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TYPOGRAPHIC TECHNICAL SERIES FOR APPRENTICES--PART VI. NO. 38
THE USES OF ITALIC
A PRIMER OF INFORMATION
REGARDING THE ORIGIN AND
USES OF ITALIC LETTERS
BY
FREDERICK W. HAMILTON, LL.D.
EDUCATION DIRECTOR
UNITED TYPOTHETAE OF AMERICA
PUBLISHED BY THE COMMITTEE ON EDUCATION
UNITED TYPOTHETAE OF AMERICA
1918
COPYRIGHT, 1918
UNITED TYPOTHETAE OF AMERICA
CHICAGO, ILL.
CONTENTS
PAGE
HISTORICAL INTRODUCTION 1
RULES FOR THE USE OF ITALIC 5
SUPPLEMENTARY READING 16
REVIEW QUESTIONS 17
THE USES OF ITALIC
HISTORICAL INTRODUCTION
The first types were cut in imitation of the Gothic or black letter
handwriting employed at that period in copying Bibles, missals, and the
like. It was large and angular and the lines were very coarse and black.
These peculiarities gave it the name. Its characteristics made it easy
to read even in the dim light of a church or by the failing eyes of the
aged. This form of type, however, was only suitable for large pages.
When reduced in size it became very difficult to read, being an almost
indistinguishable blur on the page.
[Illustration: Type of the Mazarin Bible (exact size).]
The cost of materials and the unwieldiness of the great folio volumes
soon caused a demand for smaller books. Gutenberg's 36-line Bible was
almost immediately replaced by the 42-line Bible. A reduction of one
sixth in the number of pages of a book as large as the Bible would
effect a very important saving in the cost of material and labor,
especially when we remember that the early printing press was a very
laborious and slow affair. Gutenberg's press was capable of printing
only twenty sheets an hour, or one sheet every three minutes. The
invention of the movable bed, about the year 1500, increased the output
of the press to two hundred sheets an hour. In 1786 the speed had risen
only to two hundred and fifty sheets an hour. Cheap printing waited for
the application of power to machinery.
The big book with the big type was well enough for churches and
libraries. But the purpose of printing was soon seen to be the spread of
intelligence through the popularizing of literature. Books were to be
placed in the hands of the people, not simply of the priests, nobles,
and professional men. That end could only be accomplished by making
books cheap and portable, that is to say small. To this end the printers
soon addressed themselves to the task of devising forms of type which
should be smaller, so as to reduce the number and size of pages required
for a book without sacrifice of legibility. A clear, clean cut type,
with sharp lines and simple forms, capable of compression without loss
of distinction, was the great need.
The first important departure was the cutting of Roman type. The
capitals were imitated from the letter forms used in Roman inscriptions.
In the earlier forms the lower-case letters were rough and uncouth, much
resembling the Gothic forms. The inventor of this form is not known, but
it was certainly employed by the German printers Sweynheim and Pannartz
at Subiaco, near Rome, as early as 1467. Their example was followed by
several imitators and improvers, but its form was not definitely settled
until Nicholas Jenson cast his fonts in Venice in 1470 or 1471. It is
doubtful if any more perfect Roman types than those of Jenson have ever
been produced. The superiority of this type soon caused its general
adoption except in Germany. England was slow in coming into line. Caxton
never used anything but Gothic type. Roman type was not introduced into
England at all until 1509, and then had to make its way against the
older forms backed by English conservatism. Germany has never adopted
the Roman letter for general use but makes some use of it in scientific
works.
[Illustration: Roman type of Nicholas Jenson, 1472 (exact size).]
The next step was the invention of Italic types by Aldus Manutius, of
Venice, in 1501. He took for his model the handwriting of the poet
Petrarch and produced a type not essentially different from the modern
Italic. Originally the Italic letters were lower-case only, Roman
capitals being retained. The incongruousness of this combination was,
however, so evident that Italic capitals were soon designed and then the
new fonts were complete. The Aldine capitals used with Italic lower-case
were small, the ancestors of the small capitals of today. Aldus used the
Italic type as a text letter, and such use continued frequent for a
century.
[Illustration: Type of the Aldine Virgil, 1501 (exact size).]
At the present day, except in Germany, the three forms of type have
their distinct uses. Gothic, variously known as Black Letter, Old
English, Priory Text, Cloister, etc., is used only for special work,
particularly in ecclesiastical printing. The modern type called "gothic"
is not derived from it. Roman is the general text letter. Italic has
ceased to be a text letter, but serves a useful purpose for certain
special uses which are to be considered at length in the following
pages.
