C^3 C^3 C^3 C>^3 (^3 C^3 (^3 C^3 (^3 C^3 C^3 C^3 rW Scientific Library <1 ls &’t^)cS)cSjcS)cSlcS3[S)cS)t^)[S3t^Jt^)cS)cS? GOVHRNSJENT PRINTING OFFICE 1 1 - S625 NOTICE. r All pages missing from this volume are those of Advertisements only, and a specimen of each advertisement published in the volume will be found in the issues 'iA KAAAxO 13712blm3-1900 Librarian. THE INLAND. ' PRINTER I he Leading Trade Journal of the World IN THE Printing and Allied Industries. VOLUME XXXII. October, 1903, to March, 1904. CHICAGO, ILL., U. S. A.: The Inland Printer Company, Publishers. / / 7 „ 1 If" <7. INDEX TO THE INLA VOLUME XXXI FROM OCTOBER, 1903, TO c. ,rE”« page Engraving — Continued. Colored inserts: Captive, The . 208 c0 In the Arroyo . . . . 56 Royal Gorge, The, Colorado ..... A , cV. Spinning a yarn . : . . cfg2c . Tokimatsu . <888ct Composing-room : Accuracy . 265 Carries it in his head . 265 Color-printing job press, A . 892 Composing-room . 265, 427, 578, 892 Following copy . 428 Job composition . . . .85, 236, 402, 553, 709, 860 Keeping special sorts . 427 Lock-up for mortised cuts . 578 Machine folding on broad thirty-two- page forms . 266 More about general distribution . 427 National foreman’s association . 265 Page cord at “40 cents a mile” . 892 Penotype designs . 89 Preparing of copy, The . 427 Profanity minimizer, A . 578 Proper placing of the job press, The. . . 427 Review of specimens received. . 1 15, 266, 437, 594, 754, 9°7 Spacing of typewriter circulars . 892 Suburban printing . 265 Typewriter ribbon effect in circulars.... 892 Correspondence : Advantage of system . 549 Against any change . 857 Australian’s complaint, An . 219 British printers improving . 549 Commends the new plan . 549 Correspondence . 59, 219, 393, 549, 7<>5, 856 Disagrees with Mr. Dewey. . 220 Employer-member again, The . 393 Estimating while you wait . 219 Everard Printing House, Bristol, Eng¬ land, The . 221 Foremen’s association needed . 549 Historical type cases . 705 Illegibility of text lettering. The . 856 Labeling type cases . 857 Labels on type cases . 549 Laying the foundation . 857 Legal “square” in California, The.... 549 Linotyper replies, A . 707 Making type cases round-bottomed . 549 No rule but the golden rule . 707 One-sided fonts not wanted . 219 Portfolio of specimens, The . 856 Present method pleases him . 708 Printing the proceedings of Congress. . . . 394 Protest, A . 393 Question of arbitration, The . 59 Recommends the job composition branch. 856 Reply to the “box man’s basis,” A.... 705 Reversing the lines to aid the sight. . . . 708 Romans and Italics . . 708 Round-bottomed type cases . 393 St. Louis idea, The . 60 Stereotyping woodcuts . 393 Successful though inexperienced . 219 System and good workmanship . 549 Typefounders’ labels . 856 Union printers’ home, The . 220 What application and study will do.... 707 Editorial: c cc c C c Advance' in.- subscription ratese . 843 ApfSrtntScc^liip question. The, . 209 Appropiiaie gifts . 849 Boon for the ambitious pointer,' A . 46 , British and (A me rjcdp/.p rip ring . 848 ' ,'Bu^intsk; accuracy thp key to success... 46 Chjtpe^afnd ,fes chairman, The . 206 Demand for competent printers . 847 Drift in the labor movement. The . 204 Editorial . 43, 203, 377, 531, 687, 843 Employers’ organizations . 379 Financial . 43, 203, 377, 531, 687, 843 Getting down to it . 534 Goal of industrial peace, The . 533 How to keep desirable employes . 847 Incorporation of unions . 534 Instruction in accuracy . 206 Labor problem. The . 210 Lowering prices . 382 Manchester’s technical school for print¬ ers . 381 Miller case again, The . 207 Moral influence of the machine . 849 New I. T. U. laws . 384 Newspaper capitalization . 45 Oxidation of type . 690 President Gompers on the militia . 378 Question of technical education, The... 532 Responsibility for spoilage . 849 Rising standard, A . 380 Russian idea, The . 535 Shall it be done openly? . 845 Shorter-work-day movement . 385 Tempter and tempted . 692 Too few competent workmen . 46 Type and paper harmony . 845 Typesetting machines in the G. P. O. . . . 689 Typographical union obligation. The.... 44 Wage question. The . 383 Electrotyping and stereotyping: Casting thin plates . 734 Double-page advertisements . 734 Electrotyping and stereotyping . 102, 247, 400, 734, 883 Few queries, A . 883 How heat affects type . 883 Interesting contract, An . 884 Matrices blister . 734 Partridge’s improved stereotype casting apparatus . 247 Regarding depth of etching . 734 Rolling machine paste . 734 Shells fail to stick . 734 Stereotyping . 102, 250, 400 Streaky deposit . 883 Up to the electrotyper . 248 Engraving: Alcohol in the developer . 728 Arsenic, lenses and lead intensifier. . . . 552 Artist engraver, An . 875 Blue enamel process, A . 728 Brief answers to some queries . 245 British Journal almanac, The . 874 Cereographic engraving . 245 Collodion emulsion for cold climates... 245 Color-sensitive dry plates in half-tone... 875 Combination line and half-tone . 729 Cost of chemicals for processwork . 728 Dragon’s-blood . 729 Editor of “ Le Procede,” The . 84 Editor of the Process Review . 551 Enamel for etching dies . 395 Etching brass . Focusing three-color negatives . Fogged negatives . Gillots of Paris, The . Half-tone engraving as described in the twelfth census report . High art engraving and printing . Holder for half-tone screen and plate.. Hydroquinone as an intensifier . Increasing use of color process plates.. “ Kahlbaum ” mirror, The . Line etching on zinc . London school of photoengraving, A.... Making photographic plates sensitive to red . : . Medium for retouching photographs for reproduction . New and old collodion . New wet collodion process, A . Opportunities for artists in New York.. Organic wet plate developer . Parallax stereogram, The . Penrose’s Pictorial Annual, 1903-1904... Perchlorid of iron . Photoengravers’ club, A . Photoengravers versus electrotypers.... Photoengraving for a small newspaper. . . Photographers’ copyright and the news¬ papers . Photographing on wood . - Present status of the three-color patent litigation . Process engraving. .. .83, 245, 394, 550; 728, Processworker’s clock, A . Quickest way to reverse negatives . Reversing negatives . Screen distance, size of stops, and expos¬ ure . Solution for blackening negatives, A . “Sweating” of the screen . Teaching engraving to convicts . 84, To make gelatin insoluble . Tri-color filters . Trouble with the silver bath . Violet rays injure eyesight . Wash-out engraving process. The . Wood engraver and the process plate, The . I. Illustrations: Agricultural dilettante, A . All coons look alike . Alpine hospice, An . Apprehension . Back to first principles . Belle of Manila, The . Blossoms . Boiling eggs . Boy with cub . Bridge of Spain, Manila . Brown compositype . Buffalo dance, The . Burned-wood posters . Chicago Typothetae banquet . Chicken for dinner . Chief’s headquarters, The . Christmas cake, A . Church's composing machine of 1822... Church’s typecaster of 1822 . City of Interlaken, Switzerland, The... Compositype bar machine . PAGE 245 396 83 84 246 550 395 874 551 875 730 874 395 551 83 728 396 83 246 730 84 730 395 55°' 552 ■?95 246 874 874 55i 394 246 551 396 394 83 874 245 83 83 55 1 424 201 392 523 37° 529 566 34 547 525 261 548 526 753 199 1 1 1 432 35 35 536 36 INDEX. Illustrations — Continued. page Contentment . 579 Convalescent, The . 218 Coons . 196 Cooper, The . 886 Corn converters . 878 Country swain, A.. . ns Cream of the islands, The . 526 Dam at St. Charles, Ill . 729 Difficult passage, A..... . 721 Early visit, An . 890 Editorial rooms of modern Japanese newspaper . 263 Elaine . 424 Empty stocking, The . 376 Expectation . 523 Fall in millinery. A, and a rise in lingerie . 401 Figure for liberal arts . 542 Filipino agriculturalist, A . 746 Fire engine wrecked by falling walls, Baltimore fire . 901 Fireworks display at opening of the new Brooklyn bridge . 715 Forty-ninth convention of the I. T. U. in session, The . 75 Friendly criticism, A . 852 Friends . 249 Fruit of toil, The . 872 Fun at the seashore . 98 Gathering storm, The . 395 Genius of liberal arts . 541 Grave of Oliver Goldsmith . 749 Handy darkroom clock, A . 874 Happy hours . 93 Haymaking . 859 “He loves me, he loves me not” . 841 Hog-ma-nie . 97 Home of the brook trout, The . 676 Hostages to fortune . 49 Hunting in Colorado . 212 Idylls of the country, The, No. 3 — The foes of the rat . 106 Idylls of the country, The, No. 4 — Ready for Christmas . 244 Importation, An . 95 In Colorado . 51 Interior view of Stationers’ Hall . 696 In the gloaming . 415 In the good old summer time . 116 In the Gorge, Hot Springs, Ark . 274 In winter quarters . 246 I’se grandma . 44° I. T. U. delegate’s card. An . 226 Johnson composing machine, The . 35 Johnson typecaster . 36 Jungfrau, The, as seen from the Rugen- hugel, Switzerland . 592 Kiowa squaw and papoose . 581 Lady and rose, The . 736 Lass who waits for a sailor, The . 528 Launching the life-boat . 678 Lauterbrunnen, Staubach, Switzerland.. 576 Linoscope, The . 66 Lock-up for color forms . 578 Long Bayou, Kankakee River . 681 Louisiana woodland . 54 Ma don’t know how tall I’se growed. . . . 560 Master Crew carries his jest too far.... 363 Mill Creek, near Batavia, Ill . 691 Model’s rest, The . 384 Moonshiners’ country, The . 675 Morning glories . 416 Mounts Niesen and Stockhorn at Inter¬ laken, Switzerland . 552 Mouth of the Pasig River, Manila, the landing place of U. S. troops . 745 Mutual understanding, A . 422 Nation’s wards, The . 577 New customer, A . 400 New factory of the Fuchs & Lang Mfg. Co . 443 New French press, The “ La Mono- cylette ” 896 “ None-so-pretty ” . 195 Nonunion feeder, A . 74 Off day in the woods, An. . . , . 61 Illustrations — Continued. page Office of Council City (Alaska) News. . 423 Old swimming hole, The . 410 On Scotia’s cliffs . 58 On the Hot Springs mountain . 252 Orkney kitchen, An . 704 Ouachita river mill dam. Hot Springs, Ark, A . 257 Palace of education, St. Louis World’s Fair . 540 Palace of electricity . 540 Palace of liberal arts . 540 Partridge’s stereotyping apparatus — closed . 248 Partridge’s stereotyping apparatus — open . 248 Pavilion entrance of graphic arts sec¬ tion . 540 Pavilion of palace of liberal arts . 540 Physical liberty . 543 “Pick-ups” . 891 Pierrot . 50 Portraits: Antonson, F. W . 572 Austin, A. C . 551 Avery, Arthur . 572 Barnhart, Henry A . 724 Barnhart, Warren . 743 Barrow, Samuel G . 707 Bay, James L . 413 Beeman, V. H . 399 Blanchard, Isaac H . 885 Bohle, J. C . 64 Calmels, H . 84 Canode, M. L . 399 Cantwell, Hon. M. J . 906 Casey, George . 559 Cathcart, Miss Carrie . 723 Clark, W. W . 903 Cushing, J. Stearns . 751 DeVinne, Theodore L . 269 Duboc, Chas. II . 718 Gillot, Charles . 84 Gillot, Firmin . 84 Gordon, Laura B . 78 Graff, Charles T . 79 Green, William . 436 Greene, F. II . 229 Greene, II. B . 229 Guest, John . 64 Hamm, E. F . 586 Hanafin, W. J . 78 Heath, Franklin W . 588 Hobbs, Miss Emily . 717 Horgan, S. H . 264 Huston, J. A . 77 Jackson, Mrs. Anna . 64 Jenkins, Z. T . 77 Johnson, Joe M . 78 Johnson, Mrs. Joe M . 79 Kennedy, Mrs. Frank A . 78 Kessler, Miss J. M . 399 Koops, F. W . 229 Kurtz, A. 1 . 559 La wry, E. J . 717 Leo XIII . 82 Littlefield, E. N . 717 McCormick, John . 220 McNeese, R. G . 559 MacLane, Mary . 56 Marinoni, M . 907 Marlatt, George E . 559 Melton, W. F . 572 Milton, John . 582 Mintier, J. II . 399 Partridge, C. S . 599 Pears, Harry P . 435 Pelouze, Edward . 591 Pelouze, Lewis . 884 Pope, George A . cco Pringle, A. W . 64 Ramsey, Capt. W. R . 79 Ray, William A . 572 Raymond, Charles L . 399 Roper, John W . 572 Ruter, II. V . 572 Scott, L. R . 572 iii Illustrations — Continued. page Shepard, Mrs. Levi . 598 Shepard, Levi . 598 Shepard, Henry 0 . 412, 686 Shoemaker, 0 . 717 Simmons, Horace . 717 Spencer, Miss Katherine Kidd . 79 Stephens, E. R . 572 Stubbs, Wm. H . 397 Tallman, F. R . 64 Taylor, George H . 592 Taylor, R. D . 229 Thompson, Russell . 572 Thomsen, George . 229 Tyrrell, E. R . 890 Vaughan, D. C . 78 Walther, George J . 572 Wanner, Andrew F . 279 Warnock, Wallace S . 279 Webster, A. A . 91 1 Whitehead, F. N . 77 Prairie Bend, Kankakee River . 684 President’s Thanksgiving turkey. The... 202 Primitive methods in the poultry indus¬ try . 869 Printing-office of Will Poland, Urbana, Ohio . 273 Progress of manufacture . 546 Puzzle-picture — Overlook Park, Ashe¬ ville, N. C . 197 Quarrel, The . 53 Queen’s pups . 583 Raiding an opium joint, Manila . 564 Receiving copy by telephone . 398 Rising generation, The . ,. . no Roses and milk . 375 Ruins of great Baltimore fire . 898-900 Schoolroom, machine composition branch, Inland Printer Technical School . . . 228 Sears direct printer, The . 37 Secret, The . 894 Shieldbearers . 547 Shigley job press . 892 Side-piece for cascades . 545 Silhouette portrait . 837 Speed . 547 Spirit of the Atlantic Ocean . 544 Spirit of the Pacific Ocean . 544 Stained glass windows of Stationers’ Hall, The . 699 Straight question, A . 235 Study in chalk . 33, 192 Study in lighting, A . 62 Swiss mountain scenery . 530 Tea-party, A . 868 Tomb of John Bunyan . 897 Town crier of old Japan, The . 263 Trysting place, The . 846 Typo’s outing on Chesapeake Bay, The. 76 Unique book plate, A . 905 United States troops operating Colt au¬ tomatic gun at Tarlac . 596 Variable mold liner . 560 Venable low-metal alarm . 228 Vertige . 521 Vetenan’s reunion, The . 47 Welcome footsteps . 890 When the wind is in the west — Orkney. 42 Worsell took the manuscript gingerly. . . 835 Young Germany . 113 Young virtuoso, A . 109 Yuletide of the ancient Britons . 361 L. Lithography: Aluminum by a new process . 732 Art of color mixing, The . 416 Benefits of technical schools for arti¬ sans . 415 Best works on lithography for students. . 574 Blue for rubbing in tracings on gelatin. . 82 Boiled linseed oil . 877 Book-cover designing in America . 81 Color-printing process, A . 877 “ Combinations ’ in the lithographic in¬ dustry . 251 \ IV INDEX Lithography — Continued. page Composition rollers for lithographic ma¬ chines . 414 Conditions in Russia . 574 Conditions in South Africa . 81 Damping the aluminum plate . 251 Death of the organizer of the L. I. P. & B. A . 251 Difference in tones of black upon the same transfer . 252 Easy method of printing with the litho¬ graphic roller, An . 82 Etching-ground recipes . 252 Etching the zinc plate . 731 Even temperature in the pressroom.... 731 Exhibition for artists . 877 Experimenting on aluminum . 81 Fine screen tints without a Ben Day film . 877 Free and liberal-minded union organ, A. 251 Future of lithography, The . 878 Gum gamboge on stone and aluminum.. 731 Hardened gelatin films . -575. 732 High etching on aluminum . 731 How and where . 732 How to preserve zinc plates . 878 Ideal manager, An . 416 Imitating lithographing on celluloid . 81 Improvement in standards . 877 Instructions for engraving on stone . 81 Interesting book for lithographers, An.. 878 Inviting advertisement. An . 81 Lithographic conditions in England . 81 Lithographic printing on hard, rough paper . 414 Lithographic stone quarries found in Virginia . 731 Lithographic trade schools in London... 414 Lithography . 81, 251, 414, 574, 731, 877 Lithography in a new field . 877 McBrair substitute for lithographic stone, The . 251 Melting points ot acid-resisting sub¬ stances . 575 Modern methods of varnish manufac¬ ture . 877 More art required . 81 Negative transfer upon aluminum plate. 415 New composition rollers . 574 New lithographic surface, A . 252 New York trade school . 877 Ownership of samples . 731 Paste for varnished surfaces . 575 Pneumatic lithographic roller, A . 415 Printing without damping the stone . 731 Recipe for making gum rollers, A . 574 Regarding emigrating lithographic work¬ men . 251 Retouching the lithographic transfer im¬ pression . 414 Rise in prices in the lithographic in¬ dustry in France . 81 Shrinking of gelatin . 731 Some samples of lithography . 575 Something new . 732 Source of future development, A . 877 Specialism versus versatility . 574 Specimens of steel and copperplate en¬ gravings . 414 Spots in large surfaces of tousched solids . 414 Style and taste standards in decorative art . 253 Substitute for pumice stone . 731 Taxing sources of artistic knowledge.... 877 Three-color work on stone . 878 Tinting of the stone . 251 To make lithographic stone sensitive to light . 251 Transferring to lithograph stone for “ colored prints” . 82 Transfers five years old . 877 Traveling designer, The . 877 Trays for process experimenters . 731 Wages of lithographic engravers . 416 Where process is superseding lithography 878 Zinc etch for surface printing . 731 M. PAGE Machine composition : Advice from a graduate . 63 Alignment and shearing . 398 American linotypist visits England, An. . 397 Another low-metal alarm . 228 Antipodean graduate, An . 717 Appreciative graduate, An . 226 Average speed . 868 Carrying belts of Simplex machine . 399 Casting borders . 716 Cause of spacebands breaking, The . 65 Cold metal . 718 Composing machines — past and present 35. 196 Defective letters in slugs . . . 398 Did not want the job . 559 Don’t forget . 226, 397, 558, 716, 867 Double-deck Linotype machine, A . 229 Fair day’s work, A . 558 “Freak” attachment, A . 66 Graduate’s troubles, A . 228 High and low letters . 228 Fligh average, A . 718 It is to laugh . 868 Lead poisoning . 399 Linotype fan, A . 64 Linotype matters in London . 228 Linotype metal . . . .• . 560 Linotype scale in England . 559 Lock-up of mold disk . 869 Machine composition. .63, 226, 397, 558, 716, 867 Machine legislation at Washington con¬ vention . 63 Matrices and magazines . 868 Matrix ears battered . 559 Metal . 717 Metal gathers on mold . 64 Monotypes in Australia . 559 New process of mechanical composition, A . 869 Noteworthy anniversary, A . 598 Operating under difficulties . 229 Overhauling an old plant . 560 Pointers . 718 Prize contest, The . 226 Queries from Arizona . 64 Recent patents on typesetting machinery. 66 Relieving tension on springs . 226 Some expedients . 559 Things you should not forget . 63 Thinks record is high . 65 Typesetting by electricity . 716 Used his finger for a knife-wiper . 64 Vise automatic . 868 Wants first prize . 63 Washing type . 717 Miscellaneous: Adoption of the Roman letter in Japan.. 413 Advertising . 107, 259, 433, 589 After reading a popular novel . 703 Agricultural note . 426 Amendment to copyright law . 876 American bank notes . 890 American copyright law . 275 American way, The . 855 Amos J. Cummings memorial . 876 Another automatic feeder . 730 Another false alarm . 536 Another Hearst newspaper . 882 Another printers’ home . 589 Apprentice and his work, The . 255 Appropriate heading, An . 277 Arbitration in New Zealand . 262 Arizona kicklets . 271 Art versus printing . 114 Artist’s success, An . 859 Ascertaining cost . 67 Australia will exclude all foreign books. . 91 1 Banquet of employing bookbinders . 895 Berlin notes . 583 Blessed is the kicker; he shall receive.. 903 Bohemianism and ruin . 708 Books and periodicals . 113, 268, 440, 597 Bouquets . 889 Box man’s basis, The . 368 Miscellaneous — Continued. page Business notices . 117, 278, 442, 600, 758, 913 Carelessness, thoughtlessness and igno¬ rance . ,. 679 Certainly was profane . 904 Charles Keene as an etcher . 855 Christmas dinners for the poor . 432 Circular saws in the hands of printers, photoengravers and electrotypers. . . 197 College of photoengraving, A . 552 Color in the graphic arts. .260, 429, 564, 746, 893 Competency a prerequisite . 536 Compositype sorts caster, The . 261 Conference of the national publishers’ association and the I. T. U . 21 1 Congratulatory . 597 Copyright reciprocity . 912 Correction, A . 441 Course in the principles of design, A. . . . 37 Cover-papers . 421 Cox multi-mailer, The . 116 Cultivate reserve power . 691 Darkened path, The . 833 Deal with the men . 41 Dirty case, A . 903 Do auxiliaries promote divorces?. . 254 Do conventions pay? . 79 Doubletone inks . 96 During the convention . 744 Echoes from the Baltimore fire . 901 Educational opportunity for printers, An 578 Elaborate luncheon, An . 870 Electrotypers’ banquet . 599 Employers’ organizations . 273 English grammar . 199 English language. The.... 3 74, 524, 680, 840 English printers the best . 870 Entered at Stationers’ Hall . 694 Entertainment of the forty-ninth session of the International Typographical Union, The . 75 Enthusiasm of conviction, The . 74 Enthusiastic friend, An . 859 Exactions of the Franklin Union of pressfeeders . 44° Exhibition of printing, An . 893 Expert’s opinion, An . 62 Export field, The . 66, 262, 424, 584, 744, 905 Fairness the price of peace . 55° Familiar face, A . 758 Fanny Crosby, hymn writer . 247 Faults of contributors, The . 417 First newspaper in Great Britain . 597 First newspaper to use illustrations . 264 First printer in British America . 700 First web printing press, The . 112 Freight rate on type . 895 From an Australian’s viewpoint . 855 From the Orient . 912 From the reminiscences of “ Eighth Medium” Bill . 193. 521 “ Genesis of journalism,” The . 682 Good printers in demand . 388 Government printing-office now an “open” shop, The . 413 Government’s printing plant, The . 428 Graphic arts exhibit, The, at the St. Louis World’s Fair . 541 Great Baltimore fire, The . 898 Growth of American daily papers . 727 Gustavus F. Swift’s mottoes . 870 Heaps of trouble for the editor . 268 Hints on presswork . 48 His due . 759 His honey was not there . 385 His only teacher . 262 Honored by electrotypers’ association .... 599 How a great “scoop” was lost . 726 How George Ade came to write fables. . 212 How music is printed . 4>7 Hygienic leaf-turner, A . 561 Illustrated press syndicate . 432 Indispensable . 857 Instructive example, An . 592 INDEX. v Miscellaneous — Continued. page Instructor of apprentices, An . 577 Inventor in the graphic arts, An . 744 Inventor of the ruling machine, The.... 719 Iron printer, The — an invention . 386 It was a mistake . 749 Italian exhibition in 1905 . 895 Journalism at the University of Michigan 573 Journalistic romance, A . 727 Knows one that hasn’t . 873 Land of the daily paper, The . 419 Largest Bible publishing house, The .... 396 Lark’s shrewd guess. The . 41 London notes . 580, 748, 896 Lord’s Prayer in Burmese, The . 733 Lubrication of gearing . 268 Man at the window, The... 55, 213, 388, 537. 70i, 853 Management of a small job office, The. . 408 Mending broken castings . 563 Mission of organized labor . 255 Model print-shop, A . 273 Modern bindery needed . 262 Morning with Theodore L. DeVinne, A. . 596 Most northerly newspaper . 423 Mural decoration at the World’s Fair.. 545 Needs the money . 442 New Australian trade paper . 884 New field for the “ follow-up ” system, A 834 New French national printing-office . 748 New Government printing-office too small 254 Newspaper amenities . 845 Newspaper in the arctic circle . 250 Newspaper work.. 98, 230, 419, 567, 724, 880 No more crisp bank-notes . 439 No whiskers there . 222 Object to glazed paper . 253 Old-time printers’ reunion . 759 On the menu . 752 Once a subscriber, always a subscriber. . 865 Open-shop policy, The . 850 Organized capital versus organized labor 241 Our increasing trade . 277 Parisian newspaper freak contests . 573 Partnership in job-printing plants . 839 Patented book, A . 85 Penotype cover designing . 372 Petition for lower freights on type . 439 Photography in colors — the three-color method . 223 Piecework in lithography . 732 Plea for higher education of the job compositor, A . 528 Poets at a house party, The . 275 Polyglot newspapers in South Africa. . . 889 Portfolio of specimens of printing. .441, 744 Portrait of Henry O. Shepard . 413 Poultry specializing . 890 Powerful factor, A . 906 Preparations for St. Louis World’s Fair. 879 Press congress of St. Louis, The . 217 Primitive printing . 743 Printer and my lady’s heart, The . 361 Printer and the railroad men go a-fishing, The . 274 Printer for seventy-two years, A . . 434 Printers and supplymen in England . 836 Printers’ apprentice in Maryland, The. . 418 Printers’ oath, The . 201 Printers’ specimens . 275 Printing display in Newark . 253 Printing in Austria . 271 Printing in Russia . 882 Printing trade in Scandinavia, The . 889 Prison editor asks release . 573 Reading for the blind . 735 Reception by bookbinders . 700 Reminiscences of a stage driver . 547 Remittances of money through the mails. 599 Resourcefulness . 893 Responsive chapel reading for services following Typothete convention.... 200 Review of accuracy for printers, A . 387 Revolutionizing pictorial printing . 437 Rules regarding stenographers . 437 School for apprentices, A . 838 Selecting trade . 212 Miscellaneous — Continued. page Session of the “knocker’s” club, A.... 222 Settled by arbitration . 591 Sixteenth century printing in Mexico... 270 Slight difficulty, A . 582 So it is . 904 Softening the blow . 758 Some commercial aspects of photography 33. J94 Some matters of punctuation and other form . 52 Souvenir of the wholesale druggists’ convention . 254 Stereopticon lectures for apprentices.... 903 Story of a calendar, The . 430 Strike insurance plan abandoned . 536 Systematic face . 673 Tariff decision . 879 Tariff decision on printed books, A . 598 Technical school in Canada, A . 375 Text capitals “I” and “J” . 895 Theory of advertising, The . 676 There’s safety in the counsels of the moderate . 536 Thrilling tale, A . 566 To commemorate Franklin’s birth . 870 To cultivate Japanese paper plant here.. 594 Too much inflammable poetry . 580 Trade-marks . 897 Trade notes . 114, 276, 442, 599, 757, 91 1 Trade paper advertising . 418 Trade schools . 700 Trade union’s wise decision, A . 865 Training of compositors, The . 719 Treatment of machinery belts . 426 “ Turnover idol,” The . 82 Two things settled . 276 Typographical effect . 579 Typographical tragedy, A . 719 Typothetse . 109, 269, 434, 586, 750, 885 Uncle Sam’s printing — some record achievements . 548 Unions should encourage schools . 591 Unique library, A . 432 United States import duty on printing... 903 Unusual view of a vexed question, An. . 277 Up to the proofreader . 897 Vacation given night-workers . 891 Valuable to the artist . 402 Value of old books, The . 431 Wages of German bookbinders and type¬ founders . 421 Wall-paper printing . 434 Wants a State printing-office . 857 Wants every portfolio issued . 558 Western authority on printing, A . 910 What causes books to spoil? . 548 Will not be paid for . 897 Working over old newspapers . 573 World’s printing and statistics, The . 592 Would gladly absolve them all . 250 Ye printer’s Yuletide fortune . 525 O. Obituary : Bacon, Walter Clark . Barnhart, Warren . . 743 Brand, Otis Henry . Bresnan, P. H . Cantwell, Hon. M. J . Delano, Thomas H . Drew, Benjamin . Ellis, Harvey . Godwin, Parke . Hennessy, John Collins. . . Lloyd, Henry D . McCutcheon, Abram .... . 743 Magill, Joseph . Marinoni, Hippolyte . . 743. 906 Moore, Edwin B . Obituary . .276, 592, 743, 906 Parker, Thomas . . 907 Pickett, A. B . Shepard, Henry Olendorf. . 740 Slade, Mrs. Dana, Jr . Taylor, George H . Obituary — Continued. page Thienes, Peter . 276 Warren, Alexander Ramsey . 276 P. Foetry : Dog, The . 757 It goes the other way . 247 Night editor’s criticism, The . 371 One deficiency, The . 566 Our ole swimmin’ hole . 385 Photography . 82 Poem you ought to know, A . 523 Success . 912 Unpleasant thought. An . 373 Wail of a poet . 536 Pressroom : About a slurring press . 257 American methods of printing liked . 93 Another mailing machine . 562 Another opinion regarding washing roll¬ ers . 94 Attempt at overlaying a half-tone . 723 Background inks for mapwork . 562 Bad screws in ink fountain . 720 Booklet that did not find us, A . 94 Booklets . 720 Christmas number from New Zealand, A 722 Cleaning a felt roller for colorwork. . . . 871 Courts criticism on his presswork . 258 Criticism of a letter-head . 409 Distinguishing difference between three- color plates, The....... . 409 Few important questions, A . 872 From an Australian apprentice . 562 Gloss finish on labels . 563 Gold lettering on black ink . 872 Golden jubilee number of “ Die Abend- schule ” . 409 Half-tone cuts on envelopes . 721 Half-tones in newspapers . 873 How to imitate typewritten letters . 256 How to prevent job-press rollers from jumping . 409 How to print only a part of a cut . 720 Impression screws . 871 Improved job printing-press, An . 266 Indorses the technical school . 409 Just happened that way . 257 “Lay of the booklet, The” . 258 Metallic overlays . 720 Mixing inks to work in cold weather.... 256 Multi-color on flat-bed presses . 721 Neat carton box, A . 256 Neat title-page, A . 871 Newspaper half-tones . 562 “New York city sky line” . 257 Novelty that did not reach us, A . 93 Opinion wanted on a sheet of half-tones. 410 Overlay cutting . 720 Paper splitting . 722 Perforating on platen presses . 562 Praise for the school . 258 Pressroom . 93, 256, 409, 562, 720, 871 Printing done in a State institution . 41 1 Printing in colors from a single plate... 41 1 Printing-ink reducer . 720 Printing on painted or shellacked wood. . 871 Printing on palm-leaf fans . 256, 871 Printing on wood . 256 Producing typewritten effect . 871 Question about column rules, A . 94 Roller bearers not used . 720 Rollers fail to ink form . 872 Scale or method by which inks may be estimated, A . 257 Sizing for gold leaf . 563 Slurring . 563 Slurring on cylinder press . 721 Slurring on job press . 722 “ Small farmer, The ” . 256 Suggested improvements . 562 “ The Thomas Cat ” . 720 Three-color presswork . 562 To print on aluminum . 93 Two beautifully executed booklets . 257 Two specimens . 563 VI INDEX. Pressroom — Continued. Uneven-faced brass rules . Unique sectional steel block, The . Usual summer complaint with rollers, The . Wants our opinion on packet-size heading Wants our opinion on presswork . Wants packing for cylinder press . Wants to know how to make black ink stick on enameled paper, etc . Well-laid-out booklet, A . What causes breaks in the rules? . White ink on red gloss paper . Proofroom: Abbreviation, An . Bastard type . Commas, State names . Correspondence schools . Dates . 