in 
 one of the racks, and thus the pupil can write or draw 
 without leaving his position at the case. 
 
 Courtesy of the American 'lypt t ouna< r i < tupan^ 
 
 Fig. 54. American School Print shop 
 compositor's stand 
 
 II
 
 148 
 
 APPENDIX 
 
 If the appropriation will not cover such expenditures, 
 cheaper case stands can be purchased. Closed cabi- 
 nets, containing 
 cases only, can be 
 bought at a reason- 
 able price. They 
 are neat in appear- 
 ance and keep the 
 type free from dust. 
 If these are used, 
 tables or open-case 
 stands must also be 
 ])rovided to hold 
 the cases when 
 pupils are at work. 
 Double open-case 
 stands are much 
 cheaper than closed 
 cabinets. When 
 they are not in use, 
 the dust can be 
 kept out by cover- 
 ing the type with 
 cardboard covers 
 which may also 
 serve as drying 
 boards. The ordi- 
 nary case stands are 
 too high for the 
 average pupil. 
 They may be lowered by cutting the legs, or, better 
 still, a number of platforms of different heights, on 
 
 Courtesy of the American Type Fiiiinilers Company 
 
 Fig. 55. Boston staple binder
 
 SELECTING EQUIPMENT 
 
 149 
 
 which pupils may stand, can be made in the manual 
 training room. The t^-pe may be laid in a .combina- 
 tion job case with blank cases for the small caps. 
 Each case should contain 10 pounds of type and 2^ 
 pounds of quads and spaces. 
 
 Courtesy of the Challenge Machinery Company 
 
 Fig. 56. Advance paper cutter 
 A paper cutter, like the press, is a permanent invest- 
 ment, and none should be purchased that is not ade- 
 quate for all purposes (Fig. 56) . A 23-inch cutter will
 
 150 APPENDIX 
 
 answer the purpose of the majority of schools. Until 
 a large-size cutter can be bought, it is better to buy 
 stock cut to the desired size. The cost of cutting is 
 but a trifle. A paper and card cutter can be used to 
 trim cards and paper. 
 
 Courtesy of Horace Hacker Company 
 
 Fig. 57. A proof-press 
 
 The cost of the ecjuipmcnt will vary according to 
 the place and time at which it is bought and in pro- 
 portion to the quantity purchased at one time. It 
 is better, on the wliole, to select the most reliable 
 house and to make all purchases from one firm. The 
 expense can be materially reduced if the cases, case 
 stands, frames, tables, cabinets, and other wood fur- 
 nishings can be made in the school manual-training 
 shops.
 
 SELECTING EQUIPMENT 151 
 
 If the expenditure is not limited, the following 
 articles, which will be found very desirable, should also 
 be purchased: 
 
 Motor 
 
 Steel chases 
 
 Boston staple binder on pedestal (see Fig. 55, page 14S) 
 
 Proof-press (Fig. 57) 
 
 2-point labor-saving rules 
 
 12x23^ composing sticks 
 
 Composing rules in case 
 
 Copper and brass thin spaces (all sizes) 
 
 Brass galleys 
 
 Cabinet (for pressroom) 
 
 Cabinet for cuts 
 
 Stock cabinets (paper and cardboard) 
 
 Sample cabinets (paper samples) 
 
 Bookcases for printshop literature 
 
 Hooks to contain copy (for each group) 
 
 Exhibit case (to show class work mounted on cards) 
 
 Screen (on which to pin samples of work) 
 
 Scrapbook (to hold samples) 
 
 Stereopticon, with slides 
 
 In some schools each child who takes printing is 
 required to present a written statement signed by the 
 parent absolving the school from responsibility for 
 any accident that may occur. This protects the 
 school, but not the child. A better and wiser way for 
 the school — and this cannot be too strongly empha- 
 sized — is to provide the pupil with equipment so safe 
 that he cannot possibly hurt hiinself. In addition to 
 the constant watchfulness of the teacher, the following
 
 152 APPENDIX 
 
 devices should be included in all school printing outfits: 
 Platen guard for all Chandler & Price presses 
 Fly-wheel guard 
 
 Gear and pinion guard combined 
 Motor bracket with driving pulley- 
 American job-press brake, cast iron, for all sizes, new or 
 old series 
 
 SUGGESTIONS FOR THE PRINTSHOP LIBRARY 
 
 Aldis, Harry G. The Printed Book. 
 American Type Founders^ Catalogue. 
 Bouchot, Henri. The Printed Book. 
 Davenport, Cyril. The Book: Its Development. 
 DeVinne, Theodore. The Invention of Printing (1878). 
 
 . Correct Composition. 
 
 . Modern Book Composition. 
 
 . Plain Printing Types. 
 
 , Title Pages. 
 
 Dictionary, Unabridged. 
 
 Duff, E. Gordon. Early Printed Books. 
 
 Graphic Arts. 
 
 Gress, Edmund G. The Art and Practice of Typography. 
 
 Henry, Frank S. Printing for School a)id Shop. 
 
 Hitchcock, Frederick H. Building the Book. 
 
 Inland Printer. 
 
 Johnston, Edward. ]]'riting and Illuminating and Lettering. 
 
 Manual of Style of the University of Chicago Press. 
 
 Printing Art. 
 
 Roberts, W. Printers' Marks. 
 
 Smith, Adele Millicent. Printing and Writing Materials. 
 
 Stewart, A. A. The Features of a Printed Book. 
 
 . School of Printing Leaflets. 
 
 Books of the Typographic Technical Series for Appren- 
 tices. 
 Woolley, Edward. Ha>ulhook of Composition.
 
 ARRANGEMEN'T OF PRINTING ROOMS 153 
 
 C. THE ARRANGEMExNT OF PRINTING ROOMS 
 
 Every teacher must decide the arrangement of his 
 shop according to the space allotted for the work, the 
 size of the equipment, and the number in his class. 
 But the ordinary printshop arrangement of alleys is 
 not ideal for a schoolroom. The instruction naturally 
 divides itself into three parts: classroom instruction, 
 work in composition, and presswork. It is most 
 economical to arrange the shop with these in view. 
 
 General classroom work consists of drawing (making 
 designs, planning a layovit, and similar work), painting 
 (combinations of colors), reading lessons on printshop 
 work, and mathematical computations. These require 
 the use of a blackboard and desks at which the children 
 can draw, write, or read. 
 
 The composing room requires space for case stands, 
 galley racks, table for tying up type, copy-hooks on 
 which the class may leave the copy when it is not in 
 use, and wall space in which hooks or brads can be 
 driven for holding the sticks. This room should be 
 well lighted with both natural and artificial light. 
 
 In either the classroom or the composing room there 
 should be a bookcase containing a dictionary, a manual 
 of style, Woolley's Handbook of Composition, and 
 other reference books. There should be a collection of 
 lantern slides with stereopticon or projection machine 
 and pictures illustrating both the present and the 
 past history of printing and its allied occupations. 
 Space should be provided for a cork wall or a cloth 
 screen on which samples of good work may be placed. 
 A scrapbook to contain specimens of good commercial
 
 154 APPENDIX 
 
 printing is extremely useful. A cabinet, in which 
 mounted cards of work can be kept free from dust, 
 and yet which can always be opened to show the 
 cards, should be in every printshop. Complete files 
 of work should always be kept, with extra copies for 
 mounting or to be used as printshop samples. 
 
 The pressroom should have abundance of light. 
 It contains the press, the imposing stone, ink cabinets, 
 stock cabinets, paper cutters, and all the things needed 
 for the stone- and pressmen. A large cutter should 
 not be operated by elementary-school pupils.
 
 OUTLINE OF COURSE IN PRINTING 155 
 
 D. OUTLINE OF COURSE IN PRINTING IN THE 
 ELEMENTARY AND HIGH SCHOOLS OF THE 
 SCHOOL OF EDUCATION OF THE UNIVERSITY 
 OF CHICAGO IN 1916-1917 
 
 Elementary instruction begins the last semester of 
 the fifth grade. The pupils are young to take up 
 printing, but their great interest in it and the results 
 attained in the past make the plan worth continuing. 
 The classes meet two hours per week. The work is 
 continued for the same period of time through the 
 sixth and seventh grades and is required of both boys 
 and girls. 
 
 Printing is not a required study in the high school, 
 but it may be elected under the same conditions as 
 hold in other shop courses. Pupils choosing this 
 subject work five hours per week. 
 
 The shop is adequately equipped with an 8x12 
 Chandler & Price Gordon job press, a 16-inch paper 
 cutter, sixteen case stands, sufficient Caslon type of all 
 sizes for the regular work of the classes, with enough 
 type of other styles to enable the pupils to do any 
 extra work desired. There are also imposing stones, 
 cabinets, and all the smaller objects usually to be 
 found in printshops. (See Appendix B.) 
 
