imposing or correcting, leave a clear stone; that is, the mallet,
shooting-stick, furniture, quoins, saw, sawblock, and shears, are to
be put in their proper places; any good letters that may be scattered
about, distributed; and the bad letters put into the shoe, so that
there shall be no impediment to the next person using it. Any of the
articles used, or two letters, left on it will render him liable to
the fine.
CLICKER.
The compositor who, in a companionship, receives the copy from the
overseer or other person, gives it out to compose, receives the
matter back when composed, keeps an account of what each person does,
sets the head and direction lines, and the notes if any, makes up
the pages, lays them down on the imposing stone, and makes out the
account, apportioning to each his proper share; his own share of the
bill being always equal with the highest: this refers to working
on lines. In other companionships he receives the copy from the
overseer, distributes it to his companions, and receives instructions
how the work is to be done.
CLOSE MATTER.
Matter with few breaks or whites--_M._ The term is now understood of
works that are not leaded. _See_ BAD WORK.
CLOSE SPACING.
This term is used when only a middling space is put between words,
and sometimes a thin space; for some authors will not allow words to
have much space between them, but only just enough to separate them
from each other, in which case a thick space is never exceeded.
CLOSE WORK. _See_ CLOSE MATTER.
[Illustration: The Clymer Press]
CLYMER’S PRESS.
Mr. George Clymer, of Philadelphia, first began to turn his attention
to the improvement of the printing press in the year 1797. Having
completed his object, he came to England in 1817, and introduced his
improved press under the name of the Columbian Press: he established
a manufactory in London, and the first press he constructed here
was completed in 1818, and I believe went to Russia. It is an iron
press; there is no screw; the head is a large and powerful lever,
which is acted on by other levers to which the bar is attached, and
produces the pressure; the platen is attached to the head by a square
bar of iron, and the descent is preserved steadily and regularly by
two projecting guides, one from each cheek; the platen is raised
from the form by a lever with a weight at one end, attached to and
above the head, which acts when the pull is eased and the bar flies
back. The power of this press is very great, and I have not heard of
any failing or breaking, which is an important fact in its favour.
It ranks in the opinion of practical men, generally, as the next in
estimation to the Stanhope press. The only objection I have heard to
this press, was the length that the pressmen had to reach, and the
disadvantage in the pull, by the bar being attached to the off cheek;
but Mr. Clymer remedied this by attaching it to the near cheek, which
not only facilitates the pull, but also enables the pressman to exert
his strength more advantageously and with more ease. Mr. Clymer died
in 1834, but the manufactory is still continued in Finsbury Street
under the firm of Clymer and Dixon. I believe the representative of
Mr. Clymer is Mr. A. R. Shaw, who married one of his daughters.
COCK-UP LETTER.
It is not unusual to begin a work, and the divisions of it, as Parts,
or Books, with the first word set in capitals, and the first letter
a larger capital, justified to range at the foot with the others,
and bearing about the same proportion to them that capitals bear to
their own small capitals; whatever proportion there may be between
the first letter and the other part of the word, if it be justified
to range at the foot, it is styled a Cock-up Letter.
COFFIN.
That part of a wooden press, in which the stone is bedded.
Type Founders usually send small quantities of sorts in brown paper
made into a cone, and twisted at the small end, similar in shape to
what grocers use for small articles; where there are no fount cases,
or where they are full, compositors do the same with superfluous
sorts; these conical papers are called _Coffins_.
The frame and bottom of a slice galley, into which the slice slides,
is also called the coffin. _See_ GALLEY.
COGGER’S PRESS.
