Chapter III: Preface (3)

Galley matter to be made up into pages of a uniform number of lines should be first marked off with slips of card or slugs at the places where the matter breaks into pages. This is done with the page gage, making allowance for running heads and other features not yet in the matter. If the division comes badly at some places a change of a line more or less at some preceding page and a shifting of the dividing place will eliminate the awkward break. It may happen in the first casting off that a sub-head comes at the bottom of a page, or the last short line of a paragraph comes at the top of a page, or the pages divide in the middle of a short table. These objectionable divisions may usually be overcome by a change in the starting at the first page, taking a line or two from the second page, and so on to the third and succeeding pages; or, on the other hand, adding a line or two to the succeeding page. Sometimes an extra line may be made by over-running two or three lines at the end of a paragraph; or, if a line less is desirable, a short line at the end of a paragraph may be saved by a little thinner spacing of a few preceding lines.

A few moments spent in casting off the matter on two or three galleys ahead of the actual making up will save a great deal of time later in case a bad division makes necessary a little change in pages already completed.

Rules regarding the make-up of book pages must be general for the most part, as many things depend upon the character of the work and the conditions under which it is done. In certain kinds of fine work there are some careful details which can be overlooked in ordinary work that must be done hurriedly and economically. Yet many desirable details of good workmanship may be followed without extra expenditure of time or material if the compositor and make-up hand understand how to do them properly in the first place. A great part of the time and expense devoted to preparing composed type for printing is due to the necessity for going over the pages to correct important matters which could as well have been done right in the first place if it were not for carelessness or lack of knowledge.

The desirable division in a chapter or other composition of plain matter is in the middle of a paragraph of four or preferably more than four lines. There should be at least two lines of a paragraph together on a page. There will thus be a full line at the bottom of one page and another full line at the top of the next.

There are many cases, of course, where the natural division of pages will come between paragraphs. An old-time rule tried to avoid this because of the liability of losing the connection in reading from page to page; but with pages plainly numbered and with consistent running heads this rule has little value. The objection to ending a page with the end of a paragraph may often be caused by the presence of a very short line which gives a broken outline to an otherwise symmetrical page.

The last line of a paragraph should not be put at the top of a page or a column. This rule may be modified in ordinary work if the last line is full length and its presence at the top of the page will avoid some other objectionable feature.

The first line of a paragraph should not be left at the bottom of a page, especially if there is a short line ending the paragraph immediately above.

If there is no other way of following the two preceding rules, make two facing pages a line shorter than the regular length by carrying the lines backward or forward.

A short word divided by a hyphen at the end of a line should not be divided between two pages. A little respacing of the bottom line of one page and the top line of the next will usually overcome a division of this sort.

In book work, the first page of the preface, introduction, table of contents, and of each chapter should be sunk uniformly about one-sixth of the distance down from the top of a full-length page. This space may be varied in different books according to choice, but the sinkage should be the same throughout any one book. These pages are always on the first side of a leaf. If they make only one page each, the back of the leaf is left blank.

The style of the running head is usually specified in instructions for the work. The wording may be either (a) the title of the book on all full pages, (b) the title of the book on the left-hand pages and the chapter subject on the right-hand pages, (c) the title of a new subject which begins, with or without a sub-head, in the text below. The latter style is desirable in a book of many pages because the running heads, carefully phrased, serve as a running index of the contents of a book. First pages of chapters with sunken heads do not have running heads.

The page number or folio is in the end of the running head line, the odd numbers at the right and the even numbers at the left. The folio of the first page of a chapter (which has no running head) is put at the bottom of the page in the center, where it is termed a drop folio. This drop folio should not be included in the regular length of the page, but put in the lower margin a lead or two below the text, and set in figures of a type smaller than the text of the page.

The space between the running head and the text matter should be equal to a full line of quads. This is an average for plain book pages which may be varied according to the leading of the page. The running head should not appear disconnected from the page itself, nor on the other hand should it be crowded on the top line of the text, especially if there are likely to be wide gaps between paragraphs or around sub-heads.

A headline or sub-head and one line of text should not be left at the bottom of a page. If it is not possible to get three lines of the paragraph at the bottom of the page, let the page go short and call attention to the irregularity.

A sub-head immediately under the running head is a combination to be avoided if possible, especially if the same kind of type is used for both, as is often the case.

Two or three lone lines should not be left for the last page of a chapter. Try to allow enough for a quarter of a page or more.

_Washing Type_

Clean printing can not be done from dirty type. For this reason, as well as for greater ease and cleanliness in handling, it is important that type (which has to be used over and over again) should be washed as clean as possible after use. Ink should not be allowed to dry hard on a form, as it will if left over night or over an idle day. The type face should be cleaned after taking proofs. It should show a clean face while corrections are being made, and also when it goes to press or to the moulding room.

Type should not be distributed back into the case until it is well cleaned after use.

Benzine is now very generally used to wash ink from type, electrotypes, and other printing plates. When it can be obtained in good quality it is a convenient washing fluid for printers' use. It loosens up dry ink quickly, evaporates in a few moments, and leaves the surface dry.

Benzine and other type washes are often used with a brush, but this is not a good practice. The brush cleans the ink off the face of the type, but does not carry off the ink, which is left to dry again down in the hollow parts of the form and around the shoulder of the types where the fluid has washed it. A brush soon becomes foul after repeated use; it cannot be easily cleaned; it is usually retained in this condition and while it rubs off the face it leaves greater foulness than it can take away.