 In all classes excursions and projected pictures are 
 used as sources of information. The excursions may 
 be visits to modern printshops, engraving establish- 
 ments, paper mills, type foundries, libraries, museums, 
 or any other source of first-hand information upon 
 printing or its allied industries. The slides and pic- 
 tures convey information which cannot otherwise be
 
 156 APPENDIX 
 
 secured. The pupils are encouraged to add to the 
 collections already started of materials used in paper 
 making, type casting, and other industries connected 
 with printing. 
 
 Any pupil who has followed the work outlined for 
 the fifth, sixth, and seventh grades should, at the close 
 of the seventh year, be familiar with the history of 
 printing and know what can be done with printing 
 materials. He should know what constitutes good 
 printing. He should be able to design and present 
 in graphic form a plan for printing such simple work 
 as appears in the course and should have sufficient 
 skill to carry out that plan. 
 
 Elementary School 
 fifth grade 
 
 The first step is to learn the case, which may occupy 
 the time of three or even four lessons, depending upon 
 the individual pupil. He could commit to memory 
 the lay of the case in less time, but it is better for him 
 to acquire some skill in handling the type and in reading 
 it upside down while he is at the same time memorizing 
 the case. He should be occupied with the type from 
 the very first lesson and will not find learning the case 
 an irksome task. The result of this method shows in 
 the efficiency of his first composition. 
 
 Poetry is best for the first work, because poetry 
 presents fewer problems of justification than prose 
 does and is simpler for the child. The order of all 
 the technical work should be determined, first, by the 
 difficulty it presents to the child, and, second, by its
 
 OUTLINE OF COURSE IN PRINTING 157 
 
 dependence upon some other topic. The fifth-grade 
 pupil cannot work rapidly, and, if given a whole poem 
 to set up, would fail to get it done in time for use. 
 But the attitude of children of this age toward their 
 work makes it possible for a group to combine on one 
 poem. This plan is repeated until a child becomes 
 skillful enough to work alone, when he may set up an 
 entire poem. 
 
 Work on poems fills the greater part of the com- 
 position time. Late in the course a little prose is 
 introduced, consisting of first-grade reading lessons, 
 which are written in one-sentence paragraphs, or 
 responsive readings of the Psalms, or other work 
 similar in form. 
 
 When the work in composition is well under way. 
 about the middle of the course, presswork begins. 
 This is very closely supervised. No fifth-grade pupil 
 is ever permitted to run the press unless the teacher 
 is giving him full attention. This means, then, that 
 the instruction is given to the class, one child after 
 another working the press while the rest of the class 
 observe. 
 
 In the topics assigned for fifth-grade reading the 
 printing teacher has the assistance of the grade teacher, 
 who cooperates in every way possible. The work is 
 correlated with the study of medieval history. 
 
 The work in art in the fifth, as in the other grades, 
 is done partly by the art teacher and partly by the 
 printing teacher. The art problems suggested grow 
 directly out of the printing work. They are met, in 
 a general way, as follows: If the problem belongs
 
 158 APPENDIX 
 
 to the entire class at the same tmie, it is discussed 
 by the art teacher in the art period. If it is an indi- 
 vidual problem, it is taken up by the printing teacher. 
 
 Outline 
 I. Learning the case: 
 
 a. Exercise in paper folding preparatory to drawing and 
 learning the case 
 
 b. Drawing type case to scale 
 
 c. Setting up the letters in each box 
 
 From this exercise should result: 
 
 1. Proper standing position 
 
 2. Correct holding of the stick 
 
 3. Knowledge of the lay of the case 
 
 4. Knowing the type — its parts 
 
 5. Ability to read the type upside down 
 
 6. Recognition of spaces by sight and by touch 
 
 7. Some skill in handling type 
 
 II. Setting type: 
 
 The drill secured while learning the case enables the 
 pupil to work with intelligence and with a degree of 
 skill in even his first attempts at composition. The first 
 work is done with 18-point and 14-point type; later 
 12-point may be used. The work consists of setting up: 
 
 a. Poems of short lines 
 
 b. Prose consisting of reading lessons for the first grade 
 which occur in one-sentence paragraphs 
 
 c. Verse — arranged on a card 
 
 (/. Spelling list — consisting of words used in tlie fifth- 
 grade work 
 
 Through these exercises the pupil learns : 
 1. Even spacing between words
 
 OUTLINE OF COURSE IN PRINTING 159 
 
 2. The filling out of an uncompleted line with 
 quads and spaces 
 
 3. Indention — the alignment of riming lines 
 
 4. The use of leads 
 
 5. The pica as a unit of measurement 
 
 6. The point system 
 
 7. Method of tying up type and handling type masses 
 
 8. Proofreaders' marks; how to mark a proof and 
 correct mistakes in the type 
 
 in. Feeding the press: 
 
 The pupils in this grade handle sheets of paper not 
 larger than 63<4X93 2 inches. They also feed cards, 
 using a thimble made of sandpaper. The pupils may 
 observe the processes of locking up and making ready. 
 The pupils themselves execute only the following steps: 
 
 a. Putting the chase into the press 
 
 b. Feeding the single sheets — a steady, direct move- 
 ment is required 
 
 c. Taking out the chase, washing the type, and putting 
 away the furniture and chase 
 
 IV. Special work on the school magazine: 
 
 a. Setting up centered titles and running heads 
 
 b. Folding and assembling the printed sheets and sewing 
 the magazines 
 
 V. Reading: 
 
 Articles on the following topics have been prepared 
 by the printing teacher: 
 
 a. Early Methods of Keeping Records 
 
 b. The Work of the Scribes and Monks 
 
 c. Block Books 
 
 d. The Story of Gutenberg
 
 160 APPENDIX 
 
 e. Laurence Coster 
 
 /. Benjamin Franklin as a Printer 
 
 VI. Art: 
 
 Emphasis laid on the following points : 
 
 a. Harmony of shape between the type mass and the 
 paper 
 
 b. Placement of the type mass on the page; the width 
 of margins 
 
 c. Arrangement of cards, Christmas, Easter, valentine, 
 or birthday 
 
 d. Drawings for the school magazine 
 
 SIXTH GRADE 
 
 The instruction given in this grade is partly oral 
 and parti 3^ from printed directions.^ As new points 
 come up they are explained by the teacher to the 
 class. Later, if any child meets a difficulty, he is 
 given individual help. If, however, the difficulty 
 seems general, the assistance is given to all the class 
 together. As the work improves, printed directions 
 are used. The printed work follows the oral expla- 
 nation. For instance, in locking up, the teacher 
 first gives a demonstration accompanied by an oral 
 explanation of the process. After that the pupils are 
 expected to lock up their work, following the printed 
 directions. 
 
 The time devoted to composition in this grade is 
 about equally divided between setting up prose and 
 poetry. 
 
 1 Pending the completion of this book, printed directions 
 were prepared for the class.
 
 OUTLINE OF COURSE IN PRINTING 161 
 
 The pupils work enough on the press to acquire 
 skill, printing all their own compositions and doing a 
 part of the presswork for the fifth grade. 
 
 As the reading in this grade correlates more directly 
 with science than with histor}^ it is done in cooperation 
 with the science teacher. 
 
 The work begun in the fifth grade continues through- 
 out the sixth grade, with the emphasis placed upon 
 the added topics indicated in the following: 
 
 Outline 
 I. Composition: 
 
 The work is done with 12-point type, but there may 
 be occasional use of other sizes if the work demands it. 
 
 a. Practice is given in setting: 
 
 1. Poetry — such poems as are needed in any depart- 
 ment of the school or any a pupil desires to print 
 
 2. Prose — one or more paragraphs of any required 
 matter may be set up; this grade composes many 
 simple announcements, such as notices for parents' 
 meetings, invitations, office hours for the admin- 
 istrative officers, and work of similar character 
 
 h. Practice is given in taking proofs: 
 
 The pupils take proofs of their work after they 
 have corrected all the mistakes they can see in the 
 type. They mark the proof according to accepted 
 proofreaders' marks and make the necessary changes 
 in the type. 
 
 II. Presswork: 
 
 o. Locking up — of single pages, locked under direction 
 
 b. Feeding the press — sheets the full size of the press 
 (8X12)
 
 162 APPENDIX 
 
 c. Removing the chase and cleaning the type prepara- 
 tory to distributing 
 
 d. Cleaning and oiling the press — done only under the 
 teacher's direction 
 
 III. Distribution of type: 
 
 The distribution begins in this grade, taking up one 
 line at a time. When the pupil has become skillful he 
 handles more than one line. 
 
