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New original cover art included with this eBook is granted to the public domain.

Printing and Bookbinding for Schools

By

S. J. VAUGHN

Head Department of Manual Arts, State Normal School, DeKalb, Illinois

1919

Public School Publishing Co.,

Bloomington Illinois

Copyright 1912

by the Public School Publishing Co.

THE ART of PRINTING

Printing is distinctly a social art. Setting type and striking off a number of impressions presuppose, in the first place, a community to read what is printed; and in the second place, that the information printed is of value to this community.

—L. W. Wahlstrom,

In the Francis W. Parker School Year Book.

Table of Contents:

INTRODUCTION

Printing as a Manual Art in Schools.

Woodwork has been quite generally introduced into the high school and grammar school. With all the defects of the earlier presentation of the subject, not to speak of those in later efforts, it has made a surprisingly general appeal, and has met with unusual and deserved success. Some of the methods employed, tending to place a ban on originality and thought, have brought it far short of its possibilities in the aid of intellectual development. To a considerable extent the woodwork has not touched, as intimately as it might, the vital interests of the pupils and of the homes; and, by its own limitations, it has not had an especially strong social bearing. The need is not less woodwork but more original and thoughtful woodwork, and also a greater variety of other constructive work which touches more and wider interests and which may appeal to those not particularly adapted to that one line. In this way it will be possible to strengthen the places where woodwork is weak. So far experience with printing in school indicates that it makes quite as general and permanent an appeal as woodwork.

Printing makes this very strong appeal to the boys because, in the first place, the printshop comes as near to reproducing a great world industry in the school as any other line of industrial work. Instead of doing simply the “roustabout” work of the beginning apprentice the boys are put to work with the regular shop equipment, and soon are ready to begin turning out some printing. It is a common thing to hear a boy remark, “This is just the way they do it down town.” So they look upon printing as the work of real men, and feel that they are actually taking part in some of the activities that are potent in the affairs of men. It’s wonderful, the pull of this feeling of participation in the world’s work.

Besides this, there is probably no other line of Manual Arts work in which pupils, grade boys especially, get so practical a working knowledge of the actual shop work as in printing. This fact is often turned to good advantage by the boys, for there can scarcely be found a commercial printshop anywhere which is not glad to employ one or two boys during vacation time, if they know a little about the work and are interested.

There is the still further fact that printing offers the concrete embodiment of rules of punctuation, capitalization, syllabication, sentence structure, paragraphing, etc. It is an indisputable fact that work in the printshop influences in a remarkable way the disposition to observe good form and to follow the best usage in all such matters. It is a daily occurrence in the school printshop that some boy brings a text book or newspaper to exhibit what he considers a glaring disregard of some of these principles of composition.

Printing furnishes a distinctly different type of motor activity from woodwork, for it is the arrangement of certain unyielding forms within limited space to produce some desired effect.

In the matter of social significance printing is practically ideal. Almost every problem is a community project, that is, a number of pupils combine their efforts to produce it. Practically every task in the printshop is undertaken with the consciousness of real service to a great number of people in the school or in the community at large.

It is interesting to note that among the boys in school, the genuine joy in the production of printed matter does not necessarily arise out of a sense of the commercial value of the product. The class that has printed and illustrated a little pamphlet of stories for the second or third grade are proud and happy immeasurably beyond the pride and happiness that would come from a job of office blanks worth so many dollars. In other words, they are happy to the extent that the quality of their work merits praise, and that they feel able to make others happy by their services.

The school paper is an enterprise of very much the same nature. It is a real influence and a genuine service performed for which they expect no individual return except in the appreciation of those they serve, and pride in the excellence of their work and the skill it shows. This is certainly a kind of training for which there is a distinct need just now.

There is no other one of the Manual Arts that can touch so intimately the varied classwork, interests, and activities of school life as does printing, especially when combined with bookbinding.

It brings a freshness and vigor to the elementary reading and language work; it touches the athletics and social activities through announcements, programs, and notices in the school paper; it becomes an important factor in the celebration of special days, and in the preparation of material bearing on them; and it bears an intimate and vital relation to art.

Another interesting development is in the relation of printing to the other lines of constructive work. It has proved extremely valuable to have the completed problems written up in descriptive articles by the pupils, and to have the best of these compositions printed.

THE ART OF PRINTING

Methods and Tools of Composition.

In printing, composition includes all the steps from receiving the copy until the type is set up, proofed, corrected, and made up into page forms.

This discussion presupposes a knowledge of spelling, syllabication, punctuation, paragraphing, etc., all of which good composition really includes. Practical rules bearing on these different phases may be found in various handbooks for the printer.

The first essential in printing is, of course, a quantity of type properly arranged.

Type is cast from a composition of metals—lead, tin, antimony, and sometimes copper. This composition is melted and poured into moulds the size and shape of the desired type.

Accuracy in Size of Type. Lead is used as the chief constituent of the composition, because it shrinks very little in cooling. This makes greater accuracy possible. Accuracy is an absolute essential in type, for thousands of pieces of metal must be held together in one form by a slight pressure at the sides and ends of the form.

Lead alone is too soft to wear well and to retain the shape of the type under the constant pressure of the printing press. Tin is added to give hardness, and antimony or copper to give toughness to the type metal.

Type Described. Type are small columns of the metal with a letter or character in relief on one end of each column, as at Fig. 1. The surface of this relief portion from which the letter or character is printed is called the face.

The various faces are distinguished by names applied by the foundries, as “Caslon Old Style,” “Engraver’s Old English,” “Banker’s Script,” etc.

The extreme length of type from the face to the foot is .918 inches, or about eleven-twelfths of an inch.

Fig. 1.

The column of metal on which the letter or character rests is the body or shank of the type (a, Fig. 1) and the distance which the body extends beyond the edge of the letter or character is the shoulder (b, Fig. 1).

On the side of the body next the base of the letter or character are one or more nicks (d, Fig. 1). The chief purpose of such nicks is to indicate the base of the letter or character, and thus to aid the compositor in keeping the type right side up without constantly referring to the face of the type.

To the manufacturer, these nicks indicate other things in addition to that mentioned above, but these need not be detailed here.

The size of the type has to do with the body, and signifies the vertical distance through the body, or the distance from the nick side to the opposite side, as from x to x´, Fig. 1.

Of course it is clear that among the large amount of type manufactured, there must be a great number of different faces on the same size of body; and that there may be two or three sizes of the same face on the same size of body.

In order to indicate a specific type, it is necessary to mention its size and the name by which that particular face is distinguished; as, “10 point Author’s Roman Wide,” “18 point Pabst Old Style,” “6 point Caslon Bold Italic,” etc.

The Point System. The type manufacturers of this country have adopted a uniform scale of sizes known as the point system. In this scheme, the unit or point is .0138 inches, or about one seventy-second part of an inch. The size of any type is so many points based upon this system. Twelve points constitute an em pica which is the larger unit of measurement.

When the printer speaks of dimensions, like the length and width of a page, he says it is a certain number of ems or picas long and wide. An em pica is one-sixth of an inch; so a page three inches by five inches is eighteen by thirty ems pica.