RULES FOR THE USE OF ITALIC
Italic has, in general, four uses:
(1) for emphasis.
(2) to set off a title, word, or passage from the context.
(3) for running titles, sub-heads, the headings of tables, and other
like places where something different from the text letter seems
needed for variety.
(4) for display purposes in commercial work.
One very important principle should always be observed in the use of
italic for emphasis. Emphasis should always be used sparingly. Make the
words do their work. Do not try to supplement poverty of thought and
weakness of expression by italics, capitals, and other marks of
emphasis. Where there is too much emphasis attempted no emphasis is
secured. This fault was much more common formerly than now.
The accompanying reproduction of a page from a book printed in 1690
(place not given, but probably London) illustrates several of the faulty
uses of italics common at that time. An entire paragraph is italicized
(quite unnecessarily) for emphasis. All proper names and adjectives
derived from them are italicized where they occur in the regular text
and printed in roman where they occur in italicized passages. Note the
frequent capitalization for emphasis and especially the italic capital
with roman lower-case in the first line of the second paragraph. This is
a frequent usage in this particular book. In this book all quotations
are printed in italic without quote marks. The paper, composition, and
presswork of the book are very poor. It represents English printing in
its worst period.
[Illustration: Page from a book of 1690.
(The slurred appearance represents the printing of the original copy.)]
Moderation in the use of italics is so important that in many cases the
compositor is justified in ignoring markings for italic in his copy
where they are too profuse. The author is often surprised and
disappointed at the appearance of his proof when it comes back heavily
italicized. Moreover the occurrence of many italics increases the cost
of composition because of the greater labor involved.
I. Italicize, subject to the caution just given, any words or phrases
which it is desired to emphasize.
II. Foreign words and phrases incorporated into English sentences are
sometimes italicized and sometimes not so distinguished. The deciding
element in fixing the usage in these cases would seem to be the
commonness and familiarity of the word or phrase. For example, the
meaning of _bona fide_ (Latin), _menu_ (French), _recto_ (Italian), or
_stein_ (German) are as well known as those of most English words. To
all intents and purposes these words have been adopted into our
language. On the other hand, _jeu d'esprit_ (French) or _inter alia_
(Latin) would probably not be immediately understood by the casual
reader. Words of the first type should not be italicized. Words of the
second type should be.
Following is a partial list of words of foreign origin which should not
be italicized even when the original accents are retained. It is better
to retain the accents. They are, however, often omitted. Familiarity
plays its part here also. _Dénouement_ is very often written without the
accent; _née_ is rarely so written. The absence of accented letters from
typewriters, from ordinary fonts of type, and from the matrices
ordinarily used in type-casting machines probably contributes largely to
their omission.
aide de camp
Alma Mater
a posteriori
a priori
à propos
attaché
bas-relief
beau ideal
bona fide
bric-à-brac
café
chargé d'affaires
chiaroscuro
clientèle
confrère
connoisseur
crèche
criterion, _pl._ -a
cul-de-sac
data
débris
début
décolleté
dénouement
dépôt (= depository)
doctrinaire
dramatis personæ
éclat
élite
ennui
entrée
ex cathedra
ex officio
exposé
façade
facsimile
fête
habeas corpus
habitué
innuendo
levée
littérateur
litterati
massage
matinée
mêlée
menu
motif
naïve
née
net
névé
niche
nil
nom de plume
papier mâché
per annum
per capita
per cent
per contra
personnel
postmortem (n. and adj.)
prima facie
pro and con(tra)
protégé
pro tem(pore)
questionnaire
queue
régime
rendezvous
résumé
reveille
rôle
savant
sobriquet
soirée
tête-à-tête
tonneau
umlaut
verbatim
verso
versus (v., vs.)
via
vice versa
vis-à-vis
viva voce
Following is a short list of words or phrases of foreign origin which
are used occasionally but are not familiar enough to be printed in the
text type.
_ab ovo_
_ancien régime_
_bête noire_
_comme il faut_
_de quoi vivre_
_de trop_
_en passant_
_fait accompli_
_grand monde_
_hors de combat_
_inter alia_
_jeu d'esprit_
_locum tenens_
_mise en scène_
_noblesse oblige_
_raison d'être_
_sans cérémonie_
_tour de force_
The following words, phrases, and abbreviations used in literary and
legal references should be italicized.
_ad loc._
_circa_ (_ca._)
_et al._
_ibid._
_idem_
_infra_
_loc cit._
_op. cit._
_passim_
_sic_
_supra_
_s. v._
_vide_
Do not italicize:
cf.
etc.
e. g.
i. e.
v. or vs. (versus)
viz.
