Title: Women compositors : A guide to the composing room
Author: H. G. B.
Language: English
As this book started as an ASCII text book there are no pictures available.


*** Start of this LibraryBlog Digital Book "Women compositors : A guide to the composing room" ***


  WOMEN COMPOSITORS.



  LONDON:
  THE VICTORIA PRESS, PRAED STREET, W.
  OFFICE FOR THE EMPLOYMENT OF WOMEN,
  UNDER THE PATRONAGE OF HER MAJESTY.



  WOMEN COMPOSITORS:

  A GUIDE
  TO THE
  COMPOSING ROOM.

  BY H. G. B.

  LONDON:
  THE VICTORIA PRESS, 117, PRAED STREET, W.
  OFFICE FOR THE EMPLOYMENT OF WOMEN,
  UNDER THE PATRONAGE OF HER MAJESTY.

  1880.



  CONTENTS.


                                                                  PAGE

  INTRODUCTION                                                       7

  OUTLINES OF COMPOSITORS’ WORK                                      9
  Frames--cases--type--composing-stick--rule--galley--chase--
  galley-press--corrections--imposing--&c., &c.

  APPENDIX I.                                                       25
  Numerals--relative sizes of type--leads required to
  equal a line of any given body of type--table showing
  what number of ems of any other fount will correspond
  in depth of body with any given number of pica ems,
  from 10 ems pica to 30--the number of lines containing
  a thousand ens--accents--signs--points, &c.--metal
  rules--braces.

  APPENDIX II.                                                      29
  Diagrams of Imposition:--sheet of folio, or quarter
  sheet of octavo--sheet of quarto, or half sheet of octavo--sheet
  of octavo--sheet of twelves--sheet of sixteens.

  APPENDIX III.                                                     33
  Illustrations:--upper case--lower case--imposing
  stone--composing-stick--mallet, shooting-stick, and
  planer--chase--galley--frame--galley-press.

  APPENDIX IV.                                                      37
  Terms used in a composing room.

  APPENDIX V.                                                       43
  Miss Emily Faithfull on Women Compositors.



NOTE.


_The composition of this work was done by_ =females= _at an average of_
=20/- per week=. _The machining was done by_ =men= _at_ =40/- per week=.

_RESULT:--The_ =higher= _the pay, the_ =worse= _the work_.



INTRODUCTION.


Among the many and varied employments which have of late years been
opened up for women, there are few which promise to be so remunerative
and permanent as that of Printing (composing department). It is an
employment which gives scope for the exercise of the highest faculties
as well as the nimblest fingers; it requires but very little physical
strength; it is not in any way injurious to health; it can be performed
either sitting or standing; and is, at the same time, one in which
there is always a demand for employés.

This latter is a great consideration, as it is well known that many
very suitable employments for women are rendered almost unprofitable
because there is so little demand for labour in them, and so many
applicants for each situation. We have no hesitation in saying that
if women will only take up this employment with a determination
to surmount any difficulties which may appear at the outset, they
will find themselves in a few years in a position to demand such
remuneration as few other employments can offer.

It may be objected by some that women of education will not care to be
placed on the same level as journeymen compositors. This we admit, but
only in a qualified sense. They need not object to being on the same
level as regards remuneration (if they prove to be equally skilful),
and there is no fear of their being so in any other respects.

The following pages are written for the information of such as are
desirous of learning the Art of Printing. Of course they are quite
elementary, but they will give a good general idea of the _modus
operandi_.



OUTLINES OF COMPOSITORS’ WORK.


Dear reader,

If you desire to know something about the Art of Printing, suppose you
go with me on an imaginary tour of inspection round a printing office
with which I am acquainted. We will suppose that you are quite ignorant
of even the least fact connected with the business, and that you will
not mind asking me questions as we go along.

Well, here we are, in a composing-room, which contains a great many
things you have never seen before, and so, perhaps, I had better begin
to tell you their names and uses.

First we notice the _frames_ (see p. 35). These are wooden structures
on the tops of which the cases lie in a slanting position, something
like a desk. The lower part of the frame you will notice is fitted
with a rack, in which cases are kept when not in use. These allow of
the cases sliding in and out like drawers.

Next we notice the _cases_ (see p. 33). These are wooden trays, with
cross pieces forming a number of boxes or compartments, in which the
types are placed. There is an upper and a lower case. The upper has
ninety-eight compartments, and contains the capitals, small capitals,
figures, and accents. The lower case has fifty-three compartments,
and contains the smaller or “lower case” letters, points, spaces, and
quadrats.

The types in these cases are arranged so as to afford the greatest
facility in composing the letters into words. On looking at them you
will observe this--more particularly in the lower case. You will notice
that the letters required for the words most frequently recurring, such
as _and_, _the_, _this_, _that_, _there_, _them_, _then_, are placed
nearest the centre of the case, so that they are the more easily “set
up.” We will explain this process further on.

Now let us examine the _types_. These are small pieces of metal, on
the ends of which the letter is cast, and are all of a uniform height.
On the front of the stem nicks are cut, so that it is easy to see the
position of the letters as they lie in their respective boxes.

