Process and project sheets for a one-year course in graphic arts in high school

Item Type text; Thesis-Reproduction (electronic)

Authors Chidester, Otis Holden, 1903-

Publisher The University of Arizona.

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Link to Item http://hdl.handle.net/10150/347667

http://hdl.handle.net/10150/347667

PROCESS AND PROJECT SHEETS FOR A ONE-YEAR COURSE IN GRAPHIC ARTS IN HIGH SCHOOL

by

Otis H. Chidester

A Thesis submitted to the faculty of the

Department of Education

in partial fulfillment of the requirements for the degree of

Master of Arts

in the Graduate College University of Arizona

19^8

Director of Thesis DateApproved:

■ ■ U- ft : . V..

if b r a

7J2, Ki- ■TABLE 0F: CONTENTS'-

Chapter- . .• io :mTa%3DHCTion

; - _ History .of the Graphic. Arts. -„ ■ r'' : The Development of the Alphabet■ ' v ' - The Development of -Paper. ./..tt;:. . The Development of - the Book. hir,.

- The Invention of Printing . ..... ’ ’ - _ Place in the School Curriculum =- .: Aime - of the Couree «' tp'. - . . » .

General Educational . r i: . .. ' - : ^vocational . * . . .: . .y. -

.. ty/h -tyh - : Vocational. . . . y . . , . yy-;::/ yyySurv%: of Saterlals in^the field . ; : : : Statement of the Problem h / o: y»/: ̂ ;;;h;. Limitations of the Problem . - . - y■■ 11= mocEDmmy. ' • -Organizatioh p. . .... «. , - . , > -V"

' Analysis . • « . . ... = = . . .,■•••• -' .. - Process Analysis. . o :y > - . ,

- : ' - Project Analysis. - . . >y

.'I'12

. 5111214.■II22'S2..2322425;28:283133 3 3

8ill47

v. .yV;:- : :: : ' , ' : , : Page' G^O:' Classifying-Type Faces 9:»' = ■ 49- •' ; ' G“ll: Spacing and Justifying:Lines . 53

■.C“X2g Tying Type Forms o o . , * . , : 55; i; C=13g Taking Proofs« . 0 :.0: y ■»': >.':0y 6: ;57: 1:, ,C-14§ Proofreading : ' {0: »' 5 • 593:

C-15s , Making Corrections , , , » , k 61 ' 0-l6i Distributing Type and Type v '

'; - v . ■ ' Forms x, » o = . ? p -» '; :>' , » « = . 78. ; y ; C-27g Setting Poetry Indentations' . 107 .i

.B-4s ,Bindery' ProcesseSo:;.yp © © ̂ ©-:©yy© ' y 109 Pro j ect; Sheets©,. = k : k , = y.: © © .© - © © & . © - 112

Imprinting a Book Plate © k © © . © ©-' = 112: yykk . Imprinting Christmas Cards © ' © © y © ©, k 1131

Printing Persdnal Cards. © © © © .© © k-: . 114: y y: Making a,.Telephone: Pad© © © © © : © ». ©'. Il6

■ Printing' Personal; Stationery© :ky; .© © ©yy.

.11

Chapter . r;:'." . P ® ^ ' :-:% zp rL'- Printing Personal Envelopes „ i; pV 119: a Note-book.Cover pVo * ° »/ = ; 120 "

Making a Snapshot Albmio « . . . , . . 121Printing a Party Invitations . '-d';j.PP 121.-

pBlBLIOCBAPHl ..o 1' ? V ^vo -o;.-1 ,y P 122 ’

TABLE OF FIGURES

I, TABLE SHOWING DERIVATIONS OF THE LETTERS'• ■ ; r . ; AND A FEW. CHARACTERISTIC STYLES OF LETTERING;: 2IIo. REPRODUCTION OF THE 4-2-LINE GUTENBERG: ̂ BIBLE IN THE COLLECTION OF THE 'HUNTINGTON ■ ■''. ;L- • L LIBRARY g - SAN. MARINO§ CALIFORNIA o ;a; - 0 ; LLIll, FRANKLIN3- THE PRINTER BY CHARLES E„’MILLS o-' .

:C: IV. . PRINTING IS ’ A VITAL FORCE IN' THE . FIELD QF; ' T̂R :.EDUCATION . . . . . . . . . . . . . . . . . . 13v.; PARTS OF TYPE- . . . . :.R ..'o./ol;.;. /,":■■ 31/ ;VI. HOW ELEMENTS: AND' SmiFS/AFFECT TYPE STYLES. 33 • V.

■ VII. CHARACTERS IN THE AVERAGE FONT OF TYPE.. . . .. 3b ,:v;/ VIII.; ■: THE LAY OF, THE CALIFORNIA JOB CASE. . . O . . 35

IX. EM QUADS. . . b2.0; x. spaces'/and QUADS.:, . v; . ./A . ' W - -:V:> • . S. --. RELATIONSHIP' OF THE- SPACES ' TO; THB’ W QUAD- ,' . A] ' :'./ XII. / W SPACES Aim . QUADS . : A 44 '0 ; Xlilo ' AID; IN DISTlNGUISHING DIFFICULT 45

XIV. LOGOTYPES FOUND IN VARIOUS TYPE FONTS .'. . . 46XV.: HOW COMPOSED: TYPE LOOKB IN A";STIGE,.AND: : . . x .IN PRINTED FORM . . . . . . . . . . . . . 4?

' :,XVI. RELATIVE; THIpENESS OF LEADS , AND1 SLUGS . ;. . ; . 48'. ; XVII. - EXAMPLES OF FIVE TYPE CLASSIFICATIONS '' O « . A ' 49 . ; -/ XV11I.O : SCSiE; MIHBERS:.;OF THE■ CHELTENHAM FAMILY (

y s':: ^ ,,: ' ' Pagey : JJX.r A SEBIES OF GAEAMOm fYPE vo; „ : „ ;i « . . . %' %X, A JUSTIFIED LINE OF TYPE. \ . ' . . . . . » „ 53

. XXI. CORRECT MAI TO: HGLB A. ■SIIGi: X o’.''V': I *$*■_: 'XXII. : HOW 10 IIE;TO o o . V. o > . 0 o \ 56: XXIII.o ; HOW :$0: FASIEi: $EE E%^0F ISE STRING ■ ; : 56: 'XXIVov 'STAffl3ARD MoOFREADIIG'MARKS: I . 6:X . ̂ . 60" XX?.' HOWTO REMOVE A.. LIRE FROM THE GALLEX TO V

. 1 THE. STICK FOR CORRECTION. . , . . . ;.; . 61O xxviE : ;The:% OF TYPE.: . , 62XXVII o.: THE PROP# MAY TO MAKE CORRECTIONS IK c :.:.vY ; ;THE STICK.E = : »Eo\ ..W . . v >: .. . . ..X:' „ „ 62XXFIII. ' .PROPER/ METHOD OF HOLDING AIT) .DISTRIBUTING .

Tl'P̂tij ■ . o o e 0 . 0 o 0 0 0 o . o ' -- o o o o o e" o o - . 6̂ P; ‘ixiXoI- LEADS AKB: SLUGS AS THEY ACfpDLATE IK-THE ' : : V

. - ‘ GALLEY o , 0 o © © - o o . 0 D O 0 . 0 o © o o - e , ‘ o o 66:' XXXA. LEADS AND SLUGS SORTED AND READY TO BE . J.. ̂

• A RETURKED. TO THE. RACK. : © © G v © . © , © © = 66

.CHAPTER

;• bitroduction _ ■- /; V':'':-;' ; V; :.. . . , . ; ■ . M s tory; o f ̂ the; ;;Arts; - * '

; . liAnd this pul? noble art of Printing - v’ is the. very foster mother of ail learning§ /. for although the few had books before John ..Gutenburg gave ms our aftg not until. : -' :: Pfintirig eame -edulti learning 9 yea: and c . . ;:

V- Wisdom also c, knock '.at ■ every manB s do or o’11 ; --r' t ■ v':: - • ■ From the Latinof CordeliuSj

The Development of the Alphabets ' When man erected the first pile of stones to record an important event9 the : Graphic Arts were borho This event took place many - • thousands of years ago and sinee that time all primitive peoples have9 im One way or another9 attempted to record their important historical events^

The earliest known effoffs of man in the Graphic Arts field are found on the walls of eaves in the.foothills of the Pyrenees^ depleting such animals as horses 9 ■ bison and mammoths> :and/;the' hunting :activities^ of man0 Since that ■ . '. time: man has used such things as, knots in rope$ calendar■ sticks 9 painted shafts =, pefroglyphs 9 clay fablets 9 and ̂ painting on animal hides to record eventsQ

With the development of the cuneiform characters by the Chaldeans^ about id.000 .BoG0 9 the beginning of the ■

To ■ Cl eland Q Hardman Fo Our Pr ehi s tori cAnc e s tors c pp0 10=Mo 20 McMurtrie9 Douglas C0 The Booko ppo Ml9o '

2

development of the present alphabet, as we know it, was under way. The Egyptians followed with a form of picture writing or symbols called hieroglyphics, about 5500-N-000 B.C. It remained for the Phoenicians to devise a simple set of phonetic characters.

T a b le o f A lp h a b e ts a n d \ j e t x erin gEarlier Characters Lettering

11

Phenician ObjeCl and

Phen

icia

n

I IName*

1

1 Rom

an

I Typic

al

Ear

ly

Blac

k le

tter

Old

styl

e

111 Early

E

nglis

hL

ette

ring

(Cas

lon)

i i Mode

m fa

ce

Mod

em

Got

hic

Let

ter

| Bloc

k le

tter

X Ox Aleph t f V A Aa A B c C tff Cf Cc Cc Cc Cc (Hr C

G e

; 'v' v ’' ' “lo doubtj the symbols of the Egyptians 9 . V:.;. Chaldeans ? and others 9 had a. direct bearing on

the developmeht of the alphabet but it remained ' • for the Phenielans to'simplify the existing.

:; - sighs'and;: to assign to each character a .definite'.: phonetic ¥alue0 ; fEf is for this reason, that the :

Pheniciajns are credited with ?the invention of • .

■ : The alphabet • arrived' at its present status, through va number of stages.. The Creeks, took fifteen of the . .origlnai twenty-two characters ?df the Phoenician alphabet > and ■ added nine characters of their own. to meet their needs 6 ? The Homans adopted eighteen of the Creek letters and added seven lettersy some only slightly modified in form. The Anglo-Saxons took all the Homan alphabet and added two new letters5 buf later dropped one.■ Through these stages and. ? about Hllfh) years of time our present alphabet evolved.