When an unfamiliar foreign word is used to convey precise description,
put it in italic, but use roman for repetition of the word.
Italicize brief passages of foreign words which may be incorporated into
an English passage but may not be long enough to be treated as regular
quotations.
_De gustibus non est disputandum_, or as the French have it, _Chacun
a son gout_.
Longer passages in foreign languages should be set in roman.
To set an entire paragraph of quoted matter in a foreign language in
italic, or even to use italic too freely for phrases, practically
nullifies the value of it as a display letter for the sub-headings or
for any other part of the book in which distinction is really needed.
Quotation marks, indention, smaller type, or any of the marks which
distinguish quoted matter are sufficient.
III. At one time it was quite customary to set all quotations, whether
in English or a foreign language, prose or verse, in italics, but that
fashion is now happily obsolete. Some modern printers use italic for
bits of verse between paragraphs in the text of roman, but it is a fancy
and not likely to be permanent.
IV. Do not italicize foreign titles preceding names of foreign
institutions or places, streets, etc., the meaning or position of which
in English would call for roman type.
Pere Ladeau; Freiherr von Schwenau; the Place de la Concorde; the
Museo delle Terme.
V. In text matter use roman for the name of any author, but italicize
the title of the work. This applies to books, including plays, essays,
cycles of poems, and single poems of considerable length, usually
printed separately, and not from the context understood to form parts of
a larger volume; pamphlets, treatises, tracts, documents, and
periodicals (including regularly appearing proceedings and
transactions). In the case of newspapers and periodicals the name of
the place of publication should be italicized when it forms an integral
part of the name, but do not under ordinary circumstances italicize the
article _the_.
In many offices the names of papers, magazines, and serials are not
italicized. Roman is often used without quotation marks, the title being
indicated by capitalization. When such names are used as credits at the
end of citations or notes they should always be italicized.
This is largely a matter of individual taste and office style. Ample
warrant can be found for either form in the writing of the best
authorities and in the practice of the best offices.
VI. In citations which make a full paragraph, and in footnotes, the name
of both author and book are commonly set in roman lower-case. At the end
of a paragraph or footnote specification of author and book may be roman
for author and italic for book. When only the book is given, use
italics.
These rules are often modified in long bibliographical lists, tables, or
other cases when following them would cause a great accumulation of
italics and spoil the appearance of a page. Do not italicize the books
of the Bible (canonical or apocryphal) or titles of ancient manuscripts,
or symbols used to designate manuscripts.
D 16, M 6, P, J.
VII. Italicize _see_ and _see also_, in indices and similar compilations
when they are used for cross-reference, and when it is desirable to
differentiate them from the context.
VIII. Italicize _for_ and _read_ in lists of errata to separate the
incorrect from the correct.
Page 999 _for_ Henry _read_ Henri.
IX. The phrases _prima facie_ and _ex officio_ are sometimes used to
qualify the nouns which follow, and sometimes used as adverbs. As
qualifiers they are often printed in roman with the hyphen.
Prima-facie evidence.
An ex-officio member of all committees.
When used as adverbs they may be printed in italics without the hyphen.
The evidence is, _prima facie_, convincing.
The speaker is, _ex officio_, the chairman.
X. Names of ships, especially when they are taken from places, as in the
United States Navy, are often italicized.
U.S.S. _Philadelphia_, U.S.S. _Alabama_.
XI. Names of paintings, statues, musical compositions, and characters in
plays are sometimes italicized. This is not ordinarily advisable. It
violates the rule of never using italics or other emphasizing devices
needlessly and is liable to mar the appearance of the page. It is
sometimes necessary, however, to avoid ambiguity. For example, Julius
Caesar is a historical personage, "Julius Caesar" is one of
Shakespeare's plays, _Julius Caesar_ is a character in the play.
XII. Italicize the symbols _a)_, _b)_, _c)_, etc., used to indicate
subdivisions when beginning a paragraph and _a_, _b_, _c_, etc., affixed
to the number of verse, page, etc., to denote a fractional part.
See Chap. iii, sec. 2 _a)_.
Luke 4 : 31 _b_.
XIII. Italicize letters used to designate quantities, lines, etc., in
algebraic, geometrical, and similar matter, and in explanation of
diagrams and illustrations.
(_a_+_b_)² = _a²_+2_ab_+_b²_; the line _a c_ = the line _a b_;
the _n_th power; at the point _B_.
XIV. Italicize particular letters of the alphabet when referred to as
such.
We use _a_ much more frequently than _q_.
XV. Authorities in science differ in the use of italics and capitals. In
strictly scientific matter it is better to follow copy if the copy is
intelligently prepared; if not, follow some recognized text-book on the
subject.