The compositor takes her place in front of the case, and works standing
or sitting, holding in one hand an instrument made of iron, called a
_composing-stick_ (see p. 34). With the other hand she takes the types
as she requires them out of the boxes; ranges them on a slip of brass,
called a _rule_, in her composing-stick, and putting a space to make a
blank between each two words, forms one line after another, till the
stick is full, when she empties it out upon the _galley_ (see p. 35). A
certain number of these lines are measured off into pages, several of
which being ranged and wedged tight in an iron frame, called a _chase_
(see p. 34), are ready for the press.

The composing-stick consists of a plate of iron about six inches long
and two inches wide. On the right side of this plate is a ledge, about
half an inch high, running the whole length of the plate, and serving
to sustain the letters, the backs of which are to rest against it;
on the same plate are placed two other lesser pieces, one of which
is contrived to slide along it, so that the two pieces may be either
approached or withdrawn at pleasure, to adjust the line to the measure
intended.

Before the compositor proceeds to compose, a rule, or thin slip of
brass plate, cut to the length of the line, and of the same height as
the letter, is placed against the ledge of the composing-stick for the
letter to bear immediately against.

Being thus prepared, the compositor, with the copy lying before her,
and the stick in her left hand, picks up with the right the letters,
spaces, &c., and places them against the rule; with the thumb of the
left hand she presses them close to the slide, and thus keeps them
tight and steady while the other hand is employed in setting in more
letters; the whole being performed with a degree of expedition not
easily imagined.

A line being thus composed, if it end with a word or syllable and fill
the measure, needs no further care; otherwise more spaces are to be
put between the several words to justify the lines, _i.e._, make the
measure quite full so that every line may end evenly; and thus she
proceeds to another line.

The spaces here used are a sort of blank, of the like dimension as the
letters, but not so high, whose faces, therefore, when set, do not
appear nor give any impression. They are of several kinds, according to
the dimensions of the whites or intervals to be made by them, _viz._,
quadrats, to fill up a break at the end of a paragraph, or the like;
em quadrats, which are square and of the thickness of an m, serving to
make the distance after a period, or between sentence and sentence;
en quadrats, of the thickness of an n, to be placed after colons,
semicolons, exclamations, and interrogations; and thick or thin spaces,
to be used between the words in justifying, as above.

The first line being completely justified, the compositor advances to
the next. In order to do this, she moves the brass rule from behind
the line and places it in front, and composes another line against it,
after the same manner as the former: and thus she goes on till her
stick is full, when she empties it into the galley in the following
manner:

Taking the rule from behind the last line, she places it before it;
with her two middle fingers she squeezes the lines in the stick close,
her two fore-fingers at the same time being applied on the outside of
the rule: she then lifts them out of the stick, and placing her thumbs
behind the first line, lifts them into the galley; taking care to
disengage her thumbs without breaking the lines.

The compositor, having set the proper number of lines in the stick, and
emptied them out into the galley, again fills and empties, as before.
When a sufficient number of lines have been composed to fill the galley
she secures it with side-stick and quoins, and having pulled a proof on
the _galley-press_ (see p. 36), hands it to the forewoman with copy for
reading.

The _corrections_ are written on the margin of the proof, right against
the line where the faults are found. There are different characters
to express different corrections, as D or δ, _dele_, for anything to
be effaced, or left out. When anything is to be inserted, the place
is marked in the line with a caret, ^, and the insertion added in the
margin. When a word, syllable, &c., is to be altered, it is erased
from the proof, and that to be put in its place written in the margin;
always observing, that if there be several mistakes in the same line
the corrections in the margin must be separated by bars, or strokes,
/. If a space be omitted, its place is marked with a caret, and the
margin with #. If a space be wrongly placed, as in the middle of a
word, the two parts are connected with a cu‿rve, and this mark ⁐ put
in the margin. If a letter be inverted, it is expressed on the margin
with ੭. If anything be transposed, it is marked thus: _The shortest
+| are the | follies+ best_; for _the shortest follies are the best_;
and in the margin is added _trs._ in a circle. If Roman characters are
to be changed for italic, or _vice versa_, a line is drawn under them
+thus+, and _Roman_ or _italic_ added in the margin; if to capitals, a
treble line. If a word or sentence is entirely omitted, the place is
marked with a caret, and the missing words written in the margin. If
the letters of a word stand too far asunder, a +~curve~+ is drawn under
them, and in the margin is put this mark ⁐.

Where the alterations are considerable, and particularly where
insertions or omissions are to be made, there usually arises a
necessity for over-running. In order to do this, they must decompose,
or return the lines back from the galley into the composing-stick, to
be rectified accordingly.

If one or more words to be inserted in a line cannot be “got in” by
changing the spaces of the line for lesser ones, part of the line must
be put back into the close of the preceding one, or forward into the
beginning of the subsequent one, or both, till room is obtained. If
the insertion be large, several lines will need to be over-run, either
backward or forward, till a break is arrived at; when, if it will not
come in, a line is to be driven out.

When an omission is to be made, the contrary course must be taken.
If it be but little, the compositor takes it out, and drives out
the remaining matter, either by enlarging her spaces, or bestowing
the beginning of the following, or the close of the preceding line
therein. If it be considerable, she may be obliged to over-run several
lines before it can be driven out.

