RELATIONS BETWEEN EMPLOYER AND EMPLOYED
The printing industry has always been liable to friction between the
employers and the employed. We have already made reference from time to
time to strikes and labor disputes, going back to the very beginnings of
the industry. Previous to the reorganization of 1618 the workmen
generally had recourse to strikes for the settlement of disputes and the
masters in turn appealed to the civil authorities. In conformity with
the ideas of those days the authorities intervened, if at all, to
suppress the strike. The idea of authority was very strong at that
period and rebellion or disobedience on the part of laborers was
regarded as little less than sedition or treason. Social lines were
sharply drawn and every attempt possible was made to secure and maintain
the supremacy of those in authority, whether that authority were civil,
ecclesiastical, or industrial.
After the reorganization of 1618, however, the strike as a means of
settlement was rarely resorted to until revived in modern times. The
very organization of the industry made it amenable to authority and made
it possible to settle disputes by legal processes. Accordingly, we find
that both masters and journeymen presented their cases before the courts
or the executive officers having authority and endeavored to gain their
points by means of laws or edicts. The journeymen on the whole were more
successful by this method than they had previously been, although the
points of dispute were never permanently settled.
The organization of the Community united the masters, but the attempts
of the journeymen to unite were met with constant opposition and were
frequently prohibited by law. The germ of the journeymen’s organization
was the chapel. Originally the chapel was a group of workmen engaged on
the same job and consequently dependent upon each other for its success
and for the regular progress of the work. The origin of the name is
somewhat in doubt, but it probably is either derived from the fact that
many of the early printing establishments were connected with
monasteries, or under the patronage of the church, or from the fact that
the printers were educated men, and in the 15th century educated men
were generally identified with the clergy. In English law, until within
a comparatively recent time, a man convicted of certain crimes could
escape capital punishment if he could prove that he could read and
write. This proof was held to identify him with the clergy, who were
exempted from certain criminal provisions of the statutes. This process
was technically known as “pleading one’s clergy.”
The chapel was soon extended to include in its membership all the
workmen in one shop, and in this significance the name is still in use.
The organization of journeymen into chapels runs back to the early days
of printing. There never seems to have been any serious attempt to
prevent this organization in individual shops for the reason that such
an organization was highly beneficial to the masters themselves,
securing the better co-ordination of related processes and hence more
efficient production. In France the chapel was legally recognized in
1777, only a short time before the break-up of the old order. The chapel
had certain revenues which were derived from assessments and fees which
it laid upon its members and particularly from the sale of books. It was
the custom to give to the chapel a certain number of copies of every
book printed. These revenues appear to have been intended originally as
provision for certain periodical feasts and festivals such as were
common in all the guilds of the middle ages. Later they were extended to
cover charity and also to provide a sort of war chest out of which the
expense of litigation could be met.
The combination of these chapels or the formation of tacit
understandings between them created a sort of trade union, and the
combination of their funds made possible the raising of the large
amounts of money necessary to employ counsel and carry on the
litigations against the employers. The employers, often backed by the
authorities, strove throughout this period to prevent these
combinations. They understood fully the tactical value of the precept
“divide and rule,” and they did their best to keep the journeymen
divided and at the same time to strengthen the bonds of their own union.
In this, however, they were only partially successful. In spite of
edicts to the contrary, the chapels, though unable to form an open,
strong organization which could meet the Community on equal terms or to
act with the openness and authority of the modern trade union,
nevertheless maintained a very real and often effective organization
through correspondence, conferences, and other methods of securing
mutual agreement and common action.
In addition to the general settlements of industrial conditions which
were sought by legislation, individual disputes in particular shops or
localities were often settled by arbitration. The great difficulty about
these arbitrations, which rendered their results unsatisfactory and was
never obviated during this whole period, arose from the impossibility of
agreeing on a satisfactory board of arbitrators. The masters insisted
that all these arbitrations should be referred either to the courts or
to the syndics. To this the journeymen seriously objected. They felt
that the courts would not really arbitrate but would settle the matter
by an application of the statutes, and they knew by experience that the
statutes were generally construed against the journeymen wherever
possible. They were on the whole very law-abiding people. They had no
disposition to break the statutes, but the questions which they wanted
decided were either as to the application of the statutes or as to
points not covered by them. On the other hand they felt that the syndics
were entirely unqualified to act as arbitrators for the reason that they
were masters and consequently interested parties. The masters were
insistent whenever possible that these cases should go to the syndics,
although as an alternative they were willing that they should go to the
courts.