Until comparatively recent years there was no definite standard of type sizes. Each foundry established its own standards. If a printer wished to use type from different foundries, it probably was necessary to make some troublesome adjustments with bits of paper or otherwise to get them to line properly. (Specimen ^{of words} out of ^line.)

There was a sufficient similarity in sizes of type to justify the use of names to indicate certain sizes. The names used to designate the common sizes from 4½ to 12 point type according to the point system, are as follows:

1. This line is set in 6 point Caslon Bold.

2. This line is set in 8 point Post.

3. This line is set in 10 point Author’s Roman Italic.

4. This line is set in 12 point Strathmore Old Style.

Some of these names, such as Nonpareil, Brevier, Long Primer, and Pica, are still in quite general use.

Not only is the height or depth of the body determined by the point system, but the width or set of the body (cc´ Fig. 1) is also cast on the point basis. There are no fractional points in the width of type made on the point set basis. Any number of letters or characters placed side by side make an integral number of points. This is called point set.

Also, in case a number of differently faced type with the same body are used in the same line, they are so cast that the different faces line with each other as well as if they were all of the same face.

The system goes still further and makes it possible to use different sizes of type in the same line without difficulty in alignment. This is done by making the lining of the different sizes vary by points, so that the difference can easily be built in with leads and slugs, see page [14]. This line has three different faces and two sizes of type.

Spacing of Words and Letters. Quads and spaces are pieces of metal shorter than the type, and are used to make blank spaces between words and at the ends of lines shorter than the measure.

Fig. 2.

In any size of type there are four kinds of quads. Fig 2 shows the ends of the 8 and 12 point quads and spaces. An em quad is the square of the type body. The 10 point em quad is a square quad whose sides are 10 points wide. An eight point em quad is 8 points or one-ninth of an inch square.

An en quad of any size type is one-half the em quad of that size of type. A two em quad of any size type is equal to two of the square or em quads, and a three em quad is equal to three of the square or em quads laid side by side.

There are four of the thinner blanks in any size of type, known as spaces. The 3-em space is one-third of the em quad; the 4-em space one-fourth of the em quad; and the 5-em space is one-fifth of the em quad. The hair spaces are very thin spaces of copper and brass. These are very seldomly needed in general work.

The em quad must be clearly distinguished from the em pica. Every size of type has its em quad; but the em pica is simply the 12 point standard unit of measurement.

Type Font. A quantity of the same size and face of type with an assortment of the various letters and characters which are used together is called a font. Sometimes fonts are designated by the number of certain letters they contain. A font may be mentioned as having so many capital A’s and so many small a’s.

Type may be bought in weight or job fonts. If bought by weight, it contains capitals, small capitals, small or lower case letters, including ligatures (ff, fi, etc.), figures, marks of punctuation, spaces and quads. Twenty per cent of a weight font is made up of spaces and quads unless otherwise specified. Job fonts are small assortments of type, where only small quantities or unusual faces are needed. Such fonts do not include small capitals, spaces or quads.

Fonts or parts of fonts come from the foundry wrapped in small packages. The capitals, the small letters, and the quads and spaces come, of course, in separate packages. The letters are arranged for the most part in alphabetical order; but there is an occasional insertion of a mark of punctuation or a thin bodied letter out of regular order to fill out a line.

In taking the type from these packages, the entire face side of the mass of type is wet with soapy water. Then, beginning with the first of the alphabet, a few letters are taken at a time and put into the proper boxes of the case. This is called laying the case.

Fig. 3. NEWS CASES.

Fig. 4. JOB CASE.

Type Cases. Type cases, Figs. 3 and 4, in which type is kept are of two general kinds, news and job. News cases are in pairs, the upper and the lower case, arranged to occupy a position one above the other on top of the stand or cabinet, Fig. 5. The upper case contains the capitals, small capitals, and an assortment of signs and symbols. The lower case contains the small letters, numerals, marks of punctuation, quads and spaces. The California job case is about the size of the lower news case and fits like a drawer into a stand or cabinet. It is arranged to contain both the capitals and lower case type, but is without boxes for the small capitals. By reference to Fig. 4, it will be seen that the left side of the job case is exactly the same as the entire lower news case, except that the compartments are smaller.

Fig. 5.

The right side of the job case contains only thirty-five boxes for capitals instead of forty-nine, as in the capital side of the upper news case.

It will be observed that the capital letters are in regular order in the case with the exception of J and U. It is interesting to note that these two letters were the last to be added to the alphabet, and hence were simply placed at the last of the alphabet in the case.

In the lower case there is but little regularity of arrangement, except that the most commonly used letters occupy the most convenient and conspicuous places. The printer knows the locations of the various boxes, so that the picking out of a certain letter becomes almost purely automatic.

TYPE SETTING

In beginning to set type, the first tool the printer needs is the job stick, Fig. 6.

Fig. 6.

This is the receptacle into which the compositor places the type as he sets up the form, letter by letter. Sticks are made in great variety, and almost any length from six inches up. There are the simple, ungraduated stick, adjusted by the thumb screw; the marked and perforated stick for nonpareil adjustment by means of a lever, Fig. 6, and the non-adjustable stick for news or book composition.

The printer sets the stick the length of the desired line. This is done by placing into it a lead or slug, the desired length, and moving the clamp up against it tightly enough that the type will not easily fall forward, and yet loosely enough to allow the lines to be lifted from the stick without binding.

12 em 2 point Lead
Fig. 7.

Spacing of Lines. Leads (Fig. 7) are strips of metal ¾″ wide, and from one to five points, inclusive, in thickness. Strips six points and thicker are called slugs. Leads and slugs are used to space between the lines of type, bearing the same relation to the lines as spaces and quads bear to the words. These strips are said to be labor saving when they are cut ready for use into definite lengths of pica or nonpareil variations. The standard lengths are from 4 to 25 ems pica. When not so cut, they are called strip.

12 em 6 point Slug
Fig. 7a.

A lead or slug generally of the thickness to give the required space between the lines, and of the length of a line, is placed in the stick, and the type is set with the top of the letter toward this lead. Then with the lead or slug in the stick and the stick in the left hand, the compositor stands upright at the case, picks out the letters and characters one at a time, and places them, nick out and face up, into the stick, beginning at the lower left hand corner. Fig. 8. As the type are put into the stick, they are held there by the thumb of the left hand. The method of holding the stick at the proper angle to prevent the type from falling out and to allow the thumb to do its work properly, is quite an art which it takes time to acquire.

Justifying lines.—The line of type reads from left to right the same as printed matter but the letters are inverted. It takes the beginner some time to accustom himself to this condition, but with practice, it becomes easy and convenient. Each word except the last in the line, is followed by a space, or a quad. In ordinary solid matter, that is matter without leads or slugs between the lines, the three-to-em spaces are used between words. But the line must come out evenly at the end without leaving a space or dividing a word improperly. This very seldom occurs in beginning work, so the young printer sets himself to the task of justifying the line, that is respacing it so as to remove the difficulty. Approved methods of spacing and justification may be found in the list of rules of composition on page [25]. Great care should be observed in getting each line as nearly perfect as possible before proceeding to the next, for in this way, much trouble and annoyance in correcting proof are avoided.

Fig. 8.