As to the faults which escape the reader and compositor, they are
usually noted in what is called the _errata_.

The type, then, being composed and corrected in the galley, she
measures off enough for a page, ties it up with a cord, and proceeds
to the next, till all the pages required for the sheet are completed;
this being done, she carries them to the imposing or correcting stone
(see p. 33), there to range them in order in a chase. This is called
_imposing_.

The _chase_ is a rectangular iron frame of dimensions which vary
according to the size of the paper to be printed on. It has two cross
pieces of the same metal, called a _long_ and _short_ cross, mortised
at each end into the frame so that they may be moved if necessary.

By the different situations of these crosses, the chase is fitted for
different volumes; for quartos and octavos, one traverses the middle
lengthwise, the other breadthwise, so as to intersect in the centre,
which is the most customary situation; for twelves and twenty-fours,
the short cross is shifted nearer to one end of the chase. For folios,
the long cross is left entirely out, and the short one placed in the
middle; and for broadsides, or sheets printed on one side only, both
crosses are set aside.

To dress the chase, or range and fix the pages in it, a set of
furniture is made use of, consisting of reglets or slips of wood of
different dimensions, which are only about half an inch high, so as to
be lower than the letters. Some of these are placed at the top of the
pages, and are called _heads_; others between them to form the inner
margin, called _gutters_; others at the sides, called _side-sticks_;
and others at the bottom, called _foot-sticks_.

The pages then being placed in order on the stone, the chase is put
over them, the furniture applied between the pages and the chase in the
positions above mentioned; and the whole is locked up by means of small
pieces of wood, cut in wedge form, called _quoins_, which are driven
with a mallet and shooting-stick to a sufficient tightness. In this
condition, the work is called a _forme_, containing more or less pages
according to the size of the volume.

Before the forme is quite locked up, it is pressed down by passing a
smooth piece of wood, called the _planer_, over the letters, to make
their surfaces stand flat and even; and, when locked up, it is tested,
to see that nothing is loose.

As there are two formes required to every sheet, when both sides are
to be printed, it is necessary that they should be of exactly the same
length and breadth; _i.e._, the corresponding heads, gutters, &c., are
to be equal in both formes, that the pages may fall exactly on the back
of each other. This is called _register_.

Here, then, properly ends the compositor’s work; the forme, thus
finished, being ready to be committed to the pressman.

Besides the several kinds of letters and characters above mentioned,
used in printing, there are likewise rules for division lines, borders,
and head and tail-pieces, accommodated to the several kinds of letters.

The _rules_ for division lines are of brass, and are made exactly
the same height as the letter; otherwise they would hinder the
neighbouring letters from printing, or would themselves be hindered.
These the compositor occasionally cuts into proper lengths, as her work
requires.

The _borders_, or _flowers_, are a kind of ornament, in various forms,
serving for the division of books, chapters, &c. Their depth is
proportioned to the letter, and their length adjusted to the page; for
being composed of several moveable pieces, it is easy to lengthen or
shorten them.

The _head_ and _tail-pieces_, either cut in wood, or cast in type
metal, are used at the beginnings and endings of chapters or books.

The initial letters are sometimes cut in wood, and figured; sometimes
cast like the other characters.

For the convenience of binding, printers have recourse to signatures,
_i.e._, letters of the alphabet placed at the bottom of the first page
of each sheet, which show the order in which the sheets are to be
bound, as well as whether the quires are complete.

       *       *       *       *       *

And now, perhaps, you may be inclined to ask, “How long does it take a
person to learn to set up type sufficiently well to obtain employment?”

To this we would reply, that very much depends upon the age and ability
of the learner. Girls who begin young, say at the age of fifteen,
generally learn to set up fairly well in about twelve months, and then
begin to acquire speed, so that they can set from 25,000 to 30,000
letters per week.

Those who begin later, say at about twenty years of age, should be able
to do the same amount at the end of six months, for which they would
receive from twelve to fifteen shillings per week, according to the
conditions on which they enter as learners.

We have known some to earn twenty shillings per week after twelve
months’ learning, and afterwards increase to between twenty-five and
thirty shillings.

We do not mean to say that every learner would make the same progress,
as we have known many who have not; but, generally speaking, the
deficiency arises either from a want of proper education, or a lack of
anything like aptitude for business.

However, we are quite sure that persons of fair education, who make
up their minds to learn, can do so with even better results than those
we have before mentioned. It is not to be expected that a business of
this description can be learned without some amount of perseverance,
and those who take it up must be prepared to meet with difficulties and
overcome them.

For persons of more mature age there are special posts to occupy, one
of which is that of forewoman. This post requires not less than six
months’ training, in order to learn the general routine of the work.
But those who fill it must have a natural aptitude for business, and
possess those qualities which are essential in governing a number of
hands in any business. The remuneration would be higher in this case,
though much would depend upon the ability of the individual.