The cheeks of this press are of wrought iron, the head is of cast
iron, very strong, and secured in its place by screws and nuts, and
appears sufficient to bear the greatest power that can be applied
in the ordinary process of printing, without injury. The pressure
is obtained by a spindle with a screw working in the head, and
at the bottom of it is a collar in which are fixed two studs of
case-hardened iron with convex faces, which act upon two inclined
planes of unequal degree of inclination; so that, when the platen
first begins to descend, the descent is quick, but as the platen
reaches the point of pressure, the velocity is diminished and the
power proportionably increased, till arriving at a part of the plane
nearly horizontal, and the levers taking the most advantageous
positions, the highest degree of pressure is obtained. The inclined
planes are of hard steel, dovetailed in the bottom of a circular
brass box resting on the centre of the top of the platen; it contains
oil, so that the studs dip into it every pull. The power is obtained
by the bar being attached to a multiplied cross arm lever. Should the
inclined planes break, or be injured, they can easily be taken out
and replaced with new ones.
COLLATE.
To examine the signatures in each gathering, to see that they are
right and perfect. Moxon styles it COLLATION BOOKS.
The person who has to collate, (generally the Warehouseman, as he is
answerable for the correctness of the delivery of books,) takes a
heap of a gathering and places the first or signature page uppermost,
towards his right hand, and with the point of a sharp bodkin, or a
penknife, picks up the corner of each sheet, in order to see that
each signature is right, passing his thumb under them as they rise,
to keep what he examines separate from the heap, and thus proceeds
till he has examined one gathering; he then slips this gathering a
little back on the heap, and proceeds with another, till he has gone
through eight or ten, which he turns over to his left hand upon the
table, where they are ready to fold; and he thus proceeds till he has
collated a sufficient number for his delivery, or the whole number of
the work, as the case may require.
In the course of his progress he will find some sheets laid the wrong
way, these he puts right; in some cases the boys will have taken
two sheets of the same signature up, he takes one of these out; in
other cases, there may be duplicate signatures, and the right one in
order wanting; he calls out to the gathering boys to give him the
right sheet, and draws out the duplicate as before, and sometimes
a signature is wanting, which he also calls for. In these cases
the wrong sheets that are taken out of the gathering are called
_Drawn Sheets_, and are laid down on their respective heaps, to be
re-gathered.
Although not customary, I have known a warehouseman use neither a
bodkin nor a penknife, but slip up the corner of the sheet with the
end of his forefinger, in order to examine the signatures: any one
who adopts this practice should be particularly careful to have clean
fingers, or he will soil the corners of many sheets, and disfigure
his work.
COLON. _See_ PUNCTUATION.
COLOURS.
In Hayter’s “Introduction to Perspective Drawing and Painting,” is
a diagram of the three primitive colours, with their combinations,
which show the best contrasts. He says, this is highly useful for
a painter to understand: and I think it is highly useful for a
printer also to understand; for it will enable him to make the best
disposition of colours in printing so as always to produce a superior
effect to what could be done without the guidance of a correct
principle. I shall give the passage.
[Illustration: Three overlapping circles]
“You may try another experiment in proof of the primitive superiority
of red, yellow, and blue, over all other colours. First draw a
circle; then, with the same opening of the compasses, set one foot
on the circumferent line, and draw a second circle; and again, with
one foot of the compasses on the point where the two circles bisect,
draw a third; cover one whole circle with yellow, another with red,
and another with blue (letting each dry before you lay the next);
the colours intermixing by the equilateral intersection of the three
circles, will produce green, orange, and purple; and the central
portion, taking all the three colours, will be neutral of the black
class, and nearly black, according to the strength of the three
separate lays of the primitive colours. By this diagram you will
have a certain proof of the colours which are most adapted to oppose
each other, from which the knowledge of their harmonizing properties
may be derived. You will find a primitive colour always opposite to
a compound one; as, BLUE will be opposite _orange_, RED opposite
_green_, and YELLOW opposite _purple_; which must determine them to
be the natural opposites: this is highly useful for a painter to
understand.”
COLUMBIAN PRESS. _See_ CLYMER’S PRESS.
COMB WOOL.
The same as Card Wool, which _see_.
COME DOWN.