 IV. Special work on the school magazine: 
 a. Setting table of contents 
 
 h. Assisting with the presswork 
 (". Folding and sewing 
 
 V. Reading: 
 
 Articles prepared by the teacher for reading in this 
 grade consist of: 
 a. A Medieval Library 
 h. Foundry-cast Type 
 
 c. How Magazine Illustrations Are Made. Photo- 
 Engraving and Wood Engraving 
 
 d. Paper Making, Ancient and Modern 
 
 VI. Art: 
 
 a. Making of a layout for work to be done 
 
 b. Designs of simple units for cards or for the school 
 magazine; how the line of the drawing affects the 
 tone harmony of the print 
 
 c. Freehand lettering and spacing, single words and 
 notices 
 
 d. Visits to collections of medieval manuscripts 
 
 c. Study of examples of fine printing, both ancient and 
 
 modern 
 /. Collection of pictures which illustrate early methods 
 
 of making books
 
 OUTLINE OP COURSE IN PRINTING 163 
 
 SEVENTH GRADE 
 
 The seventh grade uses the printed directions. 
 These pupils work quite independently, requiring very 
 little other instruction. 
 
 The composition time is mainly devoted to prose, 
 a class or a group working together upon some work to 
 be arranged in a booklet. This may be a club consti- 
 tution or industrial, geographical, or historical reading 
 prepared for the use of some grade. 
 
 The poetry set up is usually a collection made into 
 a booklet. In some cases the composition is done in 
 the lower grades, the seventh grade making up the 
 forms and printing them. 
 
 An average of two lessons a month is spent in reading 
 on the topics indicated in the outlines. Information 
 on similar topics is secured by outside work. The 
 English teacher assigns for theme work such topics 
 as: 
 
 The Beginnings of Writing 
 
 Cursive and Book Hand 
 
 Early Illuminations 
 
 Cuneiform 
 
 The Book of Kells 
 
 Cadmus 
 
 Hittite Writing 
 
 The Plantin Museum 
 
 William Morris as a Printer 
 
 Block Books, etc. 
 
 Each pupil prints his own theme and distributes it 
 to the class, thus sharing the knowledge he has 
 acquired. 
 
 12
 
 164 APPENDIX 
 
 Instruction in this grade centers upon prose com- 
 position and presswork. 
 
 Outline 
 I. Composition: 
 
 The regular work is done with 12-point or 10-point 
 type. Other sizes are used as it becomes necessary. 
 
 a. Poetry: 
 
 Besides printing any poems needed in the school, 
 this grade prints booklets of original verse. 
 
 b. Prose: 
 
 Refinement of spacing begins to show in the 
 seventh grade. The prose work is presented through 
 a variety of problems, among them reading lessons 
 for other grades, programs, letterheads, cards requir- 
 ing the use of horizontal rules, initial letters, original 
 plays, and calendars. 
 
 II. Presswork: 
 
 There is great advance in the presswork in this 
 grade. The pupils show an interest in the press as a 
 machine. This interest is utilized by the science teacher 
 in the work on mechanics. The pupils print their own 
 compositions and part of the fifth-grade work, carrying 
 on the following processes: 
 
 a. Locking up 
 
 b. Making ready 
 
 c. Feeding 
 
 d. Washing type 
 
 e. Cleaning the press 
 
 III. Distribution: 
 
 The pupils not only distribute their own dead type, 
 but help in the work of the younger pupils. Printed 
 directions are given them.
 
 OUTLINE OF COURSE IN PRINTING 165 
 
 IV. Work on the school magazine: 
 
 This grade has charge of the editorial and business 
 management of the School Reporter, as well as the work 
 in composition. Pupils from other grades assist in the 
 composition, but this class then concludes the work, 
 which consists of : 
 
 a. Setting the editorial page 
 
 b. Making vip pages 
 
 c. Taking page proofs and making a "dummy" 
 
 d. Presswork 
 
 V. Reading: 
 
 The reading for this grade is prepared as for the 
 previous grades. The special topics are: 
 a. The Press — Platen and Cylinder 
 h. Composition of Ink 
 
 c. How Rollers Are Made 
 
 d. Machine Composition — Linotype and Monotype 
 
 e. The Printing of a Modern Newspaper 
 
 VI. Art: 
 
 a. Making a layout for any job attempted 
 
 h. Planning a booklet of original verse or prose 
 
 c. Study of title pages 
 
 d. Drawing units and cutting them in wood for use oi. 
 cards or booklets 
 
 e. Making zinc plates 
 
 /. Setting an initial letter 
 
 g. Printing in colors 
 
 h. Freehand lettering; spacing and lettering short quo- 
 tation, using a large initial 
 
 i. Arranging a cover design involving the use of a deco- 
 rative unit 
 
 j. Studying harmony of tone; upon what it depends
 
 166 APPENDIX 
 
 High School 
 
 The high-school pupils electing this subject have 
 heretofore fallen into two classes: those who have 
 previously studied printing in the elementary school 
 and those who are just beginning the work. 
 
 The outline which follows is designed for the latter 
 class. The pupils who know something of the subject 
 continue the work done in the grades, but wnth more 
 independence of thought and action and more refine- 
 ment of method. 
 
 Correct spacing (apparently even) is demanded. The 
 pupils plan work of increasing difficulty. Imposition 
 of more than two pages and some tabular composition 
 have been done. Border work and the use of color 
 in printing are steps in advance. 
 
 Much more leeway in the selection of his work is 
 permitted the high-school student than is granted to 
 the pupil in the grades. This is possible because the 
 high-school student himself feels a definite need for 
 printing certain things. His work is largely personal. 
 He wants a copy of his club constitution, he requires 
 tickets and programs for his class entertainments, he 
 wishes cards or notices to advertise some private inter- 
 est, or he collects his own writings and puts them forth 
 in artistic fonn. He chooses, within limits, the thing 
 he wishes to print, plans his layout, makes his own 
 decorations, selects the type, the color of ink, and 
 paper of such color and quality as he considers suitable. 
 He confers with the various teachers concerned, 
 getting whatever assistance he requires to do the work 
 he has planned. His standard of result is high because
 
 OUTLINE OF COURSE IN PRINTING 167 
 
 the work is for himself or his fellows and will come 
 under their judgment. 
 
 It is the office of the teacher to pass upon the suita- 
 bility of the work chosen, its degree of difficulty, its 
 value as a means of increasing the pupil's knowledge 
 and skill in printing. It is the teacher's work to 
 criticize, to suggest improvements, and through the 
 pupil's need and desire to know a particular detail 
 to bring to his knowledge the general principles under- 
 lying the work. 
 
 Outline 
 
 1. The case 
 
 a. Lay of type 
 
 b. Correct posture of body 
 
 2. The point system 
 
 3. Type families 
 
 4. Straight-matter composition: 
 
 a. Spaces, quads, leads, and slugs 
 
 b. Indention, rules for English as applied in the shop 
 
 c. Correction of errors 
 
 5. Proofreaders' marks 
 
 6. Margins 
 
 7. Paging 
 
 8. Elementary imposition 
 
 9. Tabular composition 
 
 10. Borders; ornaments 
 
 11. Principles of design as applied to printing 
 
 12. Press work 
 
 13. Study of paper 
 
 14. Illustrations 
 
 15. Use of color in printing
 
 168 APPENDIX 
 
 E. WHAT TO PRINT IN THE SCHOOL 
 PRINTSHOP 
 
 Two considerations must enter into the choice of 
 what to select for printing: first, the use to be made 
 of the matter printed; next, the difficulty of the process 
 relative to both the skill of the pupil and the limita- 
 tions of the shop equipment. The printing of a 
 poem is the simplest job for a beginner. Having 
 learned the case, he has in his first poem but to place 
 the three-to-em spaces between the words and fill out 
 the line with quads and spaces. The indention of the 
 riming lines, the leading between the stanzas, and 
 the arrangement of the title are all more or less simple 
 steps in the work. 
 
 This may be followed by the setting-up of a prose 
 paragraph, which is more complicated because the 
 process of justification enters into it. It is necessary 
 to spend much tim.e upon this part of the work, as 
 it is the basis of all good printing. When one can 
 space prose well, he has acquired control of his mate- 
 rials and can readily learn all the possible arrange- 
 ments of type. 
 
 Before attempting to print a card such as an Easter, 
 Christmas, or birthday card, or valentine, the pupil 
 should always make a design for it. He should work 
 out in his mind a clear image of type of definite size 
 and style, arranged in a mass of good proportions 
 and placed on paper with correct margins. He should 
 then project this image in a plan (a layout), either 
 a card printed by hand (Fig. 58), or a simple pencil 
 sketch on the card (Fig. 59) ; or a mass of colored paper
 
 WHAT TO PRINT 
 
 169 
 
 may be cut out and pasted on the card (Fig. 60). With 
 this reahzed thought in his mind he can set up his 
 
 AUTUMN 
 Oh'CjIoriou^ autumn! 
 
 lou are best o[ all the jear, 
 E/en intKe sprino 
 
 I wish tKat you were here. 
 