When a line has been thus finished and a lead put in above to support it, the compositor proceeds with the next line exactly as before. It is wise for the beginner to leave all the work leaded, so as to simplify the operation of removing the lines from the stick. If it is desirable, the leads or slugs may be removed after the type is emptied from the stick. If the last line of a paragraph is not a complete line, it is filled with quads and spaces, but the spaces should never be placed at the end or between the quads.

Fig. 9.

To Remove Type: The Galley. When the stick is full or nearly so, the compositor lays it down and to remove the type catches the first lead with both thumbs, and the last lead with the first finger of each hand. Fig. 9. Then he slightly raises the first line. With the remaining free fingers pressing against the ends of the lines and pushing at the same time down against the stick, he lifts the type bodily and puts it into the galley. The first line should go against the closed end and should read from the lower side of the galley up. The closed end of the galley should always be at the right as the worker stands at the case.

The galley, Fig. 10, is a kind of rectangular brass tray open at one end, into which the compositor places the lines of type on removing them from the stick. Galleys are of various sizes for different kinds of work.

Fig. 10.

Lines and Borders: The brass rule. In case there are solid lines to be made in the printed matter, as in Fig. 11, this is done by use of the brass rule.

Fig. 11.

This, like leads, may be had either in the strip or in labor saving lengths; but unlike leads, it is type high, and is designed for the purpose of making lines, borders, etc., Fig. 12. It may be had in any thickness, but usually, a very thin face like a hair line or one point, is put on a heavier body. In such cases the rule is beveled from one or both sides and is said to be side-faced or center-faced (a and b, Fig. 12). Labor saving brass rule is made up in weight fonts, and may be had with or without mitres for the corners.

Fig. 12.

If a rule line shorter than the measure of the type line is to be made, the blank spaces at the ends of the rule are filled with leads, slugs, or quads of the same thickness as the body of the rule.

Rule for borders is put around the type form after it is finished. If the face of the rule is as thick as the body, as at c, Fig. 12, good corners are made simply by lapping one piece of rule over the end of the other piece which meets it at the corner.

If the face is thinner than the body, the rule in borders or panels must be side-faced unless there are mitres. The bevels of the side pieces of rule are turned in toward the type and those of the end pieces are turned out. The end rule laps over the ends of the side rules at the corners, as shown at a, Fig. 12.

Dotted or hyphen lines as seen in Fig. 11, are made by the use of leaders, which closely resemble quads in that they are of quad sizes. Leaders, however, are type high, and have either the dot or hyphen face—so many dots or hyphens to the em. It is not necessary to have a great variety of leader sizes, since with the point lining system, one size of leader can easily be lined with another size of type.

Spacing and Tying a Galley or Job of Type. When the compositor has finished setting the type and placed it into the galley, if it is an advertisement or small job, he proceeds to space it out by the use of leads and slugs to the required length. The form is then tied up.

Fig. 13.

It requires considerable care and skill to tie up a mass of type properly. The form is in the lower right hand corner of the galley. The compositor takes a cotton string and beginning at the upper left hand corner, he starts to wrapping the twine around the form from left to right, drawing it taut just before turning a corner. When the starting point has been reached, he pulls the twine down across the original end thus binding it firmly against the metal. After wrapping from three to six times about the form, a loop is left in the twine, which is forced by means of a composing rule, Fig. 13, or a lead, down between the type and the strands. This leaves a small piece of the end projecting as a convenience in untying. The next step is to take a proof. The galley is laid on the stone or a table, or the form may be slid from the galley to the stone, Fig. 18.

Fig. 14.

Fig. 15.

Taking a Proof. When the tied form has been placed upon the stone or proof press, it is inked by rolling a small rubber roller (Fig. 14) over it, the roller having been first well inked by rolling it over an inked piece of marble, slate or glass. Then the type is covered with a moist paper, the sponged side up, or a regular proof paper. If there is no proof press the proof planer, a smooth faced block of hard wood, with face covered with felt, Fig. 15, is laid on the top of the paper, and tapped squarely and firmly with the mallet. If the proof planer does not cover the form, its position is changed and the mallet used again. The impression left on the paper is the first proof. See proof marks, page [27]. In school, it is wise to have the pupils read their own proofs.

Fig. 16.

To correct a galley. Then with the marked proof before him, the compositor proceeds to correct. If only slight changes are to be made, such as turning an inverted letter or taking out a capital and putting in a lower case letter, such changes may be made without lifting the type into the stick. Often lines or words are transposed, or omissions or repetitions are discovered. Such errors necessitate respacing and overrunning, by which is meant the going over several lines respacing them and crowding a word out of one line into another in order to correct an error. In such cases, it is well to lift out into the stick, the lines involved. In the matter of taking out a letter, it is necessary only to press lightly at both ends of the line with the thumb and finger of one hand, raising the line about half way out of the form, and with the other hand to remove the desired letter and allow the line to slide back into its original position. Bodkins and tweezers are dangerous and useless instruments in most instances. After the changes indicated in the first proof have been made, a second proof is taken to make sure that all corrections have been made, and that no new errors have crept in. This proof should be submitted to the instructor for approval. It may be necessary to make a number of proofs before a perfect impression is gotten. In case of a sufficient quantity of matter to necessitate its division into pages or columns, the proof is taken in the galley without tying up, Fig. 16. The form is locked tightly in the galley by means of furniture and quoins, Fig. 16. This is somewhat like the lockup described on page [32], except that furniture is placed only on one side of the mass of type.

Fig. 17.

Making up. When the corrections are made, the matter is properly divided, the page numbers and headings are placed, and the pages or columns are tied up. This process is called making up. Fig. 17. When the printer begins to make up, he has before him a long mass of type, as at Fig. 16. The length of the page is determined. It includes the page number, the running head, if there be one, and a nonpareil, or six point, slug at each end.

A page 18 ems wide might properly be 30 ems long. In this case, the measure would be 31 ems and a 31 em reglet, (see furniture page [31]) answers well for a measure, as will any long piece of furniture on which the desired length may be marked. An accurate ruler may be used to advantage. The length of the first page is usually less than the full measure and is somewhat arbitrarily determined. It is generally sunken about one-fourth of the page. After this page is tied up and moved aside, the page number, the running head and the slug are added to the remaining column of type and the measure applied for the next page. This is repeated until the final page is reached, which is usually somewhat less than the full measure.

RULES OF COMPOSITION

1. Spacing between words should appear as nearly uniform as possible, not only throughout the line but throughout the entire piece of work.

2. For solid, or unleaded matter, the em quad is used to indent the paragraph, and to follow a period except at the end of a line; the 3 to em space, between words in the absence of marks of punctuation other than the comma; the en quad, after a semi-colon and also after a colon when followed by a lower case letter, but when followed by a capital letter, the space should be slightly larger, perhaps two 3 to em spaces.

3. The indentation and spaces between words should vary according to the spaces between the lines. In case of two point leaded matter, the en quad should be used instead of the 3 to em space and other spaces should be correspondingly larger.

4. In justifying a line after the spacing has been done according to the above rules, spaces may be increased at kern letters, f, y, etc., between long words, and after semi-colons and colons; or reduced at slanting letters, at commas, and at the sides of small words. Spaces should be the same on both sides of very small words, and there should never be a greater variation in the spacing between ordinary words than the difference between an en quad and a 3 to em space.