A soft rag rolled into a pad with a little benzine poured on its surface will loosen the ink and take it off the type clean. When the pad gets inky turn another part of the rag out to give a clean wiping surface. When the rag gets dirty enough to soil the hands throw it in the waste can and get a clean one.

Quite often, after the ink has been wiped off with a rag, a fairly stiff, fine brush is needed to clean out dried ink and dirt that has accumulated in small places like the counters of the letters and the screens of halftone plates.

Gasoline is a tolerable substitute for benzine when the latter cannot be obtained. It is not so satisfactory, however, because of the greasiness which it leaves on the surface after evaporation. If the form is to be re-inked immediately after cleaning this greasiness must be removed in order to ink up again for a sharp, clear impression.

Kerosene may be used for washing off ink, but it also leaves a disagreeable greasy surface, even more than gasoline does. For this reason it is not satisfactory for frequent washing of type or printing forms, though it is a good wash for inking rollers.

A weak lye, made from dissolved potash, was formerly used extensively for washing type forms and inking rollers, but its use has been superseded by the safer, cleaner, more convenient benzine or gasoline. It is excellent, however, for washing type forms occasionally, as after a long run on the press or after electrotype moulding, to clean off the accumulation of dried ink or of moulder's wax and blacklead.

For cleaning with lye the form should be stripped of all wooden material like reglets, wood-base plates, and anything that is liable to be injured by the washing. The type should be placed on a board and set in the sink. The washing is done with a medium stiff brush, care being taken not to allow the hands to get wet with the lye, as the solution will burn and discolor the skin. After a thorough but not hard rubbing, the lye is rinsed off with running water until it has all disappeared. If the type is still a little greasy to the touch after rinsing there is still some lye to be cleared off by further rinsing.

Caustic soda may be dissolved and diluted to the right strength and used in the same manner as potash lye.

_Distributing Type_

The distribution of type and other material into the proper cases after use is too often improperly done. It is important, if work is to be done without waste of time, that the necessary materials should be where they can be found quickly. A cleanly distributed case of type is necessary to good typesetting.

A beginner should go at the work carefully. There are several matters, as well as the lay of the case, with which he should become familiar. If he is not perfectly familiar with every box he should have a diagram of the case before him as a guide. He should take only one line at a time in his hand, at the start, and only two or three types at a time between his thumb and forefinger to drop in the boxes. Later, when he acquires facility, he can take up a number of lines and take off complete words to distribute.

The type line is placed in the left hand, well down in the palm--not upon the ends of the thumb and finger. The nicks of the type should be upwards and the face toward him. All words should be carefully spelled, especially unfamiliar ones, before taking them from the line. In this way the learner will note the b's and d's, p's and q's, u's and n's, A's and V's. These letters are liable to be confusing at first, until one gets used to the inverted appearance of the types.

The distributer must also note the slight difference in the capital I and lower-case l, in the size of small capitals and lower-case letters, and to distinguish between the o, s, w, v, x, z of the two sets of alphabets. In some fonts the difference is so slight that experienced compositors may not always be sure to distinguish them, while other fonts have these six small capitals marked with an extra nick. As a rule, the small capitals are larger and slightly thicker than the round lower-case letters.

Fonts of old style figures have the figure 1 so near like the small capital I that the difference can only be noted by the thickness of the body; the figure is on an en set and the small capital a little thinner. The lower-case o and the old style cypher 0 are also easily confused. The cypher is usually rounder than the lower-case letter.

The types should be dropped sidewise, with the face slightly upward, the forefinger and second finger gently pushing the types apart as each is dropped from the thumb and forefinger. Drop the type in its place lightly, spelling the letters as they are dropped. If the type is large, lay it in; do not throw it in face down. The eye should follow the hand until it drops in the right box.

Special characters in the matter should be saved aside until the matter is all distributed and then put where they belong. But do not put them in the corner of a box and promise to care for them later. Types put out of sight this way are usually forgotten. A small wooden galley or shallow box kept in plain sight above the case is the best way to care temporarily for extra characters, italics, and types that belong in another case.

One of the most annoying things in a composing room is the distribution of type into a case where it does not belong. This happens through carelessness which should not be tolerated. To the beginner a constant warning should be held up: Look sharp! Do not guess! Examine the nick as well as the face. Do not be misled by a general appearance of similarity. If there is any doubt about the types being returned to the case where they belong, take a letter or two from the case and place it beside a similar letter in the hand for close comparison.

The distribution of advertisements and job work in which there are several sizes and faces of type calls for extra care and a little system in sorting out the lines before distribution. First select all the lines of each kind on the galley, beginning with the large sizes, bringing all the lines of one kind together for distribution at one time. This will save extra steps, save time, and give fewer chances for distributing into the wrong case.

If there is much type to distribute, take it to the case in a small galley, such as a distributing galley or a typefoundry paging galley; or bring the case to the stand where the work can be done conveniently and correctly. Do not stoop down in a dark corner, or reach up to a case above the level of the eyes, and distribute at a guess.