In general the following rules will be found serviceable.
(a) In botanical, zoological, geological, and paleontological matter,
italicize scientific (Latin) names of genera and species when used
together (the generic name being in the nominative singular), and of the
genera only, when used alone. When genera and species are used together
the genus always comes first, species second.
_Agaricus Campestris_, _Felis leo_, _Conodectes favosus_, _Phyteuma
Halleri_, _Pinus_, _Basidiabolus_, _Alternaria_, _Erythrosuchus_.
(b) In medical matter the general practice is to print names of diseases
and remedies in roman. In the _Encyclopedia Britannica, Eleventh
Edition_, however, the scientific names of diseases are printed in
italics.
(c) In astronomical and astrophysical matter italicize:
1. The lower-case letters designating certain Fraunhofer lines: _a_,
_b_, _g_, _h_.
2. The lower-case letters used by Baeyer to designate certain stars
in constellations for which the Greek letters have been exhausted:
_f_, Tauri; _u_, Hercules.
(d) Italic should not be used for:
1. Greek, Latin, and Arabic names of planets, satellites,
constellations, and individual stars: Neptune, Thetys, Orionis.
2. Symbols for chemical elements: H. Ca. Ti.
3. Capital letters given by Fraunhofer to the lines of the spectrum:
A-H, K.
4. Letters designating the special types of stars: A 5, B 3, Mb.
5. The capital letter H with different Greek subscript letters, used
to designate symbols of hydrogen: H_a, H_b, etc.
6. Designations of celestial objects in well-known catalogues; also
the Flamstead numbers:
M 13 (for No. 13 of Messier's _Catalogue of Nebulae and
Clusters_), Bond 619; N. G. C. 6165; B. D.-18° 4871; 85 Pegasi,
Lalande 5761.
But when initials are used to express the titles of catalogues, as
such, and not to designate a particular celestial object, such
initials are to be italicized, following the usual rule of
references by titles.
_B. D._; _N. G. C._
XVI. In resolutions italicize the word "_Resolved_," but not the word
"Whereas."
XVII. Italicize the names of plaintiff and defendant in the citation of
legal cases; also the titles of proceedings containing such prefixes as
_in re_, _ex parte_, _In the matter of_, etc.
_The Boston Elevated Railway Co._ vs. _The City of Cambridge_. _In
re Johnson_; _ex parte Thomas_; _In the matter of the petition of
John Smith for a change of venue_.
XVIII. Italicize address lines in speeches, reports, etc., and primary
address lines in letters. Set the address flush, in a separate line,
with the nouns capitalized.
_Mr. Toastmaster, Ladies and Gentlemen._
_Mr. Henry P. Porter, 148 High St., Boston, Mass._
XIX. In signatures italicize the position or title added after the name.
If this consists of only one word, it is usually run into the same line
with the name.
Frederick W. Hamilton, _Clerk_.
If the title consists of more than one word but is no longer than the
name, center the first letter under the name line, and indent one em on
the right.
John F. Fitzgerald,
_Mayor of Boston_.
If the title is longer than the name, center the name over the second
line and set this flush:
Minton P. Warren,
_Professor of Latin Language and Literature_.
Sometimes a long title may be set in a smaller type, or, if this is not
advisable, it may be put into two lines.
These rules are generally sound, but may have to be varied to suit
special conditions.
Italicize the signatures of contributors to magazines, etc., when the
names appear at the end of the article. If the name appears at the head
of the article use small capitals, or, as is often done, the same type
as the text.
XX. Italic may be used to distinguish the words or clauses which serve
as verbal texts for an extended comment. In printed sermons, for
example, the text is often set in italics.
XXI. Italic may be used with good effect for running titles, for table
headings, and for sub-heads. It is not desirable for side notes. It has
many kerned letters which are liable to break off at the ends of the
lines in an exposed position.
XXII. In the English Bible italics are used to print words which are not
expressed in the original Hebrew or Greek but are implied in the
original and expressed in the translation.
Their quiver _is_ an open sepulchre; they _are_ all mighty men.
I find in him no fault _at all_.
These italics should never be mistaken for marks of emphasis.
XXIII. Care should be taken that the italic type used should mate well
with the roman. The fact that it often did not so mate, even in fonts
supposed to go together, was one cause for the disfavor which came to
attend its use. Typesetting machines constructed without proper
provision for the composition of italic have been very influential in
restricting its use. Italics are now practically abolished from
newspaper work except in advertising matter, though they were used in
newspapers to excess in the eighteenth century.
