As far as possible, consistently with pronunciation and good spacing, divide according to meaning and derivation, where known.

un-even, not une-ven, auto-mobile, not automo-bile, en-abled, not ena-bled.

II Divide on a vowel wherever practicable. In case a vowel alone forms a syllable in the middle of a word it should be run into the first line.

busi-ness
sepa-rate
criti-cism
particu-lar
colo-nies
dou-ble
pro-gress
pro-duct
noi-sy
wo-man
pa-tron
me-moir

III When two consonants meet between vowels, and the syllable ends on one consonant, the division may properly be made between the consonants, the pronunciation determining the place of division.

advan-tage
plain-tiff
Wil-liam
exces-sive
scur-rilous
mas-ter
gram-mar
profes-sor
moun-tain

IV When three consonants come together between two vowels the first of which is short, the division comes after the first consonant.

han-dle
chil-dren
frus-trate

V A single consonant between two vowels should be joined to the first vowel, if it is short; if the first vowel is long the consonant goes with the second.

riv-er
ri-val

VI Diphthongs should not be divided.

peo-ple
Cae-sar

VII Words compounded with a prefix should preferably be divided on the prefix.

dis-avow
in-herit
un-concern

VIII The terminations -able, -ible, -tion, -cial, -tive, and -ive should go over to the next line.

read-able
convert-ible
inten-tion
discuss-ion

The termination -sion ordinarily goes over as in

occa-sion
apprehen-sion
cis-sion
declen-sion

Occasionally, however, the strong emphasis needed for the s will call for a different arrangement, as in divis-ion.

IX The terminations -ing, -en, -ed, -er, -est, and the plural -es go over to the next line except when the preceding consonant is doubled, or when they follow c or g soft.

lead-ing
beat-en
larg-er, but
lat-ter
for-cing
ran-ging

X Do not end a line with j or with c or g soft.

pro-cess
ne-cessary
pre-judice
prog-eny

XI Adjectives in ical divide on the i.

physi-cal
inimi-cal

XII In derivatives of words ending in -t, the division follows the accent.

objec-tion, not object-ion, defec-tion, not defect-ion, but respec-tively, not respect-ively and distinc-tion, not distinct-ion.

XIII Never separate c and g from the vowels e, i, and y upon which their soft sound depends.

re-li-gion
ca-pa-ci-ty

XIV Never separate q from u, qu is a single sound.

XV Do not divide nothing.

XVI Do not divide words of four letters.

XVII Do not divide words of five or six letters if it can be avoided. Good spacing, however, must be considered of first importance.

XVIII In wide measures (20 ems or more) do not divide so as to end or begin a line with a syllable of two letters. Here again, however, good spacing is the first consideration.

XIX Do not divide words of two syllables pronounced as one, including past participles of short words.

heaven
power
prayer
beamed
often

XX Avoid additional hyphens in hyphenated words if possible.

object-lesson
fellow-being
poverty-stricken

XXI Do not separate a divisional mark (a), (1) from the matter to which it pertains.

XXII Do not divide an amount stated in figures.

XXIII Do not divide proper names, especially those of persons, if it can be avoided.

XXIV Do not divide initials or such combinations as a.m., B.C.

XXV Do not divide the last word on a page so as to carry a part of it to the next page.

XXVI Do not divide the last word of the last full line of a paragraph.

XXVII More than two divisions in successive lines should be avoided.

XXVIII Never divide at all if you can help it.

IMPORTANCE OF SPACING

It must always be remembered that good spacing is the first consideration. Nothing is more offensive to the eye of a good judge of printing than bad spacing. “Rivers” of white, dark spots, crowded black text, are very serious blemishes to a page. An ordinary book page is a study in color, the colors employed being black and white. Proper combination, balance, and proportion are as important here as in places where a variety of colors is employed. Many of the foregoing rules must be held subject to the exigencies of proper spacing. A rigid adherence, for example, to the rule that not more than two consecutive lines should end with divided words will not justify a badly spaced, unsightly line. There are many things that look worse than a hyphen at the end of the last full line in a paragraph. Avoidance of dividing the last word on a page, however, would justify even bad spacing, because of the gain to the reader. In the last resort, the interests of the reader must always have first consideration.