The post of reader is also an important one, and requires about the
same amount of training. It is essential that a reader should have a
practical knowledge of at least the rudiments of printing. Moreover,
a person filling this post must necessarily possess a large amount
of general knowledge; must be able to read a great variety of
manuscripts, and have a quick eye to detect errors. A good reader can
always obtain a high rate of remuneration.

We have now gone over the whole ground, though, perhaps, very
superficially. Our object, however, is not so much to give an
exhaustive treatise on the Art of Printing, as a general idea of
one branch of it to those who desire to learn; and only by entering
a printing office for a given time as a learner, is it possible to
acquire any useful knowledge of the business.



  APPENDIX I.


  NUMERALS.

  Numbers expressed by letters; either Roman or italic caps or lower
  case are used, thus--Vol. I. chap. xvii. The numerals are--

  I    i          1
  V    v          5
  X    x         10
  L    l         50
  C    c        100
  D    d        500
  M    m       1000

  The manner of expressing numbers by numerals, is by either taking
  from a higher or adding to a lower numeral thus--

  IV   iv         4
  VI   vi         6
  IX   ix         9
  XI   xi        11
  XIV  xiv       14
  XVI  xvi       16
  XX   xx        20
  XL   xl        40
  LX   lx        60
  XC   xc        90
  CX   cx       110
  CD   cd       400
  DC   dc       600
  CM   cm       900
  MC   mc      1100
  MD   md      1500


  LEADS REQUIRED TO EQUAL A LINE OF ANY GIVEN BODY OF TYPE.

  Pearl             One four and one eight-to-pica.
  Ruby              One four and one six-to-pica.
  Nonpareil         Two fours; three sixes; or four eights.
  Emerald           One four, one six, and one eight.
  Minion            One four and two sixes.
  Brevier           Two fours and one six.
  Bourgeois         Three eights and two sixes.
  Long Primer       Three fours; or six eights.
  Small Pica        Two fours and two sixes.
  Pica              Four fours; or six sixes.
  English           Three fours and two sixes.


  ACCENTS.

  The accented letters are--

  Acute           á é í ó ú
  Grave           à è ì ò ù
  Circumflex      â ê î ô û
  Diæresis        ä ë ï ö ü
  Long            ā ē ī ō ū
  Short           ă ĕ ĭ ŏ ŭ
  French ç, Spanish ñ.


  SIGNS.

  The following are a few of the most common signs--

  ℔, Pound weight.
  ⅌, Per.
  @, at.
  £, pound sterling, pound _l._
  /, Solidus, shilling mark.
  %, Per cent.
  +  Plus, or more.
  -  Minus, or less.
  =  Equal.
  ×  Multiple.
  ÷  Sign of division.
  °  Degree.
  ′  Minute.
  ″  Seconds.


  POINTS, ETC.

  , Comma
  ; Semicolon
  : Colon
  . Full point
  ’ Apostrophe
  - Hyphen
  ! Admiration
  ? Interrogation
  & Short “and”
  () Parentheses
  [] Brackets
  ☞ Fist.


  METAL RULES.

  En - em -- 2-em ---- 3-em ------ 4-em --------


  BRACES.

  2-em ⏞⏞ 3-em ⏞⏞⏞ 4-em ⏞⏞⏞⏞ Superior ⏞⏞⏞⏞⏞


  RELATIVE SIZES OF TYPE.

  Dble Pica  = 2-line Small Pica.
  Paragon    =    ”   L. Primer.
  Gt. Primer =    ”   Bourgeois.
  English    =    ”   Minion.
  Pica       =    ”   Nonpareil.
  Small Pica = 2-line Ruby.
  L. Primer  =    ”   Pearl.
  Bourgeois  =    ”   Diamond.
  Brevier    =    ”   Minikin.

   4⅓ ems of Gt. Primer = 1 inch.
   5½   ”    English    =    ”
   6    ”    Pica       =    ”
   7    ”    Small Pica =    ”
   8⅔ ems of L. Primer  = 1 inch.
   9½   ”    Brevier    =    ”
  12    ”    Nonpareil  =    ”
  17⅓   ”    Diamond    =    ”

  TABLE showing what number of ems of any other fount will correspond
  in depth of body with any given number of Pica ems, from 10 ems Pica
  to 30.