Distribute the different thicknesses of spaces in the boxes where they belong. This should be the rule in all sizes under 24-point. The 3-spaces, 4-spaces, 5-spaces, and hair spaces should be kept separate, so that they will not have to be sorted out when composition is done.

Pied type in any amount should not be distributed from the hand. Set the letters in line in a composing stick, with nicks all one way, and then distribute them in the usual way. If there are several sizes, pick out the large ones first.

If there is only a little type in the case before beginning distribution, this is a good time to clean out the boxes. Clean out the space and quad boxes, sort out the few spaces there may be, pick out any bits of card, paper, string, leads, broken type, etc. If the boxes are dusty, blow them out with bellows or air pump, taking the case to a place where the dust will be carried off and not go into the air to be inhaled.

Neither before nor after distributing is it necessary to shake the type case violently. Rattling the type around in the case usually injures the face. A gentle shake or two will be sufficient to spread out the few remaining types in a nearly empty case or to settle down the types in a full case.

Thin leads and pieces of card or paper used in letter-spacing and justification should not as a rule be left in the cases. If they are worth saving and are likely to be used again they may be kept in a spare box by themselves, not with some other spaces.

Small types in solid or leaded paragraphs are easier distributed if they have been sponged with water a little time beforehand. If the types are loose and dry, the water will hold them together slightly when handled. If the matter has been standing for some time after washing and has become caked or stuck together, it may have to be loosened up by a thorough dampening which will get in between the types. New type is liable to become caked together after standing and will need some soapy water to make it distributable.

SUPPLEMENTARY READING

CORRECT COMPOSITION. By Theodore L. DeVinne. Published by Oswald Publishing Co., New York.

PRINTING FOR SCHOOL AND SHOP. By F. S. Henry. Published by John Wiley & Sons, Inc., New York.

TYPE SPACING. By E. R. Currier. Published by Bowles, New York.

SUGGESTIONS TO STUDENTS AND INSTRUCTORS

The following questions, based on the contents of this pamphlet,
are intended to serve (1) as a guide to the study of the
text, (2) as an aid to the student in putting the information
contained into definite statements without actually memorizing
the text, (3) as a means of securing from the student a
reproduction of the information in his own words.

A careful following of the questions by the reader will insure
full acquaintance with every part of the text, avoiding the
accidental omission of what might be of value. These primers
are so condensed that nothing should be omitted.

In teaching from these books it is very important that these
questions and such others as may occur to the teacher should
be made the basis of frequent written work, and of final
examinations.

The importance of written work cannot be overstated. It not
only assures knowledge of material, but the power to express
that knowledge correctly and in good from.

If this written work can be submitted to the teacher in printed
form it will be doubly useful.

QUESTIONS

1. What does good typography demand on the part of
the craftsman?

2. What advantages have movable types over other methods of
preparing a page for printing?

3. Wherein is typesetting easy and wherein difficult?

4. What is really the principal working material of the
compositor?

5. What habits should be formed at the beginning of the young
compositor's work?

6. How should the compositor stand?

7. How should the compositor dress for his work?

8. Why is it unnecessary to learn all the cases in the market?

9. What case plans is it necessary to learn?

10. What is the plan of the common capital case?

11. What is the common lower-case plan?

12. Describe the California job case.

13. What are some wrong methods of learning the case?

14. Describe a good way of learning the case.

15. What incidental advantage has this method?

16. What is the unit of measurement for type?

17. How are type bodies graduated in size, and what are the most
used sizes?

18. What is an em, and how is the term applied to type?

19. How do we find the quantity of type on a page?

20. How were type sizes formerly designated?

21. What is a pica, and how is the term now used?

22. How are leads, slugs, and the like graduated in length?

23. How are point-system calculations converted into inches?

24. What are spaces and quads, and how are they commonly
designated?

25. How may the apprentice learn to tell the difference in the
regular spaces in his case?

26. How many regular spaces are usually found, and how may they
be combined to meet most of the requirements of composition?
(The instructor should exercise the apprentice in making the
combinations shown in the table by asking him how he could
get specified spaces.)