The toe of the spindle is said to come down by pulling the bar: so is
the bar when it is pulled near the hither cheek: also, the Pressman
is said to come down the form with his balls.--_M._
COME DOWN THE FORM.
Beating from the off side to the near side of the form is termed
Coming down the form.
COMES OFF.
A form that receives a good impression, Comes off well, if a bad
impression, it Comes off ill, or it Comes not well off. Also a phrase
used in gathering of books; for a heap that is gathered off is said
to come off.--_M._
COMMA. _See_ PUNCTUATION.
COMMON PRAYER.
For the allowance of the duty on paper used in the printing of Books
of Common Prayer, _see_ PAPER.
COMMONS, HOUSE OF. _See_ PRIVILEGE.
COMPANION.
Two pressmen working at the same press call one another
Companions.--_M._ Two or more compositors employed on the same piece
of work also call each other Companions. Both parties frequently
abbreviate the word, and call each other Comp.
COMPANIONSHIP.
When more than one compositor is employed upon any work it is styled
a companionship.
There are different ways of working in companionships: one is, for
each to work on his own account, to write his own bill, charging
what he has done, and correct his own matter. At other times all the
individuals work is charged and received in gross in the name of the
companionship, and the division into the respective earning of each
is made by the clicker.
In this case, to prevent unfairness, arising from any of the
companions taking an undue advantage over the others, the copy
should be strictly kept from their inspection, and a stated quantity
invariably given out for each when any of them are out of copy, and
not before; by this means each of them will have an equal chance for
any fat that may occur. I have found in practice this method to be
the fairest for all the individuals.
Another method is working on time or in pocket, where each individual
exerts himself to further the work in any way that appears to the
clicker the best, either composing or correcting, as the case
requires. In this form of companionship the whole of what is done
is written in one bill, and equally divided among the companions,
provided they have been punctual in their attendance, and have not
taken more than the prescribed time for their meals, &c.; otherwise
they are subject to fines for infraction of the rules agreed to for
their guidance.
As it often happens that a work is required to be printed with
the greatest possible despatch, the plan of working upon Lines
is frequently adopted, which is found in practice to be the most
expeditious method of facilitating the work at case.
As soon as a work that requires despatch is put in hand, the overseer
selects such men as are able to complete a great quantity of work in
a given time, and appoints one of them who thoroughly understands
his business, and is in other respects qualified, to undertake the
management of the work, and to do every thing which would interfere
with the regular business of distributing, composing and correcting.
This person is styled the clicker.
While the companionship proceeds to the distribution of letter, the
clicker applies to the overseer for the copy, receives instructions
respecting it, and procures leads and every other necessary sort. He
then draws out a table in the following form, or something similar.
In the first column he sets down the name of each compositor when
he takes copy; and in the second the folio of the copy, that he
may be able to ascertain instantly in whose hands it lies. In the
third column he notes down the number of lines each man has composed
opposite to his name, as fast as the galleys are brought to him. In
the fourth he sets down such remarks respecting the copy, &c. as
may be necessary, and also any circumstance that may occur in the
companionship.
+-------------+-----------+-----------+------------+
| Compositors | Folios of | Lines | Memoranda. |
| Names. | Copy. | composed. | |
+-------------+-----------+-----------+------------+
| | | | |
| | | | |
| | | | |
| | | | |
+-------------+-----------+-----------+------------+
When the members of the companionship are ready for their first
taking of copy, they are to receive it from the clicker in small
quantities, taking care that the two first have shorter takings than
any of the others, to prevent as much as possible any delay in the
making up. During the time the first taking is in hand, the clicker
sets the head, the head lines, white lines, signature lines, together
with side notes, and other extraneous matter.
As soon as the first person brings him his matter, he counts the
number of lines, and inserts it in the table; he then gives him
another taking of copy, and proceeds with the making up. The same
plan is observed with the rest of the companionship.
When the first sheet is made up, he lays the pages on the stone, and
informs the overseer of it, who will then immediately provide chases
and furniture.