234, Dead or alive . ■AGE 873 721 94 256 93 256 95 258 95 871 422 714 235 576 576 859 Proofroom — Continued. page Distinctive mark wanted . 576 Double connective . 60 From over sea . 577 Horse on the house . 235 Moot point in punctuation, A . 576 More questions from England . 714 “ None ” . 61, 858 “ None ” again . 422 O’clock . 234 On teaching proofreading . 858 Personal titles . 858 Possessive abbreviation . 714 Pronoun, A . 421 Proofreader, The . 62 Proofroom . 60, 234, 421, 576, 714, 858 Punctuation and abbreviation . 60 Questions . 235 Questions of form . 859 Requirements for proofreading . 235 Secondary quotations . 60 Proofroom — Continued. page Some more criticism . 235 Unusual words . 576 Various questions . 577 Where is the proofreader? . 422 Women’s names . 576 Words in dispute . 714 T. Type and Typefounding: Century expanded roman and century expanded italic . 269 Chatham oldstyle series . 242-243 Cheltenham series . 584 John Hancock series . 104-105 Pabst old style . 737-739 Primitive No. 2 . 866 Scotch roman . 425, 585 Typefounders and typefounding in America . 591, 884 1-1 2 THE INLAND PRINTER THE iS> ADJUSTABLE SIMPLEX ONE-MAN TYPE SETTER ‘Book Work — ck(ezus Work — Catalogue Work THE TIMES-RECORD Valley City, N. D., Gentlemen: June 22, 1903. I am not setting as much type for the paper as I intend to on account of jobwork, all of which I have handled on the Simplex. In this list may be included a 68-page school catalogue, 40-page monthly magazine and 60-page stock catalogue, and miscellaneous books, pamphlets, etc. When I put in the machine it was not with the intention of getting along with less help ; it was with the view of turning out more work with the same help, and I find that the Simplex does it. I will send you some samples of the catalogues, etc., later. Yours truly, S. A. NYE. SVENSKA ROMAN-BLADET Minneapolis, Minn., Dear Sir : June 8, 1903. My Simplex w'as installed in December and has given the best of results and satisfac¬ tion. One man can operate and justify, but to get the best of results I think two should work on it. In eight hours’ time our two operators set 42,000 ems ; sometimes they run up to 48,000 ems in eight hours, a record I think very hard to beat. It is a wonderful little machine and takes up very small space, not much more than a sewing machine. My machine is adjustable so we can set from 12 ems wide up to 30 ems, so we can set bookwork, and it takes only a minute or two to change from one measure to another. Yours truly, C. E. PETERSON. THE ROCKVILLE JOURNAL Rockville, Conn., Gentlemen : May 21, 1903. In regard to the opinion of this firm of the Simplex, would say that we w'ould not know what to do without it. We are never troubled with hunting up extra comps, in times of rush. A 100-page pamphlet does not look like a mountain. It is only play to set the extra amount of type between edi¬ tions of our periodical work, and then it comes out just as promptly as it ever would ordinarily by handwork. We have studied the subject of machine composition very fully from our standpoint, and know in no way the problem can be solved equally W'ell by any means other than the Simplex. Very truly yours, THOS. S. PRATT & SON. PECAN VALLEY NEWS Brownw'ood, Texas, Gentlemen : June 1, 1903. We are doing so nicely with our Sim¬ plex machine that we want to tell you about it. Friday last the boy set 24,000 of 30-em matter in less than 6J4 hours — probably not over 6. It was a brief and required the use of a great quantity of quads, w hich made the work quite a bit slower. We have never had the slightest trouble with the machine, the breaking of a belt occasionally being the only mishap. The machine does all you claimed for it, and really more than you represented when selling it to me. Sincerely yours, CHESTER HARRISON, Manager. THE INLAND PRINTER 3 WE saw the other day the announcement of a merchant tailoring house executed on M AZARIN £Hts l^amp0l)tvc XSonD* the printing being in dark blue, with a heading consisting of a coat-of-arms design stamped in white. The effect was strikingly artistic, so much more so than even the sample of Mazarin embossed in gold in The Sample Book, that we have asked our printer to get out a few thousand copies of an announcement for us, done in a similar effect. You would only have to show this to a customer to make him want a similar job. May we send you a copy r HAMPSHIRE PAPER CO. Makers of ©la pampslrirc -Bonn South Hadley Falls, Massachusetts u The Paper that your customers know about." 4 THE INLAND PRINTER CENTURY CENTURY’ The “CENTURY” is a more highly developed machine, and is worth more money than any other press. Not merely because it is better built, and there¬ fore nearer mechanical perfection than any other two-revolution press — true and sufficient as this reason is — but because It is demonstrably productive of better results than any other machine on the market. THE INLAND PRINTER 5 We “CENTURY” The “CENTURY” saves time on the “make-ready,” and Time is Money The “CENTURY” insures perfect work when run at the fastest speed possible, and Speed is Money The “CENTURY” increases the life of type and plates, decreases the number of “try sheets,” altogether eliminates spoilt sheets, saves ink as well as paper, and Economy is Money The “CENTURY” maintains a permanent and perfect register, fur¬ nishes a uniform and unrivaled depth of color; produces, in short, an output of the highest technical excellence, and Quality is Money These are but a handful of the many and equally cogent reasons which convert the “CENTURY” from the day of its installa¬ tion into A Money-Maker THE CAMPBELL COMPANY HENRY A. WISE WOOD, President 334 Dearborn Street, Chicago i Madison Avenue, New York 189 Fleet Street, London, E. C., Eng. We “CENTURY” 6 THE INLAND PRINTER Prompt Delivery. All of our manufacturing history has been a struggle to obtain prompt delivery. To gain this we have enlarged and enlarged again, and are now erecting new buildings which will give us more than ten thousand square feet of additional floor space. When these buildings are completed, we hope to be able to get a few presses in stock, but at present orders should be placed very early if long waits for presses are to be avoided. The above illustration shows our plant without the extensions now building. Are you keeping posted on the automatic separate sheet presses which we make ? The best work at five thousand per hour ought to interest you. FOR F ULL PARTICULARS, ADDRESS the HARRIS AUTOMATIC PRESS CO. CHICAGO — Old Colony Building NILES, OHIO NEW YORK — 26 Corti.andt Street For machines in countries other than the United States and Canada, address the Anglo-American Inventions Syndicate, Ltd., 19 Cursitor Street, Chancery Lane, London, E. C-, England. THE INLAND PRINTER ( Dexter Folders and Feeders THE DEXTER AUTOMATIC PRINTING PRESS FEEDING MACHINE THE DEXTER “NEW” JOBBING MARGINAL BOOK and PAMPHLET FOLDER ( SPECIAL LARGE SIZE ) SOLE AGENTS Great 'Britain and Europe T.W. & C. B. Sheridan, London, Eng. Canada , J. L. Morrison Co., Toronto Australia, Alex. Cowan & Sons Melbourne, Sydney, Adelaide Mexico, Louis L. Lomer, Mexico City Southern Agents, J. H . Schroeter &Bro. Atlanta, Ga. IV rite for Catalogues and Full Information. DEXTER FOLDER CO. Main Office and Factory — PEARL RIVER, NEW YORK CHICAGO NEW YORK BOSTON 8 THE INLAND PRINTER IFe Ault ®> Wiborg Co. CINCINNATI s NEW YORK * CHICAGO * ST. LOUIS TORONTO, CANADA We ask those interested IN DUPLEX OK DOUBLE TONE INKS to contrast the effects shown in the June number of “The Ameri= can Printer” (all done in our DUPLEX Inks — see page 389) with those shown in the April number, same journal. 0000 LONDON, ENGLAND to & 8 m & 8 B 8 m & to. to & Wi bi a? to WHEN YOU WANT FINE PRINTING INKS COME TO HEADQUARTERS SB AND GET THE BEST. S The Ault <Sb Wiborg Co. The Monotype ^ BOOK, the typographic arrangement of whose gsss pages is so original and so ingenious as to entitle protectj[on by patent must needs present a very complicated problem to the printer. THE THESAURUS DICTIONARY is the only book in the world that has been patented. THE MONOTYPE is the only machine in the world able to set up the complicated pages of the Thesaurus Dictionary. Y If Further than this, to keep the 1189 pages of the The¬ saurus standing in type would mean the locking up of nearly $10,000. The Historical Publishing Company has been able to keep the Monotyped pages (at the trifling cost of so many pounds of type metal) standing in order to make the necessary corrections for the revised edition. H This is a double-barreled argument in favor of the Monotype, but it hits the mark with either barrel or with both. W. P. G U N T H 0 R P, JR. REPRESENTATIVE FOR CHICAGO 334 DEARBORN STREET CHICAGO, ILL. HADWEN SWAIN MFG. CO. REPRESENTATIVE FOR PACIFIC COAST SAN FRANCISCO, CAL. WOOD & NATHAN CO. SOLE SELLING AGENT ONE MADISON AVENUE NEW YORK ha^/ presenter to thi<; C’oiiaMlI@fiil©ail©l8 ©f Paatellfe a totition praying ion THE GRANT OF LETTERS PATENT FOR AN ALLEGED NEW AXD USEFUL IMPROVEMENT IN TsUM^S A DESCRIPTION OF WHICH INVENTION IS COXTAIXED IX THE SPECIFICATION OF WHICH A COPY IS HEREUNTO ANNEXED AND MADE A PART HEREOF, AND HA/- COMPLIED WITH THE_VARIOUS REQUIREMENTS OF LiAAV IX SUCH CASES MADE AXD PROVIDED, AXD UPON DUE EXAMINATION MADE THE SAID ClAIMANT_/i_ ADJUDGED TO BE JUSTLY ENTITLED TO A PATENT UNDER THE LAW. Now THEREFORE THESE I^©ttei*SS Psiteilt ARE TO GRANT UNTO THE SAID FOR THE TERM OF SEVENTEEN YEARS FROM THE HEIRS OR ASSIGXS DAY OF OXE THOUSAXD XIXE HUNDRED AXD THE EXCLUSIVE RIGHT TO MAKE, USE AND VEND THE SAID IXVEXTIOX THROUGHOUT THE United States and the Territories thereof. tesihuout) thereof it cut (?D fficc .yWl#yy#/^y//fe' 'epv imc&' MONOTYPED BY THE AVIL PRINTING COMPANY, PHILADELPHIA. DIATONIC. 280 DIFFERENTIATION— INDISCRIMINATION. di"-a-ton'-ic. Designating the regular tones of a key in music. Melody-Dissonance. di'-a-tribe. An abusive discourse. Approval-Disap¬ proval. dib'-ble. A gardener’s pointed tool. Domestication- Agriculture, Perforator-Stopper. di-cac'-i-ty. Sauciness. Presumption-Obsequious¬ ness. dice. Marked cubes used in gaming. Purpose-Luck; on the dice, Possibility-Impossibility. di'-cer. One who plays dice. Purpose-Luck; false as dicer’s oaths, Truthfulness-Fabrication. di-chot'-o-rnize. To cut in two. Doubling-Halving. di-chot'-o-my. A cutting into two parts. Angularity, Doubling-Halving. di'-chro-ism. The property of exhibiting different colors when seen in different directions. Variega¬ tion. dichtung und wahrheit [G. ] (din'-tung unt var'-hait). Fiction and fact. Poetry-Prose, Truthfulness- Falsehood. dic'-tate. To declare with authority. Advice, Motive- Caprice, Order, Presumption-Obsequiousness, Rule-License, Writing-Printing. dic-ta'-tion. The act of dictating. Order, Rule- License. dic-ta'-tor. One who dictates. Chief-Underling, Tyranny-Anarchy. dic"-ta-to'-ri-al. Disposed to dictate. Presumption- Obsequiousness. dic-ta'-tor-ship. The office of a dictator. Harshness- Mildness, Rule-License, Tyranny-Anarchy. dic'-tion. The choice and use of words. Style. dic'-tion- a-ry. A book containing words arranged in a stated order. Interpretation-Misinterpretation, Word-Neology. dic'-tum. A positive utterance. Adage-Nonsense, Assertion-Denial, Order. dictum ac factum [L.] (dic'-tum ac fac'-tum). No sooner said than done. Activity-Indolence. dictum de dicto [L.] (dic'-tum di dic'-to). Hearsay report. Evidence-Counterevidence. dictum quod non dictum sit prius , nullum est jam [L . ] (dic'-tum quod non dic'-tum sit prai'-us, nul'-lum est jam). Nothing is said nowadays that has not been said before. Novelty-Antiquity, Recurrence. di-dac'-tic. Pertaining to teaching. Education-Mis- teaching. did'-der. To shiver. Heat-Cold. did'-dle. To outwit. Truthfulness-Fraud. Did'-dler, Jer'-e-my. A character in James Kenney’s play, entitled Raising the Wind. A term applied to a swindler. Robber. di-duc'-tion. A separation. Union-Disunion. die. To pass from life; to mold with a die. Begin¬ ning-End, Betterment-Deterioration, Copy- Model, Engraving, Entity-Nonentity, Life- Death; die a violent death, Life-Killing; die and make no sign, Repentance-Obduracy; die away, Discontinuance - Continuance, Increase - De¬ crease; die for, Desire-Distaste; die from the memory, Remembrance-Forgetfulness; die game, Repentance-Obduracy; die hard, Bigotry-Apos¬ tasy, Reprisal-Resistance ; die in harness, Discon¬ tinuance-Continuance, Persistence-Whim; die in one’s shoes, Recompense-Punition; die in the last ditch, Persistence-Whim; die of a rose in aromatic pain, Sensitiveness-Apathy; die out, Entity-Non¬ entity; die with ennui, Entertainment-Weari¬ ness; die with laughter, Jubilation-Lamentation; hazard of the die, Purpose-Luck; never say die, Per¬ sistence-Whim ; not willingly let die, Conservation ; the die is cast, Certainty-Doubt, Volition-Obliga¬ tion. dies faustus [L.] (dai'-iz faus'-tus). Lucky day. Suc¬ cess-Failure. dies inf austus [L.] (dcii-iz in-faus'-tus) . Unlucky day. Success-Failure. dies irce, dies ilia [L.] (dai'-iz ai'-ri, dcii-iz il'-la). Day of wrath, that day; the first words of a Latin hymn on the Day of Judgment. Heaven-Hell, Pardon, Vindictiveness. dies non [L.] (dai'-iz non). Abbreviation of dies non juridicus, a non-judicial day ; a legal holiday. Dura- tion-Neverness, Toil-Relaxation. di'-et. Food; a legislative assembly. Council, Nutri¬ ment-Excretion ; spare diet, Fasting-Gluttony. di'-et-a-ry. A system of diet. Nutriment-Excretion, Remedy-Bane. di"-e-tet'-ic. Of diet. Nutriment-Excretion. di"-e-tet'-ics. The science of diet. Remedy-Bane. dieu avec nous [F.] (di-u' a-vec' nu). God with us. Divinity, Presence-Absence. dieu defend le droit [F.] (di-u' de-fan-' le drwa). God defend the right. Attack-Defense, Right-Wrong. dieu est ma fiance , en [F.] (di-u' e ma fi-an's', an-). In God is my trust. Divinity, Sanguineness-Hope- lessness. dieu et man droit [F.] (di-u' e mon drwa). God and my right. Divinity, Right-Wrong. dieu vous garde [F.] (di-u' vu gard). God guard you. Divinity, Petition-Expostulation, Security-In¬ security. dif'-fer. To be unlike. Variance-Accord, Variation; differ in opinion, Assent-Dissent; differ toto ccelo, Assent-Dissent, Likeness-Unlikeness, Sameness- Contrast, Variation. dif'-fer-ence. The quality of being unlike. Equality- Inequality, Likeness-Unlikeness, Number, Va¬ riance-Accord, Variation; difference engine, Num¬ bering; perception of difference, Differentiation- Indiscrimination; split the difference, Composi¬ tion. dif'-fer-ent. Not the same. Synonym-Antonym, Uni¬ formity-Multiformity, Variation; different time, Time. dif"-fer-en'-tial. Pertaining to differentials. Number; differential calculus, Numbering. dif"-fer-en'-ti-a-tion. Act of noting specific differences in things. Differentiation-Indiscrimination. dif'-fer-ent-ly. Not the same way. Variation. DIFFERENTIATION— INDISCRIMINATION. Appreciation of difference. The power of clearly understanding the various shades of meaning. Critique. A careful and thorough analysis ; critical examination. Diagnosis. An accurate examination of facts: determining nature of disease from symptoms. Differentiation. The act of noting specific differences in things. Diorism. A thorough distinction ; logical difference. Discernment. The capability of forming true judgments. See Sagacity. Discrimination. The power to discern accurately, careful scrutiny. Distinction. Noting differences critically. Estimation. See Mensuration. Indiscrimination. Lacking the power of discernment or judgment. Indistinction. Want of distinction: indefiniteness; confusion. Indistinctness. The quality of vagueness, lacking clearness. Uncertainty. See Certainty-Doubt. Indiscrimination — Verbs. Confound. To mingle; pour together. Confuse. To confound; intermingle. Not discriminate. See Discrimination. Overlook a distinction. See Carefulness-Carelessness. SPECIMEN OF DICTIONARY COMPOSITION DONE ON THE MONOTYPE. John D. Avil, president Franks. Holby.treasurer Charles H. Clarke, Secretary Alitl Printing (Emttjrang iHarkrt anil iFurtirtlr ^trrrta Plglaiiplglga. September 1 , 1903. WOOD & NATHAN CO . , Sole Selling Agent Lanston Monotype Machine, No. One Madison Avenue, New York. Gent 1 emen : — It is with a feeling of supreme satisfaction that we answer your inquiry of May 27th regarding the use of the Lanston machine. We intro¬ duced four of your machines in our printing house more than two years ago and found them so satisfactory that we were obliged to add two more Key-boards in January of last year, and have had the six constantly employed ever since on the composition of a Thesaurus Dictionary and kindred work, the Thesaurus Dictionary being one of the most compli¬ cated pieces of composition we have ever known. This publication, besides being almost massive in size, is also unique and complex, requiring the use of Eight-point and Six-point upper and lower case, small caps, bold face, accents, and phonetic italic letters, frequently in alternate lines and in almost every paragraph. The composition is so intricate that to complete the whole by hand would require many times more type than is carried ordinarily by the largest printing houses in the world. By the use of your machines we were able to operate and cast an average of ten pages of the Thesaurus per day, the character of the work being most satisfactory in every respect. We consider that no greater test of the efficiency of a type-setting machine can ever be given than that to which the Lanston has been subjected in the compo¬ sition of the great dictionary referred to. We have the entire dictionary, numbering 1 1 § 9 pages and amounting to seven tons of metal, standing in type, and by the first of October of this year the publishers will place in our hands revised copy in order that corrections and additions may be made for a second edition, thus saving them the enormous expense of resetting the entire work. Very truly yours, AVIL PRINTING COMPANY. Attest : CHARLES H. CLARKE, JOHN D. AVIL, Secretary. President. THE INLAND PRINTER 9 Two Strong Points: QUALITY QUANTITY YOU HAVE BOTH WHEN YOU BUY SEYBOLD MACHINERY QUALITY of work is the very best. QUANTITY greater than can be done on any other make of machinery. These are money-making features. Your cus¬ tomers want the Quality to be unequaled. You want the Quantity as well as the Quality in order to turn out work profitably. ft* PATENTEES AND BUILDERS OF Duplex Trimmer Paper Cutters Six styles, eight sizes. Embosser Embossers Eight styles, nine sizes. Smashing Machines Backing Machines Bundling Machines Rotary Board Cutters Round Corner Cutters Knife Grinders Signature Presses Hand Stampers Die Presses DAYTON. OHIO, YORK. CHICAGO. ST LOUIS. LONDON. Makers of Machinery for Bookbinders Printers. Lithographers. Paper- Box Makers Etc THE INLAND PRINTER THE INLAND PRINTER 11 Iron Extension Block A Few of Those who have Purchased and are Using from One to Seven Sets. P. F. Collier & Son, - - - - New York City. Wm. Green, . - - New York City. Ives Process Co. . New York City. Methodist Book Concern, - - New York City. Reed & Rist, . New York City. G. Schirmer, . New York City. Winthrop Press, ----- New York City. John W. Kelly. . New York City. M. A. Donohue & Co. - - - - Chicago, Ill. E. F. Harmon & Co. . Chicago, Ill. Edward Kehoe Printing Co. - - Chicago, Ill. Melrose Press, . Chicago, III. Geo. E. Marshall & Co. - - - - Chicago, Ill. Mayer & Miller, . Chicago, Ill. University of Chicago Press, - - Chicago, 111. Castor Bros. Indianapolis, Ind. Central Printing Co. - - - Indianapolis, Ind. Indiana Printingand Mfg. Co., Indianapolis, Ind. A. B. Farnham & Co. - - Indianapolis, Ind. C. E. Donnell News Co. - - St. Louis, Mo. Miller & Flaven, . St. Louis, Mo. Geo. E. Crosby & Son, - - Boston, Mass. Griffith-Stillings Press, - - - Boston, Mass. Copp Clark Co. . Toronto, Can. W. J. Gage & Co., Ltd. - - - Toronto, Can. Murray Printing Co. - - - - Toronto, Can. Loring & Axtell, ----- Springfield, Mass. Phelps Pub. Co. - - - - Springfield, Mass. Barbee & Smith, - - - - Nashville, Tenn. Southern Pub. Asso’n. - - Nashville, Tenn. Cumberland Pres. Pub. House, Nashville, Tenn. Weed-Parsons Printing Co. - Albany, N. Y. The New Era Printing Co. - - Lancaster, Pa. Hamilton Autographic Register Co., Hamilton, O. White & Wyckoff, . Holyoke, Mass. Report Publishing Co. - - - - Lebanon, Pa. M. P. McCoy, . London, Eng. P. Arellano, . Mexico City, Mexico. Graham Engraving Co. - - Providence, R. I. Danbury Medical Printing Co., Danbury, Conn. State Journal Printing Co. - - Madison, Wis. Hunter-Woodruff Ptg. Co. - Lincoln, Neb. Edward Stern & Co. - - - Philadelphia, Pa. General Electric Co. - - - Schenectady, N. Y. Fred. Wagner, - - - - Stockholm, Sweden. J. I. Hershberger, - - - - Harrisburg, Pa. Wagner & Co. . Scranton, Pa. The Dorman Litho. Co. - - New Haven, Conn. S. E. Cassino, . Salem, Mass. Deseret News Co. - - - Salt Lake City, Utah. O. B. Wood, . Worcester, Mass. Osboldstone & Attkins, Melbourne, Australia. A. Ostwald & Co. - - - Bremen, Germany. D. G. Vianini & Co. . Milan, Italy. EXTENSION BLOCK WITH DIFFERENT EXTENSIONS. DIMENSIONS. Block without Extensions With Cross A With Cross B With Cross C Outside dimensions of Blocks . . . 4 x 6 4*x6| 51 x7£ 6 x 9 Largest Plate, including Bevel . . . x 3 1 x 6^6 4 is x 5| x 8^ Smallest Plate, including Bevel . . . 21 x4§ 31 x 51 3 b x 61 4| x 7| DIMENSIONS. Block Without Extensions With Cross A With Cross B With Cross C Outside Dimensions of Blocks Largest Plate, including Bevel Smallest Plate, including Bevel Special Size Crosses made to order. Iron Mahogany 16 EXTENSION Blocks (without Crosses) . $96.00 $48.00 BUY THE CROSSES AS YOU NEED THEM REGISTER BLOCK WITH DIFFERENT EXTENSIONS. A. D. FARMER & SON TYPE FOUNDING CO. 189 Fifth Avenue, 63 & 65 Beekman St. CHICAGO. NEW YORK Iron Mahogany 16 REGISTER Blocks (without Crosses) ...... $96.00 $52.00 EXTENSION CROSSES. Iron Mahogany 16 Cross A . $20.00 $8.80 16 Cross B ....... 24.00 9.60 16 Cross C ....... 28.00 10.40 Parallel Strips for 16 Blocks .... 20.00 8.80 Cabinet for 16 Blocks, $10.00; for 32 Blocks, $15.00. NET PRICES QUOTED ON COMPLETE OR BROKEN SETS. 12 THE INLAND PRINTER THE HEAVIEST, MOST COMPACT AND HANDSOMEST TWO-REVOLUTION. COMPARE THIS ILLUSTRATION WITH THOSE OF ALL OTHER PRESSES. THE BABCOCK PRINTING PRESS MANUFACTURING CO., NEW LONDON, CONNECTICUT New York Office, 38 Park Row. John Haddon & Co., Agents, London. Miller & Richard, Canadian Agents, Toronto, Ontario BARNHART BROS. & SPINDLER, WESTERN AGENTS, 183-187 MONROE STREET, CHICAGO Great Western Type Foundry, Kansas City ; Great Western Type Foundry, Omaha ; Minnesota Type Foundry Co., St. Paul ; St. Louis Printers Supply Co., St. Louis ; Southern Printers Supply Co., Washington; The Texas Printers Supply Co., Dallas; E. C. Palmer & Co., Ltd., New Orleans; Fundicion Mexicana de Tipos, City of Mexico. On the Pacific Coast — The Southwest Printers Supply, Los Angeles ; Pacific Printers Supply House, Seattle; Pacific States Type Foundry, San Francisco. THE OPTIMUS THE OPTIMUS After eight years of use in a pressroom where the work runs heavy, a customer writes the following unsolicited letter: “Yesterday Mr. Hayes took down our old No. 8 Optimus before in¬ stalling our No. 1 1. As a matter of curiosity I carefully examined the bear¬ ings; and not only myself, but others join in extending you praise for the quality of material furnished for these machines. Take even the small shaft holding the intermediate gear: there is not the slightest trace of wear on that, although this press has been running eight years. The cylinder boxes did not have a single scratch on them. They were perfect. “I merely write you this little information to show my further appre¬ ciation of the Babcock Optimus; and as the new one coming in, as you are aware, is the sixth one that I have purchased, it still makes me think that we have The Best, as its name implies.” The strength and durability of a machine depend upon its design, the quality of its material, and the way it is constructed. The Optimus is built to run for years without appreciable wear or loss of register. It is mechanically correct. _ _ SET IN BARNHART BROS. & SPINDLER’S TALISMAN THE INLAND PRINTER 13 From CHARLES ENEU JOHNSON 6 COMPANY Philadelphia, Aug. 9, 1902. Referring to yours of the 6th inst., we find the Peerless Black fully maintaining the superior quality that has charac¬ terized it over other car¬ bon blacks. CA R Bo \lk From FRED. H. LEVEY COMPANY New York, April 11, 1898. Referring to our conversation, we certainly expect to renew our contract with you for “Peerless Black.” We shall continue to use ‘Peerless” in our half-tone and letterpress inks, as we consider it superior to any other black, especially for fine half-tone work. isi From B. WINSTONE 4 SONS, Ltd. London, Oct. 17, 1902. It affords us much pleasure in adding our name to the ever-length¬ ening list of printing ink makers who speak well of Peerless Black We have used Peerless Black for more than ten years and consider it by far the most superior we have yet examined for density, luster, smooth working and general excellence. In conclusion, we beg to enclose herewith contract for supply of Peerless Black for 1903. !*% PRINTS B^WWIIRSpANY SOLE AGENTS (For Tift Peerless Carbon Black Co.. Pittsburgh. Pa) 51-53 FULTON ST.. NEW YORK U SA* From JAENECKE BROS. £ FR. SCHNEEMANN New York, March 3, 1898. We supply the black ink used by The Inland Printer” for their let¬ terpress and half-tone work, and this ink is made with your Peerless Black, experience having taught us that no other black will give so good a result in fine letterpress and half-tone inks. We have purchased Peerless Black for many years, and that we continue to use it is a proof that we consider it a black of exceptional merit. Write for Booklet Do You Know Why The Carver & Swift Stamping Press Is in the Lead To=day? BECAUSE it is able to produce the greatest output at the least cost for production. WOULD YOU LIKE TO KNOW on what ground we make this statement ? EXPERIENCE — Those who have used other makes with ours say ours is SUPERIOR. Those who have used our presses for several years buy duplicate machines. BUY one press and more will follow. MILLER & RICHARD, Canadian Agents, 7 Jordan Street, TORONTO, CAN. C. R. CARVER CO. SUCCESSORS TO The Carver & Swift Stamping Press & Mfg.Co. N. E. Cor. 15th St. and Lehigh Avenue PHILADELPHIA, PA. 14 THE INLAND PRINTER No. 3 with direct current motor. Turning „ this Hand Wheel automatically adjusts all parts of the machine for any thickness of Vork. (1 revelation in case of operation and quality of Work. BOSTON WIRE STITCHER CO. No. 170 SUMMER STREET, BOSTON Business Established 1867. Rogers anb (Tompanp 6ngrai*. era ant Printers Chicago “ The Rogers Quality ” Rogers & Company Formerly Rogers & Wells Fine Half-tone Engravings High-grade Printing OO O Chicago PRINTERS INCREASE MIEHLE PRESS WITH SPRAGUE EQUIPMENT THEIR PROFITS by using electric power to drive their presses and other machines. Our motors are especially designed for this class of work, and are used extensively throughout this country and abroad. Our long experience enables us to know what is required and to give proper specifi¬ cations. Write for Bulletin No. 3211. SPRAGUE ELECTRIC COMPANY GENERAL OFFICES, 527-531 West 34th Street, NEW YORK - Branch Offices : - CHICAGO BOSTON ST. LOUIS BALTIMORE PITTSBURG ATLANTA CINCINNATI THE INLAND PRINTER 15 We Pay the Freight On all orders for TYPE and BRASS RULE of our manufacture amounting to $20.00 net or over The Inland Type Foundry Saint Louis ▼ Chicago - Buffalo Takes pleasure in announcing that it has completed the Hearst Italic A companion letter to the popular Hearst Series. Complete in all sizes from 6 to 72-point Order this handsome series to-day, and don’t forget that if your order amounts to $20.00 or over We Pay the Freight 16 THE INLAND PRINTER 111 _ /IxiiomcLtic tvilh Basic Patents in United States and Europe MEGILL’S AUTOMATIC REGISTER GAUGE STYLES AND PRICES IN VARIETY The FIBS T in ^/lll to gauge tvilh MEGILL’S PLATEN GUIDES GAUGE PINS Value beyond prices. A T T/"'' XT Cl Experience VJf z\ V? XL O and quality WRITE FOR DESCRIPTIVE MATTER the World. BEST and LATEST EDWARD L, MEGILL, Patentee and Manufacturer, 60 Duane St., NEW YORK APFY Typographic Numbering Machine A Al A&Am Machines for Cash Sales Books, i to 50 or 1 to 100 and repeat Patented March 27, 1900. Size, V/s x Vi inch. Type High. Made entirely Irora Steel and fully automatic. Special machines made to order with drop ciphers, entirely automatic, for printing backward without stopping the press ; also, machines for Harris Automatic Press, or any other special numbering machine or device. We have made Numbering Machines of various kinds for many years, and having a thorough knowledge of the other machines of this kind, have produced the APEX as the highest point in the art of making this class of goods, and the APEX in the hands of many users has proved to be the best, without exception. References and prices on application. New York Stencil Works 100 Nassau Street* :: :: NEW YORK CITY The Lightning Jobber The Best Low-Priced Job Press in the World What a Recent Purchaser says of it: Cobden, Ont., June 2, 1902. Gentlemen , — * * * A? to the press I have nothing but the highest praise for it. When vve got lubricator worked thoroughly into all the moving parts it commenced to run like a sewing machine, and has run smoothly, easily and noiselessly every day. * * * I find it meets every claim made for it. A couple of days since I put oil an eighth-sheet with three wood lines in it. I was a little afraid at first of straining it, but put on the impression and it carried the form without the slightest creaking or jar. I have been considerably surprised at the speed at which it will run. I had thought that one thousand an hour with the treadle would be the maximum, but have turned out stationery at a speed of from 1.200 to 1,500 ever since I put it in. I never saw a Lightning Jobber till mine reached here. I wrote to some of its users whose testimonials are given in your pamphlet and received the very highest recommendations regarding the Lightning Jobber. It took a good many evenings to decide to purchase one, but I did, and now from all appearances, 1 will be everlastingly glad for my decision. Yours sincerely, F. B. ELLIOTT. Write for Circulars and Descriptive Matter. Jones Gordon SJones Gordon THE BEST JOB PRESS IN THE WORLD Distributing Ink Fountain, Ink Roller Throw-off, Self-locking Chase Hook, and other improvements. FOR SALE BY ALL DEALERS ISsIdeal P aper Cutter Has Time and Labor Saving Devices found on no other cutter. ( Successors to The John M. Jones Co.) Ideal Cutter The Jones Gordon Press Works, Palmyra, N. Y. : a circ amount mbined nd most of this will be the High grade) tor which we are beco With our increased capacity a wmW ' itm r„ V, ' * 'r. '& ■•:(.