XXIV. Italics are indicated in manuscript by drawing a single line under
the words to be so printed.
SUPPLEMENTARY READING
Correct Composition. By Theodore L. DeVinne. Oswald Publishing Co., New
York.
The Writer's Desk Book. By William Dana Orcutt. Frederick A. Stokes Co.,
New York.
A Manual for Writers. By John Matthews Manly and John Arthur Powell. The
University of Chicago Press, Chicago.
QUESTIONS
1. Describe the first types.
2. What caused the demand for smaller books?
3. What was done to meet this demand?
4. What was the first step in the improvement of type?
5. What was the next important step?
6. What are the present uses of the three principal forms of letters?
7. What are the general principles governing the use of italics?
8. What important principle should be observed in the use of italic?
9. Is a compositor ever justified in not following an author's marks
calling for italics, and why?
10. For what, in general, is italic used?
11. What is the general usage regarding foreign words and phrases?
12. What decides whether they are italicized or not?
13. What about accents in foreign words?
14. Give a list of common words, phrases, and abbreviations used in
literary and legal references which should always be italicized.
15. Give a short list of abbreviations of foreign origin which should
not be italicized.
16. How should quotations in foreign languages be treated?
17. What is the use of italic in English quotations?
18. How should you treat foreign titles preceding names of persons,
streets, and the like?
19. How are names of authors and of books, magazines, and the like,
treated?
20. How do we use italics in citations, in footnotes, in indices, and in
errata?
21. When are _prima facie_ and _ex officio_ italicized, and when not?
22. How are names of ships printed?
23. How are names of paintings, statues, musical compositions, and
characters in plays treated?
24. What is the rule about letters used to indicate subdivisions, etc.?
25. How do we print letters of the alphabet when referred to as such?
26. What can you say of the use of italic in scientific matter
generally?
27. Give the particular rules for the use of italic in certain sciences.
28. What is the rule for italic in resolutions?
29. How are italics used in legal matter?
30. How are italics used in signatures?
31. Where are titles placed when following names in signatures?
32. How may texts of sermons and the like be printed?
33. What can you say of the use of italic in running titles, table
heads, side notes, and the like?
34. What should be looked out for in combining italic with roman?
35. What has been the influence of machine composition in the use of
italic, and why?
36. How does the use of italic in newspapers at present compare with
that of a hundred years ago, and why?
37. How are italics indicated in manuscript?
As elsewhere in this section of the Typographic Technical Series, the
learning of the rules must be supplemented by extended practice in their
application. Constant drill should be given the apprentice in the
setting of matter requiring the use of italics, or in writing out
manuscripts with the italics properly indicated. There is no other way
in which accuracy and practical proficiency can be acquired. Printed
matter may be shown for criticism and discussion, and incorrectly
italicized matter may be given out for correction.
TYPOGRAPHIC TECHNICAL SERIES FOR APPRENTICES
The following list of publications, comprising the TYPOGRAPHIC TECHNICAL
SERIES FOR APPRENTICES, has been prepared under the supervision of the
Committee on Education of the United Typothetae of America for use in
trade classes, in course of printing instruction, and by individuals.
Each publication has been compiled by a competent author or group of
authors, and carefully edited, the purpose being to provide the printers
of the United States--employers, journeymen, and apprentices--with a
comprehensive series of handy and inexpensive compendiums of reliable,
up-to-date information upon the various branches and specialties of the
printing craft, all arranged in orderly fashion for progressive study.
The publications of the series are of uniform size, 5 × 8 inches. Their
general make-up, in typography, illustrations, etc., has been, as far as
practicable, kept in harmony throughout. A brief synopsis of the
particular contents and other chief features of each volume will be
found under each title in the following list.
Each topic is treated in a concise manner, the aim being to embody in
each publication as completely as possible all the rudimentary
information and essential facts necessary to an understanding of the
subject. Care has been taken to make all statements accurate and clear,
with the purpose of bringing essential information within the
understanding of beginners in the different fields of study. Wherever
practicable, simple and well-defined drawings and illustrations have
been used to assist in giving additional clearness to the text.
In order that the pamphlets may be of the greatest possible help for use
in trade-school classes and for self-instruction, each title is
accompanied by a list of Review Questions covering essential items of
the subject matter. A short Glossary of technical terms belonging to the
subject or department treated is also added to many of the books.
These are the Official Text-books of the United Typothetae of America.
Address all orders and inquiries to COMMITTEE ON EDUCATION, UNITED
TYPOTHETAE OF AMERICA, CHICAGO, ILLINOIS, U. S. A.
PART I--Types, Tools, Machines, and Materials
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.