The work will now proceed rapidly, provided there be no hinderance
with respect to letter, &c. If the clicker find that he cannot make
up the matter as fast as it is composed, he should call the companion
who is last in copy to his assistance. In this case the clicker
counts the lines he has composed, sets them down in the table, and
takes notice of the time he is off, which is to be made up to him by
a deduction from the share of each person.
The proofs should be read immediately after they are pulled, and
given to the clicker to be corrected. As soon as this is done, he
gives the proof to the compositor whose matter stands first, who
should immediately lay up the forms and correct his matter, then
forward it to the next, and so on, till the sheet be corrected; the
compositor whose matter is last in the sheet then locks it up, and
carries the forms to the proof press.
As soon as one of the companionship is out of copy, and there is no
more to be given out, the lines of the whole must be counted off,
and set down in the table, and then every one does as much as he can
for the general benefit. If there be not work enough to employ the
whole, those who are not wanted may go to their regular work, and the
time of their absence, till the rest of the companionship return to
theirs, will be deducted from their respective shares.
In the outset the value of the lines is calculated, so that each of
the companionship shall be paid, in the first instance, for what
he composes: the head and direction lines, the white lines, the
branching out, the short pages, and the white pages, are termed fat;
these the clicker sets, they are included in the general account,
and the amount divided among the companionship. By this means each
compositor will receive a share of the whole, according to the
number of lines he composes, and an equal share of the fat, and the
clicker’s share of the bill must be equal to that of the person who
has set the greatest number of lines.
If leads, or any other materials, run short, a clever and active
clicker will not wait for a supply from the overseer, who may be
prevented attending to him at the moment, but will immediately forage
for them himself, well knowing that expediting the work is for his
own advantage as well as for that of the companionship.
Those companions who do not compose half as many lines as the
compositor who has the greatest number, receive only a share of the
fat equal to one half of what those do who have worked regularly; and
those who do not compose more than one quarter, only receive equal to
one quarter of a regular share.
COMPARATIVE SIZE OF TYPES. _See_ TYPES.
COMPOSING.
The term composing includes the practical knowledge of picking up
letters, spacing, justifying lines, and emptying the composing stick
when full.
Although expedition is a most desirable qualification in a
compositor, yet alone it is far from constituting a good workman:
and the man who possesses no other claims to the title will be found
competent to little more than setting reprints, in which no judgment
is required, and where he has only to arrange letter for letter,
point for point, and line for line; on which employment he may
whistle, sing, talk, or laugh, without inconvenience to himself; for
the process being merely mechanical, and the mind not being occupied
in the smallest degree, if he make a mistake of a word, it will be
detected at the end of the line; or, if there be a double, or an out,
of lines, either will be detected when the page is finished.
How different is the case with the man who is anxious to deserve the
title of a good workman, and to maintain it: in his youth he has been
equally desirous with the other to acquire expedition; and, having
attained it, he has felt that other requisites were necessary;--he
has read, to obtain information--he has examined the best
workmanship, as specimens for his guidance--he endeavours to compose
accurately--he is careful and uniform in his spacing--he justifies
his lines to an equal tightness--he divides his words, when necessary
to divide them, correctly, and with a regard to appearance--and when
occasional bits of rule work occur, they are marked by a degree of
neatness in being cut to precise lengths, and in the corners fitting
with precision--in all the work that passes through his hands there
appear the marks of attention and skill.
When a master printer undertakes a work which requires more than
ordinary care, and is difficult to execute, the superiority of the
man who has endeavoured to improve himself is evident: he is selected
to perform it; and he then feels the advantage of his perseverance.
At work upon a difficult subject, with an ill written manuscript,
his first proofs show him equal to the task--his arrangements of the
matter are judicious--his punctuation is correct--when particular
sorts are to be justified, they are done with accuracy--when an
accented letter is required that cannot be procured in a single
type, he makes it with neatness--and when his proof returns from
the reader, he will frequently correct it in as little time, as a
slovenly compositor will require to correct a proof of a similar
size, that is a reprint.