■■;■■ / ■ ■ - »x v- \ -• • , .*■ M i £&& » HUH ,->£ mV •; .'^3A?^!t53fe' mMI l'OTw®K^'I^P’&®CTOi IfeWwW#!8 sIMMra !is THE INLAND PRINTER 17 *J0. 1 ENAMELED 11 e 1 • BOOK Whitest, Highest Finish and the Best Printer The Champion Coated Paper Co. HAMILTON, OHIO 1-2 18 THE INLAND PRINTER <fRAD£ "Write for our nebu specimen booh TRAD£ THESE INKS ARE THE STANDARDS ADOPTED BY THE LEADING PRINTERS OF THE WORLD The Standard Printing Ink Co. Mark Sole manu= facturers of CROW BLACK AND OTHER HIGH-GRADE BLACK AND COLORED PRINTING INKS Chicago Branch 69 = 71 Plymouth Place Cincinnati, Ohio It’s a Fact That some makers of job printing presses make more money from the sale of parts than from the profit on the presses sold. It strikes us that this is a peculiar business policy, and that the printer soon finds this out and buys a press that does not cost him all he makes on the press for repairs. Look at the construction of the PERFECTED PROUTY PRESS and see if you think we are among that class of press-makers. We can prove beyond ques¬ tion that it costs less to keep ten PERFECT ED PROUTY PRESSES in repair than one of any other make. Does this appeal to your pockets ? The BEST is Always the CHEAPEST in the End. MANUFACTURED ONLY BY Boston Printing Press Manufacturing Company 176 FEDERAL STREET, BOSTON, MASS., U. S. A. : FOR SALE BY — Hadwen Swain Mfg. Co. Chas. Beck Paper Co. Boston Printing Press Mfg. Co. Des Moines Printers’ Exchange - San Francisco, Cal. Philadelphia, Pa. Chicago, Ill. Des Moines, Iowa Thomas E. Kennedy & Co. ]. H. SCHROETER & BrO. Toronto Type Founders Co. Gether-Drebert-Perkins Co. Cincinnati, Ohio Atlanta, Ga. Toronto, Canada - Milwaukee, Yv'is. Parsons Bros., New York City, South Africa and Australia. European Agents, Canadian-American Linotype and Machinery Corporation, 109 Fleet Street, E. C., London, England. United States Paper Export Association, Philadelphia, Pa., Agents for Mexico. THE INLAND PRINTER 1 Confession is Sweet to the Soul There are difficulties in the Engraving business — we admit it. Perhaps you have been a victim to some of the inevitable disappointments in delivery or quality. We have this consolation, however; that the other fellow has them, too — perhaps more than we. We have had a large plant for years — perhaps the larg¬ est. To meet the growing demand we have established branches, but still we could not take care of our great volume of business as promptly as some of our customers wanted — nor as well as we wanted. Now we have made further improvements, introduced new systems, put on more artists, more photographers, more etchers, more finishers — all skilled- — and have in¬ creased our whole equipment. The air is clearer — and we are trying harder than ever to give perfect service, both as to quality and promptness. For Designs, Halftones, Wood Cuts and every other kind of printing plate, including Three-color Work, you are sure of good results if they bear the signature of DESIGNING . ENGRAVING . ADVERTISING Ask about our new process — called HELIOGRAVURE' — for Frontispieces, Inserts, Etc. CHICAGO 102 Manz Bldg. NEW YORK 102 Lupton Bldg. CLEVELAND 102 Williamson Bldg. 20 THE INLAND PRINTER THE CROSS FEEDER HAS ONLY MECHANICAL DEVICES WHOSE ACTIONS ARE UNVARYING UNDER ALL CONDITIONS AMERICAN PAPER. FEEDER. COMPANY, 255 Atlantic Ave., Boston, U. S. A. New York and Philadelphia Agents — H. L. EGBERT & COMPANY, 21-23 New Chambers Street, New York, N. Y. The CROSS PAPER FEEDERS SOME DISTINCTIVE FEATURES OF CROSS FEEDERS— TWO DISTINCT TYPES PILE STYLE FEEDER — This feeder carries a load of about five feet of paper. CONTINUOUS STYLE — This machine takes up no floor space; is loaded while press is running, no time lost in reloading, thereby resulting in a continuous run equal to capacity of press ; no adjustments for weight or quality of paper. CROSS CONTINUOUS FEEDER ACME BINDER No. 6 Patented in Europe and United States ACME, Wire Staple BINDERS “ The Best Automatic W ire -Stapling Devices on the market. ” Operated by hand or foot power. Equipped with Automatic Clinching and Anti-clogging Devices. Full information promptly furnished on application. ACME STAPLE CO. til 500 N. 12th St., PHILADELPHIA THE INLAND PRINTER 21 THE LATEST Quadruple 16 Book Folder Double Thirty-two All folds are at right angles. All “buckling” is relieved. MADE BY BROWN FOLDING MACHINE CO. ERIE, PA. : AGENCIES = NEW YORK— H. L. Egbert & Co., 23 New Chambers Street. LONDON— W.C. Horne & Sons, 5 Torren Street, City Road. CHICAGO — Champlin & Smith, 304 Dearborn Street. 22 THE INLAND PRINTER 507 TO 515 WASHINGTON ST., STRENGTH DEPTH AND ORIGINALITY* — .INYOURCUTS-— THIS IS THE RIND WE MAKE PRICE LOWEST. QUALITY BEST. ^re ELECTRIC CITY ENG RAYING CO. BUFFALO, N.Y. THE INLAND PRINTER ?= All Sizes ZB/xmtCAwm. MACHINE WORKS Oswego OSWEGO • NY- U S A- P Makers of nothing but (CTTmMACBIMfJ, 23 -9 All Styles =4) Automatic Clamp Automatic and Hand Clamp Hand Clamp with Treadle Hand Clamp Small Power Hand and Power Drive Wheel Cutters Lever Cutters 44-inch Label Cutter. Ask for detailed description of a Cutter exactly adapted to your needs. SELLING AGENTS Van Allens & Boughton, . . 17-23 Rose Street, New York Southern Printers Supply Co., 304 Tenth St., N.W., Washington, D. C. Thos. E. Kennedy & Co., . . . 337 Main St., Cincinnati American Type Founders Co., 405 Sansome St., San Francisco Toronto Type Fdry. Co., Ltd., 70-72 York St., Toronto, Ont. American Type Founders Co., 606-614 Sansom St., Philadelphia J. M. Ives, . 301 Fisher Building, Chicago Andrew & Suter, ... 23 Goswell Road, London, Eng. 24 THE INLAND PRINTER OUR SAMPLE SHEET OF Solid Cover Colors For printing on dark-colored and antique papers will be mailed to you on applica¬ tion. They are the best made. Try them Thalmann Printing Ink Company SAINT LOUIS CHICAGO KANSAS CITY OMAHA To whom we refer Alexander & Cable Litho. Co., Toronto. Rolph, Smith & Co., Toronto. Metcalf Stationery Co., Chicago, 2 Machines. S. D. Childs & Co., Chicago, 5 Machines. Phenix Engraving Company, Chicago. Western Bank Note Co., Chicago. Columbia Engraving Company, Boston. Samuel Ward Company, Boston. H. G. Alford Co., New York City, 3 Machines. Henry W. Solfleisch, New York City. Wm. C. Zimmer, New York City. Co-Operative Company, New York City. L. C. Childs & Son, Utica, New York. Fierstine Print. House, Utica, New York. C. E. Brinkworth, Buffalo. P>ates & Nurse Co., Buffalo. Robert Gair, Brooklyn, New York. Bailey, Banks & Biddle Co., Philadelphia. Meyer & Perkins, St. Paul. Heywood Mfg. Co., Minneapolis, Minn. If. Anderson Co., Kansas City, Mo. Clarke & Courts, Galveston, Tex., 2 Machines. Dorsey Ptg. Co., Dallas, Tex., 2 Machines. U. S. Envelope Co., Worcester, Mass., 3 Ma¬ chines. Levey Bros. & Co., Indianapolis, Ind. RECENTLY INSTALLED: F. C. Nunemacher, Louisville, Ky., 2 Machines! Dennison Mfg. Co., So. Framingham, Mass. Smith Printing Co., Reedsville, Pa. John B. Wiggins Co., Chicago. Dodsworth, Salzman & Hamlin, Pittsburg, Pa. Union Lithograph Co., San Francisco, Cal. Livermore & Knight Co., Providence, R. I. Foster & Webb, Nashville, Tenn. F. M. Ilowell & Co., Elmira, N. Y. the: victor Presses Built m A Few of Our Custo= mers Two Sizes FULLARD MANUFACTURING COMPANY, Inc. No. 1 — Size of Die, 3x5 inches No. 2 — Size of Die, 3/4 x 8J4 inches WRITE FOR SAMPLES AND FULL INFORMATION WILLIAM FULLARD, Sole Selling Agent 624 and 626 Filbert Street, PHILADELPHIA, PA. THE INLAND PRINTER 25 ryMONEY c7WONEY oMONEY It Comes with THE WHITLOCK Are you working for Money? Or are you a Philanthropist? In the last analysis it is the presswork that differentiates good from bad printing. A high-grade press is a vital factor in every MONEY-MAKING print-shop, for, while a skilled artisan can often turn out good work on an inferior press, the time and material lost in experimentation renders the procedure expensive. Economy counsels the best. The best is none too good for the far-seeing, businesslike, money-making printer. POINTS TO CONSIDER: Continuous and Even Distribution Speed Lightness in Running Rigidity in Impression Labor-saving Devices Strength in Construction Smoothness in Movement Accuracy in Register Simplicity in Design Durability THE WHITLOCK LEADS IN THESE PARTICULARS We WHITLOCK PTG. PRESS MFG. CO., sf Derby, Conn. AT THE SALES OFFICES BELOW : 121 Times Building, NEW YORK 309 Weld Building, BOSTON Western Agents — AMERICAN TYPE FOUNDERS CO., Chicago, St. Louis, Cleveland, Cincinnati, Minneapolis, Kansas City, Denver, Los Angeles, San Francisco. Southern Agents— MESSRS. J. H. SCHROETER CB. BRO., 44 West Mitchell Street, Atlanta, Ga. European Agents — MESSRS. T. W. CB. C. B. SHERIDAN, 46 Farringdon Street, London, Eng. 26 THE INLAND PRINTER TATUM’S Paper Punches Style “C” Power Machine MADE IN FOUR STYLES: AA, Bench Foot Power Machine. Price, B, with Legs, Foot Power Machine. Price, C, Pony Power Machine. Price, D, Standard Power Machine. Price, $60.00 net 100.00 net 125.00 net 200.00 net We also furnish tab-cutting frames and blades, round-cornering attachments, label-cutting attachments and special shape punches and dies. SEND FOR LITERATURE ON SUBJECT INTERESTED The Sam’l C. Tatum Co. - MAKERS OF - Copy Presses, Inkstands, Stationers' Hardware, Loose-Sheet Binders and Holders, Office Punches, etc. THE INLAND PRINTER 2 THE Danish Bond IS THE Most Popular Bond ON THE MARKET The following parties are sole Agents for their localities : Miller, Sloan & Wright, - New York City Tileston & Livermore, - - - Boston, Mass. Dwight Bros. Paper Company, - Chicago, Ill. A. G. Elliot & Company, - Philadelphia, Pa. Bond & Mentzel Paper Co., - Baltimore, Md. Antietam Paper Co., - - Hagerstown, Md. Hudson Valley Paper Co., - Albany, N. Y. R. H. Thompson Co., - - Buffalo, N. Y. A. G. Elliot Paper Co., - Dallas, Texas Barber & Ellis, Ltd., - - Toronto, Ontario B. D. Rising Paper Co. Manufacturers of Bonti flaper Housatonic, Berkshire County, Massachusetts 28 THE INLAND PRINTER Sheridan’s New Empire Hand Clamp, built in sizes 36, 40, Write for particulars, prices 45 and 50 inches, and terms. T. W. & C. B. SHERIDAN NEW YORK 56 Duane Street CHICAGO 413 Dearborn Street LONDON 46 Farringdon Street SEND FOR NEW CATALOGUE “PERFECTION IN THREE-COLORS" ELECTRO -TINT ENGRA V/NG CO INCORPORATED Send 20c. for our album of stock cuts in colors, suitable for blotters, inserts, calendars, etc. 30 THE INLAND PRINTER GEO. EC! ( RANE Prest. *wjr Jtt & Mgr. im MAI sjU )E( FAGTUR ILL 11 ERS OF NO. DRURY, Secy.& Treas. jo. P 1 Rl 14-111 INTI 3 S HER E w :U RSI Mi ST., ( ROLI 2HICAGC £1 ). ILL RS This letter-heading is printed from a Cerotype. All printers know what Cerotypes are. They can be printed with lithographic effect on any typographic press. We are about to issue ten thousand sets of samples, all attractive and up-to-date, and if you don’t get a set please write and tell us about it. The following is part of a letter from one who knows : “I recall, with entire satisfaction, the fact of your having made Cerotype plates for us. The last lot of plates for the .... Company gave us splendid results.” J. CLIFF DANDO. F. McLEES £r» BROS. - - 216 William Street. New York COPPERPLATE STEEL DIE Engraving and Embossing FOR THE TRADE Wedding Invitations Calli ng Cards Masonic Cards Announcements Letter-h eads Envelopes Booklet Covers, Etc. E F interested in this work, write for our latest folder on correct styles of Calling Cards, etc. Sent free upon application. Our folder of Embossed Mono- grammed Stationery, 25 cents. WM. FREUND & SONS, 174-176 State Street, Chicago j J ESTABLISHED 1865 l \ THE INLAND PRINTER 31 Chas. Hellmuth MANUFACTURING AGENT FOR KAST & EHINGER Awarded Grand Prix and Two Gold Medals at Paris Exposition Printing and INKS Lithographic SPECIALTIES FINE HALFTONE BLACKS for job and magazine work Bi=tone Inks, Three-Color PROCESS INKS BRILLIANT COVER INKS in various shades and combinations Unsurpassed Proving Blacks Offices and f 46-48 E. Houston St., New York Factories: \ 357-359 S. Clark Street, Chicago Don’t Experiment! All of our Printing and Binding Ma¬ chinery is built on the never-get-out-of- order principle. Profit by the ex¬ perience of 2,500 Printers and Binders using Latham Monitors which have stood the test for ten Get our Catalogue and Prices. Latham 20th Century Monitor Wire Stitcher No. 1 LATHAM MACHINERY CO. Factory and Main Office : 197 So. CANAL ST., CHICAGO New York Office : 10 READE STREET years. “ITS ALL RIGHT “ Ought to have been invented long ago” That’s what a veteran paper and stock man says of CHALLENGE SIDE FRAME PROTECTOR, Just think of the gray hairs and anxiety it will obviate. No danger now of trim = mings getting into the knife bar slot. Every one who has operated a Paper Cutter knows that more breaks are caused by the trim getting into the slot than from all other causes combined. CHALLENGE POWER CUTTERS ADVANCE POWER CUTTERS Are the only machines having this new invention. Why not buy the latest? Cost no more than old=style machines. You can’t afford to buy a cutter without the guard. We would like to tell you more about it ; or ask any dealer in printing machinery. SOLD BY DEALERS EVERYWHERE WAREHOUSE AND SALESROOM : 2529 Leo St., CHICAGO Manufactured by THe CHALLENGE— MACHINERY CO., Grand Haven, Michigan 32 THE INLAND PRINTER FULL EQUIPMENTS OF THE LATEST AND MOST IMPROVED RolIer=Making Machinery FURNISHED ESTIMATES FOR LARGE OR SMALL OUTFITS JAMES ROWE 241=247 South Jefferson Street CHICAGO, ILL. Printing Machinery Company, Ltd. European Agents 15 Tudor St. London, E. C., Eng. Rapid Work Our Motto DINSE, PAGE & CO. Electrotypers : AND - — — Stereotypers 196 South Clark St., Chicago Telephone, Central No. 1216 Cover and Book Papers TRADE MARK JAMES WHITE ®> CO. PAPER. DEALERS 210 Monroe Street* CHICAGO, ILL. PAPER FOLDING MACHINES FOR FINE BOOK PAMPHLET AND PERIODICAL WORK :: :: :: :: COMBINED FEEDING FOLDING AND WIRE STITCHING MACHINERY CHAMBERS BROTHERS COMPANY FIFTY-SECOND STREET, BELOW LANCASTER AYE., PHILADELPHIA, PA., U. S. A. DROP-ROLLER DOUBLE-SIXTEEN FOLDING MACHINE pv Blu e—lVht /. NEW AND ORIGINAL A delightful surface > suitable for all kinds of Printing Sample Book upon application -MANUFACTURERS Mittineague Paper Company ■ MASSACHUSETTS' ■ ■ - ■ - ' .^rVv/, - \ | l :.■■ ■; •.>. ■ 4- g \r-r‘s • ■ i-j , :•!■,'■'■' t' _ ••?• •■• i g/’v.V. -4rJ_* v'»V, . . - ■ SSK #yf i < V. - gg'vgjgg;; ."• " - ■- '''■■■'■ ,4 g > : 9 ; • ■ 4 •>••.• ■■ .. .ggjr-gv-s-g ggg-Vgsg .gVi'-rgig;/.;^ • : H|§BhH| 4; '.4 vfeigcgf gggg i "g.-w. . ' ■ .■' O" gggg ■ £:•':■• ■• . ■:<- ‘ .' ; .* v ■, • • f.-'V • ' • • •• •....:■■•■ t-., •...> •■■•..:• ;, . •: • . -V. . •: • : .-■ . ‘ :•'- 'V/.;vi "r.-.r* .Tv-' ;• ■' .- .. . -,■ -•■r • •••:>.•> -..' •■••■'*. \. :-: * - < , * —t. ,-?• - , * * /> -0 . ,-. ggi-gV . -i-i;''.. -:• .;' &ff}>£lSL ■ gi ' . . %sg *5 . . WMMM^MSmWSSM rf'.g vgvgVviVg ggg 1 :> gft ■•■; -: •gyggi .>:g; vvgv.gg.7Tg.;-v/v' . &V%i ■' <■ e - - -.'Vi; -v - r , . . .*••' 1 . vg'/ 4 -gg^: Si v;g'ggggvgg: .-. . . '•; . v k? .' . ■ ,4 - ^ - . Hi .'l ',-g . 1 ’X ■•>.. v>.-. , >; ,v -' <■ . -■. , • . -. ■•<-• ..., «• .•■ >•. S'. •• _■»'.* • '•'- -r. '■-•• v ‘'“V i ' l. "* r ' ' ^ *;jV .. ■■■.:'■■ B. .... V. ■ . ' " v;-Vgg . ■■ ’. ■. ■ . ■ ■ '■■. . . ■ . • • * : . - . :>;•■’:■ iv". .•• •■ — ■• . •■• .-->- ' g .-.■-■■■ - ‘:rg- V :g'g4i;\',vg-4r.-;V':'g PAKIAN ” Dull Finish Coated Book Paper furnished l>y The Champion Coated Paper Compunj, Hamilton. Ohio STUDY IN CHALK Drawn l>y F. S. Manning Copyright. 1003, The Inland Printer Co, Copyright, 1902, by The Inland Printer Company. THE LEADING TRADE JOURNAL OF THE WORLD IN THE PRINTING AND ALLIED INDUSTRIES. Vol. XXXII. No. 1. CHICAGO, OCTOBER, 1903. Tkrms / $2-5° per year, in advance. ( Foreign, $1.35 per year extra. SOME COMMERCIAL ASPECTS OF PHOTOGRAPHY. NO. I. - BY W. I. SCANDLIN. an adjunct to the printing-press and as a factor in the artistic, scientific, educational and commercial develop¬ ment of the world the importance of photography can hardly be overesti¬ mated. The most casual glance through the columns of the daily or weekly press, the monthly magazines, school histories and text-books, works of travel and of scientific research, show plainly how vast a scope it embraces, outside the important field of advertising. When it is remembered that photography has been known to the world only a little more than sixty years, its advance may be looked upon as nothing short of wonderful. It is interesting, in this connection, to note that photography, in its beginning, was practically con¬ temporary with telegraphy, and that while Professor Morse was working out his problems in electricity for the putting of distant points into communication by written message, Professor John William Draper was delving into the problems of photography. Professor Morse and Professor Draper were both enthusiasts in the working out of their individual tasks, and each was heartily interested in the work of the other, their investigations being carried on side by side for a number of years. It is, therefore, of great interest to note how closely these two important applications of science, to the use of the world, have kept pace with each other from their start, how each has gone forward steadily, but slowly, without very noticeable bounds or jumps for many years, and how, within the last few years, both have taken on new phases of activity and have developed with astonishing rapidity along many lines. As Marconi's discoveries in the field of telegraphy have vastly increased its usefulness within the past decade, so with the introduction of the Meisenbach process in the early eighties, a new field of usefulness has opened out before the progressive printer and engraver, and as the half-tone process has become better known and more fully developed, its importance in the field of illustration has steadily increased. What may still be in store, it is not safe to conjecture, but with the recent advances in three-color printing from photo¬ graphic bases, the vastness of this field is clearly indicated. It is but a comparatively short time since illustra¬ tion of all kinds was restricted to line-drawing, but the remarkable advance in the quality of half-tone plates and in the proficiency with which they are handled in all classes of printing establishments renders possible to-day the reproduction of almost any kind of picture that can he made by photography, and in a manner, to all intents and purposes, as good as in the photograph itself. The progressive printer has found, and will continue to find, photography of tremendous assistance to him in increasing the scope of his work. By its aid he is enabled to influence many orders which, without it, would be impossible. It stands him in stead to keep as fully posted as he may in all matters pertaining to photography and its commercial development, at the same time that he posts himself on its practical applica¬ tion to his own printing-presses. One thing to be borne prominently in mind and to be insisted upon in all cases, is the matter of good photographic copy being supplied the engraver from which to produce the half-tone plates. Time was when all kinds of work were accepted and when even the ubiquitous amateur was pressed into the service and made to contribute copy for this purpose. With the increasing use of half-tone work, however, a better understanding of its power and limitations is being established, and it has come to be realized that photo¬ graphs for half-tone reproduction must be made by one who is specially fitted and equipped for this kind of work. Accordingly there has come to be established in all the larger cities and towns, a class of photographers 1-3 34 THE INLAND PRINTER who make a specialty of photography for the printing- press. The work of these men stands in a class by itself, easily recognized by the quality of the finished print. It is a mistake of the gravest kind for the printer to imagine that a photographic negative may be made by an amateur or inexperienced worker, that will produce results suitable for half-tone reproduction. The sooner this is known and accepted, the better it' will be for all parties concerned. The engraver or printer who is called upon to produce a catalogue should insist upon it that the pho¬ tographs from which the plates are to be made are of the very best quality obtainable. If practicable, they should be made especially for the job by a professional commercial photographer. The successful commercial photographer is and must be a man of expedients as well as of experience, and the work he will produce in a given time is often phenomenal. He goes about his task with an intuitive perception of its requirements, turning out’ negatives rich in detail, tone and color values, which, when finished, render themselves suited to the work of the engraver with the least possible amount of handwork. All that remains is to obliterate undesirable features or to vignette the edges of the print. Work of this kind, properly etched, interprets the photographic sentiment of the subject' and enables the careful printer to render it with a feeling that is scarcely second to that of the photograph itself. It is only from such negatives that the best results are possible, and t'he printer who takes this course will find his work so much more satisfactory to his customer and himself that he will soon insist upon this kind of copy. An important point will have been reached when printers generally take a determined stand of this kind, and insist upon the best photographs that can be made. In many of the smaller cities and larger manufac¬ turing towns, however, the commercial photographer is not in evidence, and the situation here becomes some¬ what different. In such places the printer may, to advantage, ally himself with the most progressive studio photographer. In rare cases he may find an amateur with wide experience and a willingness to assist in working out his plan. In either case, a full understanding of the require¬ ments should be arrived at, and the photographer, whether professional or amateur, should be made to realize the importance of obtaining proficiency in the handling of photography commercially, if a successful business is to be developed in reproduction. Almost every subject requires peculiar treatment of its own, and to be successful, the photographer must be fully posted as to the best kind of negative required for the printer’s use and how to obtain it. He should know the possibilities and limitations of flash-light photog¬ raphy ; be prepared to make a successful negative in the dimmest corner of a dark boiler-room, or, under the still more impossible conditions, of bright daylight streaming into an upper room, lighted by windows on three or four sides ; the advantages of backed or non¬ halation plates should be perfectly familiar to him and he must know how and when to use his swing-back and rising-front. Familiarity with his lens will enable him at once to determine what sort of an instrument to use under varying conditions. A knowledge of how the mirror may be brought into service for the reflection of light on the object being photographed is also impor¬ tant. The kind of paper to use in printing, the depth and tone of the finished print, and a knowledge of all that goes to make a photograph suitable for reproduc¬ tion must' be part of his stock in trade. If the efforts and energies of two progressive par¬ ties, one representing the camera and the other the printing-press, are combined on some such lines as these, the result must' shortly be to create and develop a lot of new business that would otherwise lie dormant, and the profits of each should be materially increased. If the printer feels confidence in the ability of his pho¬ tographer to do well his part' of the work, he may confidently approach the manufacturer and urge upon him the importance of a booklet or catalogue. He may feel sure in most cases that it will pay him to spend some time and effort in working up an order on these lines. When obtained, it will pay enough profit to make a good thing both for himself and the photog¬ rapher. Poor photographs, however, will not make good catalogue illustrations — good ones will, and it is only the good ones that interest t'he progressive business man to-day. In another article we shall present some practical suggestions for the photographer, to aid him in work¬ ing out some of these commercial problems. (To be continued.) Photo by E. M. Keeting. BOILING EGGS. JAR FOR ART. Artist — “No, I don’t use models. I did these right out of my head.” Publisher — “We don’t use woodcuts.” — Chicago News ■, THE INLAND PRINTER 35 COMPOSING MACHINES — PAST AND PRESENT. NO. XIII. - BY JOHN S. THOMPSON. THAT individual-type setting machines have a strong hold on the printer’s fancy is attested by the increasing number of these devices. Modern inventors are striving to overcome the necessity of using foundry product and justification by hand, and are directing their efforts to the production of a type¬ casting machine which will cast separate types at a rate of speed equal to the requirements of their composing machines. The idea of supplying a composing machine with type cast especially for it is as old as the history of course, was unnecessary, new type being supplied as needed. In 1897, F. A. Johnson, of Minneapolis, Minnesota, began a series of experiments with a special type¬ casting machine, and patented a composing apparatus CHURCH'S COMPOSING MACHINE OK 1S22.* typesetting machinery. Dr. William Church, of Bos¬ ton, Massachusetts, as early as 1822 patented in England a composing machine and a special caster to supply it with type. The caster was arranged to cast a number of type at each operation, the type being deposited in receptacles beneath the machine. The apparatus was driven by hand power. The channels containing the type were removed from the casting machine and placed in position in the composing machine, the operation of a keyboard ejecting the type from the channels on to a horizontal plate, where a pair of rocking arms swept it to the center, when it was thrust downward into a collecting tube and from thence removed and justified by hand. Distribution, of * Courtesy of Scientific American. THE JOHNSON COMPOSING MACHINE. temporary ones assembled between the words. The line then moves forward to receive these spaces, which are cut from metal strips stored in a small magazine, the temporary spaces being returned to their proper channel. Experiments were also conducted with a view to casting the size of justifying spaces necessary church’s typecaster of 1822.