After the slug has been cast, the matrices are carried up to the second
transfer position, where they are pushed to the right, and the teeth in
the V at the top of the matrices engage the grooves in the distributor
bar of the second elevator, which descends from the distributor box at
the same time that the matrices rise to the second transfer position.
The second elevator then rises toward the distributor box, taking the
matrices with it, but leaving the spacebands; these are then pushed to
the right and slide into the spaceband box, to be used again.
As the second elevator rises toward the distributor box with its load
of matrices, the distributor shifter lever moves to the left until
the elevator head has reached its place by the distributor box. It
then moves back to the right and pushes the matrices off the second
elevator distributor bar into the distributor box, where they meet the
“matrix lift” and are lifted, one at a time, to the distributor screws
and distributor bar proper. The teeth in the matrix and the grooves in
the bar are so arranged that when a matrix arrives at a point directly
over the channel in which it belongs, it “lets go” and drops into its
channel.
If, however, there is a matrix in the line which was not designed to
drop into one of the channels operated from the keyboard, it will be
carried clear across the distributor bar and dropped into the last
channel, and from there it will find its way to the sorts box.]
[Illustration: SECTIONAL VIEW OF METAL POT WITH LINE OF MATRICES IN
POSITION BEFORE THE MOLD
The casting mechanism consists of the metal pot, mold disk, mold,
ejector, and trimming knives. The illustration shows a cross-section
of the metal pot, mold disk, and mold, with a line of matrices in the
casting position. When the line of matrices leaves the assembler,
they pass to a position in front of the mold disk. The disk makes a
one-quarter turn to the left, which brings the mold from the ejecting
position, where it stands while the machine is at rest, to the casting
position. It then advances until the face of the mold comes in contact
with the matrices. The metal pot advances until the pot mouthpiece
comes in contact with the back of the mold; at this point the pump
plunger descends and forces the metal into the mold and against the
matrices. The pot then recedes, the mold disk withdraws from the
matrices and makes three-fourths of a revolution to the left, stopping
in the ejecting position, from which it started. The slug is ejected
and assembled in the galley.
During the last revolution of the disk the bottom of the slug is
trimmed off, and in the process of ejection the sides of the slug are
trimmed, so that when it drops in the galley the slug is a perfect line
of type, ready for the form.]
[Illustration: HOW THE PRINTED PART OF A BOOK LOOKS AT FIRST
As the slugs of type, each of which represents a line, come from the
linotype machine, they are arranged in order in a brass holder the
width of the line of type, called a “galley.” This holder is about
twenty inches long. As soon as it is filled one of the men in the
typesetting office takes it to a proof press where he makes a rough
impression of it. He runs an ink covered roller over the top of the
slugs, lays a piece of blank paper on it and then either runs another
roller over it or puts it in a hand press and secures an impression of
the type just as it is. This is called making a “galley proof.”
The galley proof is then sent to the proof-reader who reads it
carefully and indicates such errors in setting as appear and must be
changed. Before correcting the actual type, however, the composing
room sends the galley proof to the one who is publishing the book.
The publisher also reads the proof over carefully and, if he does not
wish to change any of the wording, he sends it back to the composing
room with his “O. K.” attached in writing. If he wishes to change
the wording, he does so and the galley proof is then returned to the
composing room marked “O. K. after corrections and changes are made.”
The linotype operator then makes whatever changes are desired or
necessary by setting new lines where mistakes or changes occur. If
there is only one wrong letter in a line, he must reset the whole line
as the machine, as you remember, only turns out solid lines of type. A
revised proof is then sent to the publishing office and, if no further
changes are to be made, he gives instructions to have the “galley” made
up into pages. How the pages are made up is shown in the next picture.]
[Illustration: HOW THE PAGES OF A BOOK ARE MADE UP
When the revised proofs come back from the publisher ready to be made
into pages, the publisher has marked on same what pictures are to go on
the pages of the “make up” as this is called. The compositor then picks
out the pictures in the form of cuts which are to go on the different
pages and puts them in the page first. He then arranges the type matter
from the galley proof around, above or below the pictures, puts in the
proper headings and takes a “final proof” of how the pages are arranged
to look. If this is satisfactory the publisher puts a “final O. K.”
on the proof in writing and the page is ready to be printed. Thus the
book is made up page by page. No page is printed without the O. K. of
the publisher and so, if there are any errors still in the page, the
publisher is responsible.]
[Illustration: HOW THIS BOOK IS PRINTED