5. Type should stand squarely on foot.

6. Divisions of words at the ends of the lines should be avoided wherever possible but when divided, the proper division of syllables should always be made.

7. Avoid dividing short words, or dividing words by cutting off short syllables at the first or last.

8. Do not loosen the clamp of the stick in order to make it possible to insert a space.

9. When in doubt about spelling, punctuation, capitalization, or syllabication, consult authority.

10. Save endless time and trouble by producing a clean proof the first time.

11. In making up, it is good form to have the first and last lines of a page full lines. So it is best not to have a paragraph begin with the first line or end with the last line of a page.

PROOF MARKS

IMPOSITION

Imposition is the arranging of the type masses in proper order on the stone, and the fastening of them into the chase.

Fig. 18.—BACK VIEW.

Fig. 18.—FRONT VIEW.

The imposing stone, Fig. 18, is a smooth marble slab on which the forms are placed for locking up ready for the press. The stone may be laid upon a box, bench or table, but both stands and cabinets are made for this purpose. It is properly bedded in its “coffin” by placing putty along the edges of the bed and along any cross supports which may run under the stone. Then when the stone is placed into this receptacle, it remains solid and level and free from strain. It should project a short distance above the frame of the bed in order to render easy the removal of the forms to and from the galley.

Fig. 19.

The chase, Fig. 19, is a steel or cast-iron frame, into which the forms are locked to be put into the press. The size of a press is based upon the inside dimensions of the chase. A 10 × 15 press is one that accommodates a 10 × 15 chase. The skeleton chase is a steel chase with a very narrow frame. This makes the inside considerably larger. A skeleton chase for a 10 × 15 press is practically 11 × 16, making a clear gain of almost an inch each way.

When the type has been proofed, corrected, made up, and tied, the form is slipped from the galley to the stone, and is then ready for the lockup, Fig. 20.

Fig. 20.

A chase is put upon the stone in such a position as to form a frame about the type, which as a rule should occupy the central part of the space enclosed by the frame. A roller supporter, a, Fig. 20, is placed in each end of the chase and pieces of furniture are built out solidly from the type form to one side and one end of the chase.

Fig. 21.

Furniture, Fig. 21, and b, c, Fig. 20, is the name given to pieces of wood and metal, which are used to build around the forms in the process of locking them into the chase. Furniture varies by the em in width and by 5 to 10 ems in length when cut labor saving. Metal furniture is more modern and makes possible more accurate work; but for beginners, it has its disadvantages. The metal is soft and of considerable weight, making heavier forms; and if a piece is dropped upon the stone or even upon the floor, which frequently happens, it probably has a corner or an edge battered. In the lockup, occasionally this small defect may cause the “pi” of the whole form. Reglets are a kind of wood furniture similar in size and use to leads and slugs but are largely used as furniture in locking up forms. In leaded forms which have to be kept for sometime, reglets are substituted for the leads and slugs. They are very much cheaper, and they relieve the necessity for large quantities of the more expensive leads and slugs. Wood furniture, which comes by the case or by number of pieces, is cheap, durable, not easily injured, and on the whole, quite satisfactory for school use. A small amount of metal furniture, which is sold by weight, is desirable in every printshop.

When the furniture has been built in at one side and one end of the form as indicated above, quoins are placed at the other side and the other end about midway between the type and the chase.

Fig. 22.

Quoins, Fig. 22, are devices for locking the forms into the chases. There are two chief kinds, one consisting of two separate wedge shaped pieces of hard metal with notched sides, which by the use of a key are made to slide in opposite directions against each other. The danger of these quoins in the hands of schoolboys is that, not realizing how easily good forms are held, they persist in trying to screw the quoin to the last notch, frequently endangering the chase and ruining the quoins. The other kind is constructed of two pieces of metal joined by springs and opened by the use of a key operating a nut which, after a slight expansion of the quoin, releases its hold and allows the parts to spring back together. This quoin is safe for the form and for the chase, and is itself not battered in the process of locking up.

After the quoins have been put into proper position, pieces of furniture are fitted in on both sides of the quoins.

The pieces of furniture are usually a little longer than the sides of the form against which they fit. They are always placed around the form in such a way that they can not bind against each other so as to prevent the pressure from striking the type squarely, Fig. 20.

With the key, Fig. 22, the quoins are very slightly and uniformly tightened. Then the planer is used.

Fig. 23.

The planer, Fig. 23, is a smooth faced block of hard wood similar to the proof planer, but is usually smaller and not covered with felt. This is laid on the face of the form on the stone and tapped lightly with a mallet, in order to make sure that the faces of all the type are at the same level—no letters projecting so as to be broken or to injure the rollers, or, at best, to ruin the impressions.

After this, the printer tightens the quoins gradually, giving a slight turn to each quoin in succession. There is danger of the beginner’s getting the lockup too tight, causing the form to spring up from the stone and the chase to spring and even to break. If the composition is good and the furniture is properly placed, it does not require a very tight lockup to hold. Before removing the chase from the stone, the lockup should be tested by raising one side of the chase very slightly and tapping the furniture to see if any of the type are loose. If the form holds, it is ready for the press.

Forms for Four and More Pages. When there are a number of pages instead of one to be dealt with, the imposition is considerably more complicated.

Fig. 24.

Any piece of printing of four or more pages has an outside and an inside section. Page one and all the pages that are printed on the same side of the paper with it constitute the outside section. Page two and all the pages that are printed on the same side with it are the inside section. A four page printed sheet is called a sheet folio. The best way to handle such a four page form is by the work-and-turn method, provided the press is large enough to accommodate the four pages at one time. By this method, the pages are arranged as in Fig. 24. Note that in this form as in any other outside form, page one is at the lower left hand corner with the foot of the page toward the printer. Margins are determined by measuring from the front of type pages one and two the width of the page plus twice the desired margin to the backs of pages three and four. Then the length of the page plus twice the margin is measured from the foot of pages one and four to the head of pages two and three.

In this case, the stock is cut double the length of the finished job. When it has been printed on one side, and the ink has dried, it is turned and given the same impression on the other side. Of course, in printing this second side, care must be taken to reverse the paper so that pages two and three back up one and four at one end, and one and four back up two and three at the other end. When the ink of this impression is dry, the sheet is cut at line XX making two complete folios from one sheet.

With school boys working on a small press, the four pages are often handled in two separate forms of two pages each.

Fig. 25.

When so divided, each pair may be imposed in exactly the same order as in the four page form. In this case the paper is cut to exact size and pages one and four are printed on one side. When the ink dries, it is run through the press again and pages two and three are printed on the other side, completing the work.

An eight page form, or a sheet quarto, for a sufficiently large press, may be imposed after the work-and-turn method as in the case of the four page form. The numbered rectangles in Fig. 25 show the arrangement of pages in the work-and-turn method of imposing an eight page form. It will be observed that pages in the outside section of an eight page form are in the same order as those of a four page form. For a press that can accommodate only four pages, the inside and outside sections are imposed exactly in the same order as in Fig. 25, but are used as separate forms.