27. How has the system of width been applied to spaces?

28. What are high spaces and quads, and when and why used?

29. What are quotation quads, and how are they used?

30. What is the peculiarity of typewriter types and spaces?

31. What is the difference between spaces for script types and
the spaces for ordinary roman types?

32. What is the meaning of the terms spacing, justifying, and
leading?

33. What devices are used for spaces thinner than 5-space?
Describe them fully.

34. What may be used when thin spaces are lacking, and what
caution should be observed?

35. What is the first step before beginning to set type, and how
is it done?

36. What may you use for a gage to set the composing stick?

37. How may you provide for compression of types in locking up?

38. How may you be sure the stick is properly squared up?

39. How do you set the knee in place and keep it there?

40. What is a composing rule, what is its use, and why is it not
more frequently used?

41. How is the composing stick held?

42. In what position is the type in the stick read?

43. What should the compositor first do to his copy?

44. How is the type selected, picked up, and put in the stick?

45. How should every line of type end, and how can you make it
do so?

46. Describe two methods of changing spaces.

47. When is a line well justified, and what faults are to be
guarded against, and why?

48. What care should be taken with long lines, and why?

49. What care should be taken regarding leads and rules, and why?

50. Why is careful justification important?

51. What common mistakes do beginners make in the use of spaces?

52. What simple rule should be observed in this connection?

53. Why should the beginner use leads and a composing rule in
setting his first stickful?

54. What care should the beginner use in filling his stick?

55. Describe fully the operation of emptying the stick?

56. What should be looked for when the type is first placed in
the galley?

57. What must be done when the galley is full, and why?

58. Describe the operation fully.

59. What care should be given the feet of the type?

60. How can time be wasted in these operations and how saved?

61. For what purposes are proofs taken?

62. How is the type prepared for taking proofs?

63. How are proofs taken with a planer and mallet?

64. What kind of matter may be proved in this manner and what
should not, and why?

65. What should be done to insure correctness before the stick
is emptied?

66. What should be done if the correction requires change of
space or re-justification?

67. Describe the process of correcting from revised proof.

68. How may simple errors, such as a wrong letter, be corrected?

69. How should important changes requiring re-justification be
made?

70. How should lines of type be carried when taken out for
correction?

71. What careless habit is sometimes indulged in, and what is
the result?

72. What happens when the changes are extensive, such as the
insertion of a new phrase or sentence?

73. Describe two ways of handling this problem.

74. What care should be taken when this kind of work is done?

75. What should be done if a line of type is pied in correcting?

76. What will the beginner find to be his greatest difficulty in
setting type?

77. Are the words in a page separated by absolutely uniform
spaces, and why?

78. What is necessary to make reading easy?

79. What does good typesetting require to secure this?

80. What constitutes a well-spaced line?

81. What constitutes a well-spaced paragraph?

82. What special care should be taken in spacing the last line
of a paragraph?

83. What is the standard spacing between words, and how may it
be varied?

84. What has the length of line to do with spacing?

85. Does even spacing always look even, and why?

86. Where may you put thin spaces in order to get a word or
syllable into the line?

87. Where may you use thicker spaces to lengthen the line a
little?

88. In what special places are thin spaces properly used?

89. How are punctuation marks spaced?

90. How are spaces used with the em dash?

91. What should be done when you come to the end of a paragraph,
with only a few letters for the last line?

92. How should you treat the last line of a paragraph when the
matter nearly or quite fills the line?

93. What care should be taken in justifying lines, such as
head-lines and paragraph ends, in which quads are used?

94. Do you need spaces with hyphens?

95. How are the dollar mark and English monetary signs used?

96. What should and should not be done in re-spacing a line in
order to get a good result?

97. What is the proper space between sentences?

98. What should follow the period or Roman numeral in numbered
paragraphs, and why?

99. How are quote marks spaced?

100. When may spaces be used between the letters of a word?

101. Give a general rule for spacing Old English or other black
letter.

102. What general rules should be followed in spacing italics?

103. What peculiarity is there in the casting of some italic
capitals and what does it call for?

104. What special precautions should be used in handling kerned
italics?

105. What kind of spaces do words in capitals need, and why?

106. How should you space roman capitals of standard faces?

107. What is a simple general rule for spacing, and how may it be
modified?

108. How do the shapes of the several letters affect the spacing
of capitals?

109. What can be done to improve the spacing of lines having
abbreviations or initials?

110. How are initials in groups, such as college degrees, treated?

111. What care should be taken when there are two or
more lines of capitals of the same size?

112. How are lines of small capitals spaced?

113. What relation has spacing to legibility?

114. What is the general rule about wide spacing?

115. What relation has spacing to leading?

116. What is the widest spacing ordinarily allowable in roman
lower-case matter, and what permits occasional use of wider
space?

117. Where are wide spacing and wide leading desirable, and what
caution should be observed in using them?

118. Name and describe the several kinds of indention?

119. What is the use of indention and what excess should be
avoided?

120. What is the usual paragraph indention?

121. What is the relation between indention and measure?

122. What is the relation between indention and kind of matter?

123. Should the indention of paragraphs be varied in a single
book or job to suit varying matter or type, and why?

124. What common defect occurs in widely indented paragraphs, and
how may it be avoided?

125. What is the first consideration in indenting poetry, and how
is it secured?

126. What material is used in indenting poetry?

127. What is the relation between indention and rhyme?

128. How is blank verse indented?

129. What is the indention when the rhyme is in two adjoining
lines?

130. What can you do when a line is longer than the measure?

131. Describe the setting of center heads, sub-heads, cut-in
heads, running heads, and box heads.

132. How are headings punctuated in modern practice?

133. What is the purpose of the initial letter, and how has it
been used?

134. What considerations govern the choice of an initial?

135. How are initials set?

136. What follows the initial?

137. How should the initial line?

138. How should the space around the initial be treated?

139. What is the relation between the size of the initial and the
text lines?

140. What may be done to secure this relation, but under what
restrictions?

141. What is the effect of the initial on the length of the text
lines after it, and how may it be handled?

142. What is make-up?

143. How are newspaper pages and the like made up?

144. What appliances are needed for make-up?

145. How is the galley placed, and where does the make-up man
stand?

146. How are the pages handled, and why?

147. What should be done before make-up begins, and why?

148. What has the make-up man to do with justification?

149. How is the length of the page measured?

150. How is the length of book pages set in one size of type
determined?

151. Where may extra leads be used, and where not?

152. What should the gage indicate when the page contains several
sizes of type, and why?

153. What should be used for book, periodical, or other work that
is to be made up frequently from time to time?

154. What is the first step in making the galley matter into
pages?

155. What difficulties are likely to occur, and how may they be
met?

156. What precaution may be taken to forestall difficulties?

157. How may inexpensive work be made good work?

158. What is desirable in the division of a paragraph which runs
from one page to another?

159. Is there any objection to ending paragraph and page together?

160. What should be done if the last line of a paragraph comes at
the top of a page or the first line at the bottom?

161. What should be done when the last line of a page ends with a
short word divided by a hyphen and finished on the next page?