Division is greatly affected by the length of the measure. A long measure, 18 or 20 ems or more, gives greater opportunity for arranging the spacing, but, on the other hand, makes division on short syllables conspicuous and out of proportion. Very short register, as in two-column Bibles or in cases where illustrations are inserted in the text, presents very great difficulties and often calls for division which would not be allowable elsewhere. Such cases often call for the exercise of the greatest care and ingenuity.

It often happens that the author can be of great assistance to the printer in making a handsome page. A change of a phrase, or even of a word will avoid a difficulty which cannot be avoided by a printer except at the cost of bad division or bad spacing. If the author is a sensible person he will gladly cooperate with the printer in giving his thoughts clothing appropriate to their intrinsic beauty and value. After the printer has exhausted his resources he should not hesitate to carry his troubles to the author.

DIVISION IN LINES OF DISPLAY

As a rule division is never used in lines of display. In these cases the display is the important thing. Every word long enough to be divided is important enough to be displayed and emphasized. Divided words are weakened words. Lines of irregular lengths are used of set purpose.

In title pages words of bold display must never be divided. In minor lines of display, such as subtitles and summaries, words are often divided. A subheading of two lines should never be divided in the first line when it is possible to turn the full word over on to the next line. The shortening of the first line is never a blemish, but a too short second line following a hyphened first line is always a fault.

There is a school of ultra-artistic composition in book titles which affects a solid squaring up and hesitates at no means to secure its effects. It sets a definite measure and forces the lines into it, dividing words arbitrarily and using no hyphen. This is a passing fancy and will pass as eccentricities always pass. It should not be used unless the author insists upon it. The man who pays the bills has a right to have his work done as he pleases. The intelligent printer, however, will not allow the peculiarities of the individual customer to affect his general practice.

Note

The pupil is referred to the appendix to DeVinne's “Correct Composition” for rules for the division of French, German, and Spanish words. The same appendix contains also a very excellent list of words which are spelled differently by different authorities, together with divisions for them.

SUPPLEMENTARY READING

Correct Composition. By Theodore L. DeVinne. Oswald Publishing Co., New York.

The Writer's Desk Book. By William Dana Orcutt. Frederick A. Stokes Co., New York.

A Manual for Writers. By John Matthews Manly and John Arthur Powell. The University of Chicago Press, Chicago.

Worcester's New Pronouncing Spelling Book. The American Book Company, New York.

The Art of Writing and Speaking the English Language: Dictionary of Errors. By Sherwin Cody. The Old Greek Press, Chicago.

(This is one of a series of six very excellent but inexpensive little books bearing the same general title and by the same author. They will be found very useful in connection with Part VI of the Typographic Technical Series generally.)