The journeymen desired that arbitration boards should be composed of
masters, workmen, and citizens not connected with the industry. They
maintained that only thus could the interests of all be fairly
represented and an impartial arbitration secured. To this type of board
the masters almost invariably objected, and they generally refused to
submit to its findings. In this regard the journeymen appear to much
better advantage than the masters throughout this period.
The main points of dispute have already been indicated and were on the
whole not different from similar difficulties today.
First and foremost came the question of pay and food, usually together.
Occasionally men were satisfied with their food but not with their pay
or vice versa, but ordinarily the two went together. The man who paid
badly was likely to feed badly. Another burning question was the right
of combination on the part of the journeymen or, as we should say today,
the question of the recognition of the union. Another point was the
matter of discharge or leaving without notice. The grievance arising
from discharge without notice has already been discussed. The masters
complained that the men would leave without notice and so render it
impossible for them to complete their jobs according to contract. This
was one of the evils attendant on the piece system which has already
been described. On the one hand the masters tried to manipulate it by
hiring extra men and the like so as to increase their profits, while on
the other hand workmen facing the danger of a period of unemployment
would leave a job unfinished if they could get employment on another job
which promised several weeks or even months of work.
Another fruitful cause of difference was tickets of leave or cards of
dismissal. When a man left a job he was supposed to be given a card
which identified him, told where he had been employed, what he did
there, how well he did it, and what his conduct had been in the shop. He
was supposed to show this card before obtaining employment. The workmen
complained that these cards were withheld or improperly filled out for
personal or other unworthy reasons. Sometimes masters were very
particular about giving and demanding these cards. At other times they
were very lax in both these regards and the consequence was that the
card system was a source of constant annoyance to all concerned.
The complaint was also made by journeymen that members of the Community
maintained a black-list, and if a journeyman offended a single member of
the Community or fell into disfavor in a single shop he might be placed
on this black-list and find it impossible to obtain employment.
Of course, there were many other questions which arose from time to time
but these were the particular causes of difficulty which we find
constantly recurring, just as the questions of pay, hours, recognition
of the union, and handling of non-union material constantly recur today.
A fairly careful study of the conditions of this period shows that
according to our modern ideas the journeymen generally appear to better
advantage than the masters. There is no question, of course, that there
were unreasonable demands and that individual journeymen or even groups
of journeymen behaved at times in objectionable ways. On the whole,
however, the effort of the journeymen of this period seems to have been
only to obtain fair treatment and a reasonable recognition of their
rights. They especially desired to be treated as men and to confer on
equal terms with their employers instead of being treated as inferior
beings bound to accept without protest what was handed down to them. It
must be remembered that they were far more highly educated than the
workers in any other industry and that they had been officially
recognized many times as being in a class apart from the ordinary
workmen. They appear to have attempted only to secure in the industry
the same recognition which they legally enjoyed socially. While they did
attempt to have a voice in the fixing of wages and hours there is very
little evidence of any attempt to enforce upon the shops the observance
of rules and regulations made by themselves. The masters on the other
hand had those ancient ideas of authority which have already been
mentioned. They were not willing that their employees should rise above
the level of other workers and they were not willing to recognize them
as men entitled to fair consideration, to say nothing of equal rights.
They lived in the days of serfdom and they took their position as
masters quite seriously and quite literally. This opposition in spirit
between the masters who, by their wealth, their education, and their
social position were associated with the upper classes and imbued with
all of their ancient pride, and the men who, themselves educated and
imbued with a spirit of progress and a desire for freedom, were
attempting to rise above the condition of serfdom in which the laborers
of that age were commonly held was the real root of the struggles in the
medieval printing trade. The purely industrial questions involved were
the occasions rather than the causes of strife.
The end of the old regime is marked in France by the date 1789. This
date marks the beginning of the French Revolution when great masses of
medieval statutes were swept from the statute books, including all those
which regulated the trade of printing. The Community, censorship,
licenses to print, and all the edicts regulating conditions in the
industry went by the board together. The French Revolution, however, was
only an incident of a change which was coming over the thinking of the
whole world. A new condition had been growing up under the old forms and
the time had come when the old forms had to break to make way for the
new life. They broke in the most dramatic and tragic fashion in France
and therefore we think and speak of this event as the French Revolution,
but the change took place elsewhere in as real though a less striking
manner.