 Fig. 58 
 
 Fig. 59 
 
 verse and take a proof. Comparing his proof and his 
 plan, he is able to revise his first arrangement (see 
 Fig. 61, page 170; Figs. 62 and 63, page 171). 
 
 If the composition is to be inclosed by a border, 
 the type should be set first, and so set that in both its
 
 170 
 
 APPENDIX 
 
 vertical and its horizontal direction it measures exactly 
 an integral number of picas or nonpareils. The border 
 will then fit around the type mass. 
 
 Fig. 01. Layout 
 
 In the use of an initial letter the directions given in 
 chapter xii (pages 102 f.) should be followed. If the 
 initial is to be printed in a different color from the rest
 
 WHAT TO PRINT 
 
 171 
 
 of the card, the letter should be removed and its place 
 filled by a blank. After the card has been printed. 
 
 Fig. 62. Proof 
 
 Fig. 03. Revised proof 
 
 Type used, Cloister Black. 18-point, 12-point, and 10-point sizes. 
 12-point border. Printed in blue, on a brown card. 
 
 the blank should be taken out and the initial letter 
 put into its proper place in the composition. The
 
 172 APPENDIX 
 
 dead type should then be taken from the chase, and 
 furniture put into the place it occupied. The press 
 should be carefully washed and inked with the color 
 desired and the cards again nui through, feeding to 
 the original guide pins. The pupil should be restricted 
 in the use of colors. An initial in a different color 
 is not satisfactory unless the initial is ornamental. 
 Several colored letters at intervals on a field of black 
 usually result in a spotty appearance. 
 
 If it is necessary to print a job containing rules, it 
 is better to set all the vertical lines in one composition 
 and all the horizontal lines in another composition 
 and then lock both so that they will register when the 
 form is printed. The lines then do not appear broken 
 in the print and the rollers are less likely to be cut. 
 
 Booklets of original verse or an original play are 
 interesting copy, and the possibility that one's work 
 may be put into print is always an incentive to attempt 
 to write both prose and verse. The length and width 
 of the type page should be decided and a dummy of 
 the booklet made. In the printing of verse, where 
 the measure necessarily varies, each poem should be 
 centered under the running head, the top margin of 
 each page remaining always the same. Two pages 
 should be locked together; for example, 1 and 4, 2 
 and 3. 
 
 The printing of a school paper is a project which 
 more than any other makes for unity in the school. 
 It reacts upon and coordinates the entire curriculum 
 and is in itself a problem great enough to engage the 
 energies of all departments. It not only connects
 
 WHAT TO PRINT 173 
 
 school life with outside life in a way that children 
 can understand, but sets up standards of accomplish- 
 ment which must be met. 
 
 The pupils should provide the copy and make their 
 own illustrations. If possible, all the work should be 
 their own. If printing classes meet often enough, 
 they can set all the type. In schools whose printing 
 classes do not meet daily, part of the work— setting 
 straight matter — can be done outside, and the pupils 
 can set the titles, signatures, and running heads, make 
 up the pages, and do the presswork, folding, assem- 
 bling, and sewing. This allows time for other work and 
 does not confine the class to one kind of problem. 
 
 The following list is made from the printshop file 
 of an elementary school and may be suggestive: 
 
 I. For use in the school: 
 Admission tickets 
 Announcements of all kinds 
 Calendars 
 Candy recipes 
 Club constitutions 
 
 Collections of original poems (booklets) 
 Cooking recipes i 
 
 Invitations 
 Labels 
 
 Library cards 
 Menus 
 
 Mothers' club announcements, etc. 
 Outlines of work 
 Phonic lists 
 Plays (original) 
 Poems (for literature classes)
 
 174 APPENDIX 
 
 Programs 
 
 Reading lessons (for grades) 
 
 Report blanks 
 
 School paper 
 
 Shop cards 
 
 Words to songs (for music classes) 
 
 II. For use in the home or the community: 
 
 Billheads 
 Business cards 
 Church services 
 Illustrations of various kinds 
 Letterheads 
 Shopping cards 
 
 Social-settlement announcements 
 Sunday-school programs 
 
 III. For personal use: 
 Birthday cards 
 Blotters 
 
 Christmas cards 
 Easter cards 
 
 Favorite poems or sentiments 
 Letterheads 
 
 One's own compositions 
 Valentines
 
 SAMPLES OF WORK DONE 175 
 
 F. SAMPLES OF WORK ACTUALLY DONE 
 IN SCHOOL PRINTSHOPS 
 
 On the following pages are shown samples of type 
 matter and illustrations designed and printed by 
 pupils in classes of printing — in large part by elemen- 
 tary-school pupils in the School of Education. These 
 samples have been chosen from work in present and 
 past years. They have been selected from various 
 booklets, collections of poems, club constitutions, 
 plays, and the School Reporter. 
 
 In some cases the pupils wrote the articles as class 
 work assigned by the English teacher, in others the 
 writing was due to the pupils' own initiative. The 
 type was set up and printed in the printing classes. 
 
 The drawings for the illustrations likewise were 
 made as class exercises, some in the art class, some in 
 the printing class, and others are the work of individ- 
 ual pupils. The greater number were drawn under the 
 direction of the art teachers. All the drawings here 
 represented were reproduced - in zinc plates by the 
 commercial engraver. The grammar-grade pupils did 
 the printing, but the drawings represent the work of 
 all grades. 
 
 The Elementary School magazine, the School Reporter, 
 from which so many of the illustrations are taken, is 
 the work of the pupils from the first to the seventh 
 grade inclusive. It has been entirely self-supporting 
 in the thirteen years of its existence, carrying always 
 a bank balance large enough to provide for a year's 
 expense. It is published quarterly at a subscription 
 price of fifty cents a year (the only income) , and aver- 
 ages from twenty to twenty-eight pages a number.
 
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 THE SCHOOL 
 REPORTER 
 
 
 Cover design for the "School Reporter," published by the 
 University Elementary School of the University of Chicago 
 
 178
 
 THE SCHOOL 
 REPORTER 
 
 OF THE 
 
 UNIVERSITY ELEMENTARY SCHOOL 
 
 Volume XIII No. 2 1917-8 
 
 DEDICATION 
 
 To the former students of the Elementary School, 
 now in the service of our country, who, we feel are 
 doing much for us, we take pride in dedicating this 
 Service Number of the School Reporter. 
 
 We are proud of this Roll of Honor; because we 
 think perhaps some of the lessons these boys learned 
 in our school are helping them in their efforts both 
 here and "over there." Mingled with our pride is 
 a determination to make ourselves worth the sacrifice 
 they are now making for us. 
 
 We want to dosometiiing, however small, to help 
 in this great struggle. This is the spirit in which we 
 have taken up this Service Work. We are devoting 
 this number to a description of what we have done, 
 not because the total is great, but rather because it is 
 small; for being small it may encourage others to 
 make like attempts. 
 
 It is regretted that the following list which contains 
 many of their names cannot at this time be made 
 complete. The Editor-in-Chief 
 
 ,1 page from the "School Reporter 
 
 179 
 13
 
 Constitution and By-Laws 
 
 The Girls' Club 
 
 of tlie 
 University High School 
 
 The School of Education Print Shop 
 1917 
 
 180
 
 ARTICLE 10. Amendments 
 
 Amendments to this constitution may be made by 
 handing a written statement of the proposed amend- 
 ment? signed by ten members of the executive 
 board, or by twenty-five members of the club at 
 large, to the secretary or to the president. Said officer 
 shall accordingly bring the matter up at the next 
 board meeting, but it shall not be voted upon until 
 the meeting after the one at which the proposed 
 amendment is read. 
 
 BY LAWS 
 
 1: The Dean, the president, the secretary, 
 parent members and faculty advisors of the execu- 
 tive board shall not be allowed to vote, except in 
 the case of a tie, when the president shall be 
 allowed to cast the deciding ballot. Said members 
 of the executive board shall not make or second 
 motions, but shall be wholly limited to suggestions. 
 
 2 : These by-laws may be amended, at any 
 time, by the vote of the majority of the quorum of 
 the executive board. 
 
 3: The executive committee shall rtleet not 
 later than the Thursday before any regular or special 
 meeting of the executive board^ — the exact time of 
 meeting to be left to the discretion of the commit- 
 tee — for purpose of discussion of all business to be 
 brought up at the next executive board meeting. 
 