QUESTIONS

1. Is the spelling of English standardized?

2. How long have we considered correct spelling important?

3. What two causes exist for difficulties in spelling?

4. What are the principal English authorities?

5. What are the principal American authorities?

6. How are these authorities used in printing offices?

7. What are the rights and duties of the author in the matter of spelling?

8. What may be done in matter of “reformed” spelling?

9. What is a safe attitude for the commercial printer toward “reformed” spelling, and why?

10. On what does correct spelling mainly depend?

11. What is the best way to become a good speller?

12. Why is English difficult to pronounce?

13. What is a diphthong?

14. What is a digraph?

15. What are the two sounds each of c, g, de, th, and s? Give examples of each.

16. How many letters are there in the English alphabet and how many sounds do they express?

17. Upon what does correct pronunciation depend?

18. What is a syllable, and of what does it consist?

19. What peculiar use is made of l and n in English?

20. How do we treat the parts of a diphthong or digraph?

21. How do we know whether or not these compounds are diphthongs or digraphs?

22. What about vowel combinations?

23. With what should a syllable not end?

24. With what should a syllable not begin?

25. What is the rule regarding prefixes and suffixes?

26. How do we treat two or three consonants capable of beginning a syllable?

27. How do we treat two or three consonants capable of ending a syllable?

28. How do we treat doubled consonants?

29. What is accent?

30. Do words ever have more than one accent, and why?

31. What are the two general rules for the placing of accent?

32. What did the early printers do when the words did not fit the line, and why?

33. What practice came into use later?

34. What methods of doing this have been devised?

35. What considerations govern practice in this regard?

36. Give two systems of division which have been proposed.

37. What is the general rule for division?

38. What is the rule about vowels?

39. What is the rule about two consonants?

40. What is the rule about three consonants?

41. What should you do with a single consonant between two vowels?

42. How should you treat diphthongs?

43. What is the rule for words compounded with a prefix?

44. What should be done with the terminations -able, -ible, -tion, -cial, -tive, -ive, and -sion?

45. What should be done with the terminations -ing, -en, -ed, -er, and -est, and the plural -es?

46. What letters should not end a line?

47. How are adjectives in ical treated?

48. How are derivatives of words ending in -t treated?

49. What is the special rule about c and g?

50. What is the rule about qu, and why?

51. What is the rule about nothing?

52. What is the rule about words of four letters?

53. How should you treat words of five or six letters?

54. What should be avoided in wide measures?

55. How should you treat words of two syllables pronounced as one?

56. How should hyphenated compounds be treated?

57. What should you do with divisional marks?

58. How should you treat amounts stated in figures?

59. How should you treat proper names?

60. How are initials and similar combinations treated?

61. What is the rule about the last word on a page?

62. What is the rule about the last word of the last full line of a paragraph?

63. What is the rule about divisions in successive lines?

64. What is the rule about division generally?

65. What effect has spacing on deciding about division?

66. What effect has length of measure on division?

67. What can you do when the text presents unusual difficulty as to spacing and division?

68. What is the rule about division in lines of display, and what is the reason for it?

69. What is the usage with regard to division on title pages?

70. What can you say about eccentricities in the author's or customer's ideas about division and lay-out?

As in the other volumes of this Part, the instructor should not content himself with having the student learn the rules. He should give drills in spelling and pronunciation and should give problems in composition involving the application of rules. Constant and prolonged practice is indispensable to proficiency in all these matters.

TYPOGRAPHIC TECHNICAL SERIES
FOR APPRENTICES

The following list of publications, comprising the Typographic Technical Series for Apprentices, has been prepared under the supervision of the Committee on Education of the United Typothetae of America for use in trade classes, in course of printing instruction, and by individuals.

Each publication has been compiled by a competent author or group of authors, and carefully edited, the purpose being to provide the printers of the United States—employers, journeymen, and apprentices—with a comprehensive series of handy and inexpensive compendiums of reliable, up-to-date information upon the various branches and specialties of the printing craft, all arranged in orderly fashion for progressive study.

The publications of the series are of uniform size, 5×8 inches. Their general make-up, in typography, illustrations, etc., has been, as far as practicable, kept in harmony throughout. A brief synopsis of the particular contents and other chief features of each volume will be found under each title in the following list.

Each topic is treated in a concise manner, the aim being to embody in each publication as completely as possible all the rudimentary information and essential facts necessary to an understanding of the subject. Care has been taken to make all statements accurate and clear, with the purpose of bringing essential information within the understanding of beginners in the different fields of study. Wherever practicable, simple and well-defined drawings and illustrations have been used to assist in giving additional clearness to the text.

In order that the pamphlets may be of the greatest possible help for use in trade-school classes and for self-instruction, each title is accompanied by a list of Review Questions covering essential items of the subject matter. A short Glossary of technical terms belonging to the subject or department treated is also added to many of the books.

These are the Official Text-books of the United Typothetae of America.

Address all orders and inquiries to Committee on Education, United Typothetae of America, Chicago, Illinois, U.S.A.

