'■sS'Sa V. . B. PRESCOTT HUBERT K CARNABY JAMES M LYNCH, ex ofiicio C'.-xn*r.issi:»r Ti Page I wo Digitized by the Internet Archive in 2018 with funding from University of Illinois Urbana-Champaign Alternates https://archive.org/details/itucourseofinstrOOinte LETTERING NOT HARD TO LEARN HESE cuts demonstrate that lettering is not be¬ yond the reach of compositors, as many believe. Fig. 1 is the work of a student forty-five years of age whose first lessons were crude; the in¬ structors feared he would be the exception to the rule that “any one who can write can learn how to letter.” Yet this is his ninth lesson. He had received, however, some instruction in design before taking the I. T. U. Course. Figure 2 is the work of a student whose history after a few days obtained employment in an office, doing most of his student work in his spare time. In a month to a day from his first appearance this young man who “never could draw” sent in Fig. 2 as his ninth lesson. Here the Course helped a man to find himself—to use powers that would otherwise be wasted. More important still is how this affected the student. That he could sketch and letter such a page gave him the vital quality—confidence. He knew he knew something stained ©ass (Mows ; ®li6 iraiec&Benson Co. Jra-tfoni i i i m SM (8m lams Kfe&Bfnson Co-Rraittorh im jg Fig. I. Fig. 2. approximates that of the average printer. A young man, served time on a country paper, and worked on straight matter in Chicago offices. About the time that the Course was launched he called on the Commission. When told of lettering, he was sure he couldn’t do it—had never been a success at “drawing” in school days. This square-chinned youth was not so positive of anything as that he could not master lettering. He happened to be idle that week and the Commission had to secure students, but the prospect was obdurate. Finally Chairman McQuilkin offered to engage him at the scale as a student — that is, he would be paid if he was dissatisfied or did not succeed. He tried it out, and about the printing business. To use his words “I am looking for jobs in the office I would run away from before taking the Course.” Another significant incident in connection with this student’s work is that a Chicago employer, seeing the lesson, said it was evidently the work of a man with ideas — the sort he was looking for in his jobroom. So here we have an apt illustration of what the Course is doing every day: Developing latent ability, giving the com¬ positor confidence, widening the sphere of his usefulness, increasing his earning capacity, and convincing progressive employers of the need of engaging a man who studies, has ideas and sufficient assurance to express them in his work. Page Four AGE NO BAR TO STUDY OF COURSE ANY are laboring under the erroneous impres¬ sion that the Course is of value to the young only. This is due largely to the fact that all discussions of education within the Union have been prompted by a desire to do something for apprentices. Another contributing factor is the popular belief that after a man has passed a certain age he can not acquire knowledge. In the professions men keep on fession than a trade. And when a man reaches the place where he can not learn any more he must be content to fall behind in the race. The Course is not beyond the reach of old printers. There are more students who have passed the fortieth mile-post than there are under twenty years of age. As it requires so much manual work, lettering is the most trying subject in the Course for elderly men —yet they accomplish it successfully. Yard.Vest Rlmyra. Orders received at 22.7WBroadSt. Local and Long DlstanceTelcpIiones.Terms Cask L. A.WEIKM AN Ice, Coal,^C6od, Feed, Straw Ha^ &. Agent for Otto Coke Our aim is to please you Palmyra, N.J. _ 190- growing mentally while their physical powers remain; the age-limit is not a sad fact in those callings. Some one has said the difference between a trade and a profession lies in the fact that one is learned within a set period and the other requires continual study. On that basis hand composition of to-day and to-morrow more nearly approximates a pro- The accompanying letter-head and piece of verse are samples of the work of a compositor 59 years of age, who had no instruction or experience in lettering before taking the Course. Starting in January, in July this student wrote saying several firms had placed their printing in his hands and asking if $ 1 5 was too much for lettering a letter-head. W HYspeak of the scythe and the hourglass, As the bards so long* have sung? "Why should we notice howTTme may pass, So long as the soul is young? Let wrinkles come and the head grow gray It’s never a cause for tears, For Methuselah hoped and laughed, no doubt, "When he had nine hundred years. Page Five AN EXAMPLE OF PRACTICAL WORK \URING June, 1908, a printer of twenty-one years’ experience at the business and receiving about twenty per cent above the scale, wrote the I. T. U. Commission asking: “Why should I take a course of instruction that is not of prac¬ tical value to me in my present position ? 