162. What is the rule in book work as to the sinking of the first
page of preface, chapters, and the like?

163. What styles of running head are used, and what determines
the choice?

164. When is the running head omitted?

165. Where are numbers placed?

166. What is the usual space between the running head and the
text, and why?

167. What positions should be avoided if possible for sub-heads?

168. What should be avoided in chapter endings?

169. Why should type be kept clean?

170. What is the best substance for cleaning type?

171. What bad method of application is often used?

172. How should the cleaning substance be applied?

173. What is sometimes needed to complete the cleaning?

174. What other substances are sometimes used for cleaning type?

175. What is the process of cleaning type with lye?

176. How should the beginner prepare himself to distribute type?

177. What is the process of distribution for a beginner? for a
more experienced apprentice?

178. What matters should be especially watched in distribution?

179. How should the types be put in the boxes?

180. How should special characters be handled?

181. What particular annoyance is often caused by the
distributor, and how may it be avoided?

182. How are advertisements and similar matter distributed?

183. What should be done if there is much type to distribute?

184. How should spaces be distributed?

185. How should pied type be distributed?

186. When and how should boxes be cleaned?

187. How should type be handled to prevent injury?

188. What should be done with thin leads and pieces of card or
paper?

189. What may be done to make it easier to distribute small
types in solid or leaded paragraphs?

GLOSSARY OF TECHNICAL TERMS

(For additional terms pertaining to type and type composition see page 32, No. 1, of this series of books entitled "Type.")

AD-MAN--A compositor who sets advertisements on a newspaper or
other publication.

ANTIQUE FACE--A style of type having all parts of the letters
thickened, making a heavy appearance. Sample:

MODERN PRESSWORK]

ARABIC NUMBERS--The ten figures in common use, in distinction
from Roman numbers or those made with letters.

ASTERISK--Another name for the star *, commonly used as a
reference mark.

AUTHOR'S PROOF--A proof sent to the author after compositor's
errors have been corrected. Author's corrections are those
made on such a proof when returned, usually changes from the
original copy.

BAD BREAK--An objectionable division of a word at the end of a
line or between two paragraphs or between two pages.

BATTER--Bruised letters or other faces in a type form or
electrotype.

BEGIN EVEN--To start the paragraph or the line without indention.

BEVELED SIDESTICK--Strips of wood or metal the height of
furniture, wider at one end than the other, used with wedges or
quoins to tighten forms together.

BLACK LETTER--A style of letter used for the first printing
types, made in imitation of the hand lettering in early
manuscripts; made in many variations called by different names:
Old English, Caxton Black, Priory Text, Cloister Black, etc.
Sample:

Ye Quality Book Papers]

BODKIN--A long slender awl sometimes used in correcting type.

BODY SIZE--The depth of the type from the top to the bottom of
the line.

BOOK FONT--A large quantity sufficient to set a number of pages,
with a complete set of characters, as distinguished from a
small or job font.

BORDER--A set of characters of plain or ornamental design used
for panels or frames around pages or sections of pages.

BOXED, OR BOXED-IN--Lines of type or other matter enclosed in a
small panel or border.

BRACES--A set of characters used for connecting two or more lines
or items. Sample:

BRACKETS--Signs of punctuation for enclosing words, letters,
figures, [].

BRASS THINS--Justifying spaces 1-point thick, made of brass.

BRASSES--Strips of brass to be used as leads, where more durable
metal than lead is desirable.

BREAK-LINE--The last line of a paragraph where quads are needed
to fill out the measure.

BROKEN MATTER--Type lines that have been taken apart but not
distributed; pi.

CALIFORNIA JOB CASE--A type case holding a complete font of
capitals, lower-case letters, figures, points, etc. See page 12.

CASE--In a composing room, the tray with compartments in which
type is kept for composing.

CAST OFF--Estimating the number of lines or pages of type a
manuscript or other lot of copy will make.

CAST UP--Measuring the amount of type set, usually by ems;
measuring up.

CLEAN PROOF--A first proof without errors or with very few
unimportant errors.

CLEARING AWAY--Putting surplus leads, rules, furniture, and other
materials back in their places when the make-up or lock-up is
completed.

CLOSE SPACING--Thin spacing.

CLOSE QUOTE--The final marks enclosing a quotation, usually two
apostrophes:".

COME IN--When the letters of a line or the words of copy are set
so that they occupy a given space they are said to "come in."

COMP.--Abbreviation for compositor or composition.

COMPOSING--Setting type and other material to make a printing
form.

COMPOSING ROOM--That part of a printing establishment in which
the type is set and the forms locked up for the press.

COMPOSING RULE--A strip of brass or steel used in the composing
stick while setting type and for handling lines.

COMPOSITOR--One who sets type; according to the class of work
done, he is termed a book, newspaper, ad, or job compositor.