  +------+------+------+------+------+------+------+------+------+-----+
  |Pica. |Small | Long |Bourg.|Brev. | Min. |Nonp. |Ruby. |Pearl.|Pica.|
  |      | Pica.|Primr.|      |      |      |      |      |      |     |
  +------+------+------+------+------+------+------+------+------+-----+
  |  10  |  11½ |  12½ |  14  |  15½ |  17  |  20  |  23  |  25  |  10 |
  |  11  |  12½ |  14  |  15½ |  17  |  18½ |  22  |  25½ |  28  |  11 |
  |  12  |  14  |  15  |  17  |  18½ |  20½ |  24  |  27½ |  30  |  12 |
  |  13  |  15  |  16½ |  18½ |  20  |  22  |  26  |  30  |  33  |  13 |
  |  14  |  16  |  17½ |  20  |  21½ |  23½ |  28  |  32½ |  35  |  14 |
  |  15  |  17½ |  19  |  21½ |  23  |  25½ |  30  |  34½ |  38  |  15 |
  |      |      |      |      |      |      |      |      |      |     |
  |  16  |  18½ |  20  |  23  |  25  |  27  |  32  |  37  |  40  |  16 |
  |  17  |  19½ |  21½ |  24  |  26½ |  28½ |  34  |  39½ |  43  |  17 |
  |  18  |  21  |  22½ |  25½ |  28  |  30½ |  36  |  41½ |  45  |  18 |
  |  19  |  22  |  24  |  27  |  29½ |  32  |  38  |  44  |  48  |  19 |
  |  20  |  23  |  25  |  28½ |  31  |  34  |  40  |  46  |  50  |  20 |
  |      |      |      |      |      |      |      |      |      |     |
  |  21  |  24  |  26½ |  30  |  32½ |  35½ |  42  |  48½ |  53  |  21 |
  |  22  |  25½ |  27½ |  31½ |  34  |  37  |  44  |  51  |  55  |  22 |
  |  23  |  26½ |  29  |  32½ |  35½ |  39  |  46  |  53  |  58  |  23 |
  |  24  |  27½ |  30  |  34  |  37  |  40½ |  48  |  55½ |  60  |  24 |
  |  25  |  29  |  31½ |  35½ |  38½ |  42  |  50  |  58  |  63  |  25 |
  |      |      |      |      |      |      |      |      |      |     |
  |  26  |  30  |  32½ |  37  |  40  |  44  |  52  |  60  |  65  |  26 |
  |  27  |  31  |  34  |  38½ |  42  |  45½ |  54  |  62½ |  68  |  27 |
  |  28  |  32½ |  35  |  40  |  43½ |  47½ |  56  |  65  |  70  |  28 |
  |  29  |  33½ |  36½ |  41  |  45  |  49  |  58  |  67  |  73  |  29 |
  |  30  |  34½ |  38  |  42½ |  46½ |  50½ |  60  |  69½ |  75  |  30 |
  +------+------+------+------+------+------+------+------+------+-----+

  THE NUMBER OF LINES CONTAINING A THOUSAND ENS

  In any body of type from Pica to Nonpareil, and from 10 to 40 Pica ems
  in width.

  +--------+------------------------------------------------------+
  | Pica.  |    NUMBER OF LINES CONTAINING A THOUSAND LETTERS.    |
  | ems in +------+------+--------+------+--------+--------+------+
  | width. |Pica. |Small | Long   |Bourg.|Brevier.|Minion. | Nonp.|
  |        |      |Pica. |Primer. |      |        |        |      |
  +--------+------+------+--------+------+--------+--------+------+
  |   10   |  50  |  43  |   40   |  36  |   32   |   29   |  25  |
  |   11   |  45  |  40  |   36   |  32  |   29   |   27   |  23  |
  |   12   |  42  |  36  |   32   |  29  |   27   |   24   |  21  |
  |   13   |  38  |  33  |   30   |  27  |   25   |   23   |  19  |
  |   14   |  36  |  31  |   29   |  25  |   23   |   21   |  18  |
  |   15   |  33  |  29  |   29   |  23  |   23   |   20   |  17  |
  |        |      |      |        |      |        |        |      |
  |   16   |  31  |  27  |   25   |  22  |   20   |   19   |  16  |
  |   17   |  29  |  26  |   23   |  21  |   19   |   17   |  15  |
  |   18   |  28  |  24  |   22   |  20  |   18   |   16   |  14  |
  |   19   |  26  |  23  |   21   |  19  |   17   |   15   |  13  |
  |   20   |  25  |  22  |   20   |  18  |   16   |   15   |  13  |
  |        |      |      |        |      |        |        |      |
  |   21   |  24  |  21  |   19   |  17  |   15   |   14   |  12  |
  |   22   |  23  |  20  |   18   |  16  |   15   |   13   |  12  |
  |   23   |  22  |  19  |   17   |  15  |   14   |   13   |  11  |
  |   24   |  21  |  18  |   17   |  15  |   13   |   12   |  10  |
  |   25   |  20  |  17  |   16   |  14  |   13   |   12   |  10  |
  |        |      |      |        |      |        |        |      |
  |   26   |  19  |  17  |   15   |  14  |   12   |   11   |  10  |
  |   27   |  19  |  16  |   15   |  13  |   12   |   11   |   9  |
  |   28   |  18  |  15  |   14   |  12  |   12   |   11   |   9  |
  |   29   |  17  |  15  |   14   |  12  |   11   |   10   |   9  |
  |   30   |  17  |  14  |   13   |  12  |   11   |   10   |   8  |
  |        |      |      |        |      |        |        |      |
  |   31   |  16  |  14  |   13   |  11  |   10   |   10   |   8  |
  |   32   |  16  |  14  |   12   |  11  |   10   |    9   |   8  |
  |   33   |  15  |  13  |   12   |  11  |   10   |    9   |   8  |
  |   34   |  15  |  13  |   12   |  10  |    9   |    9   |   7  |
  |   35   |  14  |  12  |   11   |  10  |    9   |    8   |   7  |
  |        |      |      |        |      |        |        |      |
  |   36   |  14  |  12  |   11   |  10  |    9   |    8   |   7  |
  |   37   |  14  |  12  |   11   |  10  |    9   |    8   |   7  |
  |   38   |  13  |  11  |   10   |   9  |    9   |    8   |   7  |
  |   39   |  13  |  11  |   10   |   9  |    8   |    8   |   6  |
  |   40   |  12  |  11  |   10   |   9  |    8   |    7   |   6  |
  +--------+------+------+--------+------+--------+--------+------+



  APPENDIX II.