1 be¬ lieve the Course is a good thing for the apprentice or for the man who is always the first to be laid off, and it should be a craftsman, and so he devised letters which would leave an impress on the eye, and his typographic sense told him how to mass his lines most effectively; on the other hand, the pro¬ fessional ietterer, desirous of showing that he was an artist, sought to demonstrate it in the formation of his letters. It was this overweening desire that caused him to make the letter R we find in “Wood-Worker,” and his straining for artistic effects is responsible for such atrocities as the The Wood-Worker A JOURNAL FOR MACHINE WOOD-WORKERS. Fig. 1 .—A heading presumably lettered and designed by a commercial artist. a very good thing for the man who is in business on his own account.” The reply was necessarily more or less personal in its application, and its reproduction here is undesirable, but it induced the enquirer to enroll within a few weeks. The cuts on this page show the great advantage the letters A and N as they appear in the words “Journal” and “Machine.” This example serves to corroborate the compliment of a gentleman who had paid a great deal of attention to edu¬ cation and fine printing, when he said that a thousand com- C - — j The Woodworker i I A JOURNAL FOR MACHINE WOOD-WORKERS i Fig. 2. — The work of a printer who had serious doubts about the value of the Course to efficient compositors. Course was to this man and also demonstrate how effectively the printer can compete with the commercial artist and designer when he understands the principles and methods employed by those who are encroaching on his field and dictating to the compositor as to how he shall do his work. Fig. I shows a cut presumably lettered and designed by a commercial artist. Fig. 2 is a reduction of the work of the printer who had such serious doubts about the value of the Course to efficient compositors. Mark the superiority of the printer’s work. The design is suggestive of the subject and the lettering excellent in forcefulness and carry¬ ing power. The printer did not pretend to be an artist but positors with a knowledge of lettering at their fingers’ ends would do more to improve the appearance of the printed page than a hundred generations of artists. The reason for this is that lettering is too frequently an incident with the artist, but with printers it is an ultimate. The last mentioned have been handling letters and thinking about them all their lives, thereby acquiring a lot of sub-conscious knowledge concerning the subject that comes to their aid in a wonderful manner when they acquire manual dexterity with the tools of the Ietterer. This is not an isolated case. The majority of students who take an interest in lettering make remarkable progress as compared with the average art-class student. Page Six STUDENTS DO DISTINCTIVE WORK HAT the I. T. U. Course of Instruction in Printing fits the ambitious student to do lettering and design of a distinctive character the accom¬ panying title-page reproduction will amply demonstrate. Chaste and refined in lettering and decora¬ tion, it bears all the evi¬ dence of a careful adher¬ ence to the fundamental principles taught in the Course. The original was a student’s solution of one of the lessons on lettering. Where something of a high-class nature is called for, and the stiff, inflexible type fails to furnish the desired artistic appear¬ ance, then it is that the hand-lettering comes into play. That its use is daily increasing no one denies. With the cheapening of the reproductive pictorial processes, more and more work of that character will be done. The always- growing esthetic taste of the public will demand that the principal lines on a page shall conform to the subject of the illustra¬ tion. It is the place of the printer to meet this de¬ mand, which means a still greater demand for the paying kind of printing. To enable him to do this, hand-lettering has been made part of the Course. This decoration is the student’s product, and it illustrates