 A page from pamphlet title page of which is shown on opposite page 
 
 ISl
 
 Cftristmag Cxercises! of t\\t 
 ®[niber£;itp Clementarp ^ci)ool 
 
 jf rtbap, Bccfmfacr 22 2:00 p.m. 
 i«lanl>c[ 5?aU 
 
 182
 
 #ob 3Rest |?ou i^crrp. ^cntlemtn 
 
 JCbe aiifiicnif is ii\bitcli to loin 
 in tt)t singiiiB of ttjis sona 
 
 (Soil rfst pou mcrrp, gentlemen, 
 
 ILct notfiing pou bismap, 
 JXcmcmber Cljriat our ^abior 
 
 WBai born on £f)ristmas Sap, 
 2:0 sabe us all from Cbil'S potoer 
 ©aijcn toe toere gonf astrap; 
 0, tibinga of comfort anb lop. 
 Comfort anb jop, 
 0, tilJings; of comfort anl) jop. 
 
 jfrom (gob our Jl^eabcnlp Jfatfjcr. 
 
 a blesseb angel came; 
 3lnt) unto certain ^Ijepfterbs 
 
 iSrougbt tibings of tijc same: 
 ?^oto tljat in JSetljletjem toas born 
 ^tje son of (&ob bp name. 
 0, tiiings of comfort ani) jop. 
 Comfort anb )op, 
 0, tibings of comfort anb jop. 
 
 A page from program cover of which is shown on opposite page 
 183
 
 ^-3^W 
 
 THE HONOR OF YOUR PRES- 
 ENCE IS REQUESTED AT THE 
 
 FIFTH COMPETITIVE 
 
 GYMNASTIC DRILL 
 
 BETWEEN THE FRESHMAN 
 AND SOPHOMORE GIRLS 
 
 AT THE 
 
 UNIVERSITY HIGH SCHOOL GYMNA- 
 SIUM, FRIDAY, MARCH 7, 1913, 8 P.M. 
 
 184
 
 PROGRAM 
 
 Freshman Drill and Apparatus Work 
 
 Sophomore Dancing 
 
 Games 
 
 a. Dodge Ball 
 
 b. Basket Ball Relay 
 
 c. Neucombe 
 
 Sophomore Drill and Apparatus Work 
 
 Freshman Dancing 
 
 Basket Ball Game, Juniors vs. Seniors 
 
 SCORE 
 
 March and Run 
 
 Possible 10 Points 
 Floor Work 
 Possible 40 points 
 Apparatus Work 
 Possible 20 Points 
 Gymnastic Dancing 
 Possible 20 Points 
 Games 
 Possible 10 Points 
 
 Total 
 
 Freshman 
 
 Sophomore 
 
 
 
 
 
 
 
 
 
 
 
 A page from program cover of which is sho-wn on opposite page 
 
 186
 
 FANCIES IN VERSE 
 
 W RIITEN AND PRINTED 
 BY LOUISE RED FIELD 
 SEVENTH GRADE U. E. S. 
 
 THE PRINT SHOP 
 THE SCHOOL OF EDUCATION 
 
 186
 
 THE rlilp:rs of day 
 
 AND NIGHT 
 
 The sun is tlie gt)lc!en ruler 
 Of the day so clear and bright. 
 
 His throne is the bkie, hhie heaven, 
 His crown is of dewdrops light. 
 
 His servants are flashing sunrays. 
 
 His cloud steeds ride through the sky. 
 
 But at evening he sinks from his kingdom 
 And tlie moon mounts up on high. 
 
 Her robe is of starlight splendor. 
 
 Her sceptre a comet's tail. 
 Her servants are stars bright and twinkling 
 
 And moonbeams soft and pale. 
 
 Her coach drawn by fiery comets 
 Is a shimmering mass of light; 
 
 There's a glorious battle of rivalry 
 'Twi.xt the rulers of day and night. 
 
 A page from booklet title page of which is shown un opposite page 
 
 187
 
 14 ORIGIN/IL I'F.RSES 
 
 THF. WORLDS KASl KR BONNET 
 
 The lo\ely world has a new Kaster honiiet. 
 With daffodils, tulips and iTociises on it; 
 The streanis are hlue ribhons to twine it aroiind, 
 And its straw is tiie beautiful jjrassy j^round. 
 The trees are its plumes, so feathery and tall, 
 And the clouds make a veil to spread over it all. 
 
 Marv Warren 
 
 EASTER LILIES 
 
 See the Easter lilies! 
 O. how fair they grow. 
 Swinging in the breezes 
 Dancing to and fro. 
 Tall and white and slender 
 The lilies stand! 
 
 VVlNSLOW Leavitt 
 
 A page from booklet tille page of which is shown on opposite page 
 
 188
 
 ORIGINAL VERSES 
 
 BY THE THIRD AND 
 
 FOURTH GRADES 
 
 OF THE UNIVERSITY 
 
 ELEMENTARY SCHOOL 
 
 i0&iii 
 
 THE PRINT SHOP 
 
 THE SCHOOL OF EDUCATION 
 
 1913 
 
 189
 
 The Trolls' Christmas 
 
 Dramatized and played by the Third 
 Grade in 1909. Printed by the same 
 children in the Seventh Grade in 1913 
 
 THE PRINT SHOP 
 
 THE SCHOOL OF EDUCATION 
 
 1913 
 
 190
 
 SCENE II 
 
 In a forest. Darkness all iinund. Snow on the 
 
 ground and trees. 
 
 Action: St. Nicholas enters with two children. 
 
 St. Nicholas 
 Here you are. I must go, for I liave other 
 business to do. 
 
 Action : St. Nicholas leaves them. Lottie is cry- 
 ing. 
 
 AXFL 
 
 Don't cry, Lottie. 
 
 LoTTrr 
 Axel, \s here are we? Wolves are heard howl- 
 ing. What is that sound.' 
 
 Axel 
 Oh, it's the wolves howling! 
 
 LorriE 
 I am so frightened. What shall we do? 
 
 Axel 
 Let us see if we can find a house. 
 
 LoiTlE 
 
 Oh, I am so tired. 
 
 Axel 
 Look, Lottie, I think I see a ca\e over there 
 in the rocks. Come, let us go and see. It 
 
 A page from booklet title page of which is shown on opposite page 
 
 191
 
 FAIRY LYRICS 
 
 SELECTKD AND ILLUSTRATED 
 
 BV 
 
 THE THIRD GRADE 
 
 PRINTED AND BOUND BY I'HK EIGHTH GRADE 
 
 OF 
 
 THE ELEMENTARY SCHOOL 
 
 OK 
 
 THE UNIVERSITY OF CHICAGO 
 MDCCCCIX 
 
 192
 
 
 193
 
 THE DRAWING 
 OFTHESWORD 
 
 A COMMUNITY BALLAD WRITTEN BY 
 THE SEVENTH AND EIGHTH GRADES 
 THE UNIVERSITY ELEMENTARY SCHOOL 
 
 Type used: 24-point and 12-point Tabard 
 
 194
 
 Frontispiece from booklet title page of which is shown on 
 opposite page {both were colored by hand) 
 
 195 
 
 14
 
 196
 
 Illustrations for Puritan poems 
 
 197
 
 
 Illustrations for Puritan poems 
 
 198
 
 Postal card {colored) 
 
 Unit for cover page 
 
 199
 
 Units Jor cover pages of the "School Reporter" 
 
 200
 
 Units for cover pages of the "School Reporter' 
 
 201
 
 Units j or cover pages of the "School Reporter' 
 
 202
 
 Cover design for " J'cncies in Verse" 
 {printed in blue ink on gray Japanese paper) 
 
 Cover design for the ' ' School Reporter ' 
 
 203
 
 Unit for cover page of March "School Reporter' 
 
 Unit for cover page of Girls' Club Constitution 
 204
 
 
 mm. 
 
 "W^ 
 
 
 
 
 :'. W 
 
 ^1 
 
 i 
 
 
 ■'■:$^.- 
 
 li 
 
 205
 
 o 
 
 ♦ 
 
 '<0' 
 
 ♦ 
 
 o 
 
 €> 
 
 \o= 
 
 3 
 
 206
 
 D 
 
 Initial letters and tail-pieces used in a booklet on "Our Creek 
 Gods and Heroes" 
 
 207
 
 Cover-page unit 
 
 Tail-piece 
 
 Tail-piece 
 
 University Elementary School 
 monograms 
 
 Boys' Club monogram, 
 
 University High 
 
 School 
 
 Tail-pieces — University Elementary School 
 208
 
 CRftoe. 4 
 
 Tail-pieces 
 
 209
 
 CtT IT 
 
 Head- and tail- pieces 
 
 210
 
 Cover design jor Christmas poem 
 
 Cover design Jor Christmas verses 
 
 Cover design for "The Trolls' Christmas' 
 
 211
 
 i > i 
 
 
 
 5 ft-. i 
 
 
 
 J #•■>' I 
 
 
 
 V:ir;-''.'.rf> '1 
 
 
 
 
 
 
 eV/iV^'-N. : 
 
 
 
 
 
 
 di}-;:-:^;;^.. i 
 
 
 
 
 
 .---.) 
 