Thusy we note that aside from the three basic needs of • man— food, shelter and clothing;— the communicative or Craphie Arts were the earliest form of art to develop & • ■ ;?' ?

The Development of Papers .With the development of an alphabet it of, necessity followed that a- suitable medium be developed on which to write. ; The Egyptians made, this important . contribution by manufacturing a writing surface from papyrus^ a tall /reed, growing along the llileo From this start we. r etain the word paper as applied to our. present day writing and printing surfaces. Small strips .. of papyrus were woven together in an under-over fashion.

Pblk. Ralph . The^pfactlce of Printing, n. h. '

After 1>eing soaked in water and pressed and dried3 a: -sheet suitable for ■ brush; writing was •: the result „ The earliest known papyrus rolls: were. recently discovered in an Egyptian mummy case dating about 3 0 00 B0Go .

Paper as we know it 'today % made from and matted in a : solid sheet» was invented by the Chinese in 105 AaDo The . secret was well guarded as the art of :paper. making did not reach: Bagdad until 793 5 and Egypt in 900 0 It was not until 1150 that the pro cess of paper making.was•introduced into -Spainoy/;Paper reached:Italy in 1270s Germany in 13909 England in 14-9% and g finally 9 it was manufactured for the first time in Philadelphia in I69Oo ̂:;:V In Europe the writing surface'd eveloped from imported

papyrus to; parchment 9 to vellum^ to' rag paper as made by .the Chinese and more recently to woodpulp paper> The writing instrument developed from the Crude brush to the quill pen9 to the:steel point9 and9 finally9 to the modern ' v fountain'pen0-; r_ 'y ..ty j ''.y;'.;'';'' - ■y .• ■ Ihe Development of the Books As the alphabet9 writing

instrument 9 and writing: surf ace d. evelopedy so did the form of the manuscript«, . This firs.t appeared in the form of;;• ihdividual' sheets tied together in bundles» The next step was a rollc The Hebrews: devised the scroll which was ■.unrolled as read and ref oiled as: f Inlsheda. .It remained for the Jurists of the late Homan Empire ■;

5o : McMurtrie J Douglas ffT:. oPo Cifô p. . k . : ■ .

and the early Medieval Church to develop Me- present book form about the fourth century AoD=. Although the old roll was called a volimen as associated with the literary works of the pagan culture $ hnd muc the writings of the Christians were presented in the Codex form5 it is interest™ ing tp: note that the word volume, survived in wlder use,. while the word codex or code is used only in a specialized i

The Invention of .Frintlngg 1 Witĥ the development of the alphabetg ;writing ink« and writing .surface to a high degreeof efficleneygv the: time"was rlpe[ for the invention of : :movable typeo i:/.'/ i; . -• ;"V ‘i. .. vi ; -

book printed from movable type was theGutenberg %-line %bie, This event was recorded August 2M hy the vicar of St0 Stephen9 s Church at Mainz ?Germany, when he entered in the front of that Bible, now in the Bibliotheaue Rationale at' Paris 9 the fact that the rubricatlon : and. bind ing were finished o?: • He; expressed pride ; and satisfaction at the completion of the two fine volumesc ̂ '

The h2»line Bible required 1§200 pages and twovolumes to complete the work0 Although the first known date of issuance was IhM?: historians and research workershate set lt-39 as the date of the . invention of movable typeby John Gutenberg,' of Mainzs Germany« . While work was -

6c:--:'^^^trie?-."gbnglas.'Co opT'cltcIM. 767̂ " - ■ • ■ ■ ■7o Aides. Harrv Ga The Printed Book, p. 6.

6

"M:f ;

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c p lsdi.»« m n e i f l Of «bun.

— ■n — ypftMtKMOimi*BO Ttnoin.lort'o ttiaifc ,u i eu«mliis. f tn emu e ra U im nE ta*SI i s posm m nom *1 mmlr n*cb:S5M£3StiSn 66 o n ** '1 ™< 6“0 rtm na lira hail fc ptJotui Oim Ura»imiumiibrfisSlsi b in Inb.ilinn mu n m q e #5 iratk i iH soe i luBi] -anraiB ll'luH or raH rfm i, ab il m s ir prouns: i 6mluni.mil ram a t mrtmiimain buimli* m ouuiu nupdlos i niprauui pmgnm, nn a murauibf Dim hup ironruu ftm i nun bno ind raum ri poo bln iamb na dha dunum H bub iitl pom b» non mdtiBm ubgimmp tuna; i no -jituDilti M inm m l a* am i nsiir an uoaara un i nrauuu. 1 « m w ip qua nunm n itttn tftgn 10mo am ion oop ohff ooiiu A b o m s ; m nuo rabgw fo! 1» bfomio rno promms i i W ” * - * * m ob®*iflio.1T on nos lo b p o s g n KM j o6raoiar.ii tnT O njibm m iiih iiib i utlonio iitr.rn.|ibtUT r a fatp botbi- nr o n n » s ob u*m m uobis baou-, ^ 0 0 ntes iHunra ootoo bnobiflio

i miifniiu* ffftfanij 5 ftibb.iniB ini“ Tnuinitv. Stni-, , " tk.srssrzŜ ^

nt tiara tuGma gnuui tix tOrfnaut

M

P" gntauifm m rimnfothme Mm inamnui Brmui fibt n^idii

A ttSaiofcn 6mdo*i imuh Im ; n ocmBon luiu u? 6$ratt

main fe jBratu r nyim in mnlpnhi •mncdn:«mm ngnarr i tnm I . FBuonyna.frm njipTumiufaoiBini gram m mm Duo iritptBnaB iiqumB>;i copiota ujuiuniftmmmt. 15 ujnfttmu bttu atnrnfiie omlomrii mit rgiyn: i ura

ffurtuiftpoftmtK^eHoloatmrpb.— nrnunmaoiH

Itambii” tonungt^uuHPTtham uhj:

tuo r pmtomnto a lam dug i fu{m _ R tmomk uulntun mtn. f t roiupn hmDir nmutro ratmtue in tm n ryi pn:i arnptt [prim tmt ryma. f t ton utmt irnnutbUB prfta; ytuBit cgiptii m «mdlmo i fjnram4mo i mno aii no t afctnOu aBalrtin altmSii ihrra faltroielmtnmOmi gram, ftmnai mbudt6tanour hi funbt.ti acttpu a la n «mrm i KmMabiu luuume ouiuttGi uafa nuo i mnrfam jpofi

t fftmtu tottnui trrttrtaB * ***# g 2 * o f lisn n i n u n 'l l

I®” _-rannillf mildIHOR

# # "-TLw.xioantn anme oots i lib,iron.i i holuL i nununo la aum TufluT toromio i nmamin tuiu aummi oD mfant muplt aaionruatnsiiw ow u .......Otnlqi a e ib u b a r.n a itn n n io a toonbia euotstr i no lanupn flu a an ro in m im a m lia u o iM ia n ie nw W anoorafl Almtiosuoii o;M o la rsaflio t i f c a n o a o a t r a in

conmiuKoia.fiemreMnCi.iOnuata amp n

rtuuiKoa otrulroo quoo um m it: dfgar^rs (nMaoo otmub ubto. rau lu.i "fc hra oOto boraimi; * lonnuu ifl,—* 6 ™ iuf art*uts Bint Dio *t

M eraO u ® boon bttu*ton*J*iOJJ JS»!5«» lUtaotbuo

FIGURE II. REPRODUCTION OF THE 42-LINE GUTENBERG BIBLE IN THE COLLECTION OF THE HUNTINGTON

LIBRARY, SAN MARINO, CALIFORNIA 8

proceeding on an undertaking of such magnitude, printing two pages at a time and only 42—lines to the page, it was necessary for Gutenberg to do other smaller pieces of printing to finance his major enterprise. This accounts for the

8\ Great Books Th Great Editions. The^untineton Library.---

7

lapse of seventeen years between the time of the invention of movable type and the completion of the Bible. The first piece of dated printing was the astronomical calendar for l M + 8 .

At first printing met with opposition from the rubricators, and also because of the prejudices and superstitions of some of the people. But after the first opposition, the art of printing spread rapidly throughout the then known world. It arrived in Italy in 14-64, England in 1472, Mexico City in 1536, and was introduced into the colonies by Stephen Daye in 1639.

FIGURE III. FRANKLIN, THE PRINTER BY CHARLES E. MILLE?

9. Polk, Ralph W. Elementary Platen Presswork. Frontispiece.

; ; Although several printers had eome and gone before : Ben3amin^: franklih;was ..born'' in ):%yo6:r lie: 'Is considered today : as the- patron saint of" American printerso ' Besides his many'' aohi evemehts' in t p ublle % Ilf e ̂ . #razdclln; did. mheh to inspire printers throughout the colonies and to put the Industry on an improved basis0 ■ Two of his most noteworthy publishing ventures were the Pennsylvania'Gazettenow W e Saturday - . Evening Post0 and Poor Bichard ̂s Almanac0 Although;he right- ' fully eould have Signed himself scientists, author9 .philosopher or sta,tesman9 he preferred to sign himself Benjamin Franklin^; Printero Probably one of the most widely quoted epitaphs ever written was that written by Franklins

; ■:v' : T h e ' E o d y "■ - ■; - y

. ■ Benjamin Franklin p .;" "' ; Printer -

(like the cover of an old book9 ';■ .. if'-; ■': ; itSf contents'torn out; f ■■

,: and stript of its letterihg and gilding9), : : ; lies here5, food for worms? , ; _f ;;

' . But th# #ork shall not be lost g ; ,;• " r For - if Mil" Cas;he believed) '.appear onceX:more3 -

in a new and more elegant edition; ,Revised and corrected- •

t f' -1"'." hy 10 . ■ -m eTJntil • the past century printing - was still expensive

and limited to the rich and middle classes9 but with the development of light speed presses and the Fourdrinier paper- making machine 9 the stage was set for printing which wotild be within the reach of every per son,--save for one drawback 3 and

10o Franklin5 Benjamin^ . Printer9 p= 237=

that9 the cost of /the slow' and laborious process of setting type by hando This problem was solved in l88o by a Baltimore watchmaker s who seeing printers working long hours In poorly lighted and ventilated composing.rooms3 made the observation „ that there.must be a more efficient way.of setting types The result --was /the first. successful linotype machine which he completed in. 188^0 is a result, of. the combination of these printing improvements through the century 9 it is now possible at comparativeiy low prices ;to record scientific. and informational materials for- educational "purposes Business has pfinted materials neverbefore dreamed of to facilitate its workings« and where the average home had but f ew. books and usually one publication9 - now every home has access to many books and numerous peridoieals»

' '̂ Blest Invention, to God alone the praise I for gifting man this; noble art to raise'! ■ ' .