what is a com¬ mon occurrence — that of students falling into the habit of making simple decorations. The Course does not undertake to teach that sort of thing directly, for it does relate to art — unlike lettering and typographical design, which are craftsmanship and can be developed in artistic natures only. But the lessons do stimulate thought along right lines, and those compositors who happen to be well endowed logically become makers of typographical ornaments. Thus the Course opens the door to higher oppor¬ tunities, and the future promises much for compositors capable of doing this class of work. The usefulness of lettering in small and illy equipped offices is but little understood. The evil effect of a scarcity of a variety of display type can be minimized by an occa¬ sional lettered line, or a simple ornament may produce a more pleasing effect than the rigid and conventional, though mathematically exact product of the foundry. A BOOK ON PRINTING CHARLES EATON SMITH CHICAGO THE EMPIRE PRESS 1 9°7 Page Seven LETTERING LEADS TO DECORATION Illustrative of decorative touch acquired by student. TUDENTS who do let¬ tering natur¬ ally drift into the drawing of decorative designs. In lettering a page the student feels the need of a spot of ornamentation for some particular pur¬ pose, and, although before taking up the study of lettering he would never dream of trying to do work of this kind, the con- fidence gained in the drawing of letters gives him courage to attempt the ornamental design. The reproduction shown herewith illustrates this point. The student, in¬ stead of using an inappro¬ priate stock design or en¬ tirely omitting decoration, essays something original. While these first efforts are, of course, elementary from the standpoint of art, many of the students gain considerable proficiency in this line by the time they have completed the list of lessons. THE LOW PRICE OFTHECOURSE A fortuitous combina¬ tion of circumstances made it possible for the Inland Printer Technical School and International Typographical Union to enter into partnership for the purpose of giving com¬ positors technical instruc¬ tion of a high order for less than cost. The union de¬ frays all the promotional expenses and gives a re¬ bate or prize of $5 to each student who finishes the Course with ordinary dili¬ gence, and the school fur¬ nishes the instruction at approximately thepriceof tuition, outfit, etc. Page Eight AS APPLIED TO EVERYDAY WORK YPOGRAPHY being a progressive craft, the I. T. U. Commission determined that the system of education adopted should be of such char¬ acter as to increase the scope of the composi¬ tor’s field of activity. That is, fit him for doing more of the work that is completed in the press¬ room and bindery and to meet the demands of enterprising hibited lessons in the I. T. U. Course, which secured him a position, as they attested his capacity for taking care of work that had heretofore been sent outside. All know that an immense quantity of this sort of work is being done. Those with an eye for the fitness of things also know that in the natural order it should be part of the printer’s work. In some way or other it is always so closely associated with letterpress newspaper advertisers. The Commission was imbued with the idea that there is much latent ability in composing rooms that with a little instruction is capable of doing a vast portion of the work now going outside the printing office. The cuts on this page are re¬ productions of the practical work of a student who had no experi¬ ence in lettering before taking the Course. While the craftsman¬ ship that is displayed in the word “Marigold” is not of a very high order, and far below the stu¬ dent’s best, still “professionals” sell poorer lettering every day. It, however, demonstrates the ability of an ordinary compositor to do what is usually sent to some commercial artist. The student incidentally re¬ marked in his correspondence that when he sought work in an office a foreman suggested that he make arrangements to take instruction for a few months. This he declined to do and ex- SMC as to be a part of it. While artistic in a sense, it is not art within the proper meaning of that term. Newspapers and florid writers, as well as the jar¬ gon of the printing office, have dubbed it “art. ” This has had a wonderful influence in deter¬ ring those not divinely endowed from attempting anything in that line. The student whose work ap¬ pears herewith is not especially gifted or brilliant. He has had opportunity to display this pe¬ culiar knowledge