We therefore, the Commissioners for the Massachusetts, Connecticut, and New Haven, do also, for our several governments, subscribe unto these.
John Winthrop, Governor of the Massachusetts
Thomas Dudley Theophilus Eaton
George FenwickEdward Hopkins
Thomas Gregson
Dedications of books are commonly set in small capitals. As these dedicatory formulas are ordinarily brief there should be wide leading, good display, and care as to margins. The author will often give very definite specifications as to the arrangement of his copy in lines, and this will sometimes cause difficulty, occasionally compelling the use of too small type. The author’s specifications must be followed if he adheres to them.
Small capitals are much favored for running titles of pages. Full capitals are much more effective and are to be preferred where the words are few. Small capitals of 12 or 14 point body are distinct but smaller sizes are crowded and hard to read. This difficulty can sometimes be remedied by hair spacing. Over spacing of such lines is objectionable though it has sometimes prevailed as a temporary fashion.
Small capitals used in running titles are exposed to heavy wear and their shallow counters are liable to get choked up with ink. Capitals of the monotint or of a light-faced antique are sometimes selected for books frequently reprinted where the wear on the exposed running titles is very severe.
In reprinting letters it is common to use small capitals for the name of the place from which the letter was written, for the name of the addressee, and for the signature. In job and advertising work the name of the month and day and date are generally put in lower-case of the text letter. This rule is not followed, however, in books. When the heading of the letter is very long lower-case letters are preferable to small capitals under the general rules of taste which govern the use of types. The salutation, Dear Sir, Gentlemen, or the like, does not need small capitals. It is better printed in italic lower-case with a colon (not followed by a dash) at the end. If the matter is double leaded the salutation may go in a line by itself, otherwise conforming to the rules just given.
Reprints of formal inscriptions on tablets and the like are often made in small capitals surrounded by a border. There should be a good relief of white space between the type and the border.
In the Bible and in hymn books the words Lord and God are usually set with full capital initial and the rest of the word in small capitals.
This is, of course, a method of showing veneration and at one time it was customary to print all names of spiritual or temporal dignitaries and magnates or even ordinary names in small capitals. This practice still lingers in a few newspapers which print the names of persons, even those of small consequence, in small capitals, especially on the editorial page.
The tendency is steady toward the discriminating use of capitals, small capitals, and italics. More and more we restrict the use of marks of emphasis to the really necessary places leaving the words to tell their story without outside aid.
Capitals are too strong to be used with Arabic numerals. This fault of proportion is increased by the custom of casting Arabic numerals on an en body for table work, making them only half as thick as the type. Full capitals may be used with full figures the width of an ordinary letter. Condensed capitals may be used with en body numerals.
If old-style capitals and figures are required in the same line use figures about one-half larger in body than the capitals and justify them to the line.
It is this difficulty in combining capitals and Arabic numerals in the same line that causes the extensive use of Roman numerals in chapter numbers, numbers of other headings, dates on title pages, and the like.
When a large initial three or four lines high is used for the first letter of a new chapter, large capitals are sometimes used, although such usage is not free from the reproach of looking too much like newspaper advertising. When this initial is a two line letter it should be in alignment with the small capitals of the upper line and the base line of the text letter of the lower line.
Care should be taken not to compact capitals. Use wider leading and broader spacing than for lower-case; for example, where you would use one lead between lower-case lines you should use two or three between lines of capitals.
Capitals occupy more of the type-body than lower-case letters and consequently words or lines set entirely with capitals need wider spacing and leading than the lower-case to make composition readable. When lines of roman capitals are set solid or single-leaded the en-quad will usually be enough space between words especially if the words are short; but for wide-leaded lines and head-lines double spaces (two three-to-em) will be needed. A head-line of round, open capitals may even need em-quad spaces. Wide letter words require wide spaces and words of thin or condensed letters require thin spaces.
Words which begin or end with A Y L V W T may need spaces a little less than those with H I M, etc. In small types the inequalities in white space beside or between combinations like L Y A T W and letters with regular shape like H I M N, may not be readily noticed, but in large sizes of capitals these differences are greatly increased and will often make unequal white spaces in a line with uniform metal spaces. In some styles of types a line may need unequal metal spaces in order to space the words evenly.
(Marks indicate insertion of spaces.)
This line has en-quads between the words, but the forms
of L and T make the white space greater than
between the first and second words.
This line has an en-quad in first space and three-to-em
in the second, with hair-spaces between some
letters of the words.