. ■ The want of the© kept arts.and commerce low,: Without thy aid9 how little could we know?

Thou art the means by which we gain redress 3 • Our nation's bulwark is the Printing Press."/ ' f ■ i :'/ do Johnson, l8l8o -

.Place in the 'Bchodl Curriculum '/;//• : . :"The glory and power of printing is not all

in the paste Its influence in the present makes it a powerful eonservator of human progress0/ It is the handmaiden of all the arts and industries, and a most effective worker in the world9 s work- . "shop, to polish and refine the civilization of

/ the ageo" :" ;/: v." '■ f :;■ Carlyle -. The place of the Industrial arts program in the secondary schools is already well known0 The fact that the

10

graphic arts Is one of the four major divisions of the industrial arts field, automatically establishes its place'>in the- curr^ 0 Therefore,; little time and-space, need \ be taken here to restate this all•=• too-well-=known facto . ; i . It is interesting to note that some authorities even : go so far as to;advocate-that it be raised from ah elective to the status of/a required academic, subjects \ .•

. i "Printing Education should be a basic - ■ "academic Subject for every junior : and senior ' .;v: ̂

■ high school, studento Hot for purely exploratory h or guidance reasons', nor because every student

: ( is n potential, printing ’ craftsman,; but because ■■ ‘ the student$s success or failure, the ,extent of • \ 'his culture, learning and the range of knowledge,

; depend upon the facts and theories recorded upon the printed page. - Printing and education are twins."il;, - ■; ■:- ' ■ ; b ', .;. : :The importance of the printing and publishing industry

,is seen when we note that g ■ . ;.■ ■ : "On the comparison of number of establish™

- ments in manufacturing industries, 19.25 to. 1936 r . inclusive, it is shorn that printing and publish- •

r ■ : ing stands f irst In three of the six years coa=. sldered and second in the other three years.U'L.These facts were taken from the Rational Gensus of

.Manufacturers of 1939 published In 194-0, and includedfen of the nation8 s; leading industrieso; This report alsoshows thaf the printing, publishing and allied induetries■stand first in the number of salaried employees, and that /

11 o Ormsbee, Arthur E. "Printing: Education Should be aBasic Academic Subiect."-.'Graphic Arts, the Foundation of a Liberal Education. 1945°

12o Wake, Selmer 0. Training.Program for the Graphic Arts : Industry, p. 29. .■ V;

11

for mnsry vaalarlel :employ.ee:; there ' are 2*6 wage earners.v . “The 19^0 directory issue of the Hatlonal ,v; : ;;; Graphic Arts. Educational Association lists more .. - • / ;: , :thm^ of printing and 2.,} 500 schools t ' : ■ thaving iepartqients of printing -It might be well here to restate the summary, of

ob|ectlyes;'set forth by the ̂ American Vocational Associations^ . ./ I. To develop in each■ pupil an active interest in ■ . .

:■ ' industrial -life and in the methods of production- . " i'- . Pv'. a M distribution or - - "tv- -f,: - :;:-v" i; ';t:: .>: 20 ' To develop in each pupil the ability to select 1'

. wisely ? care f or 9 and use; properly the things he it:' ; ;.;:-'x';:;btys:or useSovtt;'' t . . t ' t l - - ■■ : . t ; - 1 \ r ' : t ; '

- 3o. lo develop in each'pupil an appreciation of good t - ;r workmanship and good- desigHo - v ’ r‘ 'il 1

4o . To develop in each pupil au attitude of pride or v ,/ interest in his-ability to do useful things. .5o To develop in each - pupil a f eeling of self-reliance : : and .confidence in his ability to deal with people .

. ; ; .and to care'- for -himself " in an unusual or unfamiliar' -■ ■ p " - t ; . ; . : : ■ ' t - :i ;

To develop in each. pupil the habit of self-pi " : . ::t;_.; discipline -which r equires One to do a thing when

: : if Should be doneg whether It Is a pleasant task .. :■ 'i : Or noti ' .. V .; ./v;:: / v7 - To develop in each pupil the habit of an orderly ' - ;: > method of: procedure in the performance of any

t / . : - - - \ t a s k . , "

>8-o To develop in each pupil the habit pf careful, '- yip\. - thoughtful work without loitering, or wasting, time

i':';;- ' (industry)o , t , V.- " " - ' - wi v. - .

131 Wake? Belmer do ono clto .. : : : . \ :■ 14o “Standards of Attainment in Industrial Arts Teaching

American Vocational A-ssociatiph,' industrial Arts / - Sections ■.1931i-? p«: 12» " fp .

,12:

; - To develop in. each pupil an ■attitude' of readiness "v . v — '■ to assist -other s. when they heed - help, and to: join v in. group undertakings (cooperation) =, . I’. ■;10o To develop in each pupil a thoughtful attitude in

the matt eh of making things easy and pleasant. foro t h e r s : ^ - . ! ' ^ ; : ,: „' ■ ' : - - ' " ' - , ^

.. lio : To; develop' in each pupil; a knowledge and understand- ing of mechanical drawing g the interpretation of the convehtidhS in' drawings and working diagrams^ ■■

' . ; and the. ahility to express his Ideas hy means of : ’' h drawingl't:: ■' -; ; i; ■ -. . . I12o' To develop in each pupil elementary skills in the

• use of the more common tools and machines in ; .; modifying and handling materials ? and an under- , : standing of some of the more common epnstruetiOn

■ ' ; problems = - ; , ' ' ■■: - . , 1 : : i'

•industrial a.rts basis for secondary schools may be divided

(3): Vocational o'; i: - : ' ■ ; ;; - '■.:/'' Genef al Educational s It is of general educationai value

■becausea; ; ■; I ’ ' i : ' ' "w-;; ,; ■' •• '■/-1lo- it deals with an art which the average student

; . daily associates with in the form of books ? magazines 9 -newspapers % and various printed materials ?

• and yet is one of the arts which he knows the least : abouto •■ 2 o Its historieal background is the story of the

' development of universal knowledge. ;•

;*rI have cohsidered that; among artisans good apprentice; good citizenso"

Franklin. .The aims - of a graphic arts course as set up on an

Aims pf the Course

into/three general divisions^ - but these in turn may be broken down further into many; minor objectives o These divisions ares ' Cl)- General educational8 (2) Avocational9

13

The Seven Cardinal Aims of Secondary EducationAs Attained Through The Industrial Arts—Graphic Arts Laboratory

C A R D I N A L

APPLIED ENGLISH C om position

G ram m ar- Spelling V ocabulary

D E VE L O PS LEADERSHIP

G O O D JU D G M EN T

a n d C H A R A C T E R

APPLIED S O C I A L STU D IE S

History G eo g ra p h y

CivicsAPPLIED

ARITHMETIC a n d

APPLIED S C IE N C E

STIM ULATES AN A LY T ICA L

an d CREATIVE

MENTALITY

S C H O O L NEWSPAPER Reporting

W ritingd i f in g /E S T I M A T I N G

Stock ■ M a k e rea d y Running tim

CREATIVE B I N D I N G \A C T IV ITY

P a m p h le t\ j \rf C o p y

LayoutSILK SC R E E N PROCESS

Industrial Arts

GRAPHIC ARTS LABORATORY

JleaAn fui ̂boina

DEVELOPS Social Industrial

HABITS through

IND U STR IA L P ROJECTS

FINE A N D APPLIED ARTS

D evelops A pprecia tion

for Beauty

H A N D C O M P O S I T I O N

PRESS W O R K H and fe d

I M P O S I T I O N a n d

LOCKUP

VIRK O TYPING

G U I D A N C E V ocational

a n d E ducational P rovides for Individual Differences

STIMULATES LEISURE TIME

ACTIVITIES a n d

H O B B IE S

P R O O F

R E A D I N GSTEREOTYPING PAPER

C U T T I N GD eals

with Information

Therefore has G E N E R A L

IN F O R M A T I O N A V A LU ES

J O U R N A L I S M C o opera tive

H abits Through School

Project School P aper

C O N S U M E R E D U C A T I O N

a n d SAFETY

E D U C A T I O N

y U S E O F LEISURE

This chart is a graphic illustration interpreting the educational and social values of the printing, or graphic arts activity in terms of the Seven Cardinal Aims of Education as adopted by the National Education Association.

The general acceptance of the "Learn by D oing” concept of education represents a trend toward a more practical form of education—which conforms to positive workaday needs to enable youth efficiently to adjust itself to the world in which it must live and work— and lends

additional emphasis to the educational values of the "Seven Cardinal Aims.”

The Graphic Arts activity on the Industrial Arts level is the ideal medium through which the Seven Cardinal Aims of Education may be given real living values.

In the preparation of this chart an attempt has been made to illustrate how and why the Graphic Arts Laboratory serves as the core through which the entire school program is given interest and vitality.

FIGURE IV. PRINTING IS A VITAL FORCE IN THE FIELD OF MODERN EDUCATION

I?. Graphic Arts, the Foundation of a Liberal Education, op cit., p. 9.