and apply it to every-day work, and only in that way differs from other stu¬ dents who have gone as far as he has. Thousands of other compositors can do so, if they but will. All “tasty” printers possess this desirable capacity. The I. T. U. Course offers them the opportunity for development whereby they may use power which has hitherto been allowed to remain unutilized. Page Nine A STUDENT’S LESSON ON DESIGN TKotttAJ OULLS to i-tiXtxt 0**- O. iW U m , a*bt tit. tna+O li*n^ tahmot t */j*L tJL, f The above diagram shows a student’s working out of the problems given in Lesson 1 1 of the Course—a lesson devoted to the study of proportion. In this case the student has carefully written under each of the solutions the problem as taken from the lesson and, beginning with No. I and following to No. 5, the reader will note the gradual working out of the propositions, from the simple to the more complex. Page Tei ON THE QUESTION OF DESIGNING NE of the most important features of the Course is its lessons on design. This group of lessons deals with fundamental principles and teaches the student the elements of good design— not a superficial cleverness in typographical design, but an understanding of the basis of all good design, typographical or otherwise. In these lessons the student approaches the question of design from a standpoint concerned, all design is alike, and that the student who has mastered these principles or rules has the foundation upon which to build all classes of typography. Perhaps the most important and interesting lesson in this group is that devoted to the arrangement of lines and masses, or the sketching out of designs. This making of simple sketches is a thing neglected by all too many printers. A greater variety of design can be attained by this method than Fig. I.—Suggestive sketches for business card designs, showing arrangements in lines and masses. Figs. 2-10 show business cards set up from these sketches. new to most printers. The printer ordinarily thinks of separate kinds of design for different classes of work — letter-head designing, for instance, as different from cover or title-page designing. The lessons of the I. T. U. Course lay particular stress upon the fact that, as far as principles or rules are by any other way. To illustrate the manner in which this matter is handled in the Course, we have here taken the copy for a business card and worked it out as is done in the lessons. We first make one or more sketches or outlines, similar to those shown in Fig. I, giving suggestions of the Page Eleven ON THE QUESTION OF DESIGNING Marshall & Company WE CARRY A COM¬ PLETE LINE OF OFFICE SUPPLIES 222 LOOMIS AV- MEU CHICAGO JOHN R. MARSHALL ROBERT C. SMITH PRINTERS BINDERS ENGRAVERS Fig. 2. — An arrangement filling the entire card and using a stock ornament. MARSHALL & COMPANY n John R. Marshall Robert C. Smith PRINTERS, BINDERS, ENGRAVERS ▼ WE CARRY COMPLETE LINE OF OFFICE SUPPLIES 222 LOOMIS AVENUE CHICAGO Fig. 3. — The rules on this card serve to hold the various groups together. JOHN R. MARSHALL ROBERT C. SMITH 22 Loomis Avenue Chicago IVe Carry a Com¬ plete l.ine of Office Supplies Marshall & Company Printing :: Binding :: Eaigraving Fig. 4. — Another arrangement in which a stock ornament is used for decoration. type arrangement. Unless the compositor has in Lis mind a clear idea of how his job will appear when finished, he should not neglect this. If the proposition is a com¬ paratively easy one, no sketch is necessary; but unless one can clearly see in one’s mind the effect of the proposed arrangement, a sketch of this kind should be made. 1 his sketch need not be at all elaborate; just a few pencil lines to give a general idea. In a very few minutes the compositor can make several of these arrangements and then choose the one which is best adapted to the work in hand. Then, too, the making of sketches of this kind will assist us in getting away from the trouble which we have all experienced in setting a reprint job. Frequently the compositor is given a job and told to reset it in a different manner, yet, try as he will to avoid it, the original design forces itself on him and he finds it almost impossible to get any¬ thing radically different. The sketching out of various arrangements for the same job is probably the best means of over¬ coming this trouble. In making these sketches care should be taken to group the reading matter in such manner that there are comparatively few “spots” on the card. Each spot or group constitutes a force of attraction, and when we have too many forces of