So, also, it will often be necessary to insert pieces of paper, card, or thin leads between the letters of a word in large display, in order to make them evenly spaced, as shown in these examples:
(Marks indicate insertion of spaces.)
This differential spacing in a line of capitals will also be required in a line having abbreviations or initials. The following line, spaced with en-quads throughout, has unnecessarily wide spaces between the initials:
Spaced with four-to-em in the last three places, it is improved:
Capitals used as initials of titles and for other abbreviations, with the accompanying periods, should be thin-spaced or set close together, as shown in the second of these examples:
Two or more lines of capitals of the same size should be spaced as nearly alike as possible. These three lines are so disproportionately spaced that they are not pleasing:
The squaring up is arbitrary and strained. The lines are better like this:
But if it is necessary to square up lines and no additional words or letters can be inserted the short line may be filled with florets or other characters which should not be bolder than the type itself and should be of a style to harmonize with it as nearly as possible.
The extra wide spacing of words set in capitals, as in head-lines and running-heads, should be avoided by the young compositor; there are places where it may be unobjectionable but it will require good judgment and some experience to prevent such lines making the page look freakish or amateurish.
In jobbing, advertisement, and display work, capitals are used more freely than in plain reading matter. In book work the practice is to use capitals more freely than in newspaper composition. A study of the reading columns of daily newspapers will discover that capitals are used very sparingly and words are “kept down” in many cases which in more formal book and pamphlet work would be capitalized.
In advertisements, announcements, and circular letters, words are often capitalized for distinction or emphasis, as in these examples:
Those who win a Second or First Prize through a monthly or special contest become Honor Members of the Guild, and receive the Guild badge without charge.
You are cordially invited to attend the Spring Opening of Suits and Outside Garments for Women, on Wednesday and Thursday, April 28 and 29, in our new Mason Street Annex.
Precise rules for the use of capitals cannot be given for work of all kinds. Their insertion or omission will be governed greatly by the subject matter and the style of treatment desired by the proof-reader or the customer and the compositor’s duty will not go further than to maintain some consistency in their use in each piece of work. When he has copy in which capitals are used as in the following example he will be expected either to discard all capitals except at the beginning of the sentences or to capitalize the words as in the second example:
Fifty styles of the Smartest and nobbiest wheel specialties for ponies and Small horses, Pony carts, light horse novelties, traps, wagons, Harness, Saddles, etc.
Fifty Styles of the Smartest and Nobbiest Wheel Specialties for Ponies and Small Horses, Pony Carts, Light Horse Novelties, Traps, Wagons, Harness, Saddles, etc.
In lines of large display, like head-lines, set in capitals and lower-case, all the important words should begin with capitals. Unimportant words, such as of, the, by, for, but, in, etc., except when they are at the beginning of the displayed phrase, are not capitalized.
Notice to the Public
The Best is the Cheapest
A Great Bargain in Hats
By Right of Conquest
For Love and Honor
A line of capitals containing an abbreviation or other short word should have capitals throughout when possible, as in the second form of these examples:
JOHN SMITH, Jr. JOHN SMITH, JR.
ROBINSON & Co. ROBINSON & CO.
In advertisement display lines like the following are permissible:
The GOLDEN HARVESTER
REGAL SHOES for Men
Combinations of different sizes and styles of types are also common and serve their purpose properly, as in this style, often used in billheads, etc.
to THOMAS W. ABBOTT, dr.
In account with FRANK ABBOTT
Combinations of large and small capitals and lower-case like the following are, however, not approved:
william brown, President
The words in small capitals as well as the word in lower-case should begin with large capitals, like this:
William Brown, President
When lines of capitals are used in books and pamphlets, for headings and display, they should be used consistently—that is, all headings of a similar kind should be alike in any piece of work, and not one heading in capitals and another in lower-case. The composition of a title page is more pleasing when its chief lines are in one style of letters, giving a harmonious effect. When lines of capitals and lines of lower-case are interspersed in a page an appearance of confusion is liable to be the result.
A Manual for Writers. By John Matthews Manley and John Arthur Powell. The University of Chicago Press, Chicago.
The Writer’s Desk Book. By William Dana Orcutt. Frederick Stokes Company, New York.
Correct Composition. By Theodore L. DeVinne. The Oswald Publishing Company, New York.
A Handbook of Composition. By Edwin D. Woolley. D. C. Heath, Boston.
Punctuation. With Chapters on Hyphenization, Capitalization and Spelling. By F. Horace Teale. Appleton & Co., New York.