The results to the slovenly and the good compositor are very
different. The first is only employed during a flush of work; when
that ceases, he has to seek fresh employment; perhaps does not meet
with any for some weeks; again obtains a temporary engagement; and
thus continues, till old age approaches, and he is rendered incapable
of working. The good workman, on the contrary, is prized by his
employer, especially if the latter be a workman himself, and a man of
judgment. He is looked up to by his fellow-workmen; his situation is
permanent, if he choose; his abilities qualify him to be a reader,
and if his mind lead him that way, he may obtain such a situation.
His knowledge and his merit fit him to become the overseer of a large
house; where he has many advantages, and where he continues with
credit to himself: unless, perhaps, he chooses to commence business
on his own account, which is frequently done, when he invariably
obtains the countenance and support of those who have witnessed his
skill, his knowledge, his attention, and his industry.
There is another class of compositors who neither possess much skill;
nor are very expeditious: I mean such as are of a sober, steady
habit. These are useful men in an office where there is a number of
reprints; they go on from year to year in a regular routine, and
never step out of it: the employer can always depend on them for a
regular amount of work, if they have sufficient employment.
There are too many, both good and bad workmen, who lose their time in
drinking, gaming, and other vicious and idle pursuits: such persons
pay doubly for their dissipation, for they squander the fruits of
their earnings, and cut off the source of supply, by neglecting their
employment. These men will never be employed in any respectable
printing office, where they are known, except on a temporary
engagement in a case of emergency. They introduce strife and discord
wherever they are, and frequently lead astray the inexperienced
youth: they disregard equally instruction and advice, and are not
awakened to a sense of their condition, till the most severe lessons
in this world are unitedly experienced--old age, poverty, and
contempt.
The mere art of picking up letters, and arranging them in the
composing stick, is looked upon by many compositors as constituting
the whole of their business; who in consequence think that if
they can succeed in picking letters up with facility, they become
first-rate workmen; and the terms “Swifts,” and “Fire Eaters,” by
which expeditious compositors are designated in a printing office,
gratify their vanity.
It is not necessary to give specific rules, and a minute description,
of the manner of picking up each letter, because it is impossible for
them to hold good, the letters lying in every possible direction.
A few general rules may suffice--to take up the letter at that end
where the face is--if the nick be not upwards, to turn it upwards
in its progress to the composing stick--to convey it to the line in
the composing stick with as few motions as possible--to aim at no
flourishes with the hand, which only lose time.
I would advise an inexperienced youth, when he comes to work among a
number of men, to observe the manner of one of the best and quickest
compositors: he will, perhaps, at first conclude that he is looking
at a very slow workman, for the first appearance is fallacious; but
when he examines more closely he will find his mistake, for what he
at first took for slowness is the true principle of expedition; he
will perceive no false motion, which invariably delays progress; the
fingers go to one particular letter, take it up, convey it to the
line direct, while the eye is directed to another letter which the
fingers convey in the same manner to the line; thus letter after
letter accumulate to words, lines, and pages, with a quickness that
looks like magic, while to the spectator it seems to be only the
pace of the tortoise. Let him look at another; there appears all
bustle, all expedition; the body and head in continual motion; the
hand so quick in its evolutions, that he gazes with astonishment on
the apparent rapidity of arranging the letters: let him look again
with more attention, and he will find that the man whom he supposed
so slow makes no mistake, loses no time, but continues steadily and
uniformly making progress: while the other frequently misses taking
hold of his letter; then makes two or three flourishes with his hand
and his head before he takes hold of another; and then his hand
continues dancing and see-sawing, and after three or four of such
motions, made with great rapidity, the letter is finally deposited in
the line. This manner of lifting the letters is in reality the pace
of the tortoise, although it has the appearance of the speed of the
hare.