CONDENSED FACE--A type face thinner in shape than the normal; it
may be light or heavy as to blackness. Sample:

CASLON BOLD CONDENSED]

COPPER THIN--A very thin justifying space, 1/2-point, made from
copper.

COPY--Handwritten, typewritten, or printed words or designs given
to the printer or engraver for reproduction.

COPY CUTTER--In daily newspaper rooms, the foreman's assistant
whose duty it is to arrange the copy for the compositors. He
receives it from the editorial room, marks the size of type,
the style of headings, etc., according to the custom of the
publication, and cuts the copy into portions, or takes, so
that it may be in the hands of several compositors or machine
operators for composing in the quickest time.

COPYHOLDER--One who holds copy and reads it aloud to the
proofreader.

CUT-IN LETTER--A large letter set into the beginning of a
paragraph; an initial.

DASH--A horizontal stroke cast on a type body of en, em, two-em,
or three-em width, thus - -- ---- ------. The common dash is
one em, used as a punctuation mark and for many other purposes.
The apprentice should not confuse the en dash with the hyphen -.

DEAD--Said of type or other printing matter that has been used or
is not to be used. Dead type is ready for distribution.

DIAGONAL INDENTION--See page 53.

DIS.--Abbreviation for distributing.

DISPLAY--Type composition in which various sizes and faces are
used, like advertisements, title pages, etc., in distinction
from plain reading matter.

DISTRIBUTING--Putting type back in the cases after use.

DOT LEADERS--High metal quads with dots cast on their end, in
distinction from hyphen or dash leaders.

DOTTED RULE--Brass rule with dotted faces, for blank
forms, to serve as a line upon which writing is to be
done:.................................

DOUBLE--Words repeated by mistake in setting; a doublet. The term
double is used in many cases before other words to indicate
double quantity, size, or quality.

DRIVE OUT--To thick space and put the whole of the next word in
the following line.

DUPE--Abbreviation of duplicate; an extra first-proof of type
composition which is to be paid for by the piece, or to measure
up the amount of work done by a compositor or machine operator.

DUTCHMAN--A joke-name for a piece of wood or toothpick driven
into a line that has not been properly justified; the mark of a
careless compositor.

EM--The square of a type body . EN, one
half the square, .

EMPTY CASE--A case without sorts or letters that are needed to
compose the line; it may have other letters but is empty of
those required.

END EVEN--To make the words fill out the line.

EXTENDED FACE--Said of faces of type made extra broad; the term
expanded is sometimes used. See type founders' specimen books.

EXTRA CONDENSED--A type face which has been compressed very
narrow. Sample:

Gothic EXTRA Condensed]

EXTRACT--A passage taken from another book or another author's
writings; a quotation.

FAC-SIMILE--An exact reproduction of an original; often
abbreviated to _fac-sim_.

FAT--Composition which has many broken lines and open spaces;
matter with many quads and leads, which can be set profitably
by piece-work. Sometimes spelled _phat_ in printers' literature.

FAT-FACE--A style of type face with very much thickened heavy
lines; sometimes _full-face_.

FIRST PROOF--The proof taken for correcting compositor's errors,
in distinction from revise, author's proof, or subsequent
proofs.

FLOOR PI--Type dropped on the floor and allowed to remain until
swept up.

FOLIO--A page number. Also, a sheet folded once, a size of paper,
a sheet containing a certain number of words.

FOLLOW COPY--An instruction to follow the copy in matters of
spelling, punctuation, use of capitals, italics, and other
particulars, disregarding the style of the shop to a more or
less degree according to necessities.

FONT--A complete assortment of types of one size and face or
of one class of characters, as a cap font, a small-cap font,
italic font.

FORM--A page or number of pages or other printing surfaces
assembled for printing.

FOUNDRY TYPE--Type designed and cast by regular foundries which
make their chief business supplying printers; in distinction
from type cast by Monotype, Linotype, and other machines in
private establishments.

FULL MEASURE--Type lines set the full width of the column of page
in distinction from short lines or half measure.

GALLEY--A shallow tray for holding type after it is set.

GET IN--To thin space a line in order to make room for the last
few letters of a word; to take in; opposite of drive out.

GOTHIC--Type founders and printers in America use this word to
name a type face of the simplest style, without serifs and with
strokes of one thickness throughout . Bibliographers and scholars name certain old
style forms of black letter Gothic, as representing the true
Gothic character. Our so-called gothics are made in many
variations and are chiefly used for newspaper and job work, but
are not acceptable for book work.

HAIR LINE--Said of a very delicate face, as of a brass rule or
the fine connecting strokes of a letter.

HAIR SPACE--A type space thinner than the 5-space.

HALF-DIAMOND INDENTION--An arrangement of lines in which the
second and succeeding line are indented at each end shorter
than the line above; inverted pyramid style.

HANGING INDENTION--When the first line is set flush at the
beginning and succeeding lines indented an em or more, as in
this paragraph.

HIGH SPACES AND QUADS--These are used when the type is to be
regularly used for moulding for electrotyping. See page 18.

HEAD AND TAIL--The top and bottom margins of a book page.

HELL, OR HELL-BOX--Old name for the receptacle for old or damaged
type; a dumping place for discarded type.