As the subject matter of this book is such that many of the questions will serve only to bring out the accuracy of the pupil’s memory of rules it is very desirable that care should be taken to insure intelligent use and application of the rules. To be able to repeat a rule is of very little importance compared with the ability to apply it intelligently.
The instructor should give the pupils constant practice in the application of these rules. This should consist of;—
(a) Study of passages taken from all kinds of printed matter.
(b) Rewriting of passages given out without capitalization.
In the first case a wide range of material should be used from the most carefully printed books to the most carelessly printed matter that can be found, including newspapers of varying excellence and pure advertising matter. The capitalization found should be studied and explained by the rules and the criticisms or changes suggested justified in the same way.
In like manner in the second case every capital used in the rewritten text should be justified by the proper rule.
Without such exercises as these, the book will have comparatively little value.
1. What is a capital letter?
2. How many series of letters does an ordinary font of type contain?
3. Name them, and tell what you know about each one.
4. In what does the distinction between capital and lower-case letter consist?
5. What combinations of capitals and lower-case are permissible?
6. In manuscript how do you indicate capitals? Italics?
7. What are capitals used for?
8. What tendencies are observable in style?
9. What is the real implement of English speech?
10. What are the general rules for the use of capitals?
11. Capitalize, men pray to god, to christ and to the virgin mary that they may be defended by the holy ghost from those assaults of the devil which would make devils of them. Give the rule for so doing.
12. Capitalize, the supreme architect of the universe, sometimes called providence, has his own ways of bringing men to heaven. Give the rule for so doing.
13. Learn the list of words under rule 2.
14. Are these words capitalized in all cases?
15. Are adjectives derived from these words capitalized?
16. When do you not capitalize God and its synonyms?
17. What is the usage as to pronouns referring to God and the other persons of the Trinity?
18. What is the rule regarding the Bible and matter related to it?
19. What is the rule regarding biblical terms?
20. Capitalize, the holy man entered the holy place at the appointed time. The message of the gospel is found in the most spiritual form in the gospel of John. Give the rule.