; 3»̂ ,Zts value 'in the consumer educational field will beof value to every student throughout life as there are none who .will not be potential buyers t:-

V and users of graphic arts materials „ w . - . ’ho ■ Graphic arts ? being a basic communicative art9 is :

a basic, element-in all the arts and sciences 0 \ ;<A : It :1s o f yalu for its ;self-ezplor atony values „' Figure IV- graphically illustrates, how the graphic .‘arts

program meets the objectives of;secondary.educationpAlthough the author has used the term “Seven Cardinal Aims

: of Secondary Education*8 instead of the proper term “MainF Objectives- of^ chart will be usedhere because of its clarity and illustrative value0

Avocatlohalg ' in these-days of increasing leisure timeit is becoming even more.imperative that the public schoolsdevelop desirable avoeational activitieso

A well-rounded - course in the graphic arts field maylead to the following avoeatiohal activities§.

l o Book and magazine binding» . i ; ;•; 20 Personalized Christmas, and greeting cards

Vocational8lo : Voc&tioiial guidance stiduM be negative we well as

pbsitive. How much b for a studelit to spendone honf d day for a school year to find that he

• . 8 does not wish, to be a printer 9 or that hd is hot '. suited to be a printer^ than to Spend six months

or a year of his life in industry to find out the ' .same thing-»■ : „ .v.; - ■ ;20 It is important9 once a student has found out he

wishes to enter the ■graphic arts field9'that he eisplore further and find out which one of the

' . twenty-four specialized divisions he is best ; suited to enter =, ■:

3o Once he has decided on the, branch in which he ■■ “; wishes to specialize9 then it is important that he

. : take as much work in that field "as possible andalso be guided into those r elated eourses which will give him the widest training» . \

Surrey of Materials in the Field: ^Lo I vhere; the form and figures of) the - press '.

- Moat "lively object to thine eye 9The worth whereof no tongue can well express—

it doth3 and works so 'readily§ •• ■ ■• • ) ’ f or which lef’s give unto the Lord "all praise "

' That thus hath blessed mss in these latter days01; /;) Peter Dor bell ? 1^-3«

- " Before proceeding with the ̂ analysis and organisation of lessons dealing with the effective teaching and learning Of printing9 It will be profitable to examine and - evaluate various'textbooks$ teaching aids9 and learning materials, prepared for. use -in this fieldo ' Obviously^ if satisfactory ) textbooks and. workbooks' are available 5 there would be little value 'in attempting to formulate and develop lessons of one8 s ornio The most promising' materials in this field are briefly summarized and evaluated, in thepages: which follow, ;

Professional Training 'Program for the Graphic Arts ;. : Selaef 0* ; Wateev i9^?s ■. A survey of - 500.'.West Cos.st. .

showed a definite, need for - a:college pro=. gram to train men for executive and managerial positions in;; the/ printing industry 3 and a wider.. training in - the graphic arts field;-6b.'the secondary' school level from which to pi ole future executiveso The Printing Industries of America'in a _ survey of the industry found that there is an immediate . ' shortage'of 30 3 GOG workers amongits member ship 0 ; /' t vs-';

. ■ A Manual of StyleQ Pniversity of Chicago Press ?'reylsed 1946 g ' A manual containing typo graphical rules and styles - governing the publications of the University of Chicago« A reference book which should be in the library Of all graphic; arts, departments, 'and . journalistic classes , •

' Junior Printingo Clifford: Ko lushQ.' 1941 g . A well ; -Illustrated work;, bookbut one which does hot- give; sufficient information to permit the student to carry out the project assigned, fhe author e onstantly - ref ers the student to : material, in other texts, to- secure' information to complete his

:•' v' ’ His. text like • many ' others: is. of work book type0 , Space is left at the end of each chapter, for the student -to write in answers, to questions given. At the end of the book an appendix is added: in which the student is to 'paste proofs of his workg but in the binding of the book no allowance has :been hiade f or the: extra bulk - of this material 0 As; in

most work books c, this one - has no r e s a S e ' - ' - - ; ̂ ■ : ;-; v'{ 2 M Book 3 Douglas .E0' McMugtayio 0.revig©d l # l s Probably; ' ; the most, authentic and complete history of printing and book- making witfen0 M: indispensable -ref^bnce’:book .for :: -- '. graphic arts> librarŷ .: .. ’;> r v - . ; ■ /x .

; fhe Graphic ArfSo Johnson and Hewklrkq 1942g ; This book. is intended to Introduce .the- student' to the. 'graphic arts field :- and; shows many possibSlities/within; this field 0 It is well .- illustfated and gIves a bird8 s. eye view of some twelye to ■ fift.een;divisions of the graphic arts fields • /;/

This book would have been usable in a course which surveys the industrial arts fields, had not the authors attempted to make a work book out of it by inserting a little: instructional information and a few projects in each divisiono : In many cases enough information has not been given to make the projects of value in a regular shop} course» •;}. - - General Printings Cleetbh and; Pitkin, 1941g This book -

is well written and would make a f ine text - book for any shop of. high school level or higher» ; One of the two columns of each page is taken up with photographic Illustrations of the . various processes which .-are being explained0 . The one short =' ■ coming of this book Is that It leaves up to the instructor the task of finding suitable projects for the student3 so he may . ' apply the Information giveno ;;

Printing— 11ementary Compositionq Cleveland Public . Schoolso Clevelands Ohio, 1940: The material covered by this

one year eoiirse is about the same as covered in this thesis, but the information is not complete enough to prepare the student to carry out the projeets successfully0

Printing Types. Daniel Berkeley UpdikeQ 1917: The eomplete history of the development of type faces from the invention .of printing to the publication of these volumes0 These would make fine reference books for any graphic arts . library i, .

Printing Syllabus. Board of Educationa RochesterQ lew York, 1917g Outlines a four year printing course for the high schools of that city, ;

The investigator does not feel that the outline for their first year course is sufficiently broad and inclusive,,

300 Hour Course in Printinga Jay Bo Rudolph. 1930g This course was written as a basis of instruction for industrial arts students who were preparing to become printing instructors. This was used for years at Oswego State Formal and Training School ? Oswego j Few Yorko

The Practice of Presswork. Craig R0 SPicher„ revised.19291 A technical book on various types of press work. Good as a reference book for industrial arts libraries or as an instfuotion manual in advanced vocational presswork.classes. ,

I-T-Uo Lessons in Printing. Issued by the International Typographical Union. 1929§ Consists of a series of lessons which all union apprentices are required to complete during a six-year apprenticeship training period. These lessons are

: probably the most complete course which exists on'printing• ; :

Composition and PressworkArthur Ja Mansfield Q 1929s .Written'as an aid to apprentices in the trade:orin schools draining students -for the, trade; this book considers each ■ proleet as a practical joband gives the shop practice ■; - iconnected with each lobo it/ is a valuable reference book for any apprentice working in.the trade or for students in , vocational training courses> i I i . .

Junior High School Printing, Randolph Earck9 192-8 g . This work' book was ̂designed for Junior High School exploratory oourseSo It consists /of f orty■=nihe assignments0:':The book ' • could be purchased up until the past several year So One of the 8horb=comings- of this. book is that it provides pages in the book to insert proofs of theworkset in type and ' also pages to oomplete answers; as a result the book has no resale value0 it does provide the student with a l \ complete notebooks o f the year8 s work 0 ' But this can also be accomplished in the way suggested in this investigation r V under the heading Method of Treatment0 It was also found that sufficient Information to make the-processes and pro- ;lects clear was not giveno Exampleg In the explanation of the rules for setting poetry oniy three styles of poetry indentations .were given and the various rules explaining

20

the use of indentations were given in less then one hundred words. Typographic rules were given on.one page and •violated on the next page3 and in the eighteen years this hook was on sale? the book was not revised or brought up- to-date*

■ Ike Practice of Printing„ 1926„ Elementary Platen Presswork, 1911* and Elementary Printing IJob Sheets , 1928=- Ralph Wo Polk: These three books are probably the mostpopular student printing textbooks published to date? outside the I„Tobo textbooksj and have been the most widely used texts in schools since their publicationo

The Practice of Printing and; Elementary Platen Press- Work cover the composition^ imposition, presswork and bindery fields on the technical high or vocational school level and they make fine supplemental references on the industrial arts level0

The Elementary Printing Job Sheets are written as a work book to go along with The Practice of Printing., The student reads the assignment in this text then answers the questions| does the work assignment ? and puts the proof in the work book, ■ ' -

Instruction Manual for Young Printers, Selrddge and Witt? 1926: This book is not properly organized forstudent use. Twelve type setting tests are listed in the front of the book. These tests are supposed to cover fifty operation lessons and twelve informational subjepts

21

developed later in the book. The operations do not provide any practical exercises9 but are purely informational, and the texts do not go from one level of difficulty to another, and frequently omit essential instructional Information,

Beniamin Franklin, Printer, John Clyde Oswald, 1917s The life history of Benjamin Franklin deals primarily with his activities as a printer= A splendid reference book for any graphic arts library.

Practical Typography, George E, McClellan, 191.1s This - book constitutes a good manual for styles of composition^ but that is all the book contains,

The American Handbook of Printing, Edmund G, Press, 1907s Probably one of the earliest textbooks published for printing education. At the time a very thorough treatise on the printing industry, A fine reference book for school shops, . ;

After examining these materials the.following general statements seen to be justified, .

1, At the present there is no process-project work . book on the market which meets the needs of the particular setup of the graphic arts department of the Tucson Senior High School3 Tucson? Arizona,

2, Gne of the primary causes for fhe lack of .popularity of the work books is the f act that they are so constructed that they are usable but once, -

3, In many texts the information is inadequate to serve the purpose for which the book was written,

b0 A number of the better books are written on thevocational school or apprenticeship training level.

22

■ Statement of the ProblemThe experience, of the Investigator and that of other

teachers in the.field of printing indicate clearly the need for functional-.materials for both the teacher and .the pupil Good materials are especially necessary for the pupilo

The problem of this study is to apalyze the processes and projects of graphic arts into their increasing degrees of difficulty and to develop a s eries of process and. .project sheets suitable for a one year course in graphic arts on the high school level*

Limitation of the Problem Due to the fact that there are twenty-four fields of

the.graphic arts? this study will be limited to these four basic divisionss

I* Hand composition 20 Imposition .

d. 3* PressworkBindery ' -

CHAPTER II

PROCEDUREOrganization

!eHow much" knowl edg e would survlve the discovery9 if it were not for our art of printingl’ Knowledge is the Chief asset Of ClvillzatlOho It Is'in our keepingo" You are the torch bearers; Eift up your heads $0 Printers Is4 Henry Eewis Bullen5 1928«In selecting the subject matter to be used for the

process and pro ject sheets3 the investigator will: choosethe information which has appeared most frequently in thevarious textbooks 3 and will add those things which fifteenyears of teaching have indicated as being essentiala

The next step will be to construct sufficient processand project sheets3 arranged in order of difficultys totake the student through a one-year' course as designatedIn the Limitation of the Probleme The process, and projectsheets will be written in separate units 3 as designated inChapter I! in the Analysis 0

The process and project sheets have been administeredto the first year graphic arts students of Tucson SeniorHigh Schoolo The results were carefully'checked and theparts which were not clear to the students were rewrittenand checked until desirable results were attainedo

At this time I wish to express my appreciatioh toHarry Ao Cold stein and Herman A0 Klenckn, both of the graphic

arts department of Tucson Senior High School« for their ■ helpful suggestions and assistance in administering and checking many of these process and project sheets in their class ©So .