When we undertake the imposition of an eight page job, we meet the problem of margin for trim, which has not been encountered in the previous forms. In an eight page piece of work, there must be two folds and since the sheets are folded after they are printed and before they are cut, it is evident that some allowance must be made for trimming the fold at the top of the pages. Since in folding, the edges are probably not even, it is necessary to trim them also. Thus it is clear that allowance must be made for trim around each pair of leaves. Fig. 25 represents a half sheet of standard 25 × 38 paper laid on the eight page form imposed by the work-and-turn method. The line XX indicates where the printed half sheet is cut before folding. The dotted lines indicate the margins allowed for trim after folding. The method of measuring for the imposition is as follows: Suppose the type pages to be four by seven inches and centered in the pages, and the margin, after trim, to be one inch all around each page.

It is apparent then that the backs of type pages 8 and 5 are two inches from the backs of pages 1 and 4. The location of pages 7 and 6 is determined by measuring half the length of the half sheet, or 12½ inches in this case, from the front edges of type pages 1 and 4. The distance then from 8 to 7 and from 5 to 6 is 2½ inches or 15 ems pica, making ½ inch for trim. One-half of 19 inches, or the other dimension of the half sheet, measured from the foot of type page 1 to the head of 4, places the distance of 2½ inches between 1 and 4. This allows ½ inch here also for trim.

In this work, some prefer simply to fold the paper and use it for measurement, but in any case when the margins are determined, they are built in with appropriate furniture and the form is locked up. It is well to remember that, viewed from the foot of the pages in a form, odd numbered pages are always at the left of even numbered pages.

In most of the work of this character, the pages are so large that only two may be accommodated by a small press. In this case, the eight pages are imposed in pairs as follows: One and eight, two and seven, three and six, and four and five. It will be observed that the sum of the page numbers of any pair is always one greater than the whole number of pages.

PRESSWORK

Fig. 26.

The first thing in the matter of handling a press, Fig. 26, is to have a clear idea in mind as to the method of its operation; the next is to make sure that the press is well oiled, well cleaned and the bed and platen clean of all grit, paper, gauge pins, quadrats, etc.

The throw off, a, Fig. 26, is a lever by use of which the press can be prevented from printing. This should always be in such position as to hold the platen, b, away from the bed, c, until the press is ready for an impression.

An essential part of the press which needs to be mentioned separately is the rollers, d.

They are a kind of rubbery composition moulded around steel rods or cores; and when placed on the press, they distribute the ink over the plate, e, and carry it down upon the type. Of course, they are soft and pliable and need proper attention to keep them so. There are summer rollers and winter rollers and neither can be used to advantage out of season. Winter rollers become too soft for summer, while the reverse is true of summer rollers used in winter. Seventy degrees is about the right temperature to insure the proper working of rollers. When they become permanently hard enough to retain, for a considerable time, the type impressions, rollers are said to be dead. Much can be told about rollers by observing the color and the shine of the surface. A dead roller has a dead, lusterless surface. When rollers are worn out, they are simply sent to the factory where the old composition is removed and new composition molded upon the same cores. The chief constituents of rollers are molasses, glycerine and glue.

Make-ready. In preparing the make-ready, a hard surfaced piece of pressboard is placed on the platen. On top of this, should be from three to five pieces of book paper for “packing,” covered finally with a “drawsheet” of tough manila. Now the press is inked by putting upon the plate, e, a small quantity of ink and allowing the press to run until the rollers have thoroughly distributed it over the plate. Then the form is put into the press at c, and care is used to see that the grippers, f, are properly adjusted so that they do not strike the form and at the same time, are not far enough out to strike the roller supporters. In case of interference of grippers, one or both may be removed. When everything is ready, an impression is taken on the draw sheet and is examined to see if any type are high, or to discover and correct any other defect. Then the lower clamp, g, is loosened and while the draw sheet is thrown back, an impression is taken on the top sheet of the packing. If a portion of the impression is indistinct, a thin piece of paper is pasted upon the indistinct parts to give them a slightly heavier impression. This is known as the overlay. In patching up the make-ready in this manner, it is very important that the overlay shall not reach beyond the parts which need building up. If an indistinctness in an impression is due to worn type or a low cut, it may be remedied by an underlay. This is the pasting of bits of paper or cardboard to the foot of the type, or to the back of the cut. In case a portion shows too heavy an impression, that particular part is cut out of the top sheet of the packing. Then the draw sheet is clamped down again and a device is arranged for holding the stock for printing.

Fig. 27.

For locating the positions of the gauge pins, Fig. 27, or quadrats, the stock is laid straight across the impression allowing the ends to project equally over the ends of the impression, and with a sharp pencil, a mark is made on the draw sheet along the left end of the stock. Then the stock is slipped down across the impression in such a way as to allow the edges of the stock to project the distance of the desired margins above and below the impression on the drawsheet. A mark is then placed along the lower edge of the stock. The gauge pins or quads are placed on these two lines, two on the horizontal and one on the vertical, in such a position as will best hold the stock on the platen. If quads are used, they are glued to the drawsheet. It usually takes several impressions on the cut stock to get a perfect adjustment. In order to prevent the stock from being lifted from the platen by the ink, a small cord is tied about the ends of the grippers in such a position as that it strikes the stock above the impression of the type.

Constant care must be exercised to keep the grippers from getting in the way of the roller supporters and causing considerable injury.

The pupils in school begin operating the press very slowly and by foot power. The process of feeding is largely a matter of cultivating a certain ambidexterity and a rhythmic movement of the hands, the right to place the blank sheet upon the platen, and the left to remove it after it is printed. Great care must be taken to avoid soiling the stock or smearing the ink on removing the freshly printed sheets. As skill is acquired, speed should be increased. Finally the boys are able safely to feed a motor driven press. When the matter is printed, it is carefully scattered over the letter boards, table, or shelves to dry, and the chase is removed to the stone.

CLEANING AND DISTRIBUTING

After finishing the job of printing proper, there are still some very important things to do. The form must be cleaned, the ink thoroughly removed from the press, and the type thrown back into the proper cases, or distributed.

The form is cleaned by going over the type, first with a cotton cloth moistened with benzine, and following with a bristle brush. The press also must be washed, that is the ink must be removed from the plate and the rollers. With cotton rags or waste moistened with benzine, the ink is wiped off the plate. Then the rollers are run upon the plate, and with the cloth still further moistened with benzine, the rollers are carefully gone over and all the ink removed. The rollers are then run down from the plate, which is wiped clean and dry. In case waste is used in cleaning the rollers, it should be wrapped inside of a cloth to prevent threads and lint from adhering to them. To the inexperienced, this matter of cleaning the press, gives the impression of a long, tedious and dirty task. It proves to be quite an interesting demonstration for the instructor to wash the press clean, and come through the process in three minutes with hands scarcely soiled. There grows up somewhat of a rivalry among the groups or individuals to see which can wash the press in the shortest time and with the least muss. In leaving the press, this caution should always be kept in mind; never allow the rollers to remain on the plate or on a form in the press. Rags that have become saturated with benzine and ink should be burned or kept in a closed can.

It is the practice with a great many good printers to leave the ink on the press over night, after thoroughly oiling it with lubricating oil. By thus leaving the rollers covered with this soft, oily coat, the composition is protected from the drying and hardening effects of the air. Of course there are inks which harden in spite of the oil, such as gilts, bronzes, bronze blues, reds, etc. Such inks should not be left on the press longer than necessary.