  DIAGRAMS OF IMPOSITION.


  [Illustration: SHEET OF FOLIO, OR QUARTER SHEET OF OCTAVO.]

  [Illustration: SHEET OF QUARTO, OR HALF SHEET OF OCTAVO.]

  [Illustration: OUTER FORME.

  INNER FORME.

  A SHEET OF OCTAVO.]

  [Illustration: OUTER FORME.

  INNER FORME.

  A SHEET OF TWELVES.]

  [Illustration: OUTER FORME.

  INNER FORME.

  A SHEET OF SIXTEENS.]



  APPENDIX III.

  ILLUSTRATIONS.


  [Illustration: 1. Upper Case.

  2. Lower Case.

  3. Imposing Stone.]

  [Illustration: Composing Stick.

  Mallet, Shooting-stick, and Planer.

  Chase.]

  [Illustration: Galley.

  Frame.]

  [Illustration: Galley-press.]



  APPENDIX IV.

  TERMS USED IN A COMPOSING-ROOM.


  _Author’s proof._--The clean proof sent to an author after the
  compositors’ errors have been corrected.

  _Bastard title._--A short title preceding the general title of a work.

  _Bastard type._--Type with a face larger or smaller than its
  appropriate body: as Nonpareil on Minion body, or Minion on Nonpareil
  body.

  _Batter._--Types accidentally injured in a forme.

  _Beard of a letter._--The outer angle supporting the face of a type
  and extending to the shoulder.

  _Blank page._--A page on which no matter appears.

  _Body._--The shank of the letter.

  _Boxes._--The compartments of a case in which the types are placed.

  _Break._--The last line of any paragraph.

  _Casting off._--Estimating how many pages a certain quantity of copy
  will make in type.

  _Chapel._--The meetings held by compositors for the purpose of
  redressing grievances, collecting fines, and disposing of their
  funds.

  _Clean proof._--When a proof has but few faults in it, it is called
  a clean proof; and when a proof is to be sent to the author, the
  compositor is ordered to pull a clean proof.

  _Clearing away._--Properly disposing of materials after a work has
  been completed.

  _Close matter._--Solid matter with few break-lines.

  _Companionship._--All the hands on a work.

  _Composing._--Setting type.

  _Correct._--When the reader reads the proof, or the compositor
  corrects the mistakes marked in the proof, they are both said to
  correct; the reader the proof, the compositor the type.

  _Corrections._--The alterations or errors marked in a proof.

  _Cut-in letter._--A type of large size adjusted at the beginning of a
  line at the commencement of chapters.

  _Cut-in note._--A note justified into the side of a page.

  _Distributing._--Returning types to their various boxes after having
  been printed from.

  _Double._--A repetition of words.

  _Dressing a chase or forme._--Fitting the pages and chase with
  furniture and quoins.

  _Even lines._--When a piece of printing has to be executed in great
  haste, a number of compositors are employed on it, and the copy
  is cut into small pieces for each, to facilitate the making-up,
  imposing, and the general furthering of the work; if the copy should
  be in long paragraphs, the compositors have each to begin a line and
  to make their copy end a line, frequently with great irregularity of
  spacing. This is termed making even. In newspapers it is of constant
  occurrence.

  _Fat._--Poetry and leaded matter.

  _Folio._--The figure or figures which stand at the head of the page;
  also a sheet of paper once doubled.

  _Forme._--The pages when imposed in a chase.

  _Foul proof._--A proof with many faults marked in it.

  _Fount._--An assortment of type in definite proportions.

  _Furniture._--Strips of wood or metal, placed around and between
  pages when imposed.

  _Gauge._--A strip of reglet with a notch in it, passed with the
  making up, to denote the length of the pages.

  _Get in._--To set close.

  _Gutter-sticks_.--Furniture used in imposition to separate the pages.

  _Half-title._--The title of a book inserted in the upper portion of
  the first page of matter.

  _Head-line._--The top line of a page containing the running title
  and folio. When there is no running title the folio is styled the
  head-line. Chapter lines are head-lines, as are also the titles of
  articles in periodicals and newspapers.

  _Imposing._--Arranging and locking up a forme of type in a chase.

  _Imprint._--The name of the printer or of the publisher appended to
  jobs or title-pages.

  _Inferior letters._--Small letters cast near the bottom of the type.

  _Justifying._--Spacing out lines accurately.

  _Keep in._--To crowd in by thin spacing.

  _Keep out._--To drive out or expand matter by wide spacing.

  _Kerned letter._--Type of which a part of the face hangs over the
  body.

  _Laying cases._--Filling cases with a fount of new type.

  _Laying pages._--Placing pages on the stone in the proper order for
  imposition.

  _Lean._--Close and solid matter.