One of the features of this change was the birth of the newspaper and an
enormous production of pamphlets and other minor literature. There had
been newspapers and periodicals for a long time before, but the ferment
of men’s minds which began in the middle of the eighteenth century
naturally caused a great production of printed matter and a demand that
it should be produced very quickly. Much of this printed matter was of a
sort forbidden by the old laws and regulations. The greater part of it,
being produced under conditions of haste inconsistent with good
workmanship and under a demand for cheapness also inconsistent with good
workmanship, was of a very poor quality. The industry was disordered by
a great increase in the number of shops, particularly shops of a poorer
character. At first the workmen profited greatly, but as is always the
case conditions gradually settled back to a normal state.
The general history of printing may be left at this point. From this
time on the conditions with which we are familiar are coming into shape.
The old day with its old conditions has gone. We need to know the
history of these old times in order that we may understand the records
and experiences of the early day. The later conditions we understand
from our own surroundings. The periodical literature which forms so
large a part of the output of the press has fairly come to life by the
end of the eighteenth century. Commercial printing, which is now
entering upon so positive a career of usefulness and importance, is
about to begin. The invention of the Stanhope press about 1800 is the
first of that long series of inventions which have made possible the
printing establishments of today and their wonderful product. These
things are elsewhere treated. Here we say good-bye to our elder brothers
of the home-made type, the ink balls, and the hand press.
_Supplementary Reading_
The material bearing on the economic history of printing is very
scattered. So far as the present writer is aware there is no book on the
subject in English. The nearest approach to such a treatment will
perhaps be found in the second volume of Mr. George Haven Putnam’s
excellent book _Books and Their Makers in the Middle Ages_. Some
information may be obtained from Mr. DeVinne’s _Invention of Printing_;
_Notable Printers of Italy During the Fifteenth Century_; and
_Christopher Plantin and the Plantin-Moretus Museum at Antwerp_. The
“Plantin” is a publication of the Grolier Club, but may be found in
substance in _The Century_ for June, 1888. Some very excellent
historical articles have been published in recent years in _The Inland
Printer_ by Mr. Henry L. Bullen and Mr. John Rittenour. The student will
do well to examine the files of this and other leading trade journals
for some years back and to consult the local librarian for such material
as may be found in libraries.
SUGGESTIONS TO STUDENTS AND INSTRUCTORS
The following questions, based on the contents of this pamphlet, are
intended to serve (1) as a guide to the study of the text, (2) as an
aid to the student in putting the information contained into definite
statements without actually memorizing the text, (3) as a means of
securing from the student a reproduction of the information in his own
words.
A careful following of the questions by the reader will insure full
acquaintance with every part of the text, avoiding the accidental
omission of what might be of value. These primers are so condensed
that nothing should be omitted.
In teaching from these books it is very important that these questions
and such others as may occur to the teacher should be made the basis
of frequent written work and of final examinations.
The importance of written work cannot be overstated. It not only
assures knowledge of material but the power to express that knowledge
correctly and in good form.
If this written work can be submitted to the teacher in printed form
it will be doubly useful.
QUESTIONS
1. How were industries carried on in the days of Gutenberg?
2. What was the general relation between an apprentice and a master?
3. What was a guild, and what did it do?
4. Did printing fit into this scheme, and why?
5. How was printing regulated, and why?
6. What was the effect of the invention of printing on the manuscript
makers?
7. What did the copyists do?
8. What did the illuminators do?
9. What was the attitude of the authorities?
10. What king is especially noted as a patron of printing, and what
were some of the things he did?
11. How did he deal with labor troubles in the printing industry?
12. What important edict was issued by King Henry III of France, and
on what grounds?
13. How did the early printers deal with typographical errors?
14. How did a French king endeavor to deal with this difficulty, and
with what result?
15. What important event took place in 1618?
16. Give the general points in the regulations of 1686.
17. What additional regulations were made by Louis XVI?
18. What happened in 1789, and what was the result?
19. What are some of the differences between the product of a print
shop and that of the ordinary factory?
20. What were some of the problems arising out of this difference?
21. What was the 15th century substitute for copyright and patents?
Describe it.
22. What did trades do to protect themselves if they could not get the
form of protection just described?
23. Why did the printer especially need some kind of protection?
24. Discuss briefly under four heads the system of protection in use
in Venice.
25. What were the practical defects of this system?
26. What kind of books were printed in Germany for the first fifty
years?
27. What evil practice did Fust begin, and why did he think it was
right?
28. Was there a profession of authorship, and why?
29. How did Germany undertake to protect printers?
30. Give a brief sketch of the political organization of Germany in
the 15th century.