21. What is the rule about religious bodies and their members?
22. What is the rule about monastic orders?
23. What is the rule about church? Give examples of the different uses.
24. What is the rule about names of creeds?
25. Give different uses of father and reformer and explain them.
26. How do you use capitals in writing names of persons in English and in other languages?
27. What is the usage with regard to epithets and the like?
28. What is the usage with regard to races of men?
29. Give the rule for names of places, and examples of each usage.
30. Learn the tables under rule 15.
31. When do you capitalize generic terms for political divisions and when do you not?
32. What is the rule about words denoting time?
33. What is the rule about festivals, etc.?
34. What is the rule about astronomical terms?
35. When are ordinal numbers capitalized?
36. How are capitals used in scientific names?
37. What is the usage in such words as father, mother, and other terms denoting relationship?
38. What is the rule regarding names of parties, political, literary, etc.?
39. What is the rule as to historic parties, leagues, etc.?
40. What is the usage in writing of periods, historic, geological, etc.?
41. What is the usage regarding important events?
42. How are treaties, laws, etc., treated?
43. When are the names of governmental bodies, departments, etc., capitalized?
44. How are official titles of corporations and other bodies treated?
45. How are names of conventions, expositions, and the like treated?
46. How are capitals used in book titles and similar copy, including the use of the?
47. How are capitals used in dedications and headings?
48. Give the rules for the use of capitals in foreign book titles.
49. Give the rules for the use of capitals in personal titles.
50. What can you do when a name is followed by the initials of a number of titles?
51. What do you do in case of compound titles?
52. How do you write the names of things personified?
53. How are adjectives derived from proper nouns treated?
54. How are capitals used in direct quotations?
55. How are capitals used in resolutions?
56. Are capitals used after colons?
57. How do we write the interjections O and oh?
58. How do we write the first personal pronoun?
59. When and where are capitals used for emphasis?
60. Describe the peculiarities of small capitals.
61. Are they used in the same way as full capitals? Why?
62. What is the principal use of small capitals?
63. Give some of the places where small capitals are commonly used.
64. How are small capitals now used in tables of contents, and how were they formerly used?
65. What type would you use for a table of contents when chapter synopses are not given?
66. How are subheads treated?
67. How are signatures and credits treated?
68. How are dedications of books treated?
69. How are running titles treated?
70. What is good usage in reprinting letters?
71. What is a good way to set reprints of formal inscriptions?
72. What is the usage with regard to the names of persons treated with veneration?
73. What is the tendency in the use of capitals and other devices for emphasis?
74. How would you handle combinations of capitals and numerals, and why?
75. How would you treat large initials?
76. How should you space and lead capitals as compared with lower-case?
77. How should lines of capitals be spaced, and why?
78. Would capitals set with even spacing or without spacing appear to be evenly spaced?
79. What is the reason for the appearance just noted?
80. What would you do about it?
81. How should you space capitals used as initials of titles with accompanying periods?
82. How should you space two or more lines of capitals of the same size?
83. If squaring up is necessary, how should it be done?
84. What can you say about wide spacing of words set in capitals?
85. What can you say of the use of capitals in different sorts of matter?
86. How is the compositor guided in these cases?
87. How are capitals used in lines of large display?
88. How would you set a line of capitals containing an abbreviation or other short word?
89. How may capitals be used in lines of advertising display?
90. Under what circumstances are combinations of different sizes and styles of type permissible?
91. Are combinations of large and small capitals and lower-case advisable?
92. What rule should be followed when lines of capitals are used in books and pamphlets for headings and display?
Formal—Made in accordance with regular and established forms, or with dignity and impressiveness: stiff.
Genera—Plural of genus, a group for purposes of classification, embracing one or more species.
Generic—Of or pertaining to a genus (see genera) as distinct from specific, of or pertaining to a species (which see).
Ordinal—That form of the numeral that shows the order of anything in a series.
Species—A group for purposes of classification subordinate to a genus and composed of individuals having only minor differences.
Versions—(Of the Bible) Different translations of the original into the same or different languages.
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
1. Type: a Primer of Information
Relating to the mechanical features of printing types; their sizes, font schemes, etc., with a brief description of their manufacture. 44 pp.; illustrated; 74 review questions; glossary.
2. Compositors’ Tools and Materials
A primer of information about composing sticks, galleys, leads, brass rules, cutting and mitering machines, etc. 47 pp.; illustrated; 50 review questions; glossary.
3. Type Cases, Composing Room Furniture
A primer of information about type cases, work stands, cabinets, case racks, galley racks, standing galleys, etc. 43 pp.; illustrated; 33 review questions; glossary.
4. Imposing Tables and Lock-up Appliances
Describing the tools and materials used in locking up forms for the press, including some modern utilities for special purposes. 59 pp.; illustrated; 70 review questions; glossary.
5. Proof Presses
A primer of information about the customary methods and machines for taking printers’ proofs. 40 pp.; illustrated; 41 review questions; glossary.
6. Platen Printing Presses
A primer of information regarding the history and mechanical construction of platen printing presses, from the original hand press to the modern job press, to which is added a chapter on automatic presses of small size. 51 pp.; illustrated; 49 review questions; glossary.
7. Cylinder Printing Presses
Being a study of the mechanism and operation of the principal types of cylinder printing machines. 64 pp.; illustrated; 47 review questions; glossary.
8. Mechanical Feeders and Folders
The history and operation of modern feeding and folding machines; with hints on their care and adjustments. Illustrated; review questions; glossary.
9. Power for Machinery in Printing Houses
A treatise on the methods of applying power to printing presses and allied machinery with particular reference to electric drive. 53 pp.; illustrated; 69 review questions; glossary.
10. Paper Cutting Machines
A primer of information about paper and card trimmers, hand-lever cutters, power cutters, and other automatic machines for cutting paper, 70 pp.; illustrated; 115 review questions; glossary.
11. Printers’ Rollers
A primer of information about the composition, manufacture, and care of inking rollers. 46 pp.; illustrated; 61 review questions; glossary.
12. Printing Inks
Their composition, properties and manufacture (reprinted by permission from Circular No. 53, United States Bureau of Standards); together with some helpful suggestions about the everyday use of printing inks by Philip Ruxton. 80 pp.; 100 review questions; glossary.
13. How Paper is Made
A primer of information about the materials and processes of manufacturing paper for printing and writing. 68 pp.; illustrated; 62 review questions; glossary.
14. Relief Engravings
Brief history and non-technical description of modern methods of engraving; woodcut, zinc plate, halftone; kind of copy for reproduction; things to remember when ordering engravings. Illustrated; review questions; glossary.
15. Electrotyping and Sterotyping
A primer of information about the processes of electrotyping and stereotyping. 94 pp.; illustrated; 129 review questions; glossaries.