 -.vuV;.-.-,.^,.. tf'-, 
 
 .' 
 
 
 ??•%^:^\^.^■•^. 
 
 ■\. 
 
 
 
 z. 
 
 
 : ..,:.-/-'-.v>::='-^ 
 
 ?*V; 
 
 'rS^' I 
 
 « •%'I'."*-:'.'.'—'^'-^V-;v'-''" 
 
 i.C'^- 
 
 
 ?^^•^Aj^/^f::^i^i^: 
 
 '•■ 
 
 
 Tail-piece 
 
 Tail-piece 
 
 Tail-piece ami cover desioii for 
 
 "The Drcni'i)!'^ of the .Stvord" 
 
 {colored by hand) 
 
 Tail-piece 
 
 212
 
 GLOSSARY 
 
 Alignment. — Arrangement in a line. When two or 
 more different sizes of type are justified so that their 
 faces line at the bottom, they are said to align. 
 
 Antique finish. — A rough surface on paper. 
 
 Arabic numbers. — The ten figures 1, 2, 3, 4, 5, 6, 7, 
 8, 9, 0. They are supposed to have originated in 
 Arabia. 
 
 Ascending letters. — b, d,f, h, I, t, those that ascend 
 to the upper shoulder of the type body. 
 
 Backing. — Printing the second page of a leaf. 
 
 Bale. — ^An iron band on the tympan used to hold 
 down the tympan sheets. 
 
 Beard. — The slope between the face and the upper 
 surface of the body. See Fig. 1, p. 3. 
 
 Bearers. — Strips of metal, type-high, placed at the 
 ends of the chase to bear off impressions evenly and to 
 carry rollers evenly over the form. 
 
 Black-letter. — See Text. 
 
 Body. — That part of the type between the face and 
 the feet. See Fig. 1, p. 3. 
 
 Body-mark. — See Stem. 
 
 Bold. — Anything that stands out heavily. Black- 
 face or heavy-face type is called bold.
 
 214 GLOSSARY 
 
 Brayer. — A small hand roller used to distribute ink ; 
 it is used to ink the type in taking hand proofs. 
 
 Break-line. — The last line of a paragraph when it 
 contains a blank space. 
 
 Calendered. — A tcmi applied to paper that has been 
 smoothed by the calender stacks and thus given a 
 polished surface. 
 
 Cap. — The abbreviation for a capital letter. 
 
 Case. — A receptacle for type divided into compart- 
 ments or boxes so that there is a box for each character 
 in a font of type. 
 
 Case stand. — A light wooden frame made to support 
 the news case. 
 
 Chase.^The iron frame in which the type is locked. 
 
 Clean proof .—A proof that is practically free from 
 errors. 
 
 Coated paper. — A highly enameled paper, which 
 comes in a glossy or dull finish. 
 
 Composing room. — A room where type is set up or 
 composed and made up into forms for printing. 
 
 Composing rule. — A metal strip used in composing. 
 
 Composing stick. — A shallow metal tray which the 
 compositor holds in his left hand when setting type. 
 
 Composition.^The branch of printing which con- 
 sists of setting up type, correcting it, and making up 
 ready for the press. See chap. iv. 
 
 Compositor. — A typesetter. 
 
 Condensed. — Said of type that is narrow in pro- 
 portion to its height. 
 
 Copy.— The written words or drawings from which 
 the printer works.
 
 GLOSSARY 215 
 
 Correcting. — Alterations made in type. 
 
 Counter. — The depression between the hnes of a 
 face. See Fig. 1, p. 3. 
 
 Cut. — A name used by printers to designate a 
 blocked engraving. 
 
 Cut-in. — A note set into the side of a reading margin. 
 
 Cylinder press. — A printing press consisting of a 
 flat bed, a cylinder, and an automatic inking device. 
 The type form is locked on the bed, which moves 
 back and forth beneath the rotating cylinder, the 
 sheet being held on the cylinder while the impression 
 is being taken. 
 
 Dead. — Type matter that has been printed. When 
 the form has been used, it is killed — therefore dead, 
 and ready for distribution. 
 
 Delete. — Take out. 
 
 Descending letters. — Letters that have down strokes; 
 g and y are descending letters. 
 
 Dirty proof. — One that has many errors. 
 
 Disk. — The round ink plate on the platen press. 
 
 Distribution. — Returning type to the proper cases; 
 used also of spreading ink evenly over the rollers. 
 
 Doublet. — A word or words repeated. 
 
 Dummy. — Pages put together to show plan of a 
 proposed book or booklet. 
 
 Em. — The square of any type body as unit of 
 measurement. 
 
 En. — One-half of an em. 
 
 Expanded. — Said of type that is wide in proportion 
 to its height. 
 
 Face. — That part of the type which appears in
 
 216 GLOSSARY 
 
 relief on the end of the type and which when inked 
 leaves the impression on the printed surface. 
 
 Feeder. — The one who feeds the paper to the print- 
 ing press. 
 
 Feed gauges or guides. — The pins or quads fastened 
 to the tympan which guide the feeder in placing the 
 paper. 
 
 Feet. — The end of the metal opposite the face is 
 usually grooved by the machine in casting. This 
 makes two projections called the feet. The term is 
 applied to the end opposite the face even when the 
 groove is omitted. 
 
 Folio. — A sheet of paper folded in two leaves. 
 
 Font. — An assortment of one size and face of type. 
 
 Form. — A page or a number of pages locked in the 
 chase ready for the press. 
 
 Foul case.- — One in which the type is mixed. 
 
 Furniture. — Pieces of wood or metal fitted around 
 the type form to fill in the blanlc space in a chase. 
 
 Galley. — A shallow metal or wooden tray with 
 three perpendicular sides made to hold the type when 
 it is taken from the composing stick. 
 
 Galley rack. — A case with open compartments made 
 to hold galleys. 
 
 Gothic. — The name given to a type face which is 
 usually square in outline and devoid of serifs. This 
 is a gothic letter: T. 
 
 Guide pins. — See Feed gauges. 
 
 Grippers. — On a job press the iron bars which take 
 the sheet off the form after the impression has been 
 made.
 
 GLOSSARY 217 
 
 Hair line.— The fine line connecting the stem or 
 body-marks. See Fig. 1, p. 3. 
 
 Halftone. — A photo-engraved plate consisting of 
 dots of varying sizes uniformly placed, capable of 
 rendering not only high lights and shadows of a picture, 
 but all the intermediate or half tones. 
 
 High-to-paper. — Said of type cast higher than the 
 standard height, 0.918 inch. 
 
 Imposing stone. — The stone or iron table upon 
 which a form is locked ready for press. 
 
 Imposition. — Arranging the pages or jobs in the 
 chase. See chap. vii. 
 
 Imprint. — The name or mark which the printer or 
 publisher affixes to his work. 
 
 Indention. — A form of spacing used principally to 
 mark the beginning of paragraphs. 
 
 Initials. — Large letters used at the beginning of chap- 
 ters or of main sections of books or jobs of any kind. 
 
 Ink. — A combination of pigment, varnish, drier, 
 and other materials. 
 
 Italic. — A sloping type face. 
 
 Job pre ss.^ Any printing press used for printing 
 jobs, not books, etc. 
 
 Justification. — The spacing out of lines to proper 
 tightness. 
 
 Kern. — That part of the letter which sometimes 
 projects over the side of the body, as in / or /. 
 
 Kill. — To eliminate copy or composed type. 
 
 Layout.— A working diagram of a job, showing 
 general grouping of the job and specifying kinds and 
 sizes of type to be used.
 
 218 GLOSSARY 
 
 Leads. — Strips of metal used between lines of type. 
 
 Leaded matter. — Type which has leads between the 
 lines. 
 
 Ligatures. — Two or more letters tied together and 
 cast on one body — ffi, fi, ffl, ff, ft, etc. 
 
 Line cuts or line engravings. — ^A photo-engraving in 
 which the various parts are represented in lines, and 
 not broken up into half tones as in a halftone. 
 
 Live matter. — Composed matter not printed. 
 
 Locking up. — Tightening the quoins in the chase 
 so as to hold the mass of type in place. See chap. vi. 
 
 Logotjrpes. — Two or more words cast on one body; 
 for example, bought of, rcc'd of, etc. 
 
 Lower case.^ — The name applied to the small letters. 
 Also the lower of a pair of type cases. 
 
 Low-to-paper. — Said of type that is cast lower than 
 the standard height, 0.918 inch. 
 
 Making ready. — Preparing the form on the press 
 for printing — underlaying, overlaying, setting guides, 
 etc. 
 
 Making up. — Arranging type into pages, with run- 
 ning heads, etc. 
 