' h-::;:':-.:yAnalysiS : ' "■' “The doors of wisdom are never shut." •

- ■ _ ■ FranklinProcess Analysis § So that we may know the order in

which the processes for the general divisions of printing should he taught 9 it is one of the problems of this thesis to evaluate the processes and projects and list them in the order of their difficulty, so that the work sheets may be constructed in that order0

As process learning is active,, the processes will bestated in the active form => The processes will also begiven a key letter and a numbero Thus it will be possiblefor the student to refer to the list of numbers under eachproject to ascertain the processes required and the orderin which they should be performed0 The following key letterswill be used for the four divisions.

Composition „ . » * . o G-=l 9 C-2, etcoImposition..» 0 = . . » Î l, X̂ 2, etc0Presswork = «' . , , . .. P—ly P=2j etc® ■Bindery o „ . . « = = B=1, B=2, etc0

25

C- 5s Learning the printer1s system of - measurement e

C=* 66 X^arnlng the spacing ' system®7s Distinguishing difficult characters.

C~ 8s Learning to reaS type®€- 98 Learning the use of leads and slugsG=10s Classifying type faces®C=-ll8 Spacing and justifying lines®0-128 Lying type forms®0-13s Taking proofs® .

. e-lM-8 Proofreading® ̂ 0-15s Making corrections®

0-168 Distributing type and type forms®0-17% Setting punctuation marks? Part I®0-18s Setting punctuation marks? Part II®0-19 s Justifying full lines®0-20: Spacing optical Illusions®0-21s Setting and spacing capitals®0-22s Setting Indentations ®0-238 Setting hanging indentations®

. 0-24-8 Setting diagonal indentations ®0-258 Setting squared Indentations®0-26g Setting half-diamond indentations®0-278 Setting poetry. Indentations ®0-28s Letter spacing® '0-298 Piecing leads and other spacing materials®0-308 Lining leaders with figures®0-318 Lining loman numerals®0-32s Setting multiple justifications®

Imposition8 ,1- Is Spacing out a form®I- 2s Locking up a form®

PressworksP- Is Putting the job on the press® .P- 28 deeding the press®

Bindery: ■ ■ - " . : 1 v, v : B- 1: Gutting stock® ' - •

B- 2g Oaring for printed stock® -B- 38 Padding printed stock®.B- 4s Oase making processes®

Project Analysiss The next step will be to compile alist.of the most widely used printing projects? beginning

26

with the; one which requires the smallest number of and the most simpie processes and progressing through to.the more difficult.

Under each project will be listed the process numbers which will be required to complete the project successfully. As the project increases in difficulty9 new process numbers will be added. And as soon as a student has completed enough projects so that the basic processes have become automatic? these numbers will be dropped from the project* but it is assumed that all projects will require these basic processes. - . • '

Prelects. and the processes required for completion.1. imprinting n Book Plate.

0-1 through G®20.. ■ 1^1 an d M . /

P=1 and P=2. : "'■ " d . B=2 " ■■ ; : , \ ■ ■■ - .2. Imprinting Christmas Gards.

0=1 through G=20.1=1 • and 1=2.P-l and P~2. - ■

■ " : : ■ B=2 : v ' - : ■3. Printing a Personal Card.

0=1 through 0=20.1=1 and 1-2. .P—1 and P—2

:■ . ■

: h0 Making a Memorandum Pad. . .; C—1 through 0=20

■ - ' 1=1 and 1=2. ■ /.■ • P-l and P-2 '

B-l* B-2* and .B=3o

27

% Making a Telephone i%d0.- G=>1 through 022 ' O ! and 0 2 „ 'P~1 .and P-2.B-l ' through B-3V

o. Printing Personal Stationery«, Oil through 026=1-1 and 02 =P-l and P-2.B-l and 1E2 =.

7o. Printing Personal Envelopes = O i l through G-26,1—1 and 1—2 = -P-l and P-2=■ -B-l and B-2= ,

8 o Making a lote-hook Cover =B-l, B-3, and 04.=

9« Making a Snapshot Album0 B-l, B-3, and B-4,

10 = Printing a Party Invitation, 017 through 0-22 =1-1 and 02 =

"; : --i P-l' and P-2 . ;B-1,:: B-2r,̂. .

CHAPTER III

PROCESS AHD PROJECT SHEETS Method of Treatment

- MThe Practice of Typography 9 if it-he followed faithfully^ is hard work— full of detail; full; of petty restrictions5 full of drudgery; and not greatly rewarded as men

' • now count rewardso There are times when weneed to bring to it all the history and art and feeling that we can, to make it bearable=But in the light of history 9 and of artand of knowledge? and of man6 s achievement5 it is as. interesting a work as exists— a broad and humanizing employment which can indeed be followed merely as a trade; but which if perfected into an apts or even broadened in-

" to a profession; will perpetually open new horizons - to our eyes and new opportunities to Our hands«,M . D» Bc Updike»It is a.ssumed that these process and project sheets

do not contain all the information on these subjects; but they do contain the basic materials needed for a comprehensive understanding of these subjects0

It is expected that the instructor will present other information which he may consider desirable; or necessary for-his particular shop or local setup =

These lecture-demonstrations should be given at the beginning of each natural,break in subject matter and should tend to hold the class, within natural groups of subject material

29

demonstration by the ins true to r $ each student may mrk along as fast as his own ability permits. This allowsthe instructor more time, to, work with those who are slower" ; .... : ; ■" : ■ , . V ■ - . . ; ' - ' ■■■■'.. ; : .and need help.

It also does not forget the bright student. As these . students complete the natural group s the instructor should assign further projects which are within the ability of the student and are live projects. These special projects help to keep the students within natural groups. Live projects, are jobs which can be used'by various departments in the school^ such as club membership cards, certificates^ posters, programs 5 office forms 9 etc. Live jobs are advisable where they can be controlled by the instructor arid made to fit into the subject material at hand. This type of selection works particularly well where the shop has advanced courses, the work of which is largely of a production nature =; Then the iris true tor can select such projects from the current jobs as fit the needs of the elementary group, and the remainder can be left for the advanced students.

As shown in the Survey of Materials', in the Field; one of the major objections to the workbook is the fact that it can be used but once. To avoid this difficulty, the process and project sheets are being printed in regular book form with specific assignments given therein. The student is 'requested id make a note-book cover as a -

30

/bindery project and keep in it'leeture notes and graded proofs of eaeh process and projeet assignment. :

Other materials which are furnished the student for his note-book are safety rules for the shop? proof reading marks and method of using them9 proof reading tests? and the method of grading in the shop*

The instructor should set up a chart showing the minimum number of processes and projects required from each student to complete the course. In this way each • student knows exactly that work he has to accomplish in shop from day to day.

The instructor should also keep a chart in his grade book with all the processes and projects for the term listed. As the student hands in the proof sheets or finishes a project9 the grade should be recorded. In this way the teacher can tell at a glance how the students are doing and where each stands with regard to the rest of the class. .

In the attached envelope in the back cover of the book are samples of some Of the lessons which have been printed and administered to the graphic arts classes.

Process: Sheets . - ■: • Printings ' - :V : ■ '. • irIn me all human knowledge dwells § -' The oracle of •oracles)

/ ■ - Past $ pr esent 9 future 5 .1 reveal 9Or in oblivious Silence sealo What I preserve can perish never— - What I forgot Is lost forever.I speak: all languages ? by meThe. deaf may hear3 the blind may see.The dumb converse? the dead of old

31

Communion with the living hold.All lands are one beneath my rule;All nations learners in my school.Men of all ages, everywhere,Become contemporaries there.

James Montgomery, 1771-1851*-.Hand Composition:

C-ls Learning The Parts of TypeType is a rectangular piece of metal with a character

cast in relief on one end. The height of type, that is, the distance from the base or feet on which it stands to the surface or face which prints, is .918 of an inch or approximately eleven-twelfths of an inch.

Type metal is an alloy consisting of 60^ per cent lead.25 per cent antimony. 12 per cent tin, and 2-J- per cent copper. Lead is used as the basic metal because it is fairly cheap and abundant and has a low melting point. The tin and antimony are added to make the metal hard enough to be serviceable. A small quantity of copper is added to increase the durability

Serifof the type.Neck Face^> Counter

SerifShoulderHeight

Paper .918 in. Pin Mark

NickFeet

FIGURE V. PARTS OF TYPE

Groove

32

Figure ? is an illustration of a piece of type showing the different partSo These parts should he memorized?as knowing them will be an aid in setting type,

The raised portion of the type or that part which prints is called the face« The distance between the face and the shoulder? that is:9 the depth to which the metal is cut away9 is called the neck. The part of the type enclosed within the lines of the letter and Cut away to allow the letter to print is called:the countero

The shoulder or the strip cut away at the bottom of the type is fo allow for such letters as f? 19 and p9 those extending above or below the average letters= If it were not for this shoulder 9 the lines of type would run togetherand it would be difficult to read the printing„

The face or printing surface of the type is made up of three parts8 the heavy elements9 called the stems; the light elements 9 called the hairlines % and the serif s whichare the caps or decorators placed at the ends of allunconnected strokes or at the connection of two strokes 0 These serifs vary widely with the style of the type design and gives the greatest individual character to the different type faceso .

Note the light and heavy elements and the various styles of serifs— or lack of serifs— in the following letters,Note how these parts affect the appearance of the type.

33

FlGUEE.lflo HOW ELEMEHTS AID SERIFS AFFECT TYPE STYLES ; ■ - _The feet are the parts oh which the type stands» The ..

-groove is made by the planing tool which removes, -the jet .. that was: left at the time ;the ' type was cast 0 • If' this j et. ■;■;..were not removedpfo. a;'depth greater than the. f eet 9 the type -• would stmid uneven: on; its feet- and woiild not print evenlyQ ;

; Some letters are" kerned„ that is ? part of the type extends over the si

3%

A type case containing all the necessary type of one size and style is called a f o n t he following are the . characters usually f otyad in a font of type / but variations will be found to fit the needs of different designs of types' ; ; ■ .