The next morning, the oily ink is easily removed with a dry cloth. Sometimes, it is well to follow up with a cloth slightly moistened with benzine.

In case ink has been permitted to harden on the rollers, it may be removed by taking the rollers from the press, washing them with moderately strong lye, using a printer’s scrub brush. After the ink is removed, the rollers are thoroughly rinsed in water.

When type has been allowed to remain without the ink having been cleaned off, and the ink has hardened and cemented the type together, it may be loosened and cleaned with lye. Make a strong solution of lye and saturate the mass of type with it. Rub the lye in thoroughly with the scrub brush, leave the lye on the type for two hours and then rinse in water. Keep repeating this process until the type is loosened and cleaned.

When a form has been used and is no longer needed, it is called dead matter and is ready for distribution. To prepare the type for distribution, a sponge is saturated with soapy water and the top of the form thoroughly wet, so that the water makes its way down into the small crevices between the type. If the form is put into a galley, it is placed in the same position as for tying up. Then the printer takes upon a slug the last two, three, or four lines and holds them in his left hand as in Fig. 28, so that the lines occupy the same position as when in the stick. With the right hand, he picks up one or more words from the right end of the top line. Standing before his case in the same position as when setting type, he spells the words back into the case. It is very important that type be properly distributed, that the letters, characters, and spaces be put into their proper boxes. This is interesting work, and beginners delight in it; besides, it is a work in which considerable skill can quite readily be acquired.

Fig. 28.

The proper time to rescue a letter from the floor or from a wrong box into which it has been dropped, is immediately after it has been so misplaced. Leads, slugs, furniture, and rule should be put at once in proper positions into their respective places.

WHAT TO PRINT AND HOW TO PROCEED

In discussing the matter of the proper printing for the public schools, let us not forget this general proposition, i. e., that the claim of printing to a place as a school art must rest upon its force as an educational factor and not upon the fact that, by a species of child labor, money may be made or saved.

There may be done some work of a commercial nature, of course, as in any kind of so-called industrial work, and thereby money be saved for the institution or the community. But the fact that some of the work results in financial gain or saving is incidental, although it may help to add interest and reality to the work. However, the work of the school print shop should be largely such as, in the absence of the school shop, would not be printed.

School printing may be grouped loosely into three classes:

1. Material whose content appeals to the pupils and whose merit justifies permanent form. It is always a happy condition when the matter which we ask the boys and girls to print appeals to them on its own merit as something that deserves to be perpetuated. The book idea presupposes permanency of content. So the book, printed and bound by the pupils and containing their favorite selections, makes a strong appeal. Literature classes collect ballads, lyrics, and other forms of literature for such work. Books of ballads suited to the various grades might profitably be prepared. The broadsheet idea may be taken advantage of to popularize national airs, patriotic songs, crisp maxims, rare bits of humor, etc.

2. Such temporary material as connects intimately with the school work and does a genuine service. An abundance of valuable material may be found in connection with elementary reading, nature study, geography, gardening, constructive work, etc. Stories relating to these subjects and written by the children may be printed and furnished to the children for reading matter. The development of dramatization in the schools offers material for the printshop. A story like “Treasure Island” or “Kinmont Willie” is read by the boys and girls, who set themselves to the task of putting it into dramatic form. Pupils take up the work of printing such a production with the greatest of interest whether it is the work of their own or of another class. The school paper is a valuable thing from every point of view. Spelling lists, binders’ notes inserted in rebound books, programs of school entertainments, Xmas and Easter cards, etc., come under this second division.

3. This class includes such work as would ordinarily be sent to the commercial printer. Letter heads, office blanks, report cards, business notices, official announcements, etc., come under this head. Some of this can be handled to the profit of both the boys and the school and without injustice to the commercial printer.

In beginning printing with a class, it is believed to be best to take advantage of the wide-eyed curiosity and intense interest of the pupils, simply to make them familiar with the locations of the various parts of the equipment and the names of the various tools of the printer. Just the pointing out and reciting of the names of the leads, slugs, furniture, etc., are sufficient to hold the rapt attention of the class.

During the early period is a good time for investigations by the pupils as to the origin and development of printing, the story of movable type, the evolution of the press, the relation of printing to progress, etc. This plan of having the pupils get as much relevant information as possible concerning their new activity, under the impulse of this first enthusiasm, proves to be an effective method of teaching as well as valuable and timely work for the boys and girls. The same eagerness to become familiar with the work makes the lay of the cases an easy matter to get before the class. Almost without exception the boys ask for the privilege of making individual diagrams of the cases, for pocket reference. The very irregularity and confusion of the lower case somehow appeal to the boys, and they take great pride in mastering what seems at first glance almost a puzzle.

The explanation that j and u were the last letters added to the alphabet and that they occupy positions in the capital case corresponding to the time of their additions, makes the lay of the capital case easy to remember.

Considerable time may well be devoted to just this kind of work.

In familiarizing themselves with the case, the pupils may well begin the use of the job stick and the practice of properly holding it, by the use of large type, in setting up their names and such simple matter as they care to attempt, putting the type back again into the proper boxes. When simple composition is begun, it is thought best that each piece of work should run through the typical processes, setting up the type, emptying the stick, proofing, correcting, tying up, removing to the stone, locking up, and printing. The presswork for these first efforts may be done by the teacher by way of demonstrations, so that the pupils become familiar with the methods of handling a press.

The class should be kept for a considerable time on such work as labels, name cards, spelling lists, etc., gradually working into the longer compositions of plain, straight matter.

When it comes to the larger jobs, one piece of work may be divided among several pupils or even the whole class.

Of course, in all this work, there must be constant reference and attention to the various rules of composition, such as justification, spacing, margins, etc.

As the class advances, it is well to have each boy do a little press work by himself. He will prepare the make-ready, which the instructor has previously demonstrated, ink the press, set the gauge pins, and run off the job, under the close scrutiny of the teacher. In handling jobs of two or more pages, the pupils have experience in proofing, making up the matter into page forms, and of imposing or locking it up. It is well to have the list of proof marks conspicuously on the board and to insist upon the pupils’ use of them in a correct and intelligent way.

At the close of the eighth year and in the high school, the handling of cuts, tabular work, and the more difficult processes all along the line is expected.

Not only must the boys use the cuts in printing but they ought to make the wood cuts, zinc etchings, and copper plates as frequently as possible from designs and illustrations prepared by themselves.

During the work in printing, the teacher should not overlook or neglect any illustrative material that may be available, and which may be of value in setting standards, arousing ambitions, and offering suggestions for improvement. Visits to commercial print shops are an excellent thing from the standpoint of all these considerations. In studying the arrangements of the parts of a broken page, or of an advertisement, it has proved interesting and profitable to cut out the parts of the printed matter collected for study, and to reassemble them by pasting them to another page. The variety in the matter of margins, spacing, and grouping that can be had by such a treatment, is often really surprising. Then when there are added the possibilities of different sizes and kinds of type, the colors of ink, and the colors and textures of paper, the effects that may be produced are without limit.