 Mallet. — A wooden head with a handle. 
 
 Margin. — The space around the printed matter on 
 a page. 
 
 Matter. — Composed type. 
 
 Measure. — The width the composing stick is set. 
 
 Mortise. — To cut out part of the type for the 
 purpose of inserting a letter. 
 
 Neck. — See Beard. 
 
 News case. — See Case.
 
 GLOSSARY 219 
 
 Nick. — A shallow groove on the front of the body- 
 near the feet, for the purpose of guiding the com- 
 positor. Type is set with the nicks up. 
 
 Off its feet. — Said of type that does not stand 
 squarely on its feet. 
 
 Offset. — The rubbing or smutting of a freshly 
 printed sheet. 
 
 Offset process. — A method of printing by which 
 the ink is offset on a rubber blanket instead of directly 
 upon the paper. 
 
 Out. — One or more words omitted by mistake in 
 composition. 
 
 Overlay. — Paper put on the tympan to give more 
 impression to part of the form. 
 
 Overrun. — To change the position of composed 
 type by moving backward or forward when correcting. 
 
 Page cord. — String used in tying up pages. 
 
 Pi. — Mixed type. 
 
 Pica. — 12-point size of type. The pica em is used 
 as the standard of measurement. 
 
 Pin-mark. — A small circle indented in the side of 
 the body near the face to designate the foundry at 
 which the type is cast. See Fig. 1, p. 3. 
 
 Planer. — A smooth wooden block used to level the 
 type in the form. 
 
 Platen. — That part of a job printing press on which 
 the make-ready, tympan, and guides are placed and 
 on which the sheet takes the impression from the type. 
 
 Platen press. — One that gives the impression from 
 a flat surface. 
 
 Point. — The unit of the American point system.
 
 220 GLOSSARY 
 
 It is one-twelfth of the pica — 0.013837 inch, to be 
 exact — or, for practical purposes, one seventy-second 
 of an inch. 
 
 Point system. — The system of casting type bodies 
 in some multiple of a unit called a point. 
 
 Printing press. — Any of numerous machines for 
 making printed impressions on paper, board, tin, etc., 
 from an inked surface. 
 
 Proof. — A printed impression taken for the purpose 
 of making corrections. 
 
 Proof -planer. — A smooth wooden block covered with 
 felt. It is used in taking proofs. 
 
 Proof-press. — A press used exclusively for taking 
 proofs. 
 
 Quadrats or quads. — Metal blanks used to fill out 
 spaces. 
 
 Quoins. — Wedges used in pairs to lock up forms. 
 
 Quoin key. — A metal device for tightening quoins. 
 
 Reglet. — Thin strips of wood, 6 points and 12 pointi, 
 in thickness, used in locking up forms. 
 
 Revise. — A second proof, taken after the corrections 
 marked on the first proof have been made. 
 
 Roller. — An iron rod covered with composition, used 
 to distribute ink on the type. 
 
 Running head. — The title of a book, chapter, or 
 subject placed at the top of each page. 
 
 Score. — To crease heavy paper on the press so that 
 it will fold easily. 
 
 Serif. — The fine, cross line put in as a finish to 
 unconnected lines in a letter. See Fig. 1, p. 3. 
 
 Shank.— 5^^ Body.
 
 GLOSSARY 221 
 
 Shoulder. — The margin between the bottom of a 
 letter and the outer edge of the ,body. See Fig. 1, 
 p. 3. 
 
 Single-leaded. — Type having one lead between the 
 lines is said to be single-leaded. 
 
 Sizing. — A gelatinous material used in paper making. 
 
 Slug. — A lead 6 points or more in thickness. 
 
 Small caps. — Capital letters of a smaller size than 
 the regular capitals of a font. They are usually about 
 the same height of face as the lower-case m. 
 
 Solid. — Type without leads between the lines is 
 said to be solid. 
 
 Sorts. — The letters in the boxes of a case. 
 
 Spaces. — Pieces of metal about four-fifths of the 
 height of type and of varying thickness. See chap. iii. 
 
 Stem. — The thick line of the face of the letter. It 
 is sometimes called the body-mark or the thick-stroke. 
 See Fig. 1, p. 3. 
 
 Stick. — See Composing stick. 
 
 Stoneman. — The man who imposes and locks up 
 the forms. 
 
 Tail margin. — The margin at the bottom of the page. 
 
 Take. — The part of copy taken at one time by a 
 compositor. 
 
 Thick-stroke. — See Stem. 
 
 Turn for sorts. — To place a piece of type face down 
 in place of a letter that is missing. 
 
 Tympan. — The covering of the platen or cylinder 
 for printing. 
 
 Type gauge. — A w^ood or metal ruler graduated in 
 picas or in type sizes, used for measuring the width of 
 page or the number of lines in a piece of matter.
 
 222 GLOSSARY 
 
 Type-high. — The standard height of type, 0.918 
 inch. 
 
 Underlay. — A piece of paper or card placed under 
 the type or cut to increase the impression. 
 
 Wide-leaded. — Type having more than one lead 
 between the lines is said to be wide-leaded. 
 
 Work-and-turn. — The method of printing a full form 
 on one side of a sheet and then turning it over and 
 printing the same form on the other side. 
 
 Wrong font. — Letters of one series mixed with 
 another.
 
 THE INDEX 
 
 [Page numbers referring to illustrations are designated by the abbreviation 
 ••• .. ■ —1- - ■ T> ,_ ^„c„;*,,„is, see Glossary, pages Jld-^/^.) 
 
 "ill." in parentheses. For definitions 
 
 Aldine Press, 97 (ill.), lOG 
 Aldus, 106 
 
 American point system, 5 
 Apostrophe, use of, 82 
 Appendix for teachers, 133- 
 
 212 
 Art as related to course in 
 
 printing, 135 
 Art in printing, 92-107 
 
 essentials of, 93 
 
 how to attain, 94 
 
 Beard, 2 
 Black letter, 10 
 Body, 1 
 Body-mark, 2 
 Borders, 102 
 
 Morris, 105 (ill.) 
 
 Ratdolt, 103 (ill.) 
 
 use of, 104 
 Brackets, use of, 83 
 
 Cabinets, 145 
 
 closed, 14 
 Calendering, 118 
 California job case, 16 (ill.j, 
 
 17 
 Capital letters, rules for use 
 
 of, 87 
 Capitals and small capitals, 
 
 rules for use of, 90 
 Caps, 12 
 
 Carbon, how to make. 111 
 Cardboard, 120 
 Case: 
 
 arrangement of, 12 
 
 California, 16 (ill), 17 
 
 learning the, 12-21 
 
 Yankee, 17, 18 (ill.) 
 Case stand, 12 
 Chase, 45, 48 (ill.) 
 Cobden-Sanderson, 32, 10 1 
 Colon, use of, 78 
 Comma, use of, 75 
 
 Composing room: 
 rules for, 127 
 arrangement of, 153-154 
 
 Composing rule, 34 (and ill.) 
 
 Composing stick, 33 (and ill.), 
 145 
 method of holding, 19 (ill.), 
 
 21 
 method of removing type 
 from, 36 (ill.), 37 
 
 Composition, 33 
 
 directions for, 33-41 
 
 Compositor's stands, 145, 147 
 (ill.) 
 
 "Condensed" type, 5 
 
 Construction work in course 
 in printing, 137 
 
 Correcting a line, 41 
 
 Corrections, making, 44 
 
 Counter, 2 
 
 Course in printing, in Ele- 
 mentary and High Schools 
 of the School of Education 
 of the University of Chicago, 
 155-167 
 
 Cut, resistance of a, 61 
 
 Dash, use of, 81 
 Decoration, 100 
 Distribution of type, 66 (ill.), 
 
 67-69, 68 (ill.) 
 Division of words, rules for, 83 
 Doves Press, 31 (ill.), 32, 106, 
 
 107 
 
 Em quad, 22 
 
 Ems, ■ to find the number in 
 composed type, 70 
 
 Enghsh, 73-91, 125 
 
 as related to course in print- 
 ing, 136 
 
 En quad, 22, 24 
 
 Equipment for school print- 
 shop, 139-152
 
 224 
 
 THE INDEX 
 
 Equipment for school print- 
 shop (contimied) : 
 cost of, 150 
 list of, 142, 151, 152 
 
 Exclamation point, use of, 74 
 
 "Expanded" type, 5 
 
 Face, 1 
 
 Feeding the press, 63 (ill.), 04 
 
 directions for, 64 
 Feet, 1 
 
 Five-to-em space, 23, 24 
 Folio: 
 
 half -sheet imposition for, 53 
 
 sheetwise imposition for, 52 
 Font, 7 
 
 Four-to-em space, 23, 24 
 Furniture, arrangement in 
 
 chase, 47, 48 (ill.), 49 
 
 Galley, 37 (and ill.) 
 Glossary, 213-222 
 Gothic, 10 
 Guide lines, drawing of, 62 
 