* which he supplied with type made by the caster, the latter being an automatic device and made separate from the composing machine. In casting, a large num¬ ber of each letter of the alphabet was made before switching to the next letter, the machine making all the letters and the points in regular rotation. The type, deposited in tubes, is placed in the upper portion of the composing machine and assembled by operating a key¬ board. The operator, on completing a line, strikes a starting key and the line is automatically measured to determine what size spaces are necessary to replace the 36 THE INLAND PRINTER for each line according to the indication of the measur¬ ing device, and Mr. Johnson has also patented a paper perforating machine for the casting of individual type. The Johnson Typesetter is not in actual use as yet, although possessing several admirable features. A similar type setting and casting machine was invented by Ernst Wentscher, of Berlin, Germany, in 1886, but the patents have gone into the hands of the Johnson Typesetter Company. Still another single-type casting machine which the future holds in store for the printing world is that JOHNSON TV PEC ASTER. patented recently by an English inventor, H. J. S. Gilbert-Stringer. This is an adaptation of either Monoline or Linotype machines to cast individual type, and is accomplished by assembling a line of matrices and spacers in the ordinary manner, but thereafter advancing each letter of the line to the mold, which adjusts itself according to the width of the matrix presented and casts a single type, the spacers, which had previously been driven upward to wedge the line to its full width, being in like manner presented to the mold while held in the position which would cause the proper space to be cast, the product of the machine being a justified line of single type. No attempt has been made to manufacture this machine. A novel typesetting machine was invented by Lucien A. Brott, of Brooklyn, New York, in 1892. It was called the Composite Type Bar machine and is probably the most compact typesetting machine ever built. It occupies but eight square feet of floor space, weighs 250 pounds and is run by 1-10 horse-power. The machine is provided with a series of molds rep¬ resenting every letter in the alphabet. Metal is cast into these molds and the type deposited directly into the channels of the composing mechanism, keeping them always supplied. The type is made shorter than type-high to allow for the subsequent casting around the base of the line, and is withdrawn from the chan¬ nels by the operation of the keyboard, short steel wedges are brought between the words, these lying at right angles with the length of the type. When the line is completed it is justified by the wedges and lifted to the metal pot, where molten metal is cast upon the bottom of the type and between the words, form¬ ing a “ composite type bar.” This machine has not been placed in printing-offices as yet. Several attempts have been made by inventors to produce printed matter without the aid of type or intervening processes. An example of this class of machines is the Sears Direct Printer, the invention of Charles Sears, of Cleveland, Ohio. The nucleus of his invention consists in so constructing a typewriter that the carriage steps at each stroke of the keys only the width of the letter printed, thus permitting typo¬ graphic results with this special typewriter. The paper used is chemically prepared and the printed sheet is placed, face downward, upon a plate of aluminum or zinc, and the ink transferred to the metal plate. The plate is then treated so as to raise the characters on the surface of the plate, and is then ready to be printed from. Justification and correction of the lines printed by this method are possible by cutting and patching the paper after it leaves the typewriter. COMPOSITE TYPE PAR MACHINE. Another machine of this class is called the Plane- ograph, recently announced from Washington. It differs from the Sears apparatus in that the first step in the process consists in perforating a strip of paper on the lines followed by the Lanston machine. The perforated strip is then fed through a printing appa¬ ratus which prints the characters on chemicalized paper, the lines being properly justified by a system of computation as in machines of the Lanston and Goodson class. The third step consists in transferring the printed characters to the metal plate, which is then THE INLAND PRINTER 37 Written for The Inland Printer. A COURSE IN THE PRINCIPLES OF DESIGN. NO. XVI. — BY E. A. BATCH ELDER. NATURE does not offer us a storehouse of ready¬ made designs. As design is the orderly expres¬ sion of an idea, the best nature can do is to help us with suggestions. A thoughtful examination of the structure and development of shells, cones, insects, fishes, plant and animal life must make the serious student marvel at the orderliness of all things in nature, the disposition and arrangement of parts, the inter-relation of lines and areas, the perfect balance for which nature strives. The hand of a master designer is everywhere in evidence. But no matter how orderly nature may be, even to the rigid severity of a crystal, or how shapely in line and mass, or how transiently beautiful in tone, it is not within the province of design to utilize these things without the play of human invention and imagination. We are workers in dif¬ ferent materials and under different conditions from those governing nature, and any attempt to reproduce her forms in wood, clay, iron, on cloth, or on paper, is a mistaken effort on the part of the designer. A sketch of a beautiful flower may possess merit in itself, hut it becomes stupidly monotonous when repeated over a surface. An idea is lacking. But by starting with a general scheme in mind and by modifying the sketch, eliminating the accidental features, subordi¬ nating the unimportant things, thus making the whole conform to his idea, the designer may achieve some¬ thing worth while. The average man, if his interest can be sufficiently aroused to examine the construction of a design, will ask: “What is it? A rose or a poppy?” seeking some familiar element of identification, and, failing to find it, the chances are even that his interest will cease. But the only questions one need ask are : “ Is it orderly as regards lines and masses ? Has it unity from the point of view of tones, measures, shapes ? ” Possessing these qualities it is entirely immaterial whether your work was “ based on the poppy ” or on the rose. Either of these flowers might start a train of ideas leading into line and mass arrangements in which the last vestige of identification becomes lost. exploited in the past are actually on the market, the field being narrowed down to an intending purchaser to the several being actively advertised and marketed. In the individual-type machines the Simplex is the only one making sales, though the Empire is renewing activity. With the slug machines, the Linotype has a monopoly of the United States, which it shares with the Linotype Junior. The Monotype is the single rep¬ resentative of the type casting and setting machines. In Canada and Europe are found the Monoline and Rogers Typograph — slug machines. In price these machines range from $3,600 for the latest form of Linotype to $1,200 for the Monoline. Each machine is especially adapted for a certain variety of work, no one of them being everything the printer could desire. In the concluding article of this series the writer will endeavor to forecast what the future composing machine will be — what it needs must he to survive the twentieth century. printed from directly. Justification in this apparatus is satisfactorily accomplished, patching of the paper being necessary, however, in making corrections. Neither of these inventions are on the market, but they are indicative of the original line of thought being pursued by modern inventors of typesetting machinery. There are several other composing machines in process — some of the slug-casting variety, some using individual type, and still others making their own type as needed. Very few of the many machines (To be continued.) ART APPRECIATION. Under a “sketchy little thing,” exhibited by Jones, there hangs a printed card which bears the words : “ Do not touch with canes or umbrellas.” An appreciative small boy added the following postscript: “ Take A Axe.”- — San Francisco Star. It is merely necessary to keep in mind the truth, and it will bear repetition for the second or third time, that the closer your design does come to the rose, the more necessary it is that you adhere to the laws of growth found in that flower ; hut the more abstract your design becomes, the less essential it is that you conform to the characteristic features of the rose. Let us illustrate the matter with a few sketches. 38 THE INLAND PRINTER Plate CX shows a waif of a weed — name unknown — grows in the back yard. Perhaps one would not choose it as being particularly fertile in the way of suggestion ; but it is often better discipline to make the best of things just at hand rather than wander afar in search of a motif. Let us do a little thinking with the pencil and see what may develop during the course of a few hours of persistent work. Of course, no rule of pro- platp cx cedure can be given, nor can we record a receipt for making designs, as would be possible for making doughnuts. In fact, if the same experiment were tried with this motif at some other time, it is quite probable that results entirely different in character might be obtained. But here are the results, such as they are, of the present effort ; some acceptable, others uninter¬ esting and less satisfactory. Let us take Plate CXI as typical of the others. First of all, if unity is desired, it becomes necessary to seek an orderly construction of lines and masses. By feeling about with the pencil such lines may begin to appear. It may require changes ; it certainly will require patience and possibly several fresh starts, for an idea on paper is worth a dozen ideas unrecorded. As the lines begin to cross or come into contact with one another, areas are formed. The measures and shape PLATE! C XII of each of these areas must be carefully watched. Each area is a spot with a certain amount of attractive force. These attractive forces must be in relations of balance and harmony if the interest is to be properly distrib- THE INLAND PRINTER 39 uted. Then having studied the spots as blacks and whites, the question of tone relations assumes impor¬ tance. And this is what is meant by thinking in tones, measures and shapes, quite a different process from 41 conventionalizing ” a flower ; a process in which the student often overlooks the principles of composition PLATE CXIII. in his attention to the truth of representation, fearful that he may lose the identity of the specimen with which he started. In Plate CXII, another start is made, in a different way, and in Plates CXIII and CXIV an attempt is made to utilize two of the units thus gained in a development over a surface. In these surface repeats the adjustment of blacks and whites demanded various alterations in the units. To make a unit and merely repeat it over a surface would have been a stupid proceeding. In Plate CXIV we have gone back to purely abstract lines and areas ; there is scarcely a suggestion here that would lead one to suspect a development from the little weed in Plate CX. It is entirely immaterial that there should be any apparent relation between the two. A design must stand or fall on its own merits. In Plate CXV another idea finds expression — sug¬ gesting in its turn Plate CXVI. In Plate CXVI I several interpretations of the same idea are shown, changes being necessary in each case in order that the unit may harmonize with the space to be filled. In the last example, Plate CXVIII, the unit readily adapted itself to its position without change. The experiment might continue indefinitely ; but it is enough to show something of the extensive field the designer may choose in his selection of a motif, from nature on the one hand to abstract lines and areas on the other. Much still remains to be said on the subject of design. In fact, during the course of these articles little more than a few suggestions in the way of struc¬ tural anatomy have been presented. It has seemed best to keep to the simplest possible demonstrations of fundamental principles, a subject that has received too little attention from would-be designers. As a brief summary of the work, we may say that designs must be dependent for beauty upon the rela¬ tion of tones, measures and shapes when considered as lines and as areas. The principles of design we recognize as three in number — rhythm, balance and harmony. Hence the problem that confronts the stu¬ dent of design is to bring tones, measures and shapes PLATE CXIV. into relations of rhythm, balance and harmony. Each principle manifests itself in a variety of ways. Rhythm may appear as : Shape Rhythm, in which the eye moves by means of the regular repetition of a unique shape or shapes ; or by means of the inter-relation of lines and areas ; or 40 THE INLAND PRINTER by the regular repetition of these rhythmic lines and areas. Measure Rhythm, in which the eye moves by the gradation, the regular increase or diminution of meas¬ ures of length or breadth. T one Rhythm, or the gradation of tones, from light to dark or vice versa, or from color to color, or from intense colors to neutral colors. PLATE CXV. With a clear idea of these various types of move¬ ment the designer finds it possible to regulate the action or rhythm in his work, to lead the eye wherever he may choose, to concentrate the interest at one point or to distribute the interest as he may wish. But joint movement should always be associated with a feeling of repose or balance. Here, again, we may resort to several types of balance : Shape Balance, where the lines or areas are opposed in approximate symmetry- — the most obvious type of balance, because the opposition of equal attrac¬ tions naturally holds the eye at the center of the compo¬ sition. Measure Balance, in which a careful adjustment of the various attractive forces must be made in order to secure the same sense of repose that is found in symmetry. Tone Balance, or the selection and arrangement of contrasts in such way that each part of a design may keep its proper place without being unduly emphasized at the expense of other parts. With all these qualities there still remains harmony, which in turn may appear as : Shape Harmony, shapes that have some common character in line or mass ; or, given shapes unlike in character, their differences may be reconciled and brought into harmonious relations by means of rhythm and balance. Measure Harmony, referring to measures in which there is some common unit of division ; or, lacking- harmony, large measures must be so cut or subdivided that they will hold their proper positions in the design. Tone Harmony, in which closely related contrasts are chosen ; or, lacking this effect, the contrasts must be so disposed as regards quantity and position that each will keep its proper place in the general scheme. These are some of the important things to under¬ stand. If you would know something about designing and care to dig below the surface of the subject, it would be well, first of all, to concentrate attention upon these fundamental principles. Nothing worth while can be gained without conscientious study. But there will be little of interest here to the man whose only aim is to produce work just good enough to sell, to whom ideals, study, principles are things to be smiled at, who is searching for novelties that will please and is in pursuit of every fitful fad and fashion that chances along. Whatever you do, be an individual ; think for your¬ self, express yourself, simply and directly. Do not be THE INLAND PRINTER 41 DEAL WITH THE MEN. The success of the employers’ organization should not be measured by the smallness of the wages paid to the men. Even if we consider only the financial aspect of it, we should take into consideration not the wages paid, but the proportion of the profits to the wages paid. The printing trade requires intelligent workmen, and it is our interest to offer sufficient inducements in competition with other trades to attract and retain them. Their work educates them, and as a consequence their representatives are not to be identified with the thugs, the story of whose extortions has filled columns of the New York press. One of them, you remember, demanded $2,000 from a large iron manufacturer for the settlement of a strike — threatened to “ lick ” every officer of the company, and when the law was suggested, said: “You pay me — and the men go to work. I don’t care a damn for your laws or your courts ! I’m Blinks ! ” Blinks’ method has made him a great man among his imme¬ diate associates ; as for the contractors, well, Sherlock Holmes would have identified them by the calloused spots showing where their knees knocked together when they saw Blinks coming. If we are strong enough to do justice and enforce respect, we can bring about an era of confidence, good feeling and mutual prosperity. We want to be in a position to meet the workmen just as we meet our partners and our office men. It should be possible to meet them in an open, friendly manner, and, at the same time, insure their respect, loyalty and obe¬ dience, which are necessary for our common success. We must have their heads and hearts working in accord with their hands. I believe that we will have all the liberty in the government of our business that we are entitled to. No man, no body of men, and no nation, deserve liberty unless they work for it, cherish it and, if necessary, fight for it. — John H. Eggcrs, to the United Typotlietce, at Atlantic City. a man of “ tissue paper ideas.” One can find merit in the clumsy expression of a good motif ; one can even tolerate the cleverness of the man without a motif ; but there must invariably come a feeling of disgust at sight of the work of the “ tissue paper designer,” the man who is incapable of thinking for himself, and who appropriates the work of others, passing it on as his own, with all the brazen effrontery of the thief who steals another's purse. Any observant person knows his work upon sight. And, last of all, if you would make designing an art, rather than a trade, remember that there is no such thing as proficiency in art. The artist is always alive to the need of continued study and work. ( Concluded.) THE LARK’S SHREWD GUESS. Some young larks, whose nest was in a field of ripe corn, reported to their dear mother that the owner was calling on his friends and neighbors to come and reap for him. “ We needn’t bother,” said the Mother Lark. Later on they reported that relatives were to be asked. “ It’s still all right,” said the Mother Lark. But later they reported that the owner was going to wait no longer for neighbors or relatives, but would reap himself. Then said the Mother: “It’s all U. P. ; we must move. He’ll put a stop to the larks in this office if he begins to do things a bit for himself.” — The Caxton Magazine. The key to success is not a night key. — Chicago Record - Herald. PLATE CXVIII. WHEN THE WIND IS IN THE WEST — ORKNEY. THE INLAND PRINTER 43 « u • ^ THE lniAliD PWNTER GE [Entered at the Chicago Postoffice as second-olas! A. H. McQuilkin, Editor. Editorial Contributors — Arthur K. ^Taylor, F. W. Edwin B. Dewey, W. B. Prescott, P. S. Goodman, R. C. Mallette. K _ -0 , A V c • V v *‘x Published monthly THE INLAND PRINTER COMPANY 120-130 Sherman Street, Chicago, th. Henry O. Shepard, President. J. G. Simpson, GeneriR^fanafe; A. W. Rathbun, Treasurer. FINANCIAL. ENERAL financial conditions remain stagnant, relatively, for we compare with the last few years, forgetful of the normal smooth-running currents prior to 1901. It is in contemplation of the boom period that so wise, careful and prudent an observer as Secretary Shaw, in his Chicago speech of Septem¬ ber 1, referred to the heaviness as due to psychological causes, more familiarly to a “ lack of nerve.” The chief of the fiscal system of the country seems to have for¬ gotten that illustration of SEsop that the constant ten¬ don of the bowstring turns the elasticity of the bow 0 permanent stiffness. The Secretary was looking at the conditions from the present viewpoint of insistent So far there has been Address all Communications to The Inland Printer Company. New York Office: Morton building, no to 116 Nassau street. H. G. Tichenor, Eastern Agent. activity in every line of business. no suffering on account of the withdrawal of the initi- Harry h. FLiNN.'AeMct^o&c^'ative in business. It is a waiting attitude which has in it an element of psychology, but it is well to bear in mind that this psychological feeling did not have its origin in the higher financial circles, but came out from the mass of the people. When the speculative forces Vol. XXXII. OCTOBER, 1903. No. 1. The Inland Printer is issued promptly on the first of each month. It aims to furnish the latest and most authoritative information on all matters relating to the printing trades and allied industries. Contribu¬ tions are solicited and prompt remittance made for all acceptable matter. that fatten off general prosperity ran their gamut, and turned to rend each other, fighting for the possession of the money which came from the general public in the craze of the first half of 1901, conservative business men all over the country adjusted their affairs to cur¬ SUBSCRIPTION rates. One year, $2.50: six months, $1.25, payable always in advance. Sample copies, 25 cents; none free. Subscriptions may be sent by express, draft, money order or registered letter. WE CAN NOT USE CHECKS ON LOCAL BANKS UNLESS EXCHANGE IS ADDED. Send draft on New York or Chicago. Make all remittances free of exchange, and payable to The Inland Printer Company. Currency forwarded in unregistered letters will be at sender’s risk. Postage stamps are not desirable, but if nec¬ essary to remit them, one-cent stamps are preferred. Foreign Subscriptions. — To countries within the postal union, postage prepaid, three dollars and eighty-five cents, or sixteen shillings per annum, in advance. Make foreign money orders payable to The Inland Printer Company. No foreign postage stamps accepted, and no attention will be paid to postal-card requests for free samples. rent demands. It was a wise precaution and the solid character of business generally to-day is due to the “ psychological causes ” which the Secretary of the Treasury views with some alarm. With the erratic weather conditions prevailing over the entire northern temperate zone, he who would exhibit a nerve in pushing his affairs beyond current demands would take the gambler’s chances. After all is said about our prosperity and the basis thereof, we come ADVERTISING RATES Furnished on application. The value of The Inland Printer as an advertising medium is unquestioned. The character of the advertisements now in its columns, and the number of them, tell the whole story. Circu¬ lation considered, it is the cheapest trade journal in the United States to advertise in. Advertisements, to insure insertion in the issue of any month, should reach this office not later than the eighteenth of the month preceding. In order to protect the interests of purchasers, advertisers of novel¬ ties, advertising devices, and all cash-with-order goods, are required to satisfy the management of this journal of their intention to honestly ful¬ fil the offers in their advertisements, and to that end samples of the thing or things advertised must accompany the application for advertising space. The Inland Printer reserves the right to reject any advertisement for cause. Single copies may be obtained from all news-dealers and typefound- ries throughout the United States and Canada, and subscriptions may be made through the same agencies. Patrons will confer a favor by sending us the names of responsible news-dealers who do not keep it on sale. in a final analysis to the crops, for we are still an agri¬ cultural country — forty-seven per cent of our popu¬ lation live by the fertility of the soil, and that fertility is dependent upon an equable climate. The wheat crop has been determined at a lower production than the previous year, but still normal, for last year the crop was a “ bumper.” The corn crop is still within the 2,000,000,000 bushel limit, which, with population and acreage considered, can not be regarded as a bad one, neither is it assurative of great things. Erom the agri¬ cultural point of view the outlook for the coming year is fair. Continued good railroad earnings are indi¬ cated. There is sufficient inducement in the outlook FOREIGN AGENTS. M. P. McCoy, Phcenix Works, Phcenix place. Mount Pleasant, London, W. C., England. W. C. Horne & Sons (Limited), 5 Torrens street, City Road, London, E. C., England. John Haddon & Co., Bouverie House, Salisbury Square, Fleet street, London, E. C., England. Raithby, Lawrence & Co. (Limited), Queen street, Leicester, England, and 1 Imperial buildings, Ludgate Circus, London, E. C., England. Penrose & Co., 109 Farringdon Road, London, E. C., England. Jean Van Overstraeten, 17 rue l’Kint, Bruxelles, Belgium. Societa delle Macchine Grafiche ed Affini, via Castelfidardo, No. 7, Milan, Italy. Alex. Cowan ’& Sons (Limited), General Agents, Melbourne, Sydney and Adelaide, Australia, and Dunedin, New Zealand. F. T. Wimble & Co., 87 Clarence street, Sydney, N. S. W. G. Hedeler, Niirnbergerstrasse 18, Leipsic, Germany. H. Calmels, 150 Boulevard du Montparnasse, Paris, France. John Dickinson & Co. (Limited), Capetown and Johannesburg, South Africa. James G. Mosson, 6 Glinka street, St. Petersburg, Russia. for maintenance of manufacturing activity, and this, with the conservative manner in which all business has been carried on, should guarantee stability for another year. Moneywise we are in a better condition than for three years, if the condition of the New York banks is to be regarded as the index. The West is taking good care of its crop demands ; in this connection there has been an influence at work which has not been speciallv brought out in the discussions over the currency ques¬ tion. The great crops from 1895 to 1900 and the fairly 44 THE INLAND PRINTER good harvest since have enabled the Western farmers to reduce, and, in a majority of instances to liquidate, their mortgages. The retention at home of the interest alone has largely added to the plethora of funds. This feature is emphasized in the statement of commercial note brokers, who say that for a year the banks in the Western cities have been large buyers of such paper. Perhaps a little explanation of this feature of finance will not be out of place. In recent years there has sprung up, in all the large cities, brokers who handle the paper of large manufacturing, wholesale and job¬ bing houses. These establishments, instead of borrow¬ ing direct from banks, give their three and four months’ notes to the brokers, who in turn dispose of them to banks. In Chicago there are three houses which handle each year upward of $50,000,000 of such notes. Banks with surplus funds take this paper because of the ease with which it can be remarketed and the comparative absence of risk. Until five years ago the business of the brokers was largely confined to the banks in the reserve cities. In the smaller cities money usually found its best invest¬ ment in farm mortgages. The payment of these obli¬ gations has resulted in large accumulation of idle funds in the banks of the Western cities, surpluses in excess of local borrowing demands, and this summer, accord¬ ing to the statement of the note brokers, cities in the grain belt have been taking commercial paper, while the banks in the rural districts have been drawing funds from the reserve cities for harvest needs. Touching the fall money demand it is significant that the surplus of the New York banks in the middle of September was around $20,000,000; a year ago there was a deficit of $2,000,000 from the twenty-five per cent reserve requirement. In the year the new money issued by the country amounted to $110,000,000, of which $80,000,000 was increased national bank circulation. The government surplus has been increased, which, while an excellent thing for the general financial condition of the government, is hurt¬ ful to the business interests through the locking up of actual cash. Against the immediate possibility of depletion of cash in the reserve centers, the Secretary of the Treas¬ ury intimates that he will put the Government’s idle funds to use in general circulation. Thus far no Secre¬ tary has dared to place out with the banks any part of the surplus derived from customs receipts, because of the constitutional inhibition that no money in the treasury shall be paid out except on Congressional appropriation. Mr. Shaw’s legal advisers hold that the national banks are part of the treasury system and the deposit of customs receipts therein is not a paying out of such funds as contemplated by the Constitution. No fiscal event in this country will be more important than the settlement of this issue. If customs funds can be deposited in the banks, our treasury system will rank with that of every other nation. Now we have the anomaly of the Government locking up cash in periods of expansion and activity and curbing normal development, for it is only in the periods of prosperity that the Government piles up surplus. If every busi¬ ness man would take his surplus profits, every wage worker his savings, and lock them up on the Govern¬ ment plan there could not be a long-sustained period of prosperity. Had the $40,000,000 of customs money been redeposited with the banks last year we would never have heard of “ elastic ” currency reform. P. S. G. THE TYPOGRAPHICAL UNION OBLIGATION. T is interesting to note how questions apparently disposed of will come to the front again after the lapse of a few years. It was generally understood by the laity and non-Catholics that when the authorities at Rome nullified Cardinal Taschereau’s mandement against the Knights of Labor, the attitude of the Roman Catholic Church toward labor organizations was settled for some time. But now come several well- intentioned but rather captious and poorly informed Roman Catholic clergymen who raise an old question and object to the obligation taken by members of the Typographical Union, which, they say, “places the union before the church and before the state and impeaches the loyalty and Catholicity of those who take it." They quote as particularly objectionable this clause : I do hereby solemnly and sincerely swear or affirm that my fidelity to the Typographical Union and my duty to the members thereof shall in no sense be interfered with by any allegiance that I may now or hereafter owe to any other organ¬ ization, social, political or religious. On the face of the obligation there is ground for criticism ; but if the reverend gentlemen had taken the trouble to inquire as to the intent of the clause or the manner in which it is interpreted and enforced, they would not, even by inference, have assailed the loyalty of all or the Catholicity of Roman Catholic members of the union. In the organization the objectionable sentence is held to mean that members will not allow social, religious or political organizations to control them in trade matters — on questions which are par¬ ticularly within the union’s limited sphere of action. As understood and applied the obligation does not interfere with any member's duty to his church. Nor is it likely to unless the church desires to say how type shall be measured or meddle in some other detail of the printing business. And it is far-fetched, indeed, to insinuate that the Typographical Union interferes with a man’s duty to his country. Too many union printers have served and are serving the people loyally to permit of the idea being seriously entertained. A few illustrations of what the practices of the union are, when the rights of a citizen are involved, will serve to show that the fullest liberty of action is not only preserved but encouraged. In many of the seven hundred subordinate unions a majority of THE INLAND PRINTER 45 the members are probably “ opposed ” to the militia — some because they deprecate war and all that pertains thereto, others on account of the alleged misuse of this arm of the public service in the interests of great corporations. Yet not one of these unions could suc¬ cessfully discipline a member for being a militiaman, not even if, in the discharge of his duty and acting under orders, he shot down the president of the organ¬ ization. In the Typographical Union it is accepted as a matter of course that those are matters for the law of the land to dispose of. The union has specifically set its face against attempting to do anything which may be accomplished through legal channels to such an extent that it does not allow subordinate bodies to be made debt-collecting agencies, even though the creditor be a member and the debtor a non-member. Had these clergymen known that where a union had participated in a political convention which nominated a candidate for office, an