attraction the design becomes complicated— a thing which must be avoided on a business card. In Fig. I, then, we have sketched six different designs or arrangements for the job in hand, the question of which of these arrangements is the better is largely a matter of personal taste. For the sake of illustra¬ tion, all of them have been put into type, together with three other arrangements, and are shown herewith. In these examples, what the I. T. U. Course teaches as the fundamental prin¬ ciples of design — simplicity, proportion, shape harmony and tone harmony — are carefully adhered to. The display compo¬ sition of to-day bears evidence of careful thought regarding design and the suitability of type faces and decoration. Not in a multi¬ plicity of types, ornaments, etc., is good printing formed, but rather in the job con¬ taining few different letters and ornaments, but those few carefully chosen and pro¬ perly used. The instruction given in the I. T. U. Course is practical, and the aim throughout is to enable the students to turn out high-class printing that will pay the em¬ ployer a profit. For this reason no effort Page Twelve ON THE QUESTION OF DESIGNING is made to have students send in unique and bizzare arrangements, and elaborate type designs involving an expenditure of time that would be prohibitory in the ordinary printing office are not encouraged. Instead, simplicity of design is the keynote of lessons. LISTOFTHE LESSONS In order that the reader may get a clear idea of what the various lessons in the Course teach, a complete list of the regular lessons is given herewith. In addition to these, two review lessons are given after half of the lessons have been completed. The study of lettering is first taken up, followed by design, color, commercial typo¬ graphy and imposition in a regular order. 6 — 7 — 8 — Lesson pencil. Lesson in pencil. Lesson Lesson capitals. Lesson lower-case. Lesson Lesson Lesson design. Lesson design. Lesson 10 — Lesson 1 I — Lesson 12 — Lesson 13 — Lesson 14 — or arrangements Lesson 1 5 — Lesson 1 6 — Lesson 1 7 — Lesson 18 —- Lesson 19 — Lesson 20 —■ Lesson 21 — Lesson 22 — Lesson 23 — cards. Lesson 24 — Lesson 25 — Lesson 26 — Lesson 27 — Lesson 28 — Lesson 29 — Lesson 30 — Lesson 31 —- Lesson 32 — Lesson 33 — Lesson 34 — page forms. Lesson 35 — teen page forms. Lesson 36 — thirty-two page Lesson 37 — machines. 1 — Lettering: Roman capitals in 2 — Lettering: Roman lower-case Lettering: Lettering: Italic in pencil. Inking in roman 5 — Lettering: Inking in roman Lettering: Inking in italic. Lettering: Gothic alphabets. Lettering: Making title-page 9 — Lettering: Making cover-page Design: Balancing measures. Design: Proportion. Design: Shape harmony. Design: Tone harmony. Design: Preliminary sketches, of lines and masses. Color harmony. Color harmony. Color harmony. Color harmony. Color harmony. Composition of letter-heads. Composition of bill-heads. Composition of business cards. Composition of envelope corner Composition of tickets. Composition of menus. Composition of programs. Composition of cover-pages. Composition of title-pages. Composition of advertisements. Composition of advertisements. Lay-outs of books and booklets. Papermaking. Platemaking of various kinds. Imposition: Four and eight Imposition: Twelve and six- imposition: Twenty-four and forms. Imposition: Forms for folding MARSHALL COMPANY PRINTERS, BINDERS, ENGRAVERS :: WE CARRY A COMPLETE LINE OF OFFICE SUPPLIES :: 222 LOOMIS AVENUE, CHICAGO JOHN R. MARSHALL ROBERT C. SMITH Fig. 5.—A very simple design, pleasingly placed on the card. WE CARRY A COMPLETE LINE OF OFFICE SUPPLIES Marshall & Company Printers :: Binders Engravers JOHN R. MARSHALL ROBERT C. SMITH 222 Loomis Avenue, Chicago Fig. 6. — Another simple design, very easy to set. Marshall & Company Robenc M sm, h .h" Printers Binders Engravers We Carry a Complete Line of Office Supplies 222 Loomis Avenue, Chicago Fig. 7.—An arrangement which makes use of a more pictorial decoration. Page Thirteen ON THE QUESTION OF DESIGNING MARSHALL & COMPANY JOHN R.MARSHALL ROBERT C. SMITH ^ PRINTERS BINDE ELvS ENGRAVERS WE CARRYA COMPLETE LINE OF OFFICE SUPPLIES 22 LGOMIS AVENUE CHICAGO F‘g . 8. — A hand-lettered card. Note the flexibility of the letters as compared with type, especially in the squaring-up of the words “Printers, binders, engravers.” JOHN R. MARSHALL ROBERT C. SMITH MARSHALL COMPANY PRINTERS... BINDERS ENGRAVERS WE CARRY A COMPLETE LINE OF OFFICE SUPPLIES 222 LOOMIS AVENUE CHICAGO Fig. 9.