31. What effect did this have on the protection of printers?
32. What did the printers do about it?
33. What did printers’ privileges cover in Germany?
34. How did France deal with the question of printers’ privileges, and
what were some of the peculiarities of French law?
35. What moral and political danger was perceived shortly after the
invention of printing?
36. How was it dealt with by church and state?
37. What action was taken by Pope Innocent VIII?
38. What was the result in Venice?
39. What had the Inquisition to do with printing?
40. What is the Index Expurgatorius? Why was it drawn up?
41. What were the general lines of legislation in Venice regarding
censorship?
42. What was done in 1549, and why?
43. What was the purpose of the guild of printers and booksellers?
44. What were the requirements in 1671 for the publishing of a book in
Venice?
45. How did censorship work in Germany, and why?
46. What was the result of Pope Innocent’s action in France?
47. By whom was censorship exercised in France?
48. What was the result of this system, and how was it improved?
49. Give some features of the press laws of France, and state the
penalties.
50. What was the effect of this legislation, and how were the worst
effects avoided?
51. What was the end of it all?
52. How did authorship come to be recognized as a profession?
53. How did the idea arise that the author had the right to control
his work?
54. What was the early German idea of copyright as illustrated by the
experiences of Luther?
55. What two ideas gradually came into prominence at this time with
regard to literary property?
56. When and how did copyright come into general existence?
57. When was international copyright recognized?
58. What is the record of the United States with regard to
international copyright?
59. What is the outstanding factor in the industrial life of the
Middle Ages?
60. Describe it briefly.
61. What conditions made it possible?
62. State and discuss briefly the five general principles which
governed it.
63. What was its relation to the state and to religion?
64. What was the best period of this organization?
65. When did it decline?
66. Give three reasons for this decline.
67. Why was the printing industry an important factor in this decline?
68. How were wages and prices fixed in the early Middle Ages, and why?
69. What happened after the discovery of America?
70. What was the effect on prices and what the effect on wages?
71. What was the result on the social and industrial organization?
72. How did printing relate itself to the industrial system of the
sixteenth century?
73. What was the result of this relation?
74. What difficulties arose, and how were they met?
75. What was the effect of the legislation of 1618?
76. Who composed the Community of Printers?
77. Who were the syndics? How were they elected, and for what purpose?
78. What advantages were gained by the new organization?
79. What was the relation between printers and booksellers, and why?
80. What did the old-time printer have to do?
81. What was the early paper like?
82. Describe the types in use at this period.
83. Describe the presses in use at this period.
84. Describe the ink of this period, and tell how it was spread.
85. How were compositors paid?
86. What did the old-time pressman have to do?
87. Describe the old method of two-color printing.
88. How were the printed sheets treated when they came from the press?
89. How were pressmen paid?
90. What was the custom with regard to proofreading?
91. Describe the system of cost finding and estimating of this period.
92. What four different classes of workmen are enumerated?
93. What was an apprentice?
94. What were the qualifications necessary to apprenticeship?
95. What were the conditions of an apprenticeship agreement?
96. How were these agreements abused by both sides?
97. Describe the work of an apprentice.
98. How many apprentices were allowed?
99. What can you say about the enforcement of these conditions?
100. Who were the laborers, and how did they affect the industry?
101. How did an apprentice come to be a journeyman?
102. How did the journeyman become a master?
103. Did journeymen commonly become masters, and why?
104. What were the hours of labor at this period?
105. How did the journeymen live?
106. What sort of men were they?
107. What two compensations did they have for the hard conditions of
the industry?
108. What influences tended to lower wages?
109. How were journeymen divided?
110. What were the conditions of employment of each?
111. What were the difficulties of the second class?
112. How were journeymen graded?
113. What division of labor existed in the composing room, and what in
the press room?
114. Describe the foreman of this period.
115. What happened to the old or disabled workmen?
116. What was the place of the master?
117. Was the general condition of the industry good or bad, and why?
118. What were the relations between the masters and journeymen before
1618?
119. What were these relations after 1618?
120. What was a chapel?
121. What difficulties did the organization of journeymen have to meet?
122. Describe briefly the growth of organization among the journeymen.
123. How did masters desire to settle their disputes with the
journeymen, and why?
124. How did the journeymen desire to settle them, and why?
125. What were the principle causes of dispute?
126. According to modern ideas, which party of these disputes generally
appears to the better advantage, and why?
127. What was the French Revolution?
128. How did the French Revolution contribute to the coming in of
modern conditions in the printing industry?
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 courses 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.