METHOD OF TEACHING THE LOWER CASE

Each boy has a case before him. The class is told that there are three little groups of letters to be learned first: ar, is, jk. These groups are learned first, because they are not consecutive and do not readily fall into the grouping which is to follow.

After these first groups have been fixed in the mind, it is explained that the left half of the lower case is made up, for the most part, of groups of letters which are consecutive in the alphabet. These groups are: bcde, lmn (h) o, tuv. Besides jk on the left side there is another nonconsecutive group, qxz. These groups are repeatedly pointed out during the explanation. When we come to the group lmn (h) o, we say “lmn over h to o.”

Beginning with a, the class repeats several times these groups: bcde, lmn (h) o, tuv, qxz. Then it is pointed out that there are only two groups remaining, and that they are on the right hand side of the case. They are fg and ypw.

When the boys have located the groups a few times, they are tested on the entire alphabet in order. They begin, a, bcde, fg, and then they remember the “over h to o” expression, which locates h for them. The next letters, i and jk, are in the first groups learned and hence are easily recalled. Then follows the group lmno. If they do not readily locate p, the group ypw is repeated by the teacher. The letter q is in the corner group, qxz, r is in the first group learned, ar, and s is in the second group learned, is. The next letters, tuv, are in a group by themselves, and the remaining letters of the alphabet, w, x, y, z, are in the two remaining groups, ypw and qxz.

If at any time, a boy cannot locate a letter, he can be immediately assisted if the teacher will simply repeat the group in which the letter is to be found. For instance, if he cannot find x, the teacher should simply say “qxz.”

The location of quads, spaces, numerals, and “points” is only a matter of a short time, and may be learned at the time the letter boxes are learned, but can just as well be taught when an explanation of the quads and spaces is made.

It will be observed that by this plan, instead of learning the positions of twenty-six separate boxes, the boys learn the positions of the following nine groups: ar, is, jk, bcde, lmn (h) o, tuv, qxz, fg, ypw, which include the twenty-six.

WOOD CUTS AND METAL PLATES

The making of wood cuts and metal plate etchings has proved one of the greatest sources of interest and educational profit to the boys and girls. It vitalizes and lends motive to design and illustration, it requires very little equipment and is a perfectly feasible scheme even for the seventh and eighth grades.

It is perhaps as well to illustrate the idea with a concrete problem. A book is being made for instance, by each pupil. He plans a cover design, a bookplate or an illustration. After the design or illustration is carefully worked out, it is traced in reverse by means of carbon paper upon a piece of wood, copper, or zinc. If it is to be a wood cut, the block is squared up to the proper thickness, about seven-eights of an inch. Birch, maple, and black walnut have proved very satisfactory for this work. Of course, in commercial work, boxwood is extensively used and the design cut on the end grain; but it is very satisfactory and much easier for the school work, to cut the figure on the side of a piece of ordinary board. With a small veining tool, such as is used in wood carving, the design is outlined, care being taken to leave the edges of the parts to be left in relief sharp and distinct. Then with a small gouge, chisel or knife, the background is cut away to the depth of about one-sixteenth of an inch. No care need be taken to make the background smooth.

Of course, the open grained woods do not give a solid, uniform impression. This is not at all objectionable as one may see by examining the wood cuts of the old masters. However, if a dense impression is desired, this experiment has been tried with good results: After the design is cut, the face of the block is gone over with a heavy coat of thick woodfiller. When the filler is dry, it is carefully scraped from the face of the design. By this simple method, a dense, clear, and uniform impression is made possible.

If it is to be a metal plate, the pupil simply takes a thick, smooth piece of copper or zinc, traces the design, and with a water color brush, he paints with asphaltum varnish the parts of the design to be left in relief. The back of the metal plate is also covered with a thin coat of the varnish. Careful examination is made to see whether air bubbles have caused small holes in the varnish, or anything else has caused any portion of the design to be left uncovered. When dry, the acid bath is prepared. Commercial nitric acid is the safest solution. It is diluted by adding about an equal volume of water to it, making it from 15% to 20% strong. The diluted acid is poured into a glass or porcelain tray and the plate put into it. If the acid can be kept moving by frequently rocking the tray, the etching will be very materially hastened. It takes from three to five hours to etch deeply a piece of copper, depending upon the strength and amount of the solution and the amount of exposed surface to be eaten away. If large surfaces are to be etched, quite a large quantity of acid is desirable, or else a changing or strengthening of the solution during the process. As soon as the acid becomes somewhat burdened with the metal, it ceases to act at all freely, and even begins to deposit a blue nitrate upon the metal. In such a case, it is best to put the plate into a fresh solution.

Fig. 29.

Care must be taken that the acid is not too strong, as the heat generated by its rapid action softens the varnish and lets the acid under to play havoc with the design. Numerous bubbles and yellow-green fumes indicate that the acid should be weakened by the addition of a small quantity of water.

By observing the progress of the etching occasionally, it can be told when the proper depth has been reached. Then the plate is heated sufficiently to soften the varnish, soaked in kerosene or turpentine, and rubbed clean with a cloth. Or the warm varnish can be removed by simply saturating the cloth with kerosene, turpentine, or benzine and rubbing over it.

A block of wood is then prepared for a base so that the mounted plate is slightly less in thickness than the height of the type. Then with a punch or a small drill, holes are put into the lower, or background, part of the metal. Through these holes the plate is fastened to the block by small tacks or escutcheon pins, the heads being sunken below the surface of the background. Large surfaces of background should be sawed out before the metal is mounted upon the block. When the cut is used in printing, it is brought up to the proper height by the underlaying of paper or cardboard.

This work is used extensively in connection with such work as cards and programs for Xmas, Thanksgiving, Easter and other special occasions. Fig. 29.

THE EQUIPMENT—ITS SELECTION AND COST

In planning an equipment for a print shop, as for any other shop, the more specific the conditions and limitations under which one is placed, the more intelligently one can go about the undertaking. In the first place, the following things should be as definitely decided upon as possible:

1. The grade and number of pupils who are going to handle the equipment.

2. The nature of the work anticipated.

3. Amount of money to be expended.

This is only another way of saying that a school printshop must meet school conditions. There are a number of points in which the school print shop differs materially from the commercial job shop. The number that must be kept at work is an illustrative point.

From the standpoint of durability and of quality of the work to be done, it is safer, of course, to buy as large a part of the equipment as possible, new. In other lines of the Manual Arts work, very little disposition is shown to buy second hand machinery and tools; but there seems to be a decided tendency to look for old equipment for the printshop. This, perhaps, arises out of the misapprehension that even a very small printing plant is very expensive. On the contrary, it will be seen by reference to the lists on page [58], that a printing equipment is comparatively inexpensive. Unless one is an expert, or is familiar with the time and kind of use the goods have been subjected to, it is unsafe to buy such used goods as type, leads, slugs, rule, furniture, and type cases, for these may be regarded as perishable; besides, they are comparatively cheap. So, from the financial standpoint, as well as that of good work, it is unwise to buy such used material. And when it comes to the larger, more expensive articles, like the press and the cutter, it must be considered that they are probably not soon, if ever, to be replaced, that imperfections are difficult to detect, and that not a very large reduction, can be had on machines in good repair. But if it is a question of getting a start in printing by the use of old equipment or doing without the printshop, by all means let’s have the old equipment. There are a good many items that can be safely and cheaply bought second hand. Among these are cabinets, stones and frames, case stands, lead cases, etc.