PART II—Hand and Machine Composition
16. Typesetting
A handbook for beginners, giving information about justifying, spacing, correcting, and other matters relating to typesetting. Illustrated; review questions; glossary.
17. Printers’ Proofs
The methods by which they are made, marked, and corrected, with observations on proofreading. Illustrated; review questions; glossary.
18. First Steps in Job Composition
Suggestions for the apprentice compositor in setting his first jobs, especially about the important little things which go to make good display in typography. 63 pp.; examples; 55 review questions; glossary.
19. General Job Composition
How the job compositor handles business stationery, programs and miscellaneous work. Illustrated; review questions; glossary.
20. Book Composition
Chapters from DeVinne’s “Modern Methods of Book Composition,” revised and arranged for this series of text-books by J. W. Bothwell of The DeVinne Press, New York. Part I: Composition of pages. Part II: Imposition of pages. 229 pp.; illustrated; 525 review questions; glossary.
21. Tabular Composition
A study of the elementary forms of table composition, with examples of more difficult composition. 36 pp.; examples; 45 review questions.
22. Applied Arithmetic
Elementary arithmetic applied to problems of the printing trade, calculation of materials, paper weights and sizes, with standard tables and rules for computation, each subject amplified with examples and exercises. 159 pp.
23. Typecasting and Composing Machines
Section I—The Linotype
Section II—The Monotype
Section III—The Intertype
Section IV—Other Typecasting and Typesetting Machines
A brief history of typesetting machines, with descriptions of their mechanical principles and operations. Illustrated; review questions; glossary.
PART III—Imposition and Stonework
24. Locking Forms for the Job Press
Things the apprentice should know about locking up small forms, and about general work on the stone. Illustrated; review questions; glossary.
25. Preparing Forms for the Cylinder Press
Pamphlet and catalog imposition; margins; fold marks, etc. Methods of handling type forms and electrotype forms. Illustrated; review questions; glossary.
PART IV—Presswork
26. Making Ready on Platen Presses
The essential parts of a press and their functions; distinctive features of commonly used machines. Preparing the tympan, regulating the impression, underlaying and overlaying, setting gauges, and other details explained. Illustrated; review questions; glossary.
27. Cylinder Presswork
Preparing the press; adjustment of bed and cylinder, form rollers, ink fountain, grippers and delivery systems. Underlaying and overlaying; modern overlay methods. Illustrated; review questions; glossary.
28. Pressroom Hints and Helps
Describing some practical methods of pressroom work, with directions and useful information relating to a variety of printing-press problems. 87 pp.; 176 review questions.
29. Reproductive Processes of the Graphic Arts
A primer of information about the distinctive features of the relief, the intaglio, and the planographic processes of printing. 84 pp.; illustrated; 100 review questions; glossary.
PART V—Pamphlet and Book Binding
30. Pamphlet Binding
A primer of information about the various operations employed in binding pamphlets and other work in the bindery. Illustrated; review questions; glossary.
31. Book Binding
Practical information about the usual operations in binding books; folding; gathering, collating, sewing, forwarding, finishing. Case making and cased-in books. Hand work and machine work. Job and blank-book binding. Illustrated; review questions; glossary.
PART VI—Correct Literary Composition
32. Word Study and English Grammar
A primer of information about words, their relations, and their uses. 68 pp.; 84 review questions; glossary.
33. Punctuation
A primer of information about the marks of punctuation and their use, both grammatically and typographically. 56 pp.; 59 review questions; glossary.
34. Capitals
A primer of information about capitalization, with some practical typographic hints as to the use of capitals. 48 pp.; 92 review questions; glossary.
35. Division of Words
Rules for the division of words at the ends of lines, with remarks on spelling, syllabication and pronunciation. 42 pp.; 70 review questions.
36. Compound Words
A study of the principles of compounding, the components of compounds, and the use of the hyphen. 34 pp.; 62 review questions.
37. Abbreviations and Signs
A primer of information about abbreviations and signs, with classified lists of those in most common use. 58 pp.; 32 review questions.
38. The Uses of Italic
A primer of information about the history and uses of italic letters. 31 pp.; 37 review questions.
39. Proofreading
The technical phases of the proofreader’s work; reading, marking, revising, etc.; methods of handling proofs and copy. Illustrated by examples. 59 pp.; 69 review questions; glossary.
40. Preparation of Printers’ Copy
Suggestions for authors, editors, and all who are engaged in preparing copy for the composing room. 36 pp.; 67 review questions.