TYPOGRAPHIC TECHNICAL SERIES _for_ APPRENTICES
PART I—_Types, Tools, Machines, and Materials_
1. =Type: a Primer of Information=, By A. A. Stewart
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=, By A. A. Stewart
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=, By A. A. Stewart
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=, By A. A. Stewart
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=, By A. A. Stewart
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=, By Daniel Baker
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=, By Herbert L. Baker
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=, By William E. Spurrier
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=, By Carl F. Scott
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=, By Niel Gray, Jr.
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=, By A. A. Stewart
A primer of information about the composition, manufacture, and
care of inking rollers. 46 pp.; illustrated; 61 review questions;
glossary.
12. =Printing Inks=, By Philip Ruxton
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=, By William Bond Wheelwright
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=, By Joseph P. Donovan
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 Stereotyping=, By Harris B. Hatch and A. A.
Stewart
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=, By A. A. Stewart
A handbook for beginners, giving information about justifying,
spacing, correcting, and other matters relating to typesetting.
Illustrated; review questions; glossary.
17. =Printers’ Proofs=, By A. A. Stewart
The methods by which they are made, marked, and corrected, with
observations on proofreading. Illustrated; review questions;
glossary.
18. =First Steps in Job Composition=, By Camille DeVéze
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=, By J. W. Bothwell
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=, By Robert Seaver
A study of the elementary forms of table composition, with
examples of more difficult composition. 36 pp.; examples; 45
review questions.
22. =Applied Arithmetic=, By E. E. Sheldon
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=, A. W. Finlay, Editor
Section I—The Linotype, By L. A. Hornstein
Section II—The Monotype, By Joseph Hays
Section III—The Intertype, By Henry W. Cozzens
Section IV—Other Typecasting and Typesetting Machines, By Frank H.
Smith
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=, By Frank S. Henry
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=, By Frank S. Henry
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=, By T. G. McGrew
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=, By T. G. McGrew
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=, By Charles L. Dunton
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=, By A. W. Elson
A primer of information about the distinctive features of the
relief, the intaglio, and the pianographic processes of printing.
84 pp.; illustrated; 100 review questions; glossary.
PART V—_Pamphlet and Book Binding_
30. =Pamphlet Binding=, By Bancroft L. Goodwin
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=, By John J. Pleger
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=, By F. W. Hamilton
A primer of information about words, their relations, and their
uses. 68 pp.; 84 review questions; glossary.
33. =Punctuation=, By F. W. Hamilton
A primer of information about the marks of punctuation and their
use, both grammatically and typographically. 56 pp.; 59 review
questions; glossary.
34. =Capitals=, By F. W. Hamilton
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=, By F. W. Hamilton
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=, By F. W. Hamilton
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=, By F. W. Hamilton
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=, By F. W. Hamilton
A primer of information about the history and uses of italic
letters. 31 pp.; 37 review questions.
39. =Proofreading=, By Arnold Levitas
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=, By F. W. Hamilton
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=, By A. A. Stewart
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=, By Harry L. Gage
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=, By Harry L. Gage
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=, By Harry L. Gage
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=, By Harry L. Gage
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=, By Harry L. Gage
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=, By Harry L. Gage
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=, By F. W. Hamilton
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=, By F. W. Hamilton
A brief sketch of the invention of printing and how it came about.
64 pp.; 62 review questions.
51. =History of Printing=—Part I, By F. W. Hamilton
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, By F. W. Hamilton
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=, By F. W. Hamilton
A short history of printing in England from Caxton to the present
time. 89 pp.; 65 review questions.
54. =Printing in America=, By F. W. Hamilton
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=, By F. W. Hamilton
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=, By Henry P. Porter
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=, By Henry P. Porter
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=, By Henry P. Porter
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=, By Henry P. Porter
The estimator and his work; forms to use; general rules for
estimating. Review questions. Glossary.
60. =Estimating and Selling=, By Henry P. Porter
An insight into the methods used in making estimates, and their
relation to selling. Review questions. Glossary.
61. =Accounting for Printers=, By Henry P. Porter
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=, By Henry P. Porter
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=, By F. W. Hamilton
A book of reference covering the topics treated in the Typographic
Technical Series, alphabetically arranged.
64. =Courses of Study=, By F. W. Hamilton
A guidebook for teachers, with outlines and suggestions for
classroom and shop work.
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.
------------------------------------------------------------------------
TRANSCRIBER’S NOTES
1. Silently corrected typographical errors and variations in spelling.
2. Archaic, non-standard, and uncertain spellings retained as printed.
3. Enclosed italics font in _underscores_.