HIGH-TO-LINE--When a letter or a word is above the alignment of
the rest of the line; when it is below it is _low-to-line_.

HOLLOW QUADS--See Quotation.

HYPHEN--Used at the ends of lines when words are divided; also
for compounding words, and sometimes for leaders. See Dash.

IMPOSITION--The arrangement and locking up of pages so that
they will come in proper order when the sheet is folded after
printing.

IMPRINT--The name, with or without address, of the printer,
publisher, or dealer placed on a book or other work.

IN THE METAL--In type, as to correct in the metal or to revise in
the metal without taking proof.

INDENTION--The setting in of a line or body of type by a blank
space at the beginning or left hand, as in the first line of
a paragraph; also the space thus left blank. The printer's
indention is not (as it is often said to be) a shortened form
of indentation, but an original word from _dent_ (_dint_), "a
denting in, a depression," and hence is the proper word, rather
than indentation, to express the idea. --_Standard Dictionary_.

INITIAL--The first letter of a word; in typesetting, a large
letter set into the beginning of a paragraph.

INVERTED COMMAS--The quotation marks used at the beginning of a
quotation: ".

JOB CASE--A type case holding a complete font of capitals and
lower-case letters, figures, points, and spaces; in distinction
from a pair of cases.

JOB COMPOSITOR--One who sets a variety of miscellaneous work in
distinction from a book or newspaper hand.

JOB GALLEY--A short, wide galley, made in sizes from 6 x 10 to 15
x 22 inches.

JOB TYPE--Those miscellaneous faces, usually in small fonts, used
for small work; in distinction from roman and italic faces used
for books, periodicals, etc.

JUSTIFY--To make a line or other type composition of the proper
tightness to fit the space. See page 27.

KEEP UP--To capitalize words which might ordinarily begin with
small letters. _Keep down_, to begin a word with a small letter.

KEEP STANDING--To save type pages or forms after printing, in
case of further use.

KEEP UP STYLE--To follow the prescribed rules of the shop or
publication regarding spelling, abbreviations, headings,
capitals, punctuation, etc. See Style.

KERNED LETTER--A type on which part of the face overhangs the
body.

LABOR-SAVING--Said of leads, rules, furniture, and other
material made in sizes based on a common multiple, usually the
pica. They save labor because two or more may be combined to
make larger sizes, instead of cutting new material for each
particular work.

LAY OF THE CASE--The plan of the boxes for holding the different
characters of a font.

LAYING TYPE--Putting new type into the case, in distinction from
distributing used type back into the case.

LEAD (pronounced _led_, not _leed_)--A strip of thin metal to
place between lines of type.

LEADED--Type composition having leads between the lines, in
distinction from solid matter, or lines without leads.

LEADERS (_leeders_)--Periods or dots placed at intervals in open
lines to guide the eye across to figures or words at the end,
as in tables of contents, price lists, etc. Type founders
cast high quads in sizes from 5-point to 18-point in several
styles, like fine-dot............, two dots to an em .., hyphen
- - - -, and also make leaders in brass. For occasional use a
few lines of leaders may be made of periods spaced apart with
spaces or quads.

LEAN SETTING--Type composition that is solid and with few or no
blank lines. See Fat.

LETTER--Old-fashioned term for type in quantity. _Letter board_,
a board or shelf for holding composed type.

LIFT--When type is justified and fastened together so that it may
be taken up without any pieces falling out, it is said to lift.

LINING--Said of type faces which are made to align exactly along
the bottom of the letters.

LINING FIGURES--Modern-cut figures made in uniform size and of
equal height; in distinction from the irregular old-style
figures. :
1234567890.

LIVE MATTER--Type composition or pages that are to be printed;
after being printed or moulded it is _dead_ and ready for
distribution.

LOGOTYPE--Two or more letters cast on one body. _Ligature_,
two letters joined and cast together, like .

LOW SPACES AND QUADS--Those used for composition to be printed
directly from the type. See page 18.

LOWER CASE--The type case holding the small letters, figures,
points, spaces, etc. The part of a job case holding the
lower-case font.

LYE--Used for washing type. See page 69.

MAKING UP--To divide composed matter into pages of equal length,
add headings, notes, and other parts to prepare them for
imposing and locking up.

MARGINAL NOTE--A side note.

MATTER--Composed type or linotype slugs.

MEASURE--The width of a page, the full length of a line.

MEASURING UP--Finding the amount of type set. This is done
by multiplying the number of ems in one line by the total
number of lines set, based in ems of the size of type used.
In measuring up to find the amount of composition for making
a charge therefor, headings, leads, slugs, small blocks, and
other items in the matter are counted as solid lines.

MOTTO INDENTION--A note or other small block of type set at one
side of the page but within the measure.

MUTTON FIST--A name sometimes given to the index or fist
.

MUTTON QUAD--The em quad. For clearer distinction in speaking the
term _mutton_ is applied to the em, and the term _nut_ to the
en, as mutton dash --, nut dash -.

NIB--The small projection on the end of a composing rule.

NICK--A notch on the side of a type, usually indicating the lower
side of the letter.

NIPPERS--Another name for tweezers.

OFF ITS FEET--When type does not stand up squarely, but leans
slightly one way.

OUT--An omission of one or more words from the composition.

OUT OF SORTS--When the supply of any needed character is gone the
case, or the compositor, is out of sorts. See Sort.