assessment to aid the candi¬ date was declared illegal on the ground that it was subversive of the inalienable rights of a member to compel him to support in the remotest possible way an objectionable candidate or political program, they might not have been so alarmed. Another instance is recalled of where a subordinate union, in Mich¬ igan, was interested in a political campaign, and at a secret meeting decided upon a certain line of action. Several members regarding the scheme as a conspiracy and likely to work harm in the community, prematurely exposed the plan of campaign and pub¬ licly denounced the union for its act. Passions are usually inflamed at such times and they were in this instance, but those dissidents were not disciplined, for it was generally recognized the International Union would protect them in their rights as citizens, which the local union had no power to abridge in the slightest degree. The fact that complaint should come from Roman Catholic clergymen is not without its humorous side. Members of that faith have ever been among the most earnest advocates of the present form of obligation. It has had a rather checkered career, and a sketch of its elimination and revival may not be entirely out of place. In the early eighties it was denounced by mem¬ bers of the French-Canadian hierarchy, though it is not recorded that the English-speaking clergy inter¬ posed any objection. However, there being no desire then — nor is there at this time — to provoke the slightest note of discord between members and their church, the entire obligation was eliminated, thereby allowing subordinate unions to frame oaths that would be agreeable to local, legal and ecclesiastical authorities — especially the latter. Then came the Knights of Labor dispute, and as Rome refused to condemn an obligation of the same tenor, but couched in much stronger terms, the old clause began to make its appear¬ ance in union obligations. And as the sequel shows, certainly not for the purpose of impairing the standing of Catholic members. When it was first made a part of the International law, a Roman Catholic was its fore¬ most supporter. He held that men were forgetting their duty to the union, some making it secondary considera¬ tion to political clubs to which they belonged ; while others, owing to their allegiance to secret societies which Catholics could not join, incidentally but effectively discriminated against Catholics in giving out work and in voting for officers. To quote this gentleman, now dead : “ Unless you were a member of some secret order you were frozen out.” Several gentlemen of the Roman Catholic faith are responsible for the present obligation, and foremost among them one who was the guest of a priest while he was attending a con¬ vention and urging the measure, who is reputed to be a devout Catholic, and, if the writer be not mistaken, has several brothers, priests, one of whom is attached to the Papal household. So far as known the clerical critics have not been unfair or unduly denunciatory. They think those who framed the obligation may not have realized the full force of the words they used. They suggest that every patriotic man and consistent Catholic “ demand that the clause be cut out.” While the writer knows that, when viewed in the light of intent and as it has been enforced, the provision can not be made to bear the burden which the clergy place on it, yet it should be repealed. Its phrasing is not happy, but is misleading and a formid¬ able indictment can be framed on the terminology alone ; it is also immaterial and irrelevant, as the lawyers would say, and if the criticisms had appeared a few weeks earlier — before the convention adjourned — doubtless what is a fair target for the enemy to shoot at would have been removed ere this. W. B. P. NEWSPAPER CAPITALIZATION. NUMBER of years ago the American Press Association issued a “ style ” book for the con¬ venience of its patrons. There possibly has been a more recent edition, but if so it is doubtful if it has been carefully distributed ; sure it is that the old book is being followed, at least as regards capitalization, by some of the Press Association’s plate users. No one will question but that the “ style ” book first referred to was edited by wise men, and, generally speaking, was a good thing, but from the ordinarily intelligent newspaper reader’s point of view, the cap¬ italization after the rule set forth in the book must look peculiar. Here is what is printed regarding CAPITALIZATION. ********** ** Corporations, Societies, Etc. — When the word railway, railroad, company, society, association, union, club, bank, the¬ ater, academy, school, depot, church or hotel follows the name, do not capitalize it. For example, the Northwestern railway, the New York Central railroad, the Chicago Meat company, Young Men’s Christian association, Women’s Christian Tem¬ perance union, the Trainmen’s Benefit society, the Union club, the First National bank, the Fifth Avenue hotel (this does not 46 THE INLAND PRINTER carry the word House when it means a hotel, as Hoffman House, Astor House, etc.), the Fifth Avenue theater (this does not carry the words Opera House when they mean a the¬ ater, as Grand Opera House, Taylor’s Opera House, etc.), the St. James academy, the Grand Central depot, the Dutch Reformed church. The writer does not believe this rule was ever very generally observed. It would seem just about as sensible to print “ Adam H. brown ” as to print “ Chicago Meat company,” for if Brown sells meat, either is the name of a concern dealing in meats, and the “ Company ” is just as much a part of one name as “ Brown ” is of the other. Another example shown is “ Young Men’s Christian association ” ; yet a paper following the styles set forth in the book abbreviates this “ Y. M. C. A.” About as well make the “ A ” lower-case in one as the other. Most of the other examples are of the same class. While too many capitals may be poor taste, not enough is worse. E. B. D. A BOON FOR THE AMBITIOUS PRINTER. AS I met him I saluted — a gray-haired printer, . one of the veterans of the craft, now a foreman. Scarce a dozen steps away, we turned as with one accord, each to ask the other if he could lend a first- class printer or could say where one might be obtained. Failing this, a printer of ordinary skill was sought, but with the same result. In parting, he said : “ No, there are no printers to be had. They are not making printers now, and the few good ones are caught and retained in the big cities. Nor can we blame them for declining to go where the scale is less, even though cost of living is also less. But what we shall do when we all get busy in these smaller cities I do not know.” Nor could I say. But when I reached my desk and opened Ti-ie Inland Printer at the advertisement of the Inland Printer Technical School, it seemed that there was something which went far toward solving the problem — a boon, aye, a necessity to the ambitious youth and to the anxious employer alike. For here will be given careful and thorough instruction in the triple strand which makes the perfect cord of finished printing- — -machine composition, job composition, presswork. And further, this instruction will be given by those best fitted to instruct, given under conditions ideal as to material and environment and all that makes for perfection of production, and given to those who bv past effort and by present effort and apprecia¬ tion prove worthy to begin and to continue. R. C. M. TOO FEW COMPETENT WORKMEN. EVER and anon goes up from the ranks of labor i a cry that there exists an overplus of workmen, causing scarcity of work and depression of wages. The easiest remedy, apparently, is restriction of out¬ put — the making of fewer printers. Hence, increase in proportion of journeymen to each apprentice. So far, well. But, on the other hand, comes the plaint of the employers that there exists a real scarcity of workmen who are fully competent, capable, reliable. Of workmen who are indifferent there is usually abundance — yet not always. But they are tolerated and paid the scale in despair of obtaining those that are better — those comparative few, yet superlative few, who are willingly given the scale and more and who are sought in every city in the land. Now, the fact that these men are paid large advances on the established scale does not argue that the scale is too low. In the vast majority of cases it is fair to both employer and employe. That one man is worth and is paid the scale and another is paid ten per cent more is simply a means of saying that the latter can do ten per cent more work, or ten per cent better work. And if the inferior or indifferent workman desires to obtain this bonus, he must first place himself in position to demand it — he must make himself worth it. If he does this, his worth will surely be recognized ; if not by his present employer, by another. But that the common workman should thus raise himself above the level of his fellows there must be native ability, willingness, eagerness to learn, reten¬ tiveness of memory, and an observing and studious mind. With these, properly applied and correctly directed, will come the desired reward. R. C. M. [BUSINESS ACCURACY THE KEY TO SUCCESS. SOME few months ago there appeared in the Caslon Circular, the quarterly gotten out by the Caslon Letter Foundry, of London, a brief article dealing with certain phases of the printing trade situation in Amer¬ ica. A portion of it, touching on a topic of consider¬ able current interest, follows : A MENACE TO LEGITIMATE PRINTING. I can not say if similar conditions prevail in Britain — I hope they do not. But in America there is beginning a new menace to the prosperity of legitimate printing-shops, and I fear that it is only the beginning. A boy fancies that he would like to be a printer, usually because he is dull at school or because one of his companions is learning the trade. He enters a shop. In due course of time he has so far mastered the lay of the case and the intricacies of the alphabet as to be able to differentiate “ d ” and “ q ” three out of five times, and may even occasionally distinguish “ I ” and “1.” Or, he may be able to tell offhand whether a certain make of press carries two or three or four rollers, and whether the fly-wheel should turn toward him or from him. Then he secures a place as two-thirder, sometimes even as journeyman, in a manufactory operating its own printing-works. His foreman usually knows a little more than he does, but has neither time nor inclination to give instruction, were he never so compe¬ tent. A brief service here, and the youth deems himself a master and proceeds to invest a few dollars in type and press to “do printing.” Need I add that be “does” it? True, he can not succeed; true, he affects but slightly the general state of trade ; yet, like the vision that passed before Macbeth, the line of this one and his fellows appears to “ stretch out till the crack o’ doom.” And the constant THE INLAND PRINTER 47 dropping of their ignorant and foolish price-quotations wears rapidly the by-no-means adamantine rock of current prices. Lasting injury is done to the printer with capital invested and a pay-roll to meet, and no one is benefited, not even the consumer. The remedy? Until users of printing can be educated to a point where they will refuse to accept the miserable work turned out by these would-be “ printers,” I know of nothing- more effectual than that the unions should exercise over these factory printing-shops the same degree of care and watchful¬ ness that is applied to the ordinary commercial printery. This may not wholly solve the problem, but it will, I am sure, be of next step is easy — to take in outside work. Some¬ times prices are lowered, sometimes business relations are “ worked ” for their printing, sometimes solicitors are employed. Frequently a class of work is turned out that is creditable in all respects. The printer who does nothing but print finds that his trade is slipping away from him, nor is it always possible to say just why it goes or how it may be won back. But I think that one of the ways in which the printer who has a printing-office may make himself Courtesy F. L. Steenrod, Durango, Colorado. THE VETERANS’ REUNION. decided benefit, provided always that the union does its duty fully and truly. And unless it can do that, why should there be a union? But this is, by no means, all. From such competi¬ tion as this there is comparatively little to fear, on the part of the printer operating floor after floor filled with modern machinery. For him there is a menace of different sort. More than a few of the manufacturing plants of the land are putting in printing equipments for their own work. Their time-cards and cost-cards are kept with all the accuracy and detail of the suc¬ cessful business man, and it is soon found that the printing department can be operated at a profit, if placed in the hands of a competent foreman. The able to meet this competition from the printer who has a manufacturing plant is this: Let him study the conditions and surroundings of his own business as closely and with as much intentness as the manu¬ facturer studies the details of his entire investment. Let him specialize his office, declining the jobs where no profit is, and handling to greater advantage those that yield satisfactory returns. This, beyond question, he can do, if he will. He has a plant and a force of workmen chosen and trained to the economical produc¬ tion of certain classes of printing. He is at decided advantage as compared with his friend the manufac¬ turer, who can give this department no more than divided attention at best. R. C. M. 48 THE INLAND PRINTER Written for The Inland Printer. HINTS ON PRESSWORK.* V NO. II. — BY ERNEST ANDREWS. BLURRING is an often-present and sometimes stub¬ born imperfection to contend with, and so many conditions are conducive of it that it is sometimes diffi¬ cult to locate the trouble. Attention is here drawn to some of the causes and how they may be remedied. A solid tympan and top sheet is important. Avoid wrinkles in it or a puffy surface near the grippers. Chases and forms should be without any spring, and plates and other matter should lie flat on their bases before and after, as well as during the impression. A small amount of powdered resin or chalk spread along the bed bearers, which should be kept dry, is practicable. On some classes of work it is expedient to tie one or more cords to the cross-bar in front of the cylinder just above the bed, passing the other end under the cylinder and fastening it to the under side of the feedboard, allowing them to be tight during the impression, thus holding the sheet from sagging, watching, however, that no type is injured by their use. A rigid and clear impression can not be obtained if the cylinder journals are much worn. They should be looked after by a competent machinist. The pulling or peeling of stock is usually due to inferior paper, low temperature, high speed or too solid ink. Pressrooms should be very warm. Cut forms should hot be run at a high rate of speed, and ink should be no solider than will allow a free distri¬ bution and a perfect working condition. However, ink in this day and age is, for the most part, run just as prepared by the makers, so proficient have ink manu¬ facturers become in its production. In fact, there is less to learn about inks than formerly, unless it be in color-printing*. But if a reducer is desired, use any of the following with a little drier : Boiled oil, vaselin, varnish or lard. The exact proportion can only be learned by experience with existing conditions. When the ink fountain is too cold to work properly, it should be warmed by placing two or more lamps (when gas can not be had) near the floor, several inches in front of the blade. Avoid warming it too rapidly. With small forms of long runs on large presses, it is best to collect and retain the ink in a space about as wide as the form, instead of allowing the ink to remain the whole length of the fountain, which would necessitate screwing it up too tight and cause its rapid wearing away. Wet rags rolled up and squeezed close to the iron roller and blade will meet requirements. Take some or all of the angle Out of the angle rollers, and in this way avoid the ink flooding toward the ends. A little lard or oil in the empty por¬ tion of the fountain will keep the otherwise dry ends of the rollers in good condition. Rollers remaining in a press over night should not be washed up until morning, a little oil being run over * All rights reserved. them to prevent them from drying. For the preser¬ vation of rollers, they should not be washed altogether with benzine, but rather with some of the better prepa¬ rations on the market. New or unused rollers should be gone over occasionally with coal oil and should be kept in dry atmosphere, near the ceiling, if possible, and in a dark room, the action of light and moisture being detrimental .to them. Rollers in use should be closely watched on damp, hot days, that they do not melt. Should a roller be found to be nearly at melting point, too soft, perhaps, to retain its shape if placed aside, it should be laid flat upon the floor and rolled back and forth until it has cooled sufficiently to be placed in the cabinet. Angle rollers should not be allowed to whirl so freely that they will lie still in motion when the inking table is on its return to the fountain, as this results in unnecessary tear near the ends. Keeping the sockets supplied with soap proves very successful at such times, if rollers persist in tear¬ ing near the ends, wash them and rub on a little oil. Never set angle rollers so low that they jump when the ink table strikes them. The presence of electricity in stock offers to the pressman, to say nothing of the feeder, another ele¬ ment in his long list of trials and tribulations, nor can he always do away with it entirely, but, like other diffi¬ culties, it may be guarded against considerably. It is quite important that stock be taken out of boxes and wrappers and piled in the pressroom for as long a time as is convenient before running, that it may become warmed and adapted to the temperature of the room, as electricity is invariably generated in stock warmed too rapidly. Electricity generated while the sheet is passing through the machine can be wholly or partially overcome by rubbing over the tympan a preparation of glycerin, alcohol and machine oil at the end of each lift. Occasionally rub this sparingly over the shoo- flies, fly-sticks, fingers and tapes. Some shops are so equipped that steam rises in front of the cylinder, so that the delivered sheet coming in contact with it is relieved of all electricity. Print-stock may be run free from this difficulty by dampening it before running. If sheets bother about catching on the fingers, try picking up the tympan between the shoo-flies with a sharp knife, not enough, however, to allow the picked- up portion to gather any ink. The delivery of sheets is often materially aided by pasting strips of paper about half an inch wide around the shoo-flies, giving them a better chance to start the sheet over the fingers. Adjust fingers about two thicknesses of ordinary stock from the cylinder when it is just about to deliver a sheet. Quite often sheets about to be delivered bend up and go down between the cylinder and fingers, causing no end of trouble. This may be done away with by pasting one or more strips of paper six inches wide around the guide bar, leaving the other end free, extending it nearly to the fly-sticks. Should sheets catch on fly while running out, twist the delivery tapes THE INLAND PRINTER 49 several times. Sheets continually turning upon the flv can be held down in this way : Stop the press with a sheet on the fly. See that one fly-stick extends just outside the end of the sheet. Tie one end of a string to the bottom of the fly about two inches inside the end of the sheet and the other end at the top of the fly- stick just outside the end of the sheet. Now adjust a stiff piece of strawboard about two inches high between the fly at the bottom and the string, the whole resembling a violin neck, string and bridge. Thus, the gripper edge of the sheet will get under the string before it has a chance to curl up. Of course, the speed of the press has everything to do with the stock being delivered properly. Corners of stock turning over on feedboard is also very disagreeable, and there are so many tricks for preventing it that one person can hardly expect to be familiar with them all, yet it should be a pressman’s aim to send his work to the bindery in as nice shape impression. Blotting-paper, cut in narrow strips and inserted at the places in the form which trouble, nearly always proves effective. If there were no yield in the bed of a press during the impression stroke and if the whole form lay perfectly solid upon its base no such thing as a work-up would occur. On such presses, then, the make-ready should be as even as possible, that the squeeze may be placed at a minimum, doing away with a great deal of give in the bed, which would otherwise be present. Only with experience and a thorough knowledge of paper and ink can a form of half-tones be run with¬ out slip-sheeting. If slip-sheets are used, see that they are made up of rough stock, that the ink will not stick to their surface. When ink, in drying, sticks to the sheets, roll the stock, thus freeing the sheets without damage. In backing up illustrated work which is not thor¬ oughly dry, or which, for lack of enough varnish, HOSTAGES TO FORTUNE. Photo by Hans Hildenbrand, Stuttgart. as possible. Try wadding a sheet up and putting it under the delivered stock about eight inches from the corner, or try putting two strips of furniture under delivered stock, each about eight inches from the end. Bend strawboards so that the sheet turning over will be caught and forced back to its place. Nail a strip of leather about eight inches long to the bottom of the fly so that when the sheet has been delivered the free end of the leather will fall upon the corner of the sheet, holding it down. Fix high strips of strawboards all around the jogger or edge of the stock. Lay wet rags upon the delivery board near the edges of the stock. Occasionally rub a little glycerin over the fly-sticks. Some of the foregoing suggestions ought to prove satisfactory. Work-ups on some mixed forms are ofttimes a con¬ tinual bother. But experience, method and theory will at length produce a way to avoid the difficulty. Always aim to get all the printing matter flat on the bed, that there will be no rocking motion of the bases during the 1-4 offsets, it is advisable to take off the manila top-sheet and place in its stead a required number of sheets of print-stock. Oil frequently and keep the ink accumu¬ lating from offsetting well washed off the tympan. Sandpaper, pasted on fly-sticks, is always advisable on rear-delivery presses. Before the sandpaper is cut into strips, thoroughly saturate a sheet of it with water, and then peel the whole surface off the back, which renders the remaining half more pliable and less liable to fall off the sticks on to the form, or otherwise do damage. The subject of register is, indeed, an important one. Surely no branch of the business demands of the press¬ man a greater knowledge of machinery. To begin with, stock which is about to be run in colors should not be allowed to remain in the boxes or wrappers which it has been shipped in until the hour it is to be worked, but should be taken out several days before. Neither should it be piled in one solid pile to gather dampness and swell, only to dry and 50 THE INLAND PRINTER shrink as soon as the air has access to it, and perhaps after one color has been printed ; bnt place it in lots of thirty or forty sheets each on racks built of laths about a quarter of an inch apart, allowing the stock thoroughly to season. Endeavor to have the press¬ room of uniform temperature all day and night, and remember steam heat is the best for retaining even atmospheric condition and renders a room less sus¬ ceptible to changes outside. Tf steam heat can not be Photo by Hildenbrand, Stuttgart. PIERROT. had, keep a small pail of water on the stove. Allow the warmth of a room to come into contact with the stock equally from all directions, that is, do not on a cold day, leave the stock with one edge close to a window, while the other edge is warm, nor one side hot from the heat of a radiator or stove and the other side cooler. The reason for this is obvious, as it can be seen that, should these conditions change between the time of running two colors, the dimensions of the sheet are necessarily changed, too ; enough so, at least, to spoil an accurate register. Always run colorwork on trays, with two or three hundred sheets on a tray, and keep the top and bottom sheets covered. All this concerning the handling of stock may seem unneces¬ sary and foolish, and many may say they have worked in excellent color houses where these precautions were disregarded. That may be, but those same color houses have trouble with register. Other most important considerations are the proper adjustment of the presswork and correct handling of the form, etc. Avoid too much gripper hold, not alone on regis¬ ter forms, but on all other classes of work. Some pressmen carelessly overlook this condition, with the result that before the sheet has been grasped by the grippers its edge has been hit by the closing gripper and pushed out of position. It is practicable to lock a chase on the sides as well as at the front and back. Have all quoins lock toward the center of the chase, always beginning to tighten at the bottom corner quoin, using reason and judgment about how much to squeeze one quoin before tightening the next. Be sure the form is so locked up and planed down that there will be no springing during the impression. Also use hard packing. Make the form partly ready before seeing too much about the register, as a perfect register when the impression is weak or uneven does not imply that it will be satisfactory when all is made ready. Let the compositor make any necessary change now, still allowing the make-ready to progress. When the position is finally O. K., the pressman should see to the lock-up himself, locking it as uniformly as pos¬ sible all around. If nothing better can be procured, slip a strip of thin cardboard between the quoins to prevent them from slipping. With a piece of chalk, strike across each set of quoins, for the reason that if it afterward becomes necessary to unlock the form, it can be locked up again exactly as before, by bringing the marks in line. Now see to the register. Run in three or four sheets twice. Very likely the register will be poor. If so, go about investigating where the inaccuracy exists. Again run in one sheet and miss two impres¬ sions on the top-sheet (the top-sheet, of course, should be reeled up tight). Should these impressions fail to register, it is most evident that something is wrong with the working condition between the bed and cyl¬ inder. What has been previously said about bearers and impression screws should be especially attended to at this time. Should the press be without a continuous register rack it is quite probable that a slight shifting of the segment in the proper direction would assist the register considerably. Thoroughly wipe all bearers and teeth of both cylinder and bed segments. With a piece of chalk mark heavily on each side of the four teeth on the cylinder segment. Trip the press, run in one sheet, trip again and stop. Notice any traces the chalk marks have left upon the segment teeth on the bed. On whichever side the traces are plainest it is in the opposite direction that the segment should be moved. Before loosening the bed segment, make a THE INLAND PRINTER 51 straight mark from one of the teeth on to the bearer, so that if the segment unavoidably slips too far, it can be brought to its original position again. A thickness of a folio is usually far enough to move a segment. If, after all this adjusting, the register between bed and cylinder is still inaccurate, even at a low rate of speed, further efforts on the part of the pressman is well nigh futile. However, should the mechanical working be thus far perfect, then the operator may continue with hopes of success. Next look to the stability of the feedboard. A great many feedboards on old presses are in such a worn condition that they can be pulled and pushed sidewise to such an extent as would render an accu¬ rate register impossible. Such a fault should be over¬ come at once by screwing or nailing a short strip of wood furniture at each side of the feedboard on the stationary part, letting the free end of lap down against the movable portion of the board. Set the friction bands, when the job is made ready, with the press just about to take the impression and the cylinder down. Aim to have the bands come at the margins, so that, if necessary, they may be set closer to the cylinder without smearing the sheet, which has already been run in one or more colors, and have them normally near enough to the cylinder so they will just hold a strip of the job’s own stock, when placed between them and the packing. Should a color job be run on several presses, one or more of which have a continuous register rack while the others have not, it is usually advisable to set the bands tighter on the first- mentioned machines to make up partially for the “ slip,” which usually prevails during the impression stroke on the latter. The impression on the latter, too, should be as slight as satisfactory results will warrant. Be sure the grippers are all tight. To attend to this properly, loosen all the grippers except the one at the end where the spring connects with the gripper rod. Beginning at the other end, again proceed to set each gripper by pressing it rigidly upon the packing with the thumb, and with the other hand tighten it with a wrench. Avoid bearing upon the gripper bar or any¬ thing that will tend to bear it down. On much-worn presses there is usually a certain almost imperceptible sidewise motion to the grippers as they close upon a sheet, thus drawing it slightly away from its intended position. The evil effects of this condition of affairs can be almost wholly obliterated by securely pasting small squares of sandpaper on the tympan where the grippers shut down, thus doing away with any slipping of the sheet; the same aids not a little in the delivery of a sheet where the gripper hold is scant. Bend the tongues down as far as possible and still allow the printed sheet to pass under them without touching. This sometimes necessitates care on the part of the feeder not to put down a sheet until the last one has passed out of the way, avoiding any smear which might otherwise result. This is especially true of con¬ tinuous revolution front-delivery presses, unless it is a few of the more modern style. Avoid having grippers too close to tongues, which invariably causes a “ hump.” Adjust the guide carefully and nicely upon the tongues, and have them raise exactly at the right time, just as the grippers shut down upon the sheet. Do not undervalue the importance of this. Reduce the quiver of a press to a minimum by regu¬ lating the speed, adjusting the air cushions, etc. Use “ grasshoppers ” on shaky presses, if obtainable. Do not continue to run stock which “ rolls ” at the gripper edge, but either bend it so it lies fiat or else fasten a wire to the guide bar and extend it above the tongues close down to the sheet. A better register can be obtained from stock which turns up at the gripper edge than from stock which turns down, on account of the fact that the sheet is displaced less by the closing of the grippers. If possible, arrange the delivery of the printed sheet so that the breeze resulting from it will not blow up the edge of the sheet just put down as the grippers close upon it. If this can not be arranged for otherwise, fasten a strip of cardboard the width of the press long and about eight or ten inches high in front of the guide bar and just above where the printed sheet passes. Watch that no breeze approaches from open doors or windows or running presses in the rear. Always have the guides on all presses running dif¬ ferent colors of the same job touch the sheet at exactly the same place, and, of course, have “ lifts ” taken up the long way of the stock. In registering a color into a form already being run, a desired result mav sometimes be attained bv Photo by li. M. Keeting. IN COLORADO. 