CapitalsA B C D E F G H I J K L M N O P Q R S T U V W X Y Z

Lower-casea B c d e f g h i ) k 1 m n 0 p q r s t u v w x. y z ‘

Figures$ 1 2 3 4 5 6 7 8 9 0

Punctuation Marks! - ( ) fi H ff fii iE

FIGURE VIIo CHARACTERS IF THE AVERAGE FONT OF TYPEThe most popular case arrangement used today is called

the California job case. This arrangement is shown in Figure VIII. The ease is divided into three parts„ Reading from left to right the first two parts contain the lower*- case or small letters? figures§ punctuation marksg spaces^ quadsj and most of the ligatures which that particular font of type may contain9 . '

The two lower-case sections are not arranged in alphabetical order ? but are so placed that the letters which are. most frequently used are in the most convenient and largest boxes; this arrangement is called the lay of the case. It will be noted that the largest box is given over to the lower-case letter e, and that such letters as q9 x? and k occupy the smaller: boxes o There are 89 boxes in the

35

California job case.The third section contains the upper-case or capital

letters. Because the caps are not used often, they are arranged in alphabetical order with the exception of J and U, which are found at the end of the alphabet. The reason for this is that at the time the type case was planned in Europe, the Latin language was then universally used in printing. This alphabet contained only 24 characters, so when printing was begun in languages having 26 characters, the J and U were added at the end of the alphabet. Such special characters as $, _, ando-, are placedin the extra boxes in the cap section.

ffi all; : ' ke

1 2 3 4 5 6 7 8 $ /E

36

of the California job easeo .The upper ease contained the capitals? small capitals» and such special characters as: might be needed for the particular type of work, being set0 From this setup we derive the present-day commonly used terms lower-case for small letters and upper=-case for capitals, -

With the days of the Gold Rush to the West Coast and . the need for transporting, type across the continent a more compact case was needed so the California job case came into being o With the perfection of the linotype the need for news cases was eliminateds and the popularity of the California job ease has continued to grow, since there is need only for occasional display lines or small jobs to be set by hand.

Many other styles of type cases have been developed for specific kinds of work, A few of them are double case/ triple case3 quarter cases..and furniture case.

Type cases are kept in racks or cabinets«, ordinarily made of wood orvsteel. The average single cabinet holds 2% cases | the double one holds **B, The cabinets are builtto be as nearly dust proof as possible.

All type cases have been made in standard sizes so. that they can be interchanged. The California job ease will hold a weight font (for setting the text or body matter): of 20 pounds of type and five pounds.of spaces and quads, Ajob font weighs- only five pounds and is designed for use

Wien it is necessary to set' only a few lines .'of type from -: ‘ a. caseo v\. v; ' y , y: ';y v:v.": y . 0=3s Setting The Composing -Stick - y.'-/-

A composing stick is;. the ydeyice in which ; the compositor . assembles the individual pieces of type into words and lines0 fhis. tool received Its' name from; the fact that early printers nsedya rathef crmde wooden tray in Which to set typ@o . • : : .

: The Ronse or graduated stick is .a very popular modelc This type Is set by raising' the clamp which loosens the - :..entire. ad justable section called the- kneeQ Place the. knee ' on the mark indicating the desired length of line you wlsho: Before setting the clamp be sure to.see that the rectangular pins and the corresponding holes matchd This keeps the knee from slipping and changing measurer ;

Most sticks; oatt be set only to pica and half=pica - - . x - . (non-par eil). measur es o ' A micrometer . stick is mad©; by Bouse - .: which has a micrometer screw, in the knee allowing it to be set at odd measures down to a quarter of a point = ! y.1 .Th©' Yankee or ungraduated stiek is set bv raising the

clamp or loosening the screw that holds the knee in place0 Place in the stick, a. piece or combination of pieces of, . y. metal 'furniture which gives yon ythe desired length* To yallow for the squeeze2 place a piece of index board at the . end of the furniture.and set the clamp or screw snugly*‘ Ifever use slugs to set an ungraduated stick because their . ■ measure may not be accurate.or they may be burred* If quads

aze, tised: :tQ; seeure the desired lengths do hot use: less than 36=point;. dirt between them may give an .inaccurate measureo Be sure, none of the quads ar© burred0 ' "v

:. Be careful never to drop the ■ sticko. Meyer :, force quads . in .at. the'.end of a line a,nd never set the el amp in place •/without-■first being' sure that .the •pins are. in the holeso . . Any rone of .these three things is likely to spring the stick 'and make. it. inaccurate for future useo Always remember- that. a stick is a precision tool and will not stand.abuseo-

. 0=4-g ' Learning:, the lype Case ■ :""y -. Care must' be taken:! in .-hahdling type cases as ̂.dropping

one will require hours of work in sorting all the letters and placing them in -their'proper plaeesy Spilling; type3 type f orms or cases: is called - piling, i ; ’ . - ,>

Orderliness is one "of the first rules of any print .shop =One can" 'imagine, what • a hopeless task it would be 'to , try to v :'set type from the hundreds of typi cases and thousands of letters if they wer e not kept constantly in order A It is important that .each student, do this | if he does not? it will be. necessary for him- to take, time from his regular project to sort the case so that it is usable., '• In removing a 'type- ease from the cabinet 3 draw the case slowly out, about half way % take hold of each end ' firmlyg and rest the front edge against the hip 0 Now draw the ease completely out of the runs and carry without haste to the bank which h&s been assigned to you0 Host; eases- are.

39

pied by the carelessness and haste of studehts 0 • Stand erectly on both feet in front of the :bank; do not lean on; ̂the case, . f \ V.; ' /V - ' ̂ ' - .-/t;; Begin, by locating the lower-case letters in alphabetical :

order s Pick up each letter ? holding it with the nick away- :' from you.| after looking: at each' phe?' return it to the "case. '-tr. before, picking up anothera Do this by taking small groups •,li' at a timeo After you are able to go through the alphabet with fair rapidity» pick out the letters which come in order as b=c-d-e«f=g, l-m^n-o-p„ and t=u«Vo Hext note that the boxes are so arranged that-a number of the most commonly : used combinations are in the most convenient location9 a°r0l-s. t-h-e^.,m̂ ê n-tg e-dr etco - ;'

Hext locate the various punctuation marks ? numerals? spaces and quadso do over the cap. section noting the letters that start and end each line and any special characters which may be in this sectiono "• -v- :..v: _ "• ; ; :; v; " ' - : -

How that you are fairly familiar with the lay of the eases take the composing stick asslgne to yous ’set it at 18 picas9 and set your name9 street and city, first inlower-case letters and then in caps-o Place the type in the -stick from the left-hand side to the right

taught how to.make the line tight enough ( justified) to print. As you return the type to the cas.es, be sure to place each letter in the proper box so that you will not pi the easeo This will help- you to become familiar with the looks :: and feel of type and is a much more interestinĝ '̂ w of learn® ing the case tha.n having to memorize it before being allowed - ■ to use; iti -; ; ■ ; .i ; ,v'' ' > i: -

‘ G®5s; The Printers8 System of Measurement . : ; /_ Most trades have special systems, of measurement . peculiar to that tradeo This is also true of the printing ; trade?; which has its point and pica system- of measuremento The -point is approximately 1/72 - of an. inchc, ; Tweleve points make a pica, As has already beeh explained most: leads are v 2=poihfs thick and slugs are 6°points thicko i. slug is commonly called a nonpareil (non-per=el8)0 From these divi® sions we are;able to arrive at the following tables; ; 6 . points * 1, ̂ n o n p a r e i l . i': h i . 12 points. :2;1 .pica .' ' ; . -V V-';

' ' . 6 pica ' ;®; 1 Inch'; -; : .. .72 points s i inch - u; -

- ' : 72 picas - 1 fdot ; ; ’/;i:-.v vh ; ' ': ' h : - ;In setting the . type for an -average page9; it requires ;'

hundreds and in many eases thousands of pieces of type*spaces.? and spacing materials = The need for carefuls" 'accurate workmanship if the form is to be locked without - "difficulty.can easily be seeno This is Only mentioned;tobring more forcefully, to the attention;of the student the need;'for learning these printing measurements and applying them to-your .worko. . / ; . ; '': - " l

Although the point Is the smallest unit of measure In the printing. system3 l-point-is not sufficiently small in many .-cases .to Justify, a line^ so the i-poiut spaceg l/lhA-b of - an inch5 was .introduced . to . supplement the. 1-point space - ■ •'already in.use=; fhe.1-point and point:spaces are called - -thin" spaceso, The rules governing the use. of these "thin ' spaces .-will he given -:in 'U later , assignmentB - - ̂ / . . ' V ; -

' The instrment; which,.is . used- t© measure points, and " .,. picas, is called" a 1 ine gauge0 pica gauge3; or pica sticks '.:It usually: has the- measurement in inches on one side and picas and. nonpareils on the other0 Figure XXXII illustrates the. pica gauge and its. usee, ''' ; i .;

As nearly everything in the shop.is measured by the point and pica system^■it is well for. the student to master the system as - early as. possible0 A piece of spacing material . may be j x 20 piCasyia "piece of border is 25. picas longa piece of type is 72 points or will reproduce one inch, tallg a page should be spaced out to 2h x 36 picas,to fit a 30 x h2 pica sheet of. paperc, and a line should be. set 18 picas' long| these are only a few examples of, the many uses to > which the. measurement system'; is puty

0-61 Learning The Spacing System .• ' -hhen a line of type is set Or composed, . space must be -.left between words Just as is done in writing or typing«This is done by inserting between words of groups of figures • a rectangular piece of metal which is less than type high| ;

42

The wider spaces are called quads, and are used for indentations at the beginning of sentences, for larger spaces between sentences, and for spacing out at the ends of lines which do not fill a full paragraph. There are complete setsof spaces for every size of type.

The unit of measure on which the spacing system is builtis a square, or em quad; that is, an em is the square of thebody of any size of type. Thus we see that squares of 12-, 24-, 36-, 48-point type are all em quads as follows;

FIGURE IX. EM QUADS Thus, if we say that any size em contains 100 units, we

have a basis on which to work. The next smaller space is the en quad, which is one-half of an em or 50 units. Anything that contains less than 50 units is classed as a space, and anything 50 units or more is classed as a quad. The spaces are 3-em spaces (3 to make an em or square), containing 33i units; the 4-em space (4-to-the-em), containing 25 units; and the 5-em space, containing 20 units.