OVER-RUNNING--Taking words backward or forward from one line to
another in correcting.

PAGE CORD--The string used to tie up pages or small jobs of type.

PAGE PAPERS--Pieces of heavy paper or card upon which tied-up
pages are placed for storage when there is not enough galley
space; also called page shoes.

PAGINATION--The page numbering of a book or other work.

PARAGRAPH MARK--One of the old-style reference marks furnished
for book fonts , being the
capital P reversed. Paragraph marks are made in various forms
for different kinds of type.

PATENT SPACE--A special type space equal to the thickness of two
5-spaces. This space is common in 12-point and larger sizes,
but not furnished with regular fonts in smaller sizes unless
ordered.

PI--Type thrown down, mixed, or in confusion.

PICA--A size of type equal to 12-point. The common standard of
measurement for leads, rules, furniture, and for width and
length of pages. Six picas in length equal, approximately, a
linear inch.

PICK FOR SORTS--To take letters from standing matter, live or
dead, when the case is empty and types are needed for work in
hand.

PICK UP--A heading, line, or other matter taken from a dead form
and used over again.

PIECED LEADS--Two or more leads placed end to end to equal a
longer strip; similarly, pieced rule, pieced furniture, pieced
brace, etc.

PLANER--A smooth-faced block used to level the surface of a
printing form on the imposing stone.

POINT--The unit for measuring type bodies; a mark of punctuation.

PRINTER'S DEVIL--The old-time name for the errand boy in a
printing house.

PROOF--A trial impression.

PULL A PROOF--To take a proof on a hand press by pulling over the
impression bar; hence to take a proof by any means.

QUAD--A blank type larger than a space; from the word _quadrat_,
a square, originally the em quadrat.

QUOTATION--A large hollow quad.

REFERENCE MARK--The old-style characters * used in book work. The modern practice is to use
superior figures ^{123} (sometimes letters ^{abc}) in the text to
refer to foot notes or notes in the appendix.

REGLET--Strips of wood, 6-point, 12-point, and thicker used in
making up forms for the press; not desirable in type pages
except in large forms.

REPRINT--To set over again or to print over again.

REVISE--To examine a second proof to see that corrections have
been made; a proof taken for this purpose.

RING MARK--A circle around a marked error to signify a special
correction ordered by the proofreader or author.

ROMAN TYPE--The common upright characters, in distinction from
italics or black-letter.

RULE--A strip of metal for printing straight lines.

RULE WORK--Composition in which brass rules are largely used, as
in tabular matter, box panels, etc.

RUN-AROUNDS--Lines of type justified around small engravings or
blocks in a page or advertisement, especially when the shape of
the block requires irregular lengths of the adjoining matter.

RUN IN--To avoid making a paragraph, running the sentences into
one paragraph.

RUN OUT AND INDENT--To begin the paragraph without indention.

SETTING RULE--A composing rule.

SHANK--The body part of a type, as distinguished from the face,
shoulder, or feet.

SIDE SORTS--The infrequently used characters of a font, q x z,
etc. Also any special characters kept in an auxiliary box or
sort case, like figures, fractions, or other types not provided
for in the regular assortment.

SIZES OF TYPE--See No. 1, of this series for additional
information about type.

SLUG--A thick lead, the usual sizes being 6-point and 12-point;
used in making up pages.

SOLID--Type lines set close together without leads.

SORT--A type or character considered as a part of a font, usually
a quantity of one kind. When all the letters of one kind are
missing the case is _out of sorts_. When the copy calls for
more than the usual number of a particular character it _runs
on sorts_.

SPACE OUT--To increase the spaces to fill the line. _Quad out_,
to fill the line with quads after the words.

SQUABBLE--A doubling up or crumbling of lines of type; a pi.

STAND--A frame for holding type cases; a workstand.

STANDING MATTER--Composed type in galley form or made up in pages.

STICKFUL--A number of composed lines equal to that contained in a
composing stick.

STONE--The imposing table, usually of marble or similar fine
grain, but nowadays often of polished steel.

STONEMAN--One who works specially at the imposing and lock-up
table.

STRAIGHT MATTER--Plain paragraph composition in one kind of type;
in distinction from display or job work.

STYLE OF THE OFFICE--In order to maintain some consistency
in practice in details of composition many composing rooms
have rules, more or less variable, about spelling, division
of words, compounding, use of italic, capitals, headings,
paragraph indentions, and similar matters. A style card or
style book may be prepared for the purpose by the proofreader
or foreman. Frequently a publication set in a composing room
may have a style (ordered by the editor or manager) somewhat
different from the style of other work done in the same room.

SUPERIORS--Small figures or letters set above the general
alignment of the main line, as for references. _Inferiors_ are
small figures below the alignment.

TAKE--A portion of copy of one article or job that has been
divided between several compositors to hasten its composition.

TAKE IN--To thin space; to get in.

TEXT--The body of matter on a written or printed page, as
distinguished from notes, headings, engravings, or auxiliary
features. _Text type_, the type in which such matter is set.
The term is also applied to note one of several styles of early
black-letter, as Old English Text, Priory Text, etc.

THICK SPACE--The en quad is sometimes so called. Some compositors
call the 3-space a thick space, ignoring the fact that the
3-space is normal, neither thick nor thin.