PART I—Types, Tools, Machines, and Materials

PART II—Hand and Machine Composition

PART III—Imposition and Stonework

PART IV—Presswork

PART V—Pamphlet and Book Binding

PART VI—Correct Literary Composition

PART VII—Design, Color, and Lettering

PART VIII—History of Printing

PART IX—Cost Finding and Accounting

PART X—Miscellaneous

ACKNOWLEDGMENT

This series of Typographic Text-books is the result of the splendid co-operation of a large number of firms and individuals engaged in the printing business and its allied industries in the United States of America.

The Committee on Education of the United Typothetae of America, under whose auspices the books have been prepared and published, acknowledges its indebtedness for the generous assistance rendered by the many authors, printers, and others identified with this work.

While due acknowledgment is made on the title and copyright pages of those contributing to each book, the Committee nevertheless felt that a group list of co-operating firms would be of interest.

The following list is not complete, as it includes only those who have co-operated in the production of a portion of the volumes, constituting the first printing. As soon as the entire list of books comprising the Typographic Technical Series has been completed (which the Committee hopes will be at an early date), the full list will be printed in each volume.

The Committee also desires to acknowledge its indebtedness to the many subscribers to this Series who have patiently awaited its publication.

Committee on Education,
United Typothetae of America.

Henry P. Porter, Chairman,
E. Lawrence Fell,
A.M. Glossbrenner,
J. Clyde Oswald,
Toby Rubovits.

Frederick W. Hamilton, Education Director.

CONTRIBUTORS

For Composition and Electrotypes

Isaac H. Blanchard Company, New York, N.Y.
S.H. Burbank & Co., Philadelphia, Pa.
J.S. Cushing & Co., Norwood, Mass.
The DeVinne Press, New York, N.Y.
R.R. Donnelley & Sons Co., Chicago, Ill.
Geo. H. Ellis Co., Boston, Mass.
Evans-Winter-Hebb, Detroit, Mich.
Franklin Printing Company, Philadelphia, Pa.
F.H. Gilson Company, Boston, Mass.
Stephen Greene & Co., Philadelphia, Pa.
W.F. Hall Printing Co., Chicago, Ill.
J.B. Lippincott Co., Philadelphia, Pa.
McCalla & Co. Inc., Philadelphia, Pa.
The Patteson Press, New York, New York
The Plimpton Press, Norwood, Mass.
Poole Bros., Chicago, Ill.
Edward Stern & Co., Philadelphia, Pa.
The Stone Printing & Mfg. Co., Roanoke, Va.
C.D. Traphagen, Lincoln, Neb.
The University Press, Cambridge, Mass.

For Composition

Boston Typothetae School of Printing, Boston, Mass.
William F. Fell Co., Philadelphia, Pa.
The Kalkhoff Company, New York, N.Y.
Oxford-Print, Boston, Mass.
Toby Rubovits, Chicago, Ill.

For Electrotypes

Blomgren Brothers Co., Chicago, Ill.
Flower Steel Electrotyping Co., New York, N.Y.
C.J. Peters & Son Co., Boston, Mass.
Royal Electrotype Co., Philadelphia, Pa.
H.C. Whitcomb & Co., Boston, Mass.

For Engravings

American Type Founders Co., Boston, Mass.
C.B. Cottrell & Sons Co., Westerly, R.I.
Golding Manufacturing Co., Franklin, Mass.
Harvard University, Cambridge, Mass.
Inland Printer Co., Chicago, Ill.
Lanston Monotype Machine Company, Philadelphia, Pa.
Mergenthaler Linotype Company, New York, N.Y.
Geo. H. Morrill Co., Norwood, Mass.
Oswald Publishing Co., New York, N.Y.
The Printing Art, Cambridge, Mass.
B.D. Rising Paper Company, Housatonic, Mass.
The Vandercook Press, Chicago, Ill.

For Book Paper

American Writing Paper Co., Holyoke, Mass.
West Virginia Pulp & Paper Co., Mechanicville, N.Y.