41. Printers’ Manual of Style
A reference compilation of approved rules, usages, and suggestions relating to uniformity in punctuation, capitalization, abbreviations, numerals, and kindred features of composition.
42. The Printer’s Dictionary
A handbook of definitions and miscellaneous information about various processes of printing, alphabetically arranged. Technical terms explained. Illustrated.
PART VII—Design, Color, and Lettering
43. Applied Design for Printers
A handbook of the principles of arrangement, with brief comment on the periods of design which have most influenced printing. Treats of harmony, balance, proportion, and rhythm; motion; symmetry and variety; ornament, esthetic and symbolic. 37 illustrations; 46 review questions; glossary; bibliography.
44. Elements of Typographic Design
Applications of the principles of decorative design. Building material of typography paper, types, ink, decorations and illustrations. Handling of shapes. Design of complete book, treating each part. Design of commercial forms and single units. Illustrations; review questions; glossary; bibliography.
45. Rudiments of Color in Printing
Use of color: for decoration of black and white, for broad poster effect, in combinations of two, three, or more printings with process engravings. Scientific nature of color, physical and chemical. Terms in which color may be discussed: hue, value, intensity. Diagrams in color, scales and combinations. Color theory of process engraving. Experiments with color. Illustrations in full color, and on various papers. Review questions; glossary; bibliography.
46. Lettering in Typography
Printer’s use of lettering: adaptability and decorative effect. Development of historic writing and lettering and its influence on type design. Classification of general forms in lettering. Application of design to lettering. Drawing for reproduction. Fully illustrated; review questions; glossary; bibliography.
47. Typographic Design in Advertising
The printer’s function in advertising. Precepts upon which advertising is based. Printer’s analysis of his copy. Emphasis, legibility, attention, color. Method of studying advertising typography. Illustrations; review questions; glossary; bibliography.
48. Making Dummies and Layouts
A layout: the architectural plan. A dummy: the imitation of a proposed final effect. Use of dummy in sales work. Use of layout. Function of layout man. Binding schemes for dummies. Dummy envelopes. Illustrations; review questions; glossary; bibliography.
PART VIII—History of Printing
49. Books Before Typography
A primer of information about the invention of the alphabet and the history of bookmaking up to the invention of movable types. 62 pp.; illustrated; 64 review questions.
50. The Invention of Typography
A brief sketch of the invention of printing and how it came about. 64 pp.; 62 review questions.
51. History of Printing—Part I
A primer of information about the beginnings of printing, the development of the book, the development of printers’ materials, and the work of the great pioneers. 63 pp.; 55 review questions.
52. History of Printing—Part II
A brief sketch of the economic conditions of the printing industry from 1450 to 1789, including government regulations, censorship, internal conditions and industrial relations. 94 pp.; 128 review questions.
53. Printing in England
A short history of printing in England from Caxton to the present time. 89 pp.; 65 review questions.
54. Printing in America
A brief sketch of the development of the newspaper, and some notes on publishers who have especially contributed to printing. 98 pp.; 84 review questions.
55. Type and Presses in America
A brief historical sketch of the development of type casting and press building in the United States. 52 pp.; 61 review questions.
PART IX—Cost Finding and Accounting
56. Elements of Cost in Printing
The Standard Cost-Finding Forms and their uses. What they should show. How to utilize the information they give. Review questions. Glossary.
57. Use of a Cost System
The Standard Cost-Finding Forms and their uses. What they should show. How to utilize the information they give. Review questions. Glossary.
58. The Printer as a Merchant
The selection and purchase of materials and supplies for printing. The relation of the cost of raw material and the selling price of the finished product. Review questions. Glossary.
59. Fundamental Principles of Estimating
The estimator and his work; forms to use; general rules for estimating. Review questions. Glossary.
60. Estimating and Selling
An insight into the methods used in making estimates, and their relation to selling. Review questions. Glossary.
61. Accounting for Printers
A brief outline of an accounting system for printers; necessary books and accessory records. Review questions. Glossary.
PART X—Miscellaneous
62. Health, Sanitation, and Safety
Hygiene in the printing trade; a study of conditions old and new; practical suggestions for improvement; protective appliances and rules for safety.
63. Topical Index
A book of reference covering the topics treated in the Typographic Technical Series, alphabetically arranged.
64. Courses of Study
A guidebook for teachers, with outlines and suggestions for classroom and shop work.
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.
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.