52 THE INLAND PRINTER unlocking one-half of the form and tightening the other half a little more, thus throwing a certain portion as required. In cases where several small plates are fastened on one large base, with the result that one or more do not register into another color already run, they may be shifted to the required position by placing the end of a piece of furniture against their edge and tapping in the right direction. If necessary, a certain portion of a large electrotype may be moved by being split with a chisel and tapped as stated above. All plates should have a few additional nails driven into them, otherwise the constant drag during the impression will eventually cause them to slip very per¬ ceptibly. Care should be taken that color inks on solid forms are not run stiff, on cold mornings especially. The grippers on many presses can not be made to hold a sheet firm enough to prevent a sheet from slipping at such times. The standard size press for colorwork is fifty-four inches. Larger presses are not built in proportion, hence less rigidity and poorer register. Written for The Inland Printer. SOME MATTERS OF PUNCTUATION AND OTHER FORM. BY F. HORACE TEALL. THERE is no reason for supposing that all people will ever agree in the use of marks of punctua¬ tion, in the use of capital letters, or on any of a number of other questions of form in writing and print. Only one strong demand suggests itself in support of a plea for absolute agreement. Undoubtedly, all workers in printing-offices would be much better satisfied, and much better work would be done, if each one could know exactly what would be its final form. As far as the reading public is concerned, it makes really very little difference whether some words are spelled one way or another, whether some words are capitalized or not, or how sentences are punctuated, unless the punctuation is misleading. In printing-office economy, on the contrary, every little point in practice is impor¬ tant, since each one has its effect on the degree of facility acquirable by the workmen. More and more it is becoming necessary for each office to have a style-sheet, and it is with reference par¬ ticularly to the making of rules for such use that this is written. Undoubtedly every employer would prefer to have every rule of practice such that every worker can understand it and apply it. It is not likely that perfect clearness can be attained, for that would mean impossibility of misunderstanding by any one. No style-sheet has ever been seen by the writer, however, which did not contain some rules so worded as to be sure to effect variation in practice, through differences of meaning in different minds. In various style-sheets — evidently all copied from a particular one — is this rule of punctuation : “ Do not use a comma before ‘ and,’ ‘ or,’ etc., when used to connect three or more nouns, as ‘ John, James and Henry have left town.’ But when these conjunctions are used so as to add emphasis to the clause which they connect, or where the meaning of the sentence will be altered by the omission of the comma, insert it.” Now, the rule here quoted accords with what is done in most of our newspapers and in many books ; but the exception is not in keeping with any common practice, and it is not possible that it should be. In the first place, it seems unlikely that any use of one of the conjunctions could be shown to add emphasis; and, in the second place, the whole statement of the excep¬ tion is subject far more to various application in various minds than it is likely of similar construction in any two minds. Could we have before us a number of the sentences thought of by the framer of the rule, so that they might be set by different compositors and given to different men to read in proof, no doubt we should find evidence that these workers would not agree in their application of the exception. If, on the contrary, the rule placed before these workers said only, “ Always use a comma before the conjunction connecting three or more nouns or clauses,” with no exception, where would any person find an excuse for understanding it differently from any other person? This consideration alone should be enough to make every employing printer not only adopt the rule, but fight for it, against customers' obstinacy, as far as business considerations would allow. Some writers, as well as some printers, think that omission of the comma is right, and those who think so may not be convinced otherwise by any reason¬ ing. Among the best writers and printers, the use of this comma is far more common than its omission. This is open to proof, and is another strong argument in favor of the adoption of such sensible punctuation. Another rule is, “ Capitalize Church when a particu¬ lar church society is mentioned, as First Methodist Church (lower-case when referring to a building).” This shows ambiguity or something worse. If it means what it naturally should from its connection, the church building of that particular society is to be the First Methodist church ; but the name should have the same form both for the society and for its building, for the name in the latter use really is elliptical, and Church ultimately means the people in both uses. The parenthesis may possibly have been intended to apply to the one word alone, but if that is so it should be said, and made to apply to both uses. No possible dis¬ tinction that may be meant by the rule is reasonable. Ambiguity appears again in the rule : “ Capitalize President when referring to the President of the United States. Titles of nobility, etc., when referring to specific persons, such as Earl of Surrey, Prince of Wales, King of England, etc.” We are left uncertain whether the United States is the only country entitled to a capital initial in the title of its chief officer, or THE INLAND PRINTER 53 whether other republics should have it also. Probably the maker of the rule would also have President of Mexico, etc., but intending it is not sufficient ; it should be said. We are not told whether the President of the Senate should have the capital or not, and have no direction about official titles in societies, etc. Lan¬ guage analogy prescribes the capital just as plainly for one kind of official title as for another, but it would be hard to find a newspaper where this plain analogy is applied consistently, although the New York Sun had it nearly so some years ago. How is the second sentence of the rule to be applied? “When referring It should take in all analogous names, as brunswick black, indian arrowroot, paris red, paris white, paris yellow, and innumerable others. Now, as a matter of etymological fact, a few proper names in English have become indisputably common nouns or adjectives, as china, boycott, roman and italic (in uses that have no association with Rome or Italy). But most of those instanced with the rule are the proper names them¬ selves, and such forms as paris green, brussels carpet, Prussian blue, and Venice turpentine are no more sensible than Chicago magazine, new york journalist, etc. Why any person ever imagined such a vain thing Photo by Hartung, Brownwood, Texas. to specific persons ” seems clear for only one meaning, which can hardly be the one intended. Specific persons should mean persons specified, and the literal applica¬ tion might easily lead some compositors to set “ the earl of Surrey,” or “ the prince of Wales,” because no special one had been named ; and those compositors would probably have to change these titles in the metal, although they would have followed the rule. Pretty nearly the most senseless instruction, in his estimation, that the present writer has ever seen, is this : “ Lower-case — Words of common usage derived from proper names, such as india-rubber, macadamized road, brussels carpet, oriental rug, paris green, Prus¬ sian blue, Venetian red, Venetian blinds, Venice turpen¬ tine, etc.” How much is this “ etc.” intended to cover? as writing proper names with a small initial is one point on which the writer would gladly welcome information. However, it seems only fair to suggest that all workers should be considered entitled to a full list in place of “ etc.,” at the hands of one who can deliberately adopt any such practice. One might fill a very large book with such criticism of style-sheets, and probably make no impression from a language point of view. Those who have gathered their strongest ideas from literature that exemplifies certain methods will still think those methods best, and hold to their opinion as the most reasonable. The intention here has been merely to suggest the advisability of making rules clear, when they are made at all. Photo by Daker, Chicago. LOUISIANA WOODLAND, THE INLAND PRINTER oo BY THOMAS WOOD STEVENS. BROADLY speaking, it is taken for granted that the finer points in the art of printing do not appeal to the average publisher — certainly not to the average advertiser. Mat¬ ters of tradition or of artistic conception that are of vital importance to the makers of classical (not to say de luxe ) editions, become, to the hurried man of commerce, mere tech¬ nicalities. The artist may spend days in deciding upon the precise arrangement of type and rules on a simple page. The commercial man covers it all in his specifications, which may have been compiled by his clerk from the publications of his competitors. While anything tending toward a higher level of general craftsmanship is to be desired, nobody expects to change this condition. Ail such things are gradually accomplished by a natural process; which is merely a matter of following and occasionally surpassing the leading competitor, whereupon the whole line moves up a peg, either in effectiveness or artistic quality — it depends on the style for the moment. But there are certain points in which even the most heedless compiler of specifications may raise the standard of his printer’s product. In spite of his conservatism, the printer will welcome the advance. When books are under consideration, the publisher regards as fitting the quality most in use for the class of work to be published; thus if the story is of the romantic or historical class, he probably uses illustrations — a chance for the pictur¬ esque, even though the reader may already know by heart all the costumes in the illustrator’s locker; and if the tale is psychological, it will probably be printed in the plainest man¬ ner, the only effort being to increase the apparent size of the book. But even in these cases, he might attend to some of the details which please the critical, and perhaps are not so utterly lost on the multitude as one might suppose. A few of the details that distinguish the books of the pub¬ lisher who likes to be considered artistic — for reasons that appeal to all his clan — may be mentioned. First is the matter of margins. The printer may scoff, knowing that the stone- man will waste time in laying out the form if anybody in authority demands that the margins be properly proportioned; possibly so; but only on the first occasion, if the stoneman is wise. This is a point upon which reams have been written, mainly referring to William Morris’ dictum about treating the two pages as a unit. Morris would doubtless have explained fur¬ ther if he had known how many men were waiting to stumble. He never meant that the two pages were to appear as one, or that the gutter margin should not show ; only that the open book should be considered as the space upon which the two masses of color composing the type pages were to be placed, and that the placement of them should be in beautiful propor¬ tion, giving the margins a pleasing variety — even a rhythm; the principles may be grasped in the most elementary study of design (they are excellently treated in Mr. Batchelder’s series recently published in The Inland Printer) and the result has long been exemplified in all work which has followed the best traditions of the craft. Surely it requires no special training to be artistic, when it only means to do what all good workmen have done from the beginning. * * * In their dealings with types, how many men have sinned — and who should ’scape whipping ! Happily, the style is turn¬ ing toward simpler things just now. We do not see so many miracles of discord. Yet, presupposing an utter lack of artis¬ tic feeling, any man could adopt a few arbitrary rules about mixing faces alien to each other; and following the rules, in defiance of his own riotous taste, would keep him out of trouble. Body types are usually easier to decide ; in fact, they must usually be whatever the printer has in stock, and most printers are learning that the older faces — Caslon, for instance — are safe. It is usually in title-pages, announcements, and the like, that the patron, or the compositor, sets about to produce a miscellaneous specimen sheet. Yet the principles to be con¬ sidered are not many nor difficult. Again, Mr. Batchelder has covered the ground. In a title-page, we know that the matter is to be displayed in proportion to its natural importance, and that some one element thus takes precedence over all the rest; we know that we are working on a definite, rectangular area, placing this important element and its subordinates in proper relation, and at the same time arranging the spots in pleasant proportions ; we know that in a very few different sizes of the same type¬ face we can find enough variety to properly express all the relations between the lines of copy to be set ; and that another style of type can be introduced — within limits — so as to add variety without discord (though this last is dangerous ground not covered by rules) ; lastly, we know that we may use red ink with the black — possibly to advantage — and that all these points were solved successfully before Father Time had rolled up and filed away the seventeenth century. Also, in this connection, most shrewd observers will note that the types best adapted to title-pages are either the old faces or designs derived from them ; good results being most often obtained with Caslon, combined with Caslon Italic or Text letters; the Jenson family; or any old-style romans, keeping the matter well in the upper case. He is hopeless who does not see the unfitness of the more fantastic modern faces. While one is considering these affairs, one sees the value of the designer — not the man of scrolls and tint-blocks, but the student of old work, who is never superior to the fact that his work is to collaborate with that of the compositor. * * * Then the paper comes into the account. Not many years ago it was the fashion to use coated paper whenever possible, regardless of whether or not half-tones were to be used. We know that no cheap substitute for coated stock, suited to the printing of half-tone plates, has yet been found; so no excep¬ tion can be taken to it — in its place. But no one who has ever held a book in his hand long enough to read it through, especially if the book be of any considerable length, will doubt that the use of the coated stock should be as limited as pos¬ sible. The people who use glazed paper, lest the type fail to “ show up well,” should change printers. In recent years great numbers of books, chiefly reprints of the classics, have been imported from England. The reason is not far to seek. The English editions are small books, printed on very light but opaque paper, edited with scholarly care, not overburdened with notes, and illustrated, if at all, with line drawings ; in this single field the English illustrators excel our own. But it is in the small size that the books are most desirable. It is not a matter of small type ; merely of paper stock suited to the purpose — instead of the poplar and clay under which our book-shelves sag and groan. These little editions compass the utmost usefulness of a book, and they do not offend. The lesson should not be difficult. * * * Mary MacLane’s new book, “ My Friend Annabel Lee,” has just been published by H. S. Stone & Co. It is not just like the first book she wrote; she is different now ; she no longer questions in wailing, and gets no delight 56 THE INLAND PRINTER from shocking people any more. Then, too, the machinery of the book is different; it consists of miscellanies evolved and conversed between Mary MacLane and a Japanese statuette whom she has named Annabel Lee. The title exemplifies the writer’s artistic creed' — -which saith that nothing is so strong as a delicate incongruity. The machinery, in so far as it concerns Annabel Lee, is not unlike Le Gallienne’s “The Worshiper of the Image.” In each a writer brings an image to life, gives it a delicately incongruous name, and weaves about it the mantle of fancy, Courtesy H. S. Stone & Co. MARY MAC LANE. whereof a single thread is fate. In Le Gallienne’s book, a brief and tragic story, a marshy twilight of fatal beauty fades into the night. Mary MacLane has not made her book a story. But the things it contains are many; some of them are new, some are worth the telling, and some others may be — • one can never be sure. There is a fair proportion of philosophical meditation, for the most part, mixed with incongruities that are evidently meant to tease the reader along. Thus, in “ The Flat Surfaces of Things,” she discusses the manner in which earthly things call down our spirits from the realms of space. She says, “ They go at the sun’s setting and gaze deep into the green water, and all is dark and dead as only a traitor best-beloved can make it, and their mood is very heavy — still there is a bland moment when their stomach tells them they are hungry, and they listen to it.” This may not be very subtle, but it is a thought I have never seen expressed before ; and surely “ a traitor best-beloved ” is a good phrase, which “ the flat sur¬ faces of things,” as here used by sheer force of fist and pen, is not. Then Mary MacLane goes in for artistic and dramatic criticism ; she rhapsodizes about Puvis de Chavannes, and applies the delicate incongruity to Minnie Maddern Fiske. In these chapters she shows that she can handle such subjects prettily ; she shows she is still young, for she is still eloquent in criticism; and she advances her ideas freshly — whether they are new or not. Besides, she talks about things that are open to anybody’s opinions. In this line may be mentioned her chapter on “The Young- Books of Trowbridge,” which has in it some very healthy feeling, some good, direct writing, and some little touches of pose. Here she was writing on a common theme — yet not so common either, since so few have seen a theme in it — and she must needs interject her personal mannerism — lest, being interested, you forget who speaks. But the most hopeful phases of “ Annabel Lee ” are the stories she tells now and then. In these there are good bits of narrative, told in a rather forced way, but narrative with motive power in it. Sometimes the narratives are purely fantastic, such as the tragic history of the spoon-bill birds along the river Nile — which is a jolly bit of foolishness such as one seldom finds outside of books that have nowhere to go. Then sometimes the muse turns realistic, and one sees where the real strength of the author lies ; of this kind is the story of “ Little Willy Kaatenstein,” which is in some respects clever, and has in it some perfectly efficient adjectives, the usual tendency toward the refrain, and the distinctness of vision that is so rare and so likely to prove the mark of the master. Then there are some photographic reminiscences of Butte High School, and a number of similar things. She has done the photographic effects before; she does them well. The peculiar things in the book are two. First, that she has come to write occasionally in a genuine sympathetic vein, and second, that she has been able to cast a lot of really entertaining stuff in the conscious, formless form that used to be called the “pastel.” Every editor knows there are still many women and young men in the country districts who write pastels ; but, in her own phrase, Mary MacLane’s pastels are not pastels. Taken as a whole, “Annabel Lee” is a journal, consciously written with the printed effect held uppermost ; it has no continuity, but holds the attention by continued mild surprise ; so some chapters appeal to some people, cetera ceteribus. It does not attempt to be important — asks little, answers noth¬ ing in particular. There is good humor, a wholesome lack of sentimentality, and good digestion in it. Great writers have the gift of phrase, in most cases ; it is as important to them as the brush to the painter; yet some painters manage fairly well with their fingers and palette knives — or they become plasterers, when the trowel will suffice. Mary MacLane has the gift of phrase. Yet she does not use it as a brush ; rather she tacks it to the canvas and calls it a picture. It is not to her an instrument whereby great things may be accomplished. It is art, and the object of art. And, Mary MacLane, it is an art that can not stand alone. You are strong in words, but what do you say? Why are you not a minor poet? Only because you think your verse is rotten? Never mind that — the rest don’t. Be a minor poet, as you ought. Then people will cease talking about you ; your fame will sink like a golden ripple into the deep green waters, and under the rain and the night the face of the sea will be still. * * * “ The American Cartoonist Magazine ” appears as the “ official horn ” of the newspaper writers and newspaper artists. It is a large flat quarterly, containing a number of clever things, and a number not so clever — all being in the vein of newspaper humor. It is published, apparently, by an association of the contributors themselves. The official statement in regard to the new organ’s place in the world says in part: “It is a magazine conceived, owned and operated, absolutely, by the newspaper artists and newspaper writers. Motives of policy, considerations of space, prevent them from expressing themselves with utter freedom THE INLAND PRINTER 57 in the daily publication in which they express others. Here they may gambol and disport themselves as they will. This is their own particular field. It is yours to gaze upon. It is theirs to have and to hold and to use, and they will use it.” This official statement is quite characteristic of the rest of the magazine. No one questions that there are in the West some very clever newspaper men ; their humor, coming in small puffs, lends a pleasant light smokiness to the color of the daily paper. Naturally, the same humor shows to a disadvantage in a magazine that contains nothing else. This may be on account of the steady recurrence of the stock pleasantries, and it may not. There are other disadvantages to be overcome when the contributors publish their own stuff. There is the constant — perhaps unconscious — effort of some of them to use the magazine as an advertising medium ; in the Cartoonist this effort is given full play, even to the extent of portraits and biographies of the leading lights. This does not help the paper much, and one finds it difficult to see how it helps the men themselves; the paper is their own — why should they not have their portraits in it, whether they deserve it or not; but they know they do it too frankly to deceive anybody. Another point (let the idealists clamor if they will!) is that when a man works for his living, he is likely to keep his work up to grade, lest he lose his job. When he works for an association of his fellows, he is prone to put off the task till the ultimate minute, and then turn in the result of a languid scramble with an unwilling muse ; or else he brings in some “little thing he just dashed off,” but which should be still further dashed. It is with these human frailties that the American Cartoonist must cope, and the foe is mighty. Seriously, it is hard to see the need of this magazine. It would seem as though the funny men of the press might be better employed in improving their regular product, rather than in polishing off the overflow and making a magazine of it. We have a great many magazines already. Some of them would surely use the best of this stuff, and the rest could go into the usual channels. Of the magazine as it is, however, it may be said that it is popular and snappy in appearance, sufficiently amusing in substance, and edited with more freedom than skill ; it is attractively printed, though rather large in size for its pur¬ pose, and some of the line drawings are really clever ; artistic¬ ally, it is not to be criticized, unless one could speak with the peculiar standpoint of some of the newspapers’ “art appre- ciators.” * * * The Village Press has just been established at Park Ridge, Illinois, by Fred W. Goudy and Will H. Ransom. It seems to be, at its very inception, one of the strongest book-making concerns, from an artistic point of view, in America. From the personality of its men, the modest solidity of its equip¬ ment, and the height of its ideals, one can feel safe in predict¬ ing for it a wide influence and a great future. Mr. Goudy is, perhaps, the most thoroughly conscientious workman I have ever known ; he is a man who studies long before attempting to accomplish, who endeavors to realize his exact limitations, and who brings to every task persistence and a seasoned consideration. He has been a printer before, and as a designer of lettering he has originated a style that has affected the manner of more designers than any other man in the country, with one exception. So he is not starting a press without due preparation, and that of the most valuable sort. Mr. Ransom formerly managed the Handcraft Shop, and is also experienced. The Village Press has been started in the sanest possible way, and the proprietors have done nothing they will have cause to regret — - though, like all good workmen, they will always look with some dissatisfaction on the things that lie behind them. The first book is an edition of Morris’ essay on “ Printing.” It is printed in the new type which Mr. Goudy has designed for the use of the press, which is in itself an achievement in the field of type design. It is a new version of the familiar Jenson family, and in the design Mr. Goudy has considered all the best modern variants — • the Golden, the Doves, the Merrymount and the Montaigne — and has made his own design with the intention of absorbing the best points of these models. Mr. Goudy says of the type that it was made “ with one idea firmly in mind throughout, that of considering each letter as being a pen-letter reduced to type with all its limita¬ tions of material and use as type. His aim was to produce a letter of generous form, with solid lines and strong serifs, with instant visibility of every stroke of every character; to make legibility rather than beauty the great desideratum.” In effect, the type is beautiful, and to the practiced eye, uncommonly legible, though to the casual observer it has not this quality so strongly marked as some lighter faces. This is partly because a design which in large sizes attains the very maximum of clearness — as this same style of letter has proven itself to have when Mr. Goudy has applied it to com¬ mercial uses — does not carry exactly the same qualities into the small sizes used for printing books, and partly because the type as cut and cast is very close-fitted. Photo by Thomas Kent, Kirkwall, Scotland. THE INLAND PRINTER 59 While our columns are always open for the discussion of any relevant subject, we do not necessarily indorse the opinions of contributors. Anonymous letters will not be noticed; therefore correspondents will please give names — not necessarily for publication, but as a guarantee of good faith. All letters of more than one thousand words will be sub¬ ject to revision. THE QUESTION OF ARBITRATION. To the