—This may be termed the conventional form of business card. The arrangement is suitable for almost any type-face. Mars ball & Company^ t^oben'cfVmith 223 Loomis Avenue, Chicago Printers :: Binders :: Engravers WE CARRY A COMPLETE LINE OF OFFICE SUPPLIES Fig. 10.—The text grouped into one panel and placed in a pleasing position on the card. THE STUDY OF COLOR HARMONY (Continued from page 2.) color but are guided by their native taste and “picked-up” knowledge or by the rule of thumb. The printer who knows nothing of color harmony can get theory and practice of inestimable value from the Course. Those who have done and are doing colorwork in the old style will also gain as much for, as an educator—Dr. Kenneth Mees—has said, “an ounce of accurate knowledge is worth a ton of unreasoning practice.” The I. T. U. Course, as every educa¬ tional effort should, looks to the future. It not only endeavors to fit the compositor for the better class of work of the present but aims to equip him for the profitable work of to-morrow. Men in their prime have been able to hold leadership among their fellows with comparatively little knowledge of color harmony, but the ex¬ perience of the last decade shows that the apprentice of to-day will have to be in pos¬ session of much information regarding this subject which has heretofore been con¬ sidered unnecessary. There is probably three or four times as much accurate color- work done now as there was fifteen years ago, and the next fifteen years will show a greater increase, as a job seemingly has “no class to it”—or perhaps it would be better to say it does not appeal strongly to the public eye—unless it is printed in two or more colors. The domestic product proves this and the influence of foreign printing tends to accelerate the demand. As yet Americans do not excel in color- work, but so soon as the handicap is over¬ come—and it assuredly will be overcome within a short time—the demand in this country will go forward with leaps and bounds. If the compositor is to hold his own — not to become the helper of the com¬ mercial artist—he must "know his color harmony.” The most profitable printing is done for the purpose of advertising, and as adver¬ tisers are inclined to pay high prices if the printers’ work will sell their goods, we may be sure that Americans will not long be content with any but the best in typog¬ raphy. For these reasons the study of color harmony is of the utmost importance to every display printer who intends to stay at the business and acquit himself credit¬ ably and to the advantage of his family. Page Fourteen VARIETY IN WORK OF STUDENTS HAT the study of certain principles of design and color harmony would make the work of all students alike has been suggested by some who have not thoroughly understood the scope of the Course. Nothing could be farther from the truth. Because students of art are taught principles of composition and color harmony it does not follow that they must all paint the same picture in the same way; neither do all architects, because of having studied certain principles of architecture, design all buildings alike. Nature furnishes to the painter countless different compositions, and the page furnishes to the printer countless opportunities for variety of design; but in either case, in order to please the eye, the arrangement must be based on well-defined principles. As an illustration of the fact that the study of the lessons and the acquiring of certain principles of design do not limit the possibilities for variation in typographical design, the examples of sketches shown herewith are especially valuable. They were sent in by one of the students as a solution of one of the problems in Lesson 1 4. This problem calls for several different arrangements of a certain piece of copy. In this particular instance six arrangements were sent in, and one can readily see that, although they are all entirely different, still any one of them would, if followed carefully, even by a printer of very ordinary ability, result in a pleasing page. And this represents only a few arrangements, by one student, of a given piece of copy. Scores of new variations of design for this page are being constantly sent in to the instruction department. Instead of tending to make the work of all printers alike, study along the lines laid down in the Course does just the reverse. Before the printer bases his work on well-defined principles of design he looks upon each class of work as some¬ thing different. He knows a few set forms for cover-pages, a few set forms for business cards, etc., and assumes that learning to design cover-pages means the