It is wise to buy only such staple articles as in a good printer’s judgment the conditions demand. There is some temptation to buy, out of a scanty allowance, articles which are not absolutely necessary, or which may easily be improvised. It is wise to buy the essentials and such quantities and accessories as make what one buys available to its full capacity. To illustrate, it is not uncommon to find quite a liberal quantity of type with an insufficient supply of quads and spaces. This simply means that the type is available for use only to the extent of the quad and space supply. This illustration is only typical of a number that might be made. For school purpose, it is much more satisfactory to have generous quantities of a few sizes of type of one series, than to have small quantities of several sizes and series. If the specific purposes of the shop are clearly in mind, the selection of faces, quantities, and sizes of type is greatly facilitated.

If it is planned to do very much of the supplementary reading work for the elementary grades, good quantities of 12 point type should be provided, including such a special supply of sorts, especially in capitals, as seems necessary to meet the needs. For instance, it has been found that in the language and reading work of the lower grades, the personal pronouns, I and we, are used with great extravagance in beginning sentences; so the I and W boxes are soon empty. In case some prominence is to be given to arithmetic work, then larger quantities of figures, fractions, etc., should be bought than come in the regular fonts. For general work, there can be no wiser selection than a large quantity of 10 point type. Of course, where the allowance permits, it is extremely nice to have small fonts of two or three different faces, which may be used for variety, initials, display, etc.

It has been found very satisfactory to have large quantities of a few sizes of body type as previously suggested, and in addition, a few fonts of a heavier face, duplicating the body type in sizes but with some larger sizes, and also a small assortment of some nice simple text letters. In selecting type, a wide, clear, readable face is desirable, and it is best to select those faces which do not contain hair lines or complications which make it difficult to get a distinct impression, and which render the type less durable. It is rather unusual to see a shop sufficiently supplied with quads and spaces, and especially is this so where much of the work is widely spaced and where each line is treated as a paragraph, as in elementary matter.

In order to provide for the small font display type which, of course, comes in straight letter work, it has been found a good plan to add, in addition to the regular 20%, 5 pounds each of quads and spaces for each 50 pounds, and 2½ pounds for each 25 pounds of body type.

Everything considered, the 10 × 15 press is preferable for the school as well as other work. It accommodates large forms, which fact is often urged against it; but for the smaller work, like the most of the school work, it is practically as easily handled as an 8 × 12. It is considerably more expensive but it has a much greater capacity for work of the more advanced kind.

Fig. 30.

Of course, cabinets are preferable to open case stands. They are compact, free from dust and dirt, and of good appearance. However, they are more expensive than stands, if the matter must be determined by the question of cost. If one goes to the expense of getting a cutter, Fig. 30, it is the part of good judgment to get one that will be of the greatest service. So it is advisable to get a 25 or 26 inch cutter. The difference in cost above that of a twenty-two inch is overbalanced by the economy and convenience in cutting large stock. In case a large cutter cannot be bought, small table cutters, which give good service, may be had at various low prices. The stone mentioned in the $800 list on this page is practically ideal for the small printshop. It is a 26 × 44 marble, mounted upon a cabinet which contains a large quantity of wood furniture, and a number of drawers and letter boards. This stone is not so much more expensive after all, if one considers the cost of the furniture and case and the other conveniences.

Probably the general method of selecting equipment for any line of work is to take an ideal list and by elimination reduce it to within the limits of the appropriation. The following $800 equipment is the one selected by the author for his own classes, after several years of planning and investigation. During this time, a great many school men who have had to deal with the same problem, and a number of expert printers were consulted and asked for criticism of the proposed list under the conditions which the equipment has to meet:

In case this amount of money is not available for a printing equipment, this list may be modified to come within the necessary limit. By substituting a smaller press and cutter, by getting stands instead of cabinets for the type and stone, by eliminating the stock cabinet, motor, and stapler, and by reducing the quantities of various items, one may still have an excellent equipment. The following is such a suggestive list, and can be bought for $400:

Fig. 31.

ARRANGEMENT AND DISPOSITION OF EQUIPMENT

If the machinery, cabinets, tables, etc., are compactly and properly arranged in good relative positions, a good job outfit can be placed and used in much smaller quarters than at first seems possible. The printshop is one place where a great amount of floor space between the various parts of the equipment is not entirely essential. When the groups or individuals have been set to work, there is no necessity for a great amount of passing back and forth. This is mentioned for the benefit of those who feel that printing cannot be installed unless there is an enormous amount of floor space available. Of course, large rooms are desirable, but after all, the effectiveness and availability of the equipment turn on the point of convenient arrangement of related parts, so that a job may pass easily from one stage to another without disturbance or interruption. In other words, the arrangement must be such that all the operations of the job shop may be in progress at the same time and that without confusion. In the first place, the type cabinet or case stand should be convenient to plenty of table space so that the boys may carry their cases back and forth without difficulty.

The proof stand or press and the imposing stone should be of easy access to those who are working at the type case and at the same time in close reach of the pressman.

A good position for the press is in a well lighted corner far enough from the walls to permit easy passing of the pressman for the purpose of oiling, cleaning, and general care of the press. The motor may be placed in the corner back of the press and entirely out of the way. The paper cutter and stock cabinet should be placed as closely together as possible not to interfere with the action of each other. There cannot well be too much in the way of drawers, wall cases, and shelving, for the work of the students, small items of supplies, inks, rollers, benzine and waste cans, etc. These conveniences can be added here and there in small, unoccupied spaces, with just a little time and a very small bit of expense. In this way and this only, can a place be provided for everything with any assurance that everything, at any one time, may be found in its place. These repositories should be properly labelled. Such additional items and conveniences not included in any list of equipment, are nevertheless among the essentials, and their presence greatly facilitates and systematizes the work. The matter of table space cannot be too greatly emphasized. Not only are tables used for rests for type cases but the make-up galleys are laid upon them for convenience in work. Proof reading also requires table space.

It seems proper, under this heading to speak of the disposition of the various sizes of type for the greatest convenience. Of course, the type ought to be divided and placed so as to be accessible to the greatest possible number. So, except in very small fonts, each size should be divided and put into as many cases as can be supplied with working quantities of type. Thus, fifty pounds of ten point, which is extensively used in general work, may be divided among five or even more cases. In this way, ten pupils can be accommodated at the ten point cases at one time, since two can work, to a very fair advantage, at one case.

The class works in groups, one setting type, one proofing and correcting, one making up forms, while the fourth operates the press. At the same time, there usually are jobs going forward in different kinds and sizes of type. So, it is difficult to think of needing accommodations for more than ten students at one size and kind of type at one time.

Series 1, Senior Eighth.—Print Shop: Ye Highe Schoole.

HISTORY

Senior Eighth Grade, December 1, 1913

9:30 to 11:30 A. M.

Note: Answer any ten of the following twelve questions.

I. For what are the following places to be remembered?

BOOKBINDING
and
A Course of Instruction for Each Grade of the Elementary School

By

S. J. VAUGHN

Head Department of Manual Arts, State Normal School, DeKalb, Illinois.