In order to save time in filling out lines and in places where other large spaces are needed there are the2-em and 3-ein quads containing two and three squares.

Following are the spaces and quads found in the average cases

43

3-em quad mmm 3 3-em space 1 1/32-em quad ■■ 2 4-em space 1 1/4

em quad ■ 1 5-em space 1 1 /5en quad i 1/2 hair space 1

FIGURE X. SPACES AND QUADSAll the spaces are in the first section of the case,

and all the quads in the second. Keep this in mind, and it will save much time.

The following chart indicates the relationship of the various spaces to the em quad:

f-

50 units En quad

100 units Em quad

5-em space3 3 ! / untis 3-em space 20 units

j 4-em space '

25 units

i

FIGURE XI. RELATIONSHIP OF THE SPACES TO THE EM QUAD

Following is a list of the combinations in widths that can be obtained to space between words and at the end of sentences or paragraphs:

w

5-em4-em3-em

en quad

4-em -|- 3-em . 3-em -j- 3-em -

en quad -j- 4-em

. ........... 1-5 .20............................... Vt .25.................................... i/s ' •33/3... 1-5 + 1-5 .40

1-5 + ' 1-4 .45..........................id .50... 1-5 + 1/3 .53/3. . . . . 1/4 + 1/3 .58/3. . . . 1/3 + 1/3 .66%.... 1/2 + 1-5 .70.... 1/2 + • 1/4 .75

en qaud -|- 3-em .................. :........ Vi Vsen quad + 5-em + 5-em ...... kz.-j- 1-5 + 1-5en quad + 5-em -f- 4-em ............. ...... ^ + 1-5 + 1-4em quad ...................................... .........................................

.83̂.,9 0.95

1.00

In type larger than 12-polnt we find 6=em spaces and smaller divisions of spaces as the.size increases. This is to: enable compositors: to find "space cdm'binations whieh will justify or space out the large sizes of type0 In type larger than. 36~pdint9 only spaces up td' 1=em quads are kept in the case,. Spacing materials for centering and" spacing-- out lines are usually hollow and;are kept in a special caseo Ihey\a.re .called railroad furniturey. ; • ; ;.rr : v ;

fhere are also thin spaces i* and 1 point thick„. In 10-polnt type or smaller these thin spaces' are; used only in letter spacing and; according to the rules for their use; in 12-point or larger type they are used to justify lineso

; Because'of the similarity in the words en and em quad, they have heen given names to avoid confuslono The. en quadis called nut quad, thick or space. They arecalled figur e ' spaces hecaUse in. most fonts the figures are

*+5

the same thickness as the en quad. The em quad is called a mutt quad: but, for the sake of clarity, we will use only the term em quad.

C-7: Distinguishing Difficult CharactersThere are a number of letters which cause the beginner

a great deal of trouble. The most common offenders, which are known as the four demons, are the b, d, &, and £. Other characters that also bother are n, u, 6, 2, 1, %, 1, 0, 0, o,

j.. Figure XIII is an aid in distinghishing those which are puzzling. The first and third rows show how the characters look on the type if they are held with the nick away from you, while the second and fourth rows indicate what the characters are. Whenever you are in doubt as to what a letter is, consult this chart;

u

1 I 0 OFIGURE XIII. AID IN DISTINGUISHING DIFFICULT CHARACTERS

Before you will be permitted to set type it will be necessary for you to be able to distinguish all of these puzzling letters at a glance. In order to do this, take one

46

of each of the letters shown in Figure XIII, hold them inyour hand; practice picking out one at a time and namingthem until you are familiar with them. Be sure to hold the letters with the nick away from you. This is how all type should be read. It is as easy to form correct habits when learning a new process as it is to form incorrect habits.

Ligatures and logotypes fall in the class of characterswhich are difficult to distinghish. Ligatures are two or more connected letters which are cast on one body such as

, and SL . Their use is necessary because one or more letters are kerned and if they are placed side by side the kerns or the top portion of the i, or 1 will be broken. Some fonts of type do not contain ligatures because the letters are so designed that they need not be kerned.

A logotype is two or more letters on the same body not necessarily connected and usually a complete word. Logotypes vary with the type design and the taste of the designer. Following are the logotypes of the more common type families:

5* nc tl] tii1 a;1 ix m fr ft $t ct St

Text Italic Roman

FIGURE XIV. LOGOTYPES FOUND IN VARIOUS TYPE FONTS C-8: Learning To Read Type

In order that you may become both accurate and swift in setting type it is necessary for you to be able to read it in the proper manner. When you first attempt to read type you are very likely to become confused for it is upside down.

Ŷon h a v e a l r e a d y .been instructed always to hold type with ' nick away from you,, ^his is:also true of reading type in a stick or form,s read it upside down, with the nick away from you % and from left to fight» - " . Cj/

Figure; XV shows how a paragraph; looks both in print and when set. in a stick,. Cover up the lower paragraph and : .' practice reading the upper one: just as you w;ould.read type in: a stick, / : - - . , ' ■ : : ' ' A' ■

u jg u n e j, fj jg u n b s ig e q oM n > p .010 je^p.fo j j g p f w jjj pG corae e a a i j j o u o f j.Gtrq f2JDG iu m A apjrei. qo/AJj- / /v p p s jiffjG b ig c ficG f j je x e s q r o g o^ fM)G f p e b ir o p sq b s i e 1 p n f f p e cpsrxsrcfGxs stxg irb s iq e J ^ b e i s xGsrq p o u r j e p f o x ig p f 32 srxe p p e jiijg s o n

T y p e i s r e a d f r o m le f t t o r ig h t a s a r e t h e l in e s o n t h e p r in te d p a g e , b u t t h e c h a r a c te r s a r e u p s id e d o w n . W it h a l i t t l e p r a c t ic e t h e r e a d in g o f ty p e

| w i l l b e c o m e e a s y . D o n o t r e a d ty p e in a n y o th e r } m a n n e r t h a n u p s id e d o w n , fr o m l e f t t o r ig h t .

= .FIGURE X?„ HOW COMPOSED TYPE LOOKS IE ASTICK AM) II' PHHTED FORM: .

0=9% learning The Use of leads and Slugs ' .;leads and slugs are, thin strips of lead used to" increase

the space between lines, The strips- are less :than the height of type- so that they do; not print, leads are made one ̂two? three5 and four points thick. Slugs are:six points or more thick; these are ref erred to -as 6=point or non=pareil slugs ‘ and 12-point or pica slugs. The two widths with which we are at present concerned are the. 2-point leads and the 6-point slugs, - - : : - .-

FIGURE XH, RELATIVE. THICKNESS ' OF LEADS AND SLUGSThese are found in the lead, and slug rack, in the.type

cabinets or in special lead racks' centrally located for the students9 use0 They are cut to labor-saving lengths9 that

- is9 in. lengths comroonly used0 ' In measures from f our to ten - picas' they are cut In half-pica lengths; as well as piea9 and from 10 to picas in lengths« A H racks do not contain lengths up to .50 picaso This depends upon the size of the ■ ■. lead r aeko;' The leads - are generally found on the. left-hand • side and the slugs- on - the f ight-hand s ide of the cabinet. .: Sometimes the racks - are dbuble and .the leads are above the ::SlUgi.9;■ " 'vt. - . t.- ' : \ ̂ try. : : ; : :: -

■ Spacing materials 6-point and pica thick5 cut in labor- .saving ̂ lengths but made of wood s are called. regletSo;: Wood ;■-Is used to, lengthen a. form., where considerable amounts of ' space are 'needed between lines» '" " The act of inserting:' space between lines is called . . .:

leading| this makes the type more legible and takes up more spaceo . When there are no leads used between lines3 It Is ' R said to be set solid0 The following are examples of solid and leaded typeg . :

The highest: triiaute evei1 paid, to the p^intei”0 s :. :;eraft; was expressed .in the words of one of the. . -.' world8s greatest minds5 'Who.yv lh witihg his :ow

epitaph9 put aside his triumphs as scientist9 philosopher» reformerg statesman^ diplomat^ and '

. Leaded ''w.this g - our noble art of Printing 9"’is the

, ; very foster mother of all learning; for although - ''a few had books before John Gntenburg gave us our :. ; ;; :

. art9 not until Printing came could learning^ yea : and Wisdom' also3 knock at every man's door." ■ ■' .'i-'P - p; ̂ ;P\ -Latin of Gardellus« l^ft. ': ' Vpp'- fv 0=10% . Classifying Type Paces -i . :.P '•

fype faces g. like f human faces 9 can be divided into.manydifferent classifica.tionso The most accurate ciass if i cat ionwould be the kind of. serifp or lack of. serif 0. In view of the fact that this method is more complicatedj, it will serve pur purpose. here, to use.the more popular five-division classification: ': Roman5 Italic j. Texf or Black letters Gothic.:orV:Block°ietterf.: and; Script op-' ̂-pi p: /:;v'. ■ t.f : ’ :.’

R o m a n

Italic Me-xl -

"G o t h i c ”

B l O m E ' mp The vast number pf type designs9 modifications of

' . V type faeeSg and .combinations of characteristics of one type division wifhanother 9 sometimes' make It difficult to classify -the type face correctlyc f . v- -;v;. - - ; . y■:v :fext developed lh Northern Europe.as the style for hand- ■ written mams crip t books 0 Thus § when .movable type was fir st ■

: east it was natural that this was: the■ style-used = : Text is -.yy’ widely used .for wedding and formal announcements« In fact it .persistedv for textbook use in Germany -until World'War I, when.’

y,':’.: •the:, large number of Germans with defective eyesight brought - to the attention of the government that this defect was due

- fyto.; the i l l e g i b i l i t y -: f- ; ' y. ; "y " •';■1, y. : ‘In Southern Europe the. Romans had developed a more y| y-.

; :legible form for manuscript.writing adapted from the Greek - . . forra.0 When printing, was infrodue ed in. Italy . the latter part; V

of the I5th centuryc, this was the form in which they cast ~y ' {their typ e c This has - proved toy be the. best fitted for news=

.yy-yy■; paper5 magaziney and book useo- f : ■' y -y . y.:: : \ y . • y -P y the beginning- of the 16th century Italic • type was yy yy. designedc, This consisted of nothing ,more than taking the ’

y Eoman letter and sloping it to conform closer to hand writ- -. -: ing o ̂: Italic type;:combines' Well; with Roman. and is used .for yyy- : Title .he.aclSy; explanatory lines under illustrative material9 ; yy : for definitions in the text of s hook and where.-special y fi -

yy-;emphasls .'is desired^; .yf y y f ' -f .h;.. • .'y 'y.'f -ypi y.'yyy'The block-ietter 9' when introduced into ; this ̂ countrŷ y was

; Gothic .in the type catalogs and is still referred to by that' -. :

51

Fames So we will use that term to apply, to all: .types of tlocB desigab The: Europeaii'name for this style letter is Sans-Serif and is referred to in many textbooks = Gothic is widely used in professional atafionery5 formal business cards s newspaper, headings5 :and display work.