Editor: New York, August 19, 1903. It was with some surprise that I read Mr. W. B. P.’s editorial on arbitration in the August issue. The result of the first few cases and the general dissatisfaction thereof go to prove what its opponents in the union claimed would be the case when the arbitration agreement was up for ratifica¬ tion, namely: That we would get ourselves so tied up in a multiplicity of laws and decisions that none of 11s would know “ where we were at.” Let some of your readers sit down and try to comprehend the recommendations that Mr. P. makes to offset the evil effects of arbitration. He suggests more evils to cure an evil. The opponents of arbitration predicted that such would be the case. Can any one imagine the picture we would pre¬ sent going before a committee and trying to prove that we can not live on a certain wage ! Man’s wants are never satisfied. And then, who is going to decide what standard of comfort I am to live in? And suppose they do decide, must I stay in that standard with no outlook for a higher one? Mr. P. sug¬ gests an economist be hired by the union to present its case. How ridiculous ! Now clear-thinking economists have one remedy or another for existing conditions, or if he believes existing conditions are natural and correct then he will say that wages should be regulated by supply and demand. How funny it all is ! No, Mr. P., unless we adopt one of the economic remedies proposed (I prefer Mr. Plenry George’s) we had better follow the old lines, and whatever we get let it be by the good old doctrine of force. And the quicker we realize it the better. Very truly yours, G. L. Nallof. Mr. Nallof is evidently laboring under the impression that the desirability or otherwise of arbitration is up for discussion. As I see it, that question has been decided for some time to come by the Typographical Union, it having entered into an agreement with the Publishers’ Association to settle disputes by that means. And the emphatic manner in which it has so declared is evidenced by the history of the agreement. At first it provided that differences arising out of the interpretation of scales should be so determined. After that had been given a trial the agreement was amended so as to include the settle¬ ment of proposals to change scales or make new scales. This amendment not only makes the possible decision of the arbi¬ tration board of vast importance to the craft, but also empha¬ sizes the union’s adherence to the policy of arbitration. The publishers have alleged that the union’s officers violated the agreement; the officials vehemently deny this and say the publishers are the guilty ones, which would seem to indicate that repudiation is not popular. Admitting that the agreement is detrimental to the workers, and, coming down to a low plane, it would be courting disaster to repudiate it (and I for one do not believe the members would do so), being com¬ mitted to a policy which practically all unions have advocated for years, the sensible move is to make the very best of the bargain, be it good or bad. Obviously, the union’s only hope lies in presenting the best case. What merit is there in going before a board with a poor case? The employers spend time and money in the preparation of their arguments, and if the employes wish to win they must meet them with better argu¬ ments, prepared with more care. And Mr. Nallof is surprised that I should suggest that experts in economic science be employed to assist unions in the preparation of cases. If the union were assailed in the courts, would he have it employ a so-called labor agitator or an attorney to elucidate the law? I do not advocate the employment of a sociologist so that he may have an opportunity to enlighten unionists as to his views on economic theories ; his duty would be to collect facts and apply them so that they might accrue to the advantage of the union. This requires peculiar knowledge and training, and in order to secure the best results an expert — not neces¬ sarily a college man, though — is needed. It is absurd to pre¬ sume a man not in hearty sympathy with the union’s purposes would be engaged for the work. “ Some of the economic remedies ” of which Mr. Nallof speaks can not be introduced too quickly to suit the writer, and the unions should devote more time to the discussion, at least, of the larger questions involved in the labor problem. Among other things, it is for the purpose of clearing the way. so that unions may extend their energies in that direction, I am opposed to continual expensive and unnecessary bickerings with employers about non-essentials. “ Whatever we get, let it be by the good old doctrine of force,” says our critic. Well, what have we secured by force? It wasn’t control of the machines ; on the contrary, in almost every instance where their introduction caused a strike, we, the union, lost control of them for a time. Nor was it the nine-hour workday. In the last few years there have been more increases of wages and other betterments than ever before, yet strikes have been fewer than when union member¬ ship was much less. Mr. Nallof ought to specify what has been won by force, as well as inform us how it comes that after almost every strike there is a conference, with its inevitable compromises, and occasionally abhorrent arbitration. It does seem that in the majority of instances this means must be adopted in the end ; then why postpone the inevitable until after a costly war has been fought? In the way of illustra¬ tion, it is recalled that in Pittsburg there existed for many years a large union element that worshiped at the shrine of “ force,” and the devotees grieved much because they were not allowed to invoke the aid of their deity. Finally business was booming, and, conditions changing otherwise also, the “ force ” element had its day. And what a day it was ! No unionist has written of it. “How funny!” or even “How ridiculous!” It was neither; it was and is just sad. It sounds strangely to hear a follower of that really great man and trade-unionist, Idenry George, ask who is going to decide the standard of living, in a manner which indicates that the disciple believes the workingman does ; and stranger still to hear one yearn for an opportunity to go on strike. He evidently has not read the master as closely as he might have done. In “Progress and Poverty” (Book VI, Chapter 1), Mr. George, after pointing out that the good which unions may accomplish is limited and that they labor under inherent disadvantages, goes on to say apropos of strikes : “ There is an ancient Hindoo mode of compelling the pay¬ ment of a just debt, traces of something akin to which Sir Henry Maine has found in the laws of the Irish Brehons. It is called sitting dharna — the creditor seeking enforcement of his debt by sitting down at the door of the debtor, and refusing to eat or drink until he is paid. Like this is the method of labor combinations. In their strikes, trade unions sit dharna. But unlike the Idindoo, they have not the power of superstition to back them.” Many of the mistakes of unions and all the opposition to widening the scope of their operations may be traced to the utter incapacity of some members to realize the limited char¬ acter of the achievements they may attain. Perhaps these members have something that serves as well as superstition 60 THE INLAND PRINTER serves the Hindoo to sustain them. They certainly have not behind them either logic or the facts of industrial history. There will always be strikes, such as when an employer seeks to evade the scale which his fellows pay, but it is safe to pre¬ dict that the general-strike movement has spent its force in the Typographical Union, as that organization’s greatest advancement has been through other methods. W. B. Prescott. “THE ST. LOUIS IDEA.” To the Editor: St. Louis, Mo., September 7, 1903. Probably the credit for taking the greatest interest in the mooted “ apprentice question ” belongs to St. Louis Typo¬ graphical Union, No. 8. This local union was one of the first, if not the first, to put into complete operation the international law requiring the registration of all apprentices, thus placing a distinguishing mark on all boys who are recognized as apprentices. Under this law each certificate bears the signa¬ tures of the foreman of the office where the apprentice is employed and union officers, and shows when the term of apprenticeship commenced. Obviously, this law, while a commendable step in the right direction, does not begin to approximate the desired end. The possession of a bushel of certificates will not make the finished workman. Recognizing the necessity for something more practical, the St. Louis Printer Apprentices’ Society (“Junior No. 8”) was organized. At the initial meeting, in April, 1903, the originator of the idea, President Joseph A. Jackson, of No. 8, declared the purposes of the proposed movement to be for “ the exchanging of samples of work and ideas ; the reading of technical printing books ; the study of parlia¬ mentary law ; the proper understanding of the apprentice’s duty to his employer and the journeymen with whom he works ; the apprentice’s rights in learning his trade,” etc. The part to be assumed by the apprentice in the organized labor movement was also thoroughly elucidated. In the few months that the apprentices’ society has been organized remarkable progress has been made. The young men have exhibited an enthusiasm in all phases of the move¬ ment that must put blushes upon the cheeks of all who have been derelict in aiding the apprentice to obtain a chance to learn his trade. To the credit of the foremen of the St. Louis printing-offices it must be said that they have heartily cooperated in affording the boys in their charge every oppor¬ tunity to master the intricacies of the “ Art Preservative of all Arts.” The members of the society have not only been faithful in attendance at their meetings, entering into debates and the study of parliamentary law with a praiseworthy avidity, but have been equally jealous of their every right in learning the business. Wisely recognizing the soundness of the old axiom, “All work and no play makes Jack a dull boy,” they have conducted river and railroad excursions, baseball games, etc., with the proceeds of which they have met the expenses of their organization. Their appearance in the Labor Day parade of 1903, besides being unique, with their uniforms, badges and banner com¬ paring favorably with those of any of the organizations in line, marked an epoch. The “ St. Louis idea ” has already borne fruit. The Wash¬ ington convention of the International Typographical Union enacted a law requiring all local unions to adopt laws which will guarantee the learning of the trade to all apprentices, fixing the term to be served at each branch of work. Verily, the “ better late than never ” spirit has had sway long enough. With hearty cooperation between employer and employe, the apprentice of the future, if nature has endowed him for the calling, should develop into the competent printer as inevit¬ ably as the chrysalis evolves into the butterfly. J. J. Dirks. Ihe following list of books is given for the convenience of readers. Orders may be sent to The Inland Printer Company. Punctuation. — By John Wilson. For letter-writers, authors, print¬ ers, and correctors of the press. Cloth, $1. Pens and Iypes. — By Benjamin Drew. A book of hints and helps for those who write, print, teach or learn. Cloth, $1.25. Bigelow’s Handbook of Punctuation gives full information regard¬ ing punctuation and other typographical matters. Cloth, 50 cents. English Compound Words and Phrases. — By F. Horace Teall. A reference list, with statement of principles and rules. Cloth, $2.50. Punctuation. — By F. Horace Teall. Rules have been reduced to the fewest possible, and useless theorizing carefully avoided. Cloth, $1. Compounding of English Words. — By F. Horace Teall. When and why joining or separation is preferable, with concise rules and alphabet¬ ical lists. Cloth, $1.25. Typographic Stylebook. — By W. B. McDermutt. A standard of uniformity for spelling, abbreviating, compounding, divisions, tabular work, use of figures, etc. Vest-pocket size. Leather, 76 pages, 50 cents. The Orthoepist. — By Alfred Ayres. A pronouncing manual, con¬ taining about 4,500 words, including a considerable number of the names of foreign authors, artists, etc., that are often mispronounced. Revised and enlarged edition, i8mo, cloth, $1.34, postpaid. The Verbalist. — By Alfred Ayres. A manual devoted to brief discussions of the right and wrong use of words, and to some other matters of interest to those who would speak and write with propriety. Includes a treatise on punctuation. 4^ by 6J4, cloth, $1.32, postpaid. Vest-pocket Manual of Printing. — A full and concise explanation of all the technical points in the printing trade, including chapters on punctuation, capitalization, style, marked proof, corrected proof, proof¬ readers’ marks, make-up of a book, imposition of forms. Leather, 86 pages, 50 cents. Peerless Webster Dictionary. — A new vest-pocket dictionary based on the International. Over fifty-one thousand words; rules for spelling, punctuation, capitalization; tables of weights and measures, parliamen¬ tary law,^ postal information, bankruptcy law, etc. Printed from new plates. Full leather, gilt, 50 cents. Correct Composition. — By Theodore Low De Vinne. Second volume of the series on “The Practice of Typography.” A treatise on spelling, abbreviations, compounding, division, proper use of figures and numerals, italic and capital letters, notes, etc., with observations on punctuation and proofreading. Cloth', iamo, 476 pages, $2.14. Proofreading and Punctuation. — By Adele Millicent Smith. A manual of ready reference of the information necessary in ordinary proofreading, with chapters on preparing copy, reading proof, type¬ founding, sizes and styles of types, typesetting, jobwork, paper, technical terms, reproductive processes, etc. Cloth, 183 pages, $1. Grammar Without a Master. — By William Cobbett, carefully revised and annotated by Allred Ayres. For the purpose of self-education this book is unrivaled. Those who studied grammar at school and failed to comprehend its principles, as well as those who have never studied grammar at all, will find it especially suited to their needs, 4% by 6l/i, cloth, $1.07, postpaid. The Art of Writing English.' — By J. M. D. Meiklejohn, M. A. A manual for students, with chapters on paraphrasing, essay-writing, precis-writing, punctuation, etc. Analytical methods are ignored, and the student is not discouraged by a formidable array of rules and formulas, but is given free range among abundant examples of literary workmanship. The book abounds in such exercises as will impel the student to think while he is learning to write, and he soon learns to choose between the right and wrong in linguistic art and expression. i2mo, cloth, $1.50. Secondary Quotations. — From B. & L., Grangeville, Ohio, we have this question : “ Is it correct, in a quotation within a quotation, to use the double comma and apostrophe, or should it be a single one of each, as is the usual custom ? ” Answer. — In all such cases, the fact that a certain practice is the usual custom is the one thing that determines correctness. Single marks for the inside quotation is right, and the other way is wrong. Double Connective. — J. W. C., Washington, sends the following needed and welcome note of criticism : “ Month after month the writer of the article in which it occurs makes the same mistake that appears in this sentence : ‘ The operator promises that if the plates come out all right that he will deliver the goods promptly.’ ‘ Usage ’ will never sanction such ignorance, and it is better to call a halt at once.” Answer. — Yes, a halt should be called. The error of repeat¬ ing “ that ” in such sentences is very common, but never can be anything but an error. Punctuation and Abbreviation. — - W. LT. M., Carson City, Nebraska, writes: “Please indicate the proper close punctua- THE INLAND PRINTER 61 tion in the following sentences : ‘ These arts are not only fundamental in education but also in practical life.’ ‘ He is bound not only by actual but also by constructive notice.’ Is there any authority for ‘ 2nd ’ and ‘ 3rd ’ ? I was taught, in my apprentice days, that ‘ 2d ’ and ‘ 3d ’ were correct. In your criticism of spelling reformers (line 28, page 717, August Inland Printer) is there not a comma omitted after the word ‘(ceremony)’? Is there ever any authority for the use of parentheses within parentheses? Should parentheses be used within brackets which are used within parentheses ? Are there any further authorized uses of the bracket than those indicated by the Standard Dictionary?” Answer. — The writer of the answer thinks that such sentences should always have a comma. As to the abbreviations, Theodore L. De Vinne, in “ Correct Composition,” page 82, says : “ The the schoolmaster in your consideration of the word ‘ none ’ in the July Inland Printer. It is very evident that you presented quotations and authorities without fully understanding them or measuring them by common-sense reasoning. You are correct in saying that ‘ none ’ is plural as well as singular, but you do not present a single example of its use in the plural sense. ‘None’ has three meanings: (1) ‘ None ’= not one; as, ‘None of us knows.’ (2) ‘ None ’= not any; as, ‘ To-day ye have much, but to-morrow there shall be none.’ (3) ‘None’=no persons or no things; as, ‘None believe’; ‘ none exist.’ Each of the following sentences you quoted as plural is an incorrect example, because ‘ none ’ is used each time in the singular, or in the sense of ‘not one’; ‘None of these machines have survived.’ (Inland Printer.) ‘ None of these things move me.’ (Bible.) ‘None of us care.’ (Stand- an off day in the woods. use of 2nd or 3rd, common in England, is not to be com¬ mended ; 2d or 3d is a more acceptable abbreviation.” Those objected to are common in England, but not universal there. The writer was asked recently by an Englishman whether there was any authority for 2d and 3d, and the questioner asserted very positively that no British book ever had them. He was answered by the random opening of the Encyclo¬ paedia Britannica disclosing the contemned forms on each page looked at. There is some authority for the other forms in the fact of their being often used, but the shorter forms have more of such authority. In the sentence on spelling the comma should have been used, and another one as well, after the word “ indeed.” All the uses of parenthesis and bracket mentioned may be rightly utilized, but some of them may well be avoided unless absolutely necessary. The Standard does not specify uses of brackets ; its very general terms cover a variety of specific uses — probably all of them that are possible. “None.” — The following is from a friend in Washing¬ ton: “You are much too severe upon our boyhood friend ard Dictionary.) ‘None of their productions are extant.’ (Blair, quoted in Webster’s International.) This form of expression singles out one among many; consider a moment and you will realize that in neither of the sentences above does ‘none’ mean ‘two or more.’ To clearly give to ‘none’ the meaning of ‘No persons’ or ‘no things’ — to make the word unmistakably plural — it is necessary to invest ‘ none ’ with the properties of a pronoun instead of an adjective. This is accomplished by resorting to ellipsis — by eliminating the sub¬ stantive and placing ‘ none ’ in its stead. Let 11s do this and then write the quotations: ‘None have survived,’ — i. e., ‘No machines.’ ‘None move me,’ — i. e., ‘No things.’ ‘None care,’ — i. e., ‘No men.’ ‘None are extant,’ — i. e., 'No pro¬ ductions.’ The plural meaning is so plain here that no mis¬ understanding can possibly find lodgment in the reader’s mind. This is the only form in which it is possible intelli¬ gently and grammatically to use ‘ none ’ in the plural sense. Of course, the English language has always had and always will have interpreters who discover dense meanings where they do not exist to a demonstrable extent except in their 62 THE INLAND PRINTER own imaginations. If the language should be as narrow as their dogmatic discoveries, the English-speaking world would be sadly harassed. They lack the comprehensive power that enables one to express meanings in just the right way, and this fault has ever marked the difference between the learned and the ignorant. It is not the language that is dense so much as the lack of knowledge on the part of the dictionary-makers. It is always best to exhaust every good authority when dis¬ puted points arise and give the best judgment of the most logical minds. By so doing it will be impossible for dogmatic assertion oft repeated to lead you astray or to convince you against reason. There is ever another way, and generally it is the correct way. If men knew how readily the English language yields itself to intelligent reasoning, these reitera¬ tions of palpable error for truth would fall into commendable disuse.” Answer. — • It will seem strange to this correspondent, but his letter only serves to strengthen the opinion which he thinks so unreasonable. His distinctions are too confusing, and too idiosyncratic, for acceptance. The Proofreader. — ’This is from an article by Andrew Lang, in the London Morning Post: Of old the proofreader was, and occasionally he still is, the author’s best ally. The author, knowing what he intends to say, and reading in proof sheets his own work, of which, perhaps, he is passing weary, finds there, by a kind of illusion, what he knows ought to be there, and passes his proof sheet. But very often what ought to be in the printed sheet is not there, but something very unlike it, a printer’s error. This is especially apt to happen where dates in Arabic numerals are concerned. I know very well when the Earl of Morton was beheaded ; it was in 1581. The printer probably does not know, and prints 1381. Being sure of my fact, the error of a single figure escapes my eye till I see my book published. And then my language is proportionate to my distress. It is on points like this that the proofreader used to be, and some¬ times is, so serviceable. An educated and accurate man, he noticed the misprints, and noticed the grammar, and obscuri¬ ties in expression and everything else which the author ought to have corrected, but had left standing. Nobody but a good professional proofreader can really read proof sheets properly ; the author is too familiar with what he meant to say and thought he had said ; the author’s friends are often too busy, or too lazy, to be very careful, and so, without a good proof¬ reader a book goes forth in a slovenly condition. It is not the fault of the compositors ; they are not specialists, and when they have made a word out of the author’s scrawl they naturally “ make it so,” though the word may have no mean¬ ing, or the wrong meaning, in the context. I take up a paper devoted entirely to literature, a weekly literary paper. I find an author complaining that, in his last week’s essay or letter, he wrote “ the tortures of their prison¬ ers,” and, lo, he finds in print “ the futures of their prisoners.” He wrote “ there is truth in the converse ” of a certain propo¬ sition, but he reads in print “ there is truth in the universe,” and for that, he says, he “ would not like to vouch without further investigation.” Now, the compositor, accustomed to reading the most singular statements, never blenched at the remark that “ there is truth in the universe.” Doubtless there is, as a matter of fact. But an editor, or a proofreader, ought to have seen that the large generalization about the existence of truth in the universe did not make sense, and he ought to have “seen copy,” if he could not conjecture the real reading. Once I quoted in a daily paper long ago Mr. Browning’s " Just for a handful of silver he left us.” This appeared in public as “Just for a handle of silver he left us.” I com¬ plained to the gentleman who was doing editorial duty ; I said everybody knew that quotation, and that “ handle of silver ” was not sense. He said that he did not know the quotation, and that he did not expect sense from Mr. Brown¬ ing. In fact, the quotation being nonsense as it stood, no doubt he took that for proof that, as it was from Browning, it was correctly printed. Now, the right sort of proofreader would have corrected the misprint, as the author of the article saw no proofs. Young Studio, McPherson, Kansas. A STUDY IN LIGHTING. AN EXPERT’S OPINION. John C. Mitchell, president of the International Stationary Firemen’s Union, who is a resident of Fort Wayne, Indiana, sounds a note of warning to his fellow-unionists. As he views the situation, there is a growing feeling of opposition to organ¬ ized labor, which is taking concrete form much more quickly and more substantially than the officials of labor unions will admit. So alarmed is Mr. Mitchell that he says : “ Unless the unions ‘ watch out,’ this movement will overwhelm them.” Many unionists who can not subscribe to the doleful prophecy just quoted, will, however, applaud the spirit of Mr. Mitchell’s remarks when he says : “ There is only one way for the unions to act. They must organize perfectly, and they must learn to respect all classes and to arbitrate. I have found in my travels during the year in this country, Canada, Mexico and Europe that arbitration is of essential value. A strike should be the last resort, when all other means have failed. One of the troubles with the unions is that there is too much jealousy among the members and too little regard for the rights of others. They go too far in their demands at times and then become too stiff-necked about meeting the other fellow half¬ way. But they will have to do it, or eventually get the worst of it.” _ WHAT WE KNOW. “What do we know about Jonah?” asked the Sunday- school teacher of little Teddy. “Well,” replied Teddy, slowly, “we know that he disliked fish.” THE INLAND PRINTER 63 BY JOHN S. THOMPSON. Communications relating to typesetting by machinery are invited. Queries received before the tenth day of the month will be answered in the next issue. Address all matters per¬ taining to this department to The Inland Printer Company. 120-130 Sherman street, Chicago. SPECIAL NOTICE.— Operators, operator-machinists and ma¬ chinists seeking employment or change, are requested to file their names, addresses, preferences, etc., on our list of avail¬ able employes. Employers are invited to call upon us for competent men in these occupations. Blanks will be sent on request. List furnished free to employers. Address The Inland Printer Company, being careful to enclose stamp. The following list of books is given for the convenience of readers. Orders may be sent to The Inland Printer Company. Facsimile Simplex Keyboards. — Printed on heavy ledger paper. 15 cents. The Mechanical Details of tiie Linotype, and Their Adjust¬ ment. — By Frank Evans, Linotype machinist. $3, postpaid. The Linotype Operator’s Companion. — A treatise on how to oper¬ ate and care for the Linotype machine. By E. J. Barclay. $1, postpaid. The Linotype Manual. — Gives detailed instruction concerning the proper adjustment and care of the Linotype, fully illustrated. No oper¬ ator or machinist should be without this valuable book. 50 cents, post¬ paid. Correct Keyboard Fingering. — By John S. Thompson. A pamphlet of 16 pages, containing a system of fingering the Linotvpe keyboard for the acquirement of speed in operating, with diagrams and practice lists. ’5 cents. Stubbs’ Manual. — By William Henry Stubbs, holder of speed record. A practical treatise on Linotype keyboard manipulation. Should be in the possession of every operator with an ambition to become a “swift.” Cloth, 39 pages, $1. Facsimile Linotype Keyboards. — An exact reproduction of the latest two-letter Linotype keyboard, showing position of small-caps, etc. Printed on heavy manila stock. Location of keys and “ motion ” learned by practice on these facsimiles. Instructions are attached, giving full infor¬ mation as to manipulation. 