learning of new forms or models. After studying the basic principles under¬ lying all good design he finds that the need for certain set forms for certain classes of typography has been done away with, and he no longer cares what forms or arrangements others may use—he is capable of originating and construct¬ ing forms of his own. Better than this, he knows when he has them constructed properly and knows n>h\) they are correct. This question of the n>h\) of things is made much of in the Course. Throughout all the lessons and criticism no statements or assertions are made that can not be backed up completely by the reasons therefor. Care has been taken that opinions, no matter how good, unless backed up by scientific reasons, shall have no part in the instruction. Thus all the tendency to dogmatic assertion, so frequently found in technical writing on typographical subjects, is done away with and an accurate basis established. MARTI M PI A NOS tAARTitvs-cos:?;.'. MARTI N Pi AM OS 'W MARnN S'CowiPHNy MARTIN PIANOS martin * company MARTIN PIANOS n w l 'V IWARtM* cowPArt) MARTIN PIANOS vhluRP/llitO roR. uf#««us 6 R|U- i AWt * »n 0 NA APTI M PIANOS MARTIN (rto *Atywy Page Fifteen OF GREAT VALUE TO APPRENTICES PPRENTICES should appreciate the Course. It makes an especially strong appeal to victims of specialization who are kept at one branch of trade, and that not a very skilful or lucrative branch. The prevailing system of “apprentice¬ ship” deadens initiative where it is alive and allows it to remain dormant where it is not highly developed. This student s work lacks the finish of more experienced men and he has not had the opportunity to use suitable type, but his lessons show that he has correct conceptions of how the work should be done. If he ever acquired the infor¬ mation that has shown him how to mass his lines and deco¬ rations so as to produce proper effects, it would be after a a longsiege of “barnstorming” and much humiliation. With The letter-head given here is a faithful reduction (an exact reproduction being impossible) of the work of a newspaper- office apprentice, whose duties had been confined to working on the bank, pulling proofs, and setting type-lines in headings. all that sacrifice, however, he would not know whether he was right or wrong, and the cost in time and money would be prodigious as compared with the fee paid and the study expended on the I. T. U. Course. ■. *- -- IMPOSITION BY THE I.T.U. METHOD IMPOSITION has been written about in text¬ books without number. Every novice at stone¬ work is done under the scrutiny of capable and painstaking in¬ structors, whose business it is to spend time assisting the student work knows of the nervous manner in which he —an attention which the average office could not permit consulted his text-book for the layout of a form new to him. Thousands of com¬ positors shudder when thinking a competent journeyman to show the most willing learner. of the trepidation that overcame them as they essayed to impose their first book form. The form laid, a greater bugbear arose in the problem of getting margins and “allowing for trim.” In the rush and worry of that moment what had been read in text-books seemed a hazy confusion of terms. When imposition is learned by the I. T. U. method these terrors are mitigated to a great extent, if not entirely obviated. The best and latest wrinkles are set forth. The great advantage, however, over the text-book method is that the student is required to put his work on paper, giving his margins and dimensions of the furniture in detail. Barring actual practice at stonework, nothing could be superior to these lessons. There is some compensation for any inherent disadvantages in the fact that the student’s Page Sixteen If you know any print¬ ers or apprentices who might be interested in and would be benefited by the Course, do them a service by sending a postal containing their names and addresses to the I.T. U. Commission, 120 Sherman St., Chicago, Ill. And How About Tour self? THE SUPREMACY OF EFFICIENCY 11 the artificial means —wise and unwise — that ikeTypographical Union may adopt can not saw its members from the effects of inefficiencyr for abiliiy is hound to over come all obstacles. In treat¬ ing with employers union officials find they can get good wages for capab e men as employers are wi ling to buy highly efficient labors "The indifferent keep scales losy and in t days no one can expeci to get more than the scale unlesshe studies and learns and knows JamesMLync/), Presiden tim in an address to a focaCunion workers aese MLuPv W