: ' Script dlvision includes those faces which .are patterried after modern handwriting and varies: as widely as does. indi= :: vidual writingb This division of type isused for invitations? .stationery j, name cards and is anv imitation, of-copperplate :. r; engraving* . : y. yv ; vfy/x.; ' :.. ' • / y .■ • Bach of these type divisions has .special- typographic . ■:rules to be followed.in using that particular type*' These rules will be takenup as projects at" the time- each .division :;; of type is discussed.:.'. yy- ' 'y . - y - y ;' . . ' Within each one .of these classifications of type we have y- families of type* A type, family consists of all the various , modif leaf ions and sizes within the same style .design* ': :Although Italic is listed as a - separate, type, classification^ , it resembles Roman type* Consequently the two combine well together. For this reason most families of.ytype include' both Bdman and .Italic 0 Beside the Roman: and Italic- most families of type include a bold^ condensed and outline of y that face of type * Figure XVI If is an example of a family Of typef :y. y y f,-,\y ;'y'. ; ■■ y- :y -f .i' 5 - • . 'yy

Cheltenham O ldstyle

C h e lte n h a m W id e

C h e lte n h a m M e d iu m

Cheltenham Bold

Cheltenham Bold Condensed

Cheltenham Bold Extra Condensed

Cheltenham Bold Ontline

Cheltenham Oldstyle Condensed

C heltenham Ita lic

C h e lte n h a m M e d iu m Ita lic

C h e l te n h a m B o l d I t a l i c

Cheltenham Bold Condensed Italic

Cheltenham Bold Extra Condensed Title

Clfoeltemlham Bold Extended! Cheltenham Esdhralh)0)M

6 8 10 12 14 18 24 30 36

PISTOB Wnx>- Or THE CHELTENHAM FAMILY

A fWliy also consists of vall sizes of type from tfc smallest to the largest size0 The'most'common sizes of type are shown In,Figtire XIX0 The various sizes of • type within afamily are halleh a series

't y

FIGURE XIX, A SERIES OF GARMOHD- TYPE. A family of type enables one to use the same type: design

for an entire poster 3 program or book. This makes: for a pleasing harmony within the entire jobl . •’

53

C-ll: Spacing and Justifying LinesJustification means the spacing out of a line so that

it will fit firmly in the stick. All lines must be equally justified. A line, to be properly justified, should move easily up and down in the stick and yet be tight enough so that when it is tipped slightly forward it will remain in that position without falling over.

FIGURE XX. A JUSTIFIED LINE OF TYPE When setting type always use 3-em spaces between words

unless otherwise stated. If the line does not fill the stick, place spaces and quads at the end of the line to fill. Always place the largest space at the end of the stick and the thinner ones next to the period.

Never force a space into a line as you are apt to spring the stick and throw the other lines out of justification.When placing a space in a line always remove a quad or larger space, then insert the small space and return the quad. This will prevent bending the space.

If a space goes in hard, do not force it, but find a combination of spaces that will make a few points less and still justify the line. For combinations of spaces see the lesson on spaces and quads.

54

For your first assignment take a stick, set it 20 picas long and set your name, number of your type cabinet and group in the following style, so that the first letter comes flush with the beginning and the last letter flush with the end of the line<

pohn Doe, No. 20 Period 4)Show this line to your instructor and after you have his

O.K. set the following exercise, using 3-em spaces between the words and spaces out the end of the line:

The quick brown fox jumps over the lazy dog.The quick brown fox jumps over the lazy dog.Pack my box with five dozen liquor jugs.

Read each line and make any corrections necessary before spacing it out and going to the next line.

The following illustration shows the proper method of holding a stick.

/-j

FIGURE XXI. CORRECT WAY TO HOLD A STICK

55

:V.': - After these lines areset9 tie up the type according to the lesson '’lying Up Type » t! I'hen: take a proof on a proof / s&eet9 mark' the mistakes- according to the marks shorn in the : lesson on “Proofreading =11 ■ Efext c or r eo t:' mi Stake s and take- ■ -/another corrected ipfoOf below the first and submit for a ' mark before going on to the next lessono ' i;; . ;. How read the lesson on distribution and throw all o f .the lesson' lu@ except the first line0' ■:;lhis. line, should be - kept as: it goes /at. the head of every lessoh you set. :

I; ' ;. '' %..' C =12’g- lying' T y p e F o r m s ' , !/- . f-; /. ■'/ 'B e f o r e t a k i n g a ;p r o o f o f -what y o u h a v e s e t ? ' i t is' n e e e s -

. s a r y t o t i e u p t h e t y p e w i t h a s t r i n g t o k e e p i t f r o m b e i n gp l e d w h e n h a n d l i n g s - ' / ’;• / : V ; : ■ /; W i e n t a k i n g a p r o o f t h a t d o e s n o t f i l l t h e s t i e k § it: ,.i s n o t n e c e s s a r y t o r e m o v e t h e ' t y p e t o / a g a l l e y u n l e s s t h e ; \ ;s t i c k d o e s n o t s e t f l a t o n t h e p r o o f / p r e s s . ' % -. /-■ . A g a l l e y i s a t h r e e = s i d e d s h a l l o w ' t r a y . u s e d f o r t a k i n g . . ■p r o o f s a n d s t o r i n g t y p e o .. /■ ; ;;";■/ •;- /,■ i V 'v: ;/■'/

- When removing,;type from..a sticky remove, the knee, place ■ the tray on the galley and slide the type oute Do not attempt tp lift/type when not .necessary; always place- it in the left-/;, hand side of the closed end with the nicks toward the open : end...: lever leave loose type on a galleyf always ~ tie -up- all : forms o' Great care must be used in handling loose type. ; ■ /

; A ' string ' 2h to. 36. inches: long is; generally sufficlent; 'length to tie the ordinary type that can be set in/a stick.

56

Every form should have at least four or five complete wraps of the string. After you have tied a few forms you will be able to judge the necessary length.

FIGURE XXII. HOW TO TIE UP A TYPE FORM Take one end of the string in the left hand, lap an

inch around the upper left-hand corner and wind it around the type clockwise. Each layer of string should be lapped by the one following so that it binds the previous lap fast. Continue to hold the type and the stick with one hand and wind with the other so that it will not pi the type. At each corner draw the string tight so that it will hold the type firmly. Tuck the end of the string with a rule and draw the loop tight. Do not tie a knot.

FIGURE XXIII. HOW TO FASTEN THE END OF THE STRING

n

C~13s. Taking Proofs; :The act of sectoring a printed copj of a type form is

; called. .po.lllng a proof a and the oopv itself Is called a proof ° .;11j is 1 necesaary: lo:Jsecnre: a 'dear g clean proof |. a ■ poormessy proof will not permit, the person reading the copy, to detect all the erf or s: and: damaged type. The person \readihg L#.e' coP^ 'is called: a . proofreader o ■..';' - ■': / : ' After the type Is tieds place thestick or the galley ■:-On1 the ;;pfdpf ::press: nith. the' open end toward - the :roiler 0 , The. roller with whihh the ink is applied ■ to the type form is ::: .■ ;called a proof roller or . braver. „ ’, pt : t■ . : ::-.€heck: theiform, to -see1 that: no ■typê o extend abovethe. level: • of the ̂ type f aee9'; that: the; type is, 'on its f eet 9 .and. that the end of the string is not under the form.. .Most- . :■ presses have a proof press . plate which Is used when taking proofs of :forms- or .cuts which are.not already ::on a galley. ■ •If this plate is not removed and a stick or galley is placed on top of it3 the additional height will raise the face higher than type high, with the result that when the roller is run Oyer thê type- it will batter, the surface and damage the ::f ’; packing on the press= If the roller does not pass freely ' over the type form3 do not force it but back it off and check to. find out what the trouble is. . : . .' t: ■ :

. " Run the brayer over the ink plate several times to secure an even amount of ink; then run it over the type several times to cover' the entire;' surf ace. khen inking the: f orm? be

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sure- to hold the brayer in such a position that the lugs do not scrape the -face of the, type. Use a light9 even pressure

. when inlcing the form3 a.s heavy pressure will cause the ink to pile ;up heavier and to print blacker on o ne sid.'© while : it will be wiped off and give a lighter print on the other side, Sow place the proof sheet .squarely on the type § do not move after: it: touches the typeo because it:..will blur the. proof, .- She head of:the proof sheet .should be. toward the; head of the :type, the roller over the type for your proof. Do notdouble-roll a: proof or allow it to drag or slide along the -:

. surface-of the -type:| this-will also, blur the proof y;-;: 1 . lake a. small rag; be. sure it is. free of hut tons, snaps , or other metal objects which might scratch the type. Fold it into a ball in order to do away with the loose ends.Dampen with a small .amount of cleaning fluid and wipe the.. type form toward the: solid :-corn#rs of the.: galley. Shake out , the cloth and wipe the type, again with a part of the cloth ’ that. la: not: damp with cleaning fluid, y; In - excessive- yamounh of cleaning fluid on the cloth will 'leave a film or oily ’ ::• surface on the face of the types this will prevent you from securing a clean proof the next time the type is used,

:y C-l̂ -s Proofreading .̂ : -.- P:-: y'-yy,yy; After the'type -has; been set and aprooftakenf the next '

step is to read the proof to mark, the mistakes and : to make y the necessary corrections. For this .purposey printers' have : adopted a set of standard proof marks £ although these vary

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slightly in different localities o The ability to read proof - in a vorkman-like manner will be:of value through life0 ' -: • ̂

■ Using the marks shown' in- Figure- XXIV indicate the errors. • found in the copy. Use a medlum^hard lead pencil so that it .' - ;will not smear the proof and make it difficult: to read. Tf ; :

, V r : ■ bhe error :-is in ■■ the;-f irs# half of; M e line9. place the p r o o f v ; ; :-readin