  _Lean face._--Light, thin type.

  _Letter hangs._--When the page is out of square.

  _Locking up._--Tightening up a forme by means of quoins.

  _Longcross._--The bar that divides a chase the longest way.

  _Low case._--When the compositor has set almost all the letters out
  of her case.

  _Making up._--To arrange the lines of matter into pages.

  _Making margin._--In imposition, arranging the space between the
  pages of a forme so that the margin will be properly proportioned.

  _Measure._--The width of a page.

  _Open matter._--Matter widely leaded or containing numerous
  break-lines.

  _Off its feet._--When matter does not stand upright.

  _Out._--An omission marked in a proof by the reader.

  _Over-running._--Carrying words backward or forward in correcting.

  _Passing the making-up_.--Passing to the next hand in order the
  lines remaining (if any) after a compositor has made up her matter,
  together with the gauge and proper folio.

  _Pie._--Type promiscuously intermingled.

  _Planing down._--To bring down types evenly on their feet, by laying
  a planer on the page and striking it firmly with a mallet.

  _Revise._--The last proof of a forme before working it off.

  _Riding._--Type at the end of a line catching against a lead, or the
  ends of leads over-lapping each other.

  _Runs on sorts._--Requiring an inordinate proportion of particular
  letters.

  _Shank._--The square metal upon which the face of a letter stands.

  _Signature._--A letter or a figure used at the bottom of the first
  page of a sheet, to direct the binder in placing the sheets in a
  volume.

  _Sorts._--The letters in the several case-boxes are separately called
  sorts, in printers’ and founders’ language.

  _Squabble._--A page or forme is squabbled when the letters are
  twisted out of a square position.

  _Shoulder._--The upper surface of the shank of a type not covered by
  the letter.

  _Stet._--Written opposite to a word, to signify that the word
  erroneously struck out in a proof shall remain.

  _Superior letters._--Letters of a small face, cast by the founder
  near the top of the type.

  _Table work._--Matter consisting partly of rules and figures.

  _Take, or Taking._--A given portion of copy.

  _Turn for a letter._--When a sort runs short, a letter of the same
  thickness is substituted, placed bottom upward.

  _Wayz-goose._--A term given to the annual dinner customary among
  printers during the summer months.

  _White line._--A line of quadrats.

  _White page._--A blank page.

  _Working in pocket._--When the hands share equally their earnings on
  a work.



  APPENDIX V.


Miss Emily Faithfull wrote as follows in 1874:

In the end of 1859 our attention was directed to the printing trade
as offering a field for the employment of women, and early in the
following year the Victoria Press was opened in the face of a great and
powerful opposition,[A] and we commenced what was then considered a
rash experiment, and perhaps might have proved so, but for the liberal
support accorded by friends who appreciated the difficulties we had to
encounter from those who tried to check the movement by fair means or
foul.

[A] Mr. Gladstone in speaking on monopolies (about the date to which we
allude) observed;--“Then we come to the printer’s monopoly--a powerful
combination, which has for its first principle that no woman shall be
employed, for reasons obvious enough--viz., because women are admirably
suited for that trade, having a niceness of finger which would enable
them to handle type better than men; they are, however, excluded by the
printers’ combination.”

The opposition was not only directed against the employer, but the
female apprentices were subjected to all kinds of petty insults.
Unmanly tricks were played upon them; their frames and stools were
covered with ink so as to soil their dresses unawares, the letters were
mixed in their boxes, and their cases were emptied of “sorts.”

Nevertheless, after some years of work, in spite of foes without and
traitors within, property purposely injured, machinery wantonly broken,
&c., &c., we have steered our little bark safely through the natural
and artificial perils by which it was surrounded, and can now point to
an office in thorough working order, producing its own monthly magazine
and weekly paper, together with the books, reports of societies,
chancery bills, cards, and circulars, with which the friends of the
movement from all parts of the country kindly favour us.

Nor does the success of our experiment stop here; we gladly and
thankfully recall the fact that female compositors are now employed
in several other offices; the applications for “trained hands” are
increasing. During the last month we have received letters from
different correspondents asking us to send women compositors and proof
readers to country offices. For the women who have taken up this trade
have proved equal to their work. They “set up type” with expedition and
accuracy. We have no hesitation in saying, after our long experience,
that young girls learn with greater rapidity than boys of the same age;
they are not only more intelligent, but they are far more attentive.

They have another vantage ground which employers will not be slow to
recognise--viz., habits of sobriety. They do not ask for a few hours’
leave of absence and remain away a couple of days “on the spree,” which
too often forms the man’s excuse for placing the master printer in a
position of more or less awkwardness, according to the size of the
office.