 Hair line, 2 
 Hair space, 23 
 
 Head-pieces, use of, 102, IOC) 
 Hyphen, use of, 81 
 
 Illustrations, how to make, 
 
 108-116 
 Imposing stone, 45, 145, 146 
 
 (ill.). . 
 Imposition, 51-57 
 
 for ciuarto, 53, 54 (and ill.) 
 
 half-sheet for folio, 53 (and 
 ill.) 
 
 half-sheet for quarto, 54 
 (and ill.) 
 
 sheetwise for folio, 52 (and 
 ill.) 
 
 sheetwise for quarto, 54 (ill.) 
 Indention, 30 
 
 hanging, 32 
 
 inverted pyramid, 32 
 
 paragraph, 31 
 
 squared, 32 
 Initial letters, use of, 102, 170 
 Ink, 99 
 Interrogation jjoint, use of, 74 
 
 Italics, rules for use of, 90 
 Italic type, 10 
 
 Jenson, Nicolas, 98 (ill.), 106 
 Justification, 35 
 
 Kelmscott Press, 107 
 Kern, 2 
 
 Layout, 94, 168, 170 (ill.) 
 Leading, rules for, 30 
 Leads, 25 (and ill.), 29_ 
 
 sizes used between lines, 20 
 Library, suggestions for a 
 
 printshop, 152 
 Ligatures, 7 
 
 Linoleum cuts, 112, 113 (ill.) 
 Locking up, 45-50 
 
 arrangement of furniture 
 for, 57 
 
 method of, 46 (ill), 48 (ill.) 
 Lower case, arrangement of, 
 
 13, 14, 15 (ill.) 
 
 Making ready, 60 
 Mallet, 40 (and ill.) 
 Manufacture as related to 
 
 course in printing, 134 
 Manuscript, to find the num- 
 ber of pages of composed 
 
 type in, 71 
 Margins, size of, 97 
 
 Aldine, 97 (ill.) 
 
 for a card, 95 (ill.), 101 (ill.) 
 
 Jenson, 98 (ill.) 
 Mathematics as _ related to 
 
 course in printing, 137 
 Measuring, 70-72 
 Morris, William, 30, 32, 105 
 
 (ill.), 106, 107 
 
 Neck, 2 
 
 News case. See Case 
 
 Nicks, purpose of, 1 
 
 Overlay, 61 
 
 Pages: 
 
 to find number of i)Ounds 
 
 of type re(]uired for, 72 
 to find the number a manu- 
 script will make, 71
 
 THE IXDEX 
 
 225 
 
 Paginal beauty, elements of, 99 
 Pannartz, 8 
 Paper, 117-124 
 
 antique, 117 
 
 bond, 120 
 
 book, 117 
 
 coated, 119 
 
 cover, 119 
 
 cutting stock, 122 (and ill.), 
 123 (and ill.), 124 (and ill.) 
 
 enameled, 119 
 
 laid, 121 
 
 machine-finish, 118 
 
 selection of, 99 
 
 sizes and weights of Ijook 
 paper, 122 
 
 sizing for finishing, 121 
 
 wove, 121 
 
 writing, 119 
 Paper cutter, 149 (and ill.) 
 Paragraph sign, 32 
 Parenthesis, use of marks of, 81 
 Period, use of, 73 
 Petrarch, 107 
 Pica, length of, 5 
 Pin-mark, 2 
 
 Planer, how to use, 40, 49 
 Platen, 59 
 Point, 5 
 
 measure of, 6 
 
 size of, 6 (ill.) 
 Point system, American, 5 
 Press, 58 (ill.), 59-65, 143 
 
 applying ink to, 59 
 
 care of, 59 
 
 cleaning, 64 
 
 feeding the, 63 (ill.), 64 
 
 rules for, 129 
 Printers, suggestions to young, 
 
 125-130 
 Printing: 
 
 art in, 92-107 
 
 as construction work, 137 
 
 as related to other courses 
 
 in the curriculum, 134 
 
 • course in the Elementar}^ 
 
 and High Schools of the 
 
 School of Education of the 
 
 University of Chicago, 
 155-167 
 value of, as an educational 
 subject, 133-138 
 Printing rooms, arrangement 
 
 of, 1.53-154 
 Proof -planer, 40 (and ill.), 49 
 Proof-press, 150 (ill.j 
 Proofreading, 43-44 
 Proofreader's marks, 42 (ill.) 
 Proofs, how to take, 40 
 Punctuation, rules for, 73-83, 
 126 
 
 Quads, 22 (and ill.), 23 (ill.) 
 
 Quarto: 
 
 half-sheet imposition for, 54 
 sheetwise imposition for, 54 
 
 Quoin, 47 (ill.) 
 
 how to place, 47, 49 
 
 Quoin key, 47 (ill.) 
 
 Quotation marks, use of, 78 
 
 Ratdolt, Erhard, 103 (ill)., 106 
 Reglets, how to place, 47, 49 
 Revise, 44 
 Rollers, care of, 59 
 
 summer, 65 
 Roman type, 8 
 Rules: 
 
 for capital letters, 87 
 
 for capitals and small capi- 
 tals, 90 
 
 for the composing room, 127 
 
 for composition, 33 
 
 for distribution, 67 
 
 for division of words, S3 
 
 for English, 73, 125 
 
 for imposition, 51 
 
 for italics, 90 
 
 for learning the case, 19 
 
 for locking up, 45 
 
 for measuring, 70 
 
 for the press, 129 
 
 for punctuation, 73, 12G 
 
 for spacing, 26 
 
 for spelling, 85 
 
 for young printers, 125 
 Rules, how to print, 172
 
 226 
 
 THE INDEX 
 
 Safety devices, 152 
 
 School paper, printing of, 172 
 
 School printshop: 
 
 character of work to be 
 done in, 140, 173 
 
 equipment for, 139-152 
 
 samples of work done in, 
 175-212 
 
 type for, 144 
 
 what to print in, 168-174 
 Semicolon, use of, 77 . 
 Serif, 2 
 
 Setting type, method of, 21, 33 
 Shank, 1 
 Shoulder, 2 
 Single-leaded type, 29 
 Sixteen-page form, arrange- 
 ment of pages in, 56 (ill.) 
 Slugs, 25 (in.), 26 
 Small caps, 12 
 Social service as related to 
 
 course in printing, 137 
 Solid type, 29 
 Spaces, 22 (and ill.), 23 (and ill.) 
 
 distribution of, 68 
 Spacing, 22-32 
 
 rules for, 26 
 Spelling, rules for, 85 
 Stands, 145, 147 (ill.) 
 Staple binder, 148 (ill.) 
 Stem, 2 
 vStick, 33 (and ill.), 145 
 
 method of holding, 19 (ill.), 
 21 
 
 method of removing type 
 from, 36 (ill.), 37 
 Suggestions to young printers, 
 
 125-130 
 Summer rollers, 65 
 Swcynheim, 8 
 
 Tail-pieces, use of, 102, 106 
 Text, 10 ' 
 
 Thick space, 23 
 Thick-stroke, 2 
 Thin space, 23 / 
 
 Three-em c}uad, 22 
 Three-to-em space, 23, 24 
 
 Trimming, allowance for waste 
 
 in, 57 
 Two-em quad, 22 
 Tying up type, method of, 38 
 
 (ill.), 39 
 Tympan, 59 
 Type: 
 
 depth of, 4, 6 
 
 description of, 1-11 
 
 distribution of, 66 (ill.), 67- 
 69, 68 (ill.) 
 
 for school printshop, 144 
 
 height of, 4 
 
 names of, 6 
 
 parts of, 3 (ill.) 
 
 samples of, 9 
 
 sizes of, 6 
 
 to find the number of ems 
 in, 70 
 
 to find number of pounds 
 required for a page, 72 
 
 width of, 4 
 
 wood, 6 
 Type faces, 8 
 
 considerations in selecting, 
 10 
 
 for school printshop, 144 
 Typography, essentials of, 93 
 
 Underlaying, 61 
 
 Uniformity, essential to good 
 
 appearance of page, 28 
 Upper case, arrangement of, 
 
 20 (ill.), 21 
 
 Waste, allowance for, in trim- 
 ming, 57 
 Wide-leaded type, 29 
 Woodcut, 108, 109 (ill.), 110 
 
 (ill.) 
 
 how to print, 112 
 - woods used for, 108 
 Wood type, 6 
 Words, number to square inch 
 
 of type, 72 
 
 Yankee job case, 17, 18 (ill.) 
 
 Zinc etching, method of mak- 
 ing, 112, 141 (ill.), 116 (ill.)
 
 
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