And in one direction the introduction of women into printing offices
may prove beneficial to others as well as to themselves. This has been
tested to a great extent in America. Not only did we find women at
work in Harper’s splendid office in New York, but during a visit to
Harvard, Mr. Houghton, the proprietor of the _Riverside Press_, kindly
took us over his immense establishment, where we found men and women
at work, side by side, setting up type. He spoke not so much of the
work executed by the nimble fingers of the women, but of the moral
effects of their presence there. The men had been shamed out of the
use of bad words and habits, and he declared that it was impossible
to over rate the good achieved, adducing that in the interests of his
business nothing would induce him to have a room in which men worked
alone. And this is justly regarded as a model Press in America. It
reminds you of the good old days when the printer was a scholar. The
heads of departments are all college men. When we had concluded our
tour of inspection, and Mr. Houghton had assured us that his idea of
introducing women compositors was due to a visit he had paid to our
own Victoria Press, we indeed felt amply rewarded for any anxiety
experienced in the establishment of an office which had not only helped
English women, but actually influenced the fate of their sisters on the
other side of the Atlantic Ocean--far beyond its own immediate centre.

Female compositors can earn from 10s. to 30s., but a good reader
sometimes receives £2 2s. a week. Before anyone is qualified to
undertake this position they must spend about twelve months in learning
the technicalities of the business. Quickness of eye and a thorough
knowledge of grammar and punctuation are indispensable, but they are
not sufficient qualifications. We must be emphatic on this point, for
many ladies come to us, and think because they can detect an error in
some newspaper or magazine article, they are capable of filling the
very onerous position of a reader[B] in a printing office.

[B] Several ladies have applied for a readership in a printing office
lately vacant, stating as their qualification a capacity for reading
aloud; another lady stated that “she knew she could undertake it
for her father was a solicitor, and she had often copied out legal
documents.”

Unfortunately, few ladies ever think, or are allowed to think, of
preparing themselves for work; they never dream of it until driven
to take it up for self support, and then require immediate payment.
Now, charity cannot find an enduring place in the labour market,
consequently women cannot be placed in positions of trust and
respectability simply because they need remuneration, and those
who desire to undertake any work in connexion with printing must be
prepared to train themselves.

In confirmation of the opinions we have expressed about the position
of a proof reader, we quote the following observation from a
practical printer, who has always been friendly to the movement,
and is a recognised authority on this point. He writes in answer
to our enquiry:--“There _must_ be a previous acquaintance with
practical printing. A very few people will do without it, but they
are exceptions. By rights, there ought to be three or four years’
experience as a compositor first. Then a few months under careful
supervision may make a reader.”



SIXPENCE MONTHLY, WITH PHOTOGRAPH.

ANNUAL SUBSCRIPTION, 7/-, POST FREE.

NEW SERIES.

THE VICTORIA MAGAZINE,

CONDUCTED BY EMILY FAITHFULL.


It discusses the social questions that affect the status of women with
a knowledge and ability altogether its own.--_Spectator._

There is not an article in it too dry for a lady’s reading, or too
frivolous to interest a man.--_Examiner._

Takes high rank among its contemporaries.--_Daily Telegraph._

Altogether the _Victoria_ shows traces of increased freshness and
power.--_Guardian._

Every number of the _Victoria Magazine_ perceptibly furthers the good
work.--_Oxford Undergraduates’ Journal._

A credit to its conductors.--_Liverpool Daily Post._

The _Victoria_ thoroughly sustains its character as the principal organ
in questions relating to women.--_Yarmouth Independent._


LONDON:

THE VICTORIA PRESS, PRAED STREET, W.

SIMPKIN, MARSHALL & CO., STATIONERS’ HALL COURT, SOLD AT RAILWAY
BOOKSTALLS.



SECOND EDITION.

Price £1 10s.

_Dedicated by permission to Her Majesty._


TE DEUM LAUDAMUS,

ILLUMINATED BY

ESTHER FAITHFULL FLEET.


Could not easily be surpassed in beauty of design, or in the finish of
their execution.--_The Times._

Resplendent with gorgeous colouring and gilding, and the designs have
much beauty and variety of form.--_Illustrated London News._

We must not omit to state that the book is also a triumph of printing
in colour.--_Pall Mall Gazette._


THE VICTORIA PRESS, PRAED STREET, LONDON, W.



THIRD EDITION.

Price Sixpence.


PRAYERS, TEXTS, & HYMNS

FOR THOSE IN SERVICE.


By the Author of

“Count up your Mercies,”

AND

“Tracts for Railway Men and others.”


THE VICTORIA PRESS, PRAED STREET, LONDON, W.



AMATEUR

AUTHORS

Can have their Works printed and published

AT THE

VICTORIA PRESS


With advantage to themselves, and at the

same time help in the movement for

the Employment of Women.


ESTIMATES SENT FREE.



  TRANSCRIBER’S NOTES:

  1. Unicode symbols have been used to represent the handwritten marks
  that were used to indicate corrections:
    δ (Greek small letter delta, U+03B4) for delete
    ‿ (Undertie, U+203F) to connect two parts of a word
    ⁐ (Close up, U+2050) to indicate two parts should be closed up
    ੭ (Gurmukhi digit seven, U+0A6D) to indicate inverted letter
  2. Enclosed italics font in _underscores_.
  3. Enclosed bold font in =equals=.
  4. Enclosed spaced font in ~tilde~.
  5. Enclosed underline, overline and undercurve in +plus+.



*** End of this LibraryBlog Digital Book "Women compositors : A guide to the composing room" ***


Copyright 2023 LibraryBlog. All rights reserved.