25 cents, postpaid. The Mechanism of the Linotype. — By John S. Thompson. The latest and best work on this subject. A complete and practical treatise on the installation, operation and care of the Linotype, for the novice as well as the experienced operator, with full information concerning the new two-letter machines, not to be found in any work heretofore published. This is a reprint of the series of articles, “ The Machinist and the Operator,” winch has appeared in The Inland Printer. Fully illustrated; 128 pages; cloth, $1.50, prepaid. THINGS YOU SHOULD NOT FORGET. Don’t forget — That the assembler slide should not “jigger.” That if it does it is due to one of three causes — oil on slide, worn brake, or releasing screw set too low. That releasing screw should not touch releasing lever except when line is sent up. That if assembler slide does not return when line is sent up, the releasing screw is not set low enough. That the spring that restores the slide is all right and does not need “ fixing.” That if thin matrices get caught while entering assembler it is because assembler strips and the small plates on assembler do not join tightly. That if points of assembler chute spring are bent down¬ ward it will cause transpositions of spacebands and matrices. That the points of this chute spring should be bent slightly above the horizontal. That the matrix assembler belt can be tightened by reset¬ ting upper matrix belt pulley. W. P. Gunthorp, Jr., has been appointed agent for the Lanston Monotype Company at Chicago. William Henry Stubbs, the champion Linotype operator of the Baltimore American , is on his way to Liverpool, Eng¬ land, the place of his birth, where he will enjoy a six weeks’ vacation of sight-seeing. An operator-machinist, who says he is “ five feet five ” ir stature, writes that he had some trouble in lifting magazines when making changes until he found that by placing his hands together and lifting from the middle at the front of the machine he could handle them with comparative ease. Another plan is to stand beneath the magazine at the rear of the keyboard and raise the magazine. Machine Legislation at Washington Convention. — The legislation affecting machine operators at the Washing¬ ton convention of the International Typographical Union was inconspicuous. Most of the propositions submitted failed of passage. Among these were propositions making it com¬ pulsory to employ a machinist in offices using five or more machines ; prohibiting members working in offices where strings are measured or clocks used ; limiting the output of operators to amounts ranging from 192,000 ems agate to 108,000 ems pica per week; a proposition indorsing the Wash¬ ington Linotype School ; and one calling for data as to the capacity and production of operators on all makes of com¬ posing machines for use at the next convention, for the purpose of establishing a universal standard of competency and limitation of output. New laws passed by the conven¬ tion included one permitting applicants for membership and apprentices in the last three months of their apprenticeship to learn to operate machines ; abolishing the law prohibiting members working in offices where a “ dead-line ” is imposed ; permitting typefounders to learn and operate typecasting machines “ other than the Linotype ” in composing-rooms. A proposition establishing a standard of Linotype matrices was referred to the executive council for a report at the next convention. Wants First Prize. — A modest claimant for the $15 prize writes from the West in a facetious vein : San Francisco, August 24, 1903. Editor Machine Composition Department: Dear Sir, — I am out for that $15 prize, so send it right along, ’cause I need it. The following is vouched for by the office boy, and, if necessary, I can dig up an affidavit from the janitor. Have been running a one-machine plant for about three years. I let the girl proofreader erect it — it is beneath the dignity of such a wonder as I to monkey with such trifles. (Photo of girl will be sent if desired.) I set about fifty thousand ems brevier per day, with plenty of errors. I am particularly careful not to have an error occur twice in the same position of the slug, but have it sometimes in the beginning of the line and other times at the end of it. The foreman admits it is marvelous. There is very little spill on the floor after an arduous day’s work. This is not due, as you may suppose, to having very little metal in pot, but ’tis due to the fact that such a genius as I am never at a loss to rig up some device to overcome the stupidity of the manufacturer. I have a five-gallon iron vessel underneath to catch the drippings. Thus I can tell at a glance whether I have metal enough to finish the day. I clean the bands but once in two days. When sleeves become dis¬ colored I turn them round the other way — that fixes ’em. Also my last and best claim for that wealth is that I have never dropped a mat. on the floor in my life, and I see no reason to suppose I ever will. As to personal appearance, I am not much to look at, but when it comes to running any old thing Mergy ever dreamed of, I am a double- ended, two-pilot-house wonder, and don’t you forget it. Respectfully, H. J. Meyers. P. S. — I have lately rigged up a contrivance whereby I can set type standing on my head, thus far with astonishing results. Advice from a Graduate. — One of the Inland Printer Technical School graduates who has since leaving the school had a variety of experience, writes the following letter : “ In my opinion the chief characteristic required by a graduate machinist-operator is that which is the successful poker- player’s principal stock in trade — nerve and plenty of it. My first assignment from the school was in response to a telegram to ‘ send operator at once. Last man left in night leaving note that something ailed machine and he couldn’t fix it.’ I went — • expecting anything from a broken spaceband to a complete breakdown — and found the machine a new one with a day man running it nicely. Nothing had been the mat¬ ter but a little metal lodged where it ought not to be. From that place I went to one where the two machines were in 64 THE INLAND PRINTER discouraging shape. They had been abused for years — broken springs had been replaced by rubber bands and everything was gone that could be done without. I bad the satisfaction of taking them all to pieces in order to move the machines and would have eventually gotten them into pretty fair shape had not the ‘ rat ’ printer made his appearance in the shop and I vacated. Have now a very good position where my fingers alone are necessary — • no mechanism. There are few pointers one can give another. Every man for himself, and one will never realize how much he does know without he keeps his nerve and buckles in.” Used His Finger for a Knife-wiper. — A Western oper¬ ator-machinist contributes the following : “ I want to tell you of one little experience which was mine about three months ago. It was at the close of a long, hard day. I had made about twenty complete changes with my eight magazines on four machines, switching back and forth to accommodate rush jobs, and I had just finished changing No. 4 for the last time. I set it 26^2 ems long primer and was recasting some stuff with a close trim on the slug and had the knife-wiper off temporarily and a screw-driver stuck behind the controlling lever to keep her in constant motion. To wipe the knives, like a fool, I stuck my hand right in there and slipped my fingers over the knives after each trim, and did it successfully inch pulley was used on fan shaft, and a 3-inch pulley on the intermediate bracket shaft. A piece of i-inch press tape was used for belting. The ‘ whole works ’ was built by my partner on the night side and myself in about three hours at a total expense for material of $1.20. The fan runs smoothly and noiselessly and not only keeps the operator cool and comfort¬ able these hot days, but also keeps the flies at a proper dis¬ tance. I might also add that we haven’t had a hot slug since it was put to work.” Metal Gathers on Mold. — “ Operator,” Lewiston, Mon¬ tana, asks the following questions : “ I enclose some trim¬ mings that come from the face of the mold, mostly on the lower side, which have been giving me a great deal of trouble of late. From this it would seem that the lockup is not good, but it is as tight as I dare make it. It is a wide flange and is worse where the spacebands work in the line. I have read a file of The Inland Printer kept at this office, and it tells much about keeping the face of the mold clean and the troubles that will result from these flakes being carried into the distributor and eventually getting in the first section of lower-case chan¬ nels. The matrices have been in use for about a year and a half and are in good condition. Also, I have had much difficulty with some of the letters dropping, especially on the cap. side, namely, the caps. J, K, C, M, V and the dash. I have cleaned A. W. Pringle. Mrs. Anna Jackson, John Guest. F. R. Tallman. J. C. Bohle. GRADUATES INLAND PRINTER TECHNICAL SCHOOL — MACHINE COMPOSITION BRANCH. a number of times, when all of a sudden I grew previous and stuck my hand in there just when the wheel was moving for¬ ward for ejection, and over a pica was cut off the end of my second finger, scraping the top of the bone, and the severed piece was forced through knives on end of slug. The third finger was squeezed and cut a little, but I suffered no incon¬ venience or pain to speak of on account of it, for I kept right on every day same as before. That finger is not yet in use, but it is all healed over, only a little short and rather tender.” A Linotype Fan. — Ed Skinner, machinist-operator of the Mail and Breeze, Topeka, Kansas, sends the following descrip¬ tion of a fan which is used in that office : “ I send herewith description of a Linotype fan, used in the office of the Mail and Breeze, which is different and, I think, far superior to any fan on the market. The objections to the fans so far devised is their being attached to some part of the assembler mechanism — either on the belt pulley or run by friction from the belt itself — and very apt to cause transpositions. This fan is driven by a pulley on shaft in intermediate bracket. The fan-wheel was secured from an old electric fan. It was fas¬ tened to a shaft six inches long by a set-screw. Two pieces of strap iron twenty-four inches long and one inch wide were used for upright supports, and fastened to the floor; a little above the center they were fastened together by a rivet, and both top and bottom spread so that each formed a V. A brace was run from the machine and also from the floor to the upright, to keep it rigid. Holes were drilled through the uprights near the top end, pieces of gas pipe about an inch long inserted therein for ‘boxing’ for the fan shaft. A 1 14- all the parts, but to no avail, though I am satisfied that the trouble is with the verges of these characters. Could it be that these verges are worn out? It hardly seems possible when they are used so little compared to the lower-case side. Also some of the other caps, are slow in responding to the touch.” Answer. — Metal will gather on the face of the mold if the disk does not lock tight against the matrices. If the adjustment of the eccentric pin in the mold-slide roller is made properly, examine the bushings in the mold-disk; they may be loose and so prevent a lockup on the pins. Metal will also frequently gather on the right-hand locking pin and act the same way. If the metal escapes most where the space- bands occur in the line, it is reasonable to suspect that the spacebands have been improperly repaired. The sleeves may not be wide enough. The mold-wiper must be kept in place and the felt coated with a paste of graphite and oil so that it will polish the mold at each revolution, or metal will gather on face of mold. Regarding trouble with caps, failing to respond, it is likely that the cap. side of magazine is set too high. Lower it by means of the screw on which magazine rests until the end key-rod — the em dash — rises clear off the verge when at its full upward stroke. Queries from Arizona.— An Arizona Linotypist writes : “I am going to ask you for some information: (1) The supply-pipe governor acts very unsatisfactorily. The former machinist had a hole cut in the cap so as to put more weight on it, he claiming that the gas pressure was so abnormal that he had to do so. I believe better results would be obtained if the cap had no hole in top. Am I right? As it is now the THE INLAND PRINTER 65 weights on the governor have to be continually changed. At times, some of the weights are taken off ; then suddenly the pressure is stronger and the flow through the governor is stopped and the fire under the metal-pot extinguished. Would it be better to have a solid top? The governor is a small one intended for one machine. Would that make any difference? (2) The slugs on machine No. 3, on long measure — twenty- three ems — are higher from top to bottom on one end than on the other; there being a difference of .005 or .006 of an inch. There is the same difference on fifteen-em slugs. What is the remedy for this ? I found that the pot did not lock up squarely, which has remedied it some. Is that the cause, or are there other reasons for this? (3) Have also been having trouble with metal, especially on No. 1 (the slugs I send you are numbered). The slugs on No. 1 are porous, the same whether metal is too hot or cold. I have tried everything that I could think of. Thoroughly cleaned the pot, well and plunger, and drilled hole in plunger rod so as to make deeper stroke, but did no good. I then changed plunger from No. 3 to No. 1 and have received better results. Before then would have stuck slug every ten minutes; since chang¬ ing, after sixteen hours’ run, have no stuck slugs, but I am not entirely satisfied, as the slugs on none of the machines appear as solid as they should be. It appears to me that the metal is too brittle and too hard. The metal has recently been tempered by the former machinist. Do you think he got it too hard? Closely examine the slugs and give me your opin¬ ion on all points. (4) The plungers on our machines are the ring plungers. Is it better to have the solid plungers put on (and will they fit these wells) or put new rings on the old ones?” Answer.- — It is likely the supply pipe is too small to furnish enough gas to the plant. A ^4-inch pipe would supply two machines, an inch pipe three, the governor being increased in size as the piping is increased. If the cover of the governor is removed entirely it would make no difference in its work¬ ing. If enough gas can not come through the governor with¬ out weighting it down till the float rests on the bottom, the governor should be removed and the valve inside opened more. The float should always be free to move up or down in the governor with the changing pressures. Once set, it should require no change. (2) High slugs are usually caused by metal adhering to face or back of mold, though improperly set back-knife, loose mold-disk or metal on locking-pins can cause it. (3) The slugs show the metal to be much too hard and should have a quantity of lead added to its composition. Nothing is gained by drilling hole in plunger rod to make deeper stroke, as the pump spring should be strong enough to drive plunger to the limit. If not, it can be stiffened by screw¬ ing up nut on bottom of spring rod. Perhaps the hole in side of well which admits metal below the plunger is clogged up. (4) New rings can be bought to replace old ones, though only solid plungers are made now. They will fit any well. The Cause of Spacebands Breaking. — A New York State correspondent asks a question on a topic which will be of interest to many who are experiencing the same trouble. The opinion of others might be valuable in this connection and is a good subject for debate. Our correspondent writes: “Will you kindly answer the following question pertaining to space- bands of Linotype : On some of the machines in a plant of seven in which I work, quite a large number of spacebands get broken in the body of the spacebands at the top. The break does not occur all at once, but a single crack or split can be noticed in some of the spacebands. Is this breaking of the spacebands caused by pot pressure? If not, what can or may be other causes? I can see no place about the machine where they strike or catch in any way. The break in space- bands always occurs in the same place of the spaceband and nowhere else. It will be noticed that the side of the band broken is the side of the spaceband nearest to the mold of the disk-wheel when in position for casting the lines. It would 1-5 seem to be pot pressure at first glance. But how, asks the machinist, can pot pressure cause the break if the spaceband is not wider than the matrices? The machinist can not under¬ stand how pot pressure can injure a spaceband if the space- band does not extend beyond the matrices. Now, let me ask question No. 2, namely: A good number of spacebands break at the most delicate of the two ears. When the spacebands drop down the spaceband chute, the ears strike the projecting steel parts at the bottom of the chute. Do you think that the delicate ear of the spaceband, by striking this projection thou¬ sands of times, becomes broken? The most delicate ear (the ear cut out to admit the aligning shelf in first elevator) is the ear usually broken. I have heard some machinists say that the spaceband in falling strikes the star and that the star breaks the fall of the band. To my mind the swiftly revolving star only adds momentum to the spaceband and increases its force in its downward plunge to the assembling elevator.” Ansiver.- — There is much difference of opinion as to what causes breakage of spacebands in the Linotype. The Mergenthaler Company has in recent years placed a buffer beneath the assembling point to break the fall of the spacebands and protect the ears against the blow when dropping into the assembler. The ears of the spacebands do not strike upon the guides in the bottom of the chute. The band is pushed forward by the star-wheel before the ears reach the lower part of the chute. Perhaps some of the breakage of the ears is caused by the succession of blows against the rails of the assembler, but it is the opinion of the writer that most of the breakage is caused by the ele¬ vator jaws being sprung together a trifle and so binding the ears of the spacebands, and when the wedges are driven upward the ears are held against sidewise movement and are broken at the weakest point. If the ears of the spacebands are too long or spread apart by any means, the result would be the same. The vise-jaws of machines in the hands of unskilled machinists are almost always sprung, bent or nicked, and offer much resistance to the spreading of the matrix line during justification. It is here the spacebands are wrecked. The break in the upper portion of the wedge portion of the space- bands referred to by our correspondent is traceable to the same cause — sprung vise-jaws. The lower portion of the jaw being sprung outward, when the mold-disk moves forward it forces the jaw inward and the band gives — again at its weak¬ est point, the thin portion of the wedge against which the jaw presses. A glance at an old star-wheel will convince any one that the lower end of the band does strike the star while assembling. Thinks Record Is High.' — An Eastern reader comments as follows on a recently published item in this department: New York, August 4, 1903. Editor Machine Composition Department: Dear Sir,' — I have read your article in The Inland Printer, on page 739, entitled, “ A Record by a Lady Linotypist,” and I can not refrain from calling your attention to the very wrong impression as to speed which that article gives. The average proprietor is apt to con¬ front the workmen with the records shown in your article, and expect similar productions on regular composition. I notice the article states the record was made setting minion face on brevier slug; but neglects to state that it was measured as minion. The article also states that the type was measured by the use of the Linotype counter registering the number of lines. I presume in this number of lines is included the lines of corrections, as I see no comment has been made concerning that point. When a record is given in The Inland Printer, it seems to me that you can not afford to print a record which gives a false impression as to the actual facts. Yours very truly, Henry Kanegsberg. Our correspondent is apparently not in touch with what Lino¬ type operators are doing all over the country. The record was not published because of any exceptional speed attained, but because it was made by a woman, and as such was interesting. Six thousand ems per hour, linometer count, on newspaper copy is nothing extraordinary. Men operators by the score are doing more than this every day. It is well understood 66 THE INLAND PRINTER that type calculated by linometer count gives credit for all lines set — correct and incorrect— -but there are many news¬ paper offices in which six thousand ems per hour is the aver¬ age for the entire force, measured by dupes. In the record mentioned the fact that the type was cast on a brevier slug made no difference in the measurement. The lines are alone counted and whether the machine cast them solid or leaded, it is all the same to the operator. Operators who maintain high averages always receive above the minimum wage scale, and most proprietors realize that four men who do five men’s work save a $3,000 investment in a fifth machine and are will¬ ing to divide the saving made. A “ Freak ” Attachment. — Metropolitan daily papers use such a variety of type and measures in their make-up that none but the most experienced operators can handle everything that goes off the hook. Running Linotype matter around oval, triangular or irregular cuts is one of the things which require THE L1NOSCOPE. practice and experience, and the need of some arrangement to enable any operator to do this work without delay led Messrs. Trego and Trownsell, of the San Francisco Examiner, to devise what they call the “ linoscope.” It is in the nature of a cylinder attached to the front of the machine and a pointer which travels over this cylinder as a line is composed. In order to indent properly for any cut or “ freak ” insert, it is only necessary to lay the cut on a sheet of paper and outline it with a pencil. This sheet is then fastened to the cylinder and the pointer set on the left-hand edge of paper. The oper¬ ator then runs down quads until the pointer clears the outline of the cut and then proceeds with composition. As each line is sent up the cylinder revolves one step, and indicates to the operator the indention for the next line. In newspapers, where the forms are stereotyped, the plate is set on top of the quad portion of the lines thus indented, so no slugs need be cut off. RECENT PATENTS ON TYPESETTING MACHINERY. Electrical Device for Producing Perforated Strips for Composing Machines. — Jules Lagarde, Clermont-Ferrand, France. No. 734,576. Pump for Typecasting Machines. — F. E. Peacock, Wey- bridge, England. No. 734, 597- Linotype Machine. — D. A. Poe and W. N. Scharf, Mon¬ treal, Canada, assignors to Mergenthaler Linotype Company, New York city. No. 734,746. Linotype Spaceband. — J. L. Ebaugh, New Orleans, Louis¬ iana, assignor to Mergenthaler Linotype Company, New York city. No. 735,226. STAR-GAZING. A printer astrologist, while gazing at stars, had the mis¬ fortune to run into a bank (ruptcy) and land himself in a ditch. When the inquiry into his fall had closed, he said : “ Hereafter I’ll let the stars go quietly on their paths while I look better to my own.” — Exchange. THE PACIFIC CABLE. Ever since the first cable was successfully operated under the Atlantic, it has been a pet theme for Presidents, in their messages to Congress from time to time, to emphasize the advantages which would accrue to the United States if a similar cable were stretched under the Pacific ocean, connect¬ ing San Francisco or some other point on the western coast of the United States with the Orient. Long before posses¬ sions of any magnitude in the far East country were dreamed of, the subject of an American-owned transpacific cable was talked about, and if the plans laid down by legislators and fostered by executives had been followed, much good would have been accomplished. But like many another good institution, the matter of a government-owned transpacific cable was thrashed in and out of many sessions before the late John W. Mackay made his offer to the United States Govern¬ ment to construct and maintain a cable as a private business enterprise. This businesslike statement from a man who had become world-renowned and famous through his connection with transoceanic cable enterprises was the beginning of the end of the separateness of the United States and the far East. The lifting of this subject out of the realms of political interference made way for the speedy consummation of the proj ect. The condition under which the charter was awarded to the Pacific Commercial Cable Company is a matter of history, and needs to be touched upon but briefly here. The Pacific Commercial Cable Company was incorporated under the laws of New York on September 23, 1901. Its charter called for a route, such that it would have a station on no other but American soil. This necessitated the equipping of a colony on Midway Island, a place hitherto uninhabited except on occasions of infrequent visits by the savage races of that locality. From a commercial point of view, one of the imme¬ diate effects of the determination to lay this cable was a reduc¬ tion in the rates imposed by European companies, the cost for a word from San Francisco to the Philippines being reduced from $2.35 to $1.60. Before entering into this contract, the new company bound itself to charge only $1 a word from San Francisco to Manila and China, and 50 cents a word to Honolulu, and within two years further to reduce the charge to the latter point to 35 cents. The war with Spain and the acquirement of the Philippine Islands made the cable a neces¬ sity from a strategical point of view. The late President McKinley was enthusiastic over the possibilities of this cable, and his advocacy has been heartily seconded by the present chief executive, Theodore Roosevelt. The great experience which the cable-laying companies have had, and the proposi¬ tions which have been overcome since the original trans¬ oceanic cable was laid, have made the physical effort of cable¬ laying easier than the ordinary citizen imagines. There was a great deal of doubt as to the possibility of the cable being in such a state of completion as to make it possible to transmit a message on Independence Day, 1903. By those well informed, however, and acquainted with the wonderful foresight of which the late John W. Mackay was possessed, and of the enterprise and perseverance of his son, Mr. Clarence H. Mackay, who has taken the reins of control into his hands, and of the expertness of his associates, the claims of the com¬ pany were never for a moment doubted. The first message was transmitted by means of this cable on July 4, 1903.— Electrical Review. THE INLAND PRINTER 67 BY CHARLES A. ROPER. Printing-trade publications are devoting unlimited space to the cause of education in costs, and it is impossible to over¬ estimate the beneficial results. Among the contributors to their columns are men who have made a study of printing- trade economics, giving many useful suggestions and ideas. There are several books published on the subject embody¬ ing elaborate systems, brought to perfection in the plants managed by the various authors, that are best adapted for use in large offices. If faithfully followed, any of these methods will solve the cost problem. There is a class of printers who have not been fairly represented in the interchange of ideas and experiences in the trade magazines, to whom no books are dedicated, and who are in greatest need of education in costs — the multi¬ tude of small offices, employing from ten to fifteen workmen, has generally been along mechanical rather than clerical lines, and an examination of cost-accounting systems is apt to dis¬ courage him and leave the impression that they are time- consuming propositions. There is no published system devised especially for the small office, nor have any series of articles been written on the subject. To encourage discussion and the airing of more worthy ideas, hereafter is outlined a system designed to meet the requirements of the busy proprietor or manager who wishes to spend the minimum of time upon his books and system and the maximum time in getting out work. This system, though not reducing all cost details on a percentage basis, is thorough and practical, giving accurate cost of production. It will show the actual cost of a job when completed, and at the close of the month will give the net profit of the month’s business. It covers the office, com¬ posing-room and pressroom. The bindery is not provided for, as this work is generally sent to independent binderies. If a form is desired for record of time in bindery it can be easily made, patterned after the forms hereafter shown. OFFICE. The following books are necessary to keep a record of busi¬ ness transacted: Order-book and job-ticket, duplicate bill- Form 1 ORDER BOOK Date Name and Description Cost Recapitulation Date Invoiced Remarks Date Name and Description Compo¬ sition Press- work Bind¬ ing Misd. Job No. Stock $ Job No. Composition Presswork — Binding- Miscellaneous Price, $ Total cost Price, $ constituting a large percentage of firms, if not of capitaliza¬ tion, of the printing industry. These offices depend almost wholly upon small commercial printing, stationery, office- forms, booklets and small advertising literature, not requir¬ ing the equipment necessary to produce other classes of printing. Competition is very keen among these printers, because of their limited capacity, affecting not only themselves but the trade in general. Perhaps that is one of the causes for the present depression of prices. This is lamentable, for in what industry or business is there a greater risk or smaller divi¬ dends declared on capital than in the “art preservative?” It is the bitter experience of many printers that they are merely a medium of exchange between machinery, material, ink and paper manufacturers and employes, and the consumer. With few exceptions the firms enjoying stable and growing pros¬ perity are indebted to some specialty, with a specially equipped plant. There is only one cause for the present depression of prices — ignorance of cost. No sane person would knowingly make a practice of pricing products below cost, even if “ the other fellow ” does take printing at those prices. By reason of the complex nature of production in the printing-office an efficient system must be employed to arrive at cost. This is more easily accomplished in offices where the volume of business admits the employment of accountants than in the small office, where the proprietor is often book¬ keeper and manager. Any system may be modified to suit existing conditions, but the experience of the small proprietor book, cash-book and ledger. Supplemental to these are a record of statements rendered and time-book. ORDER-BOOK. All orders are first entered in the order-book (form i), numbered consecutively, ten orders to page. Date, number of order, name of customer, description of job, number of copies, date to be completed and price are written where provided for. JOB-TICKET. All instructions left by customer, detailed information regarding stock, when proof is promised, style of composition and other information relative thereto ; instructions about presswork, colors of inks, position of form on sheet, and other details; specifications for binding; how delivered; together with the data just recorded in order-book, are immediately copied on the face of the job-ticket (form 2, printed on open- end manila catalogue envelopes, size 7 by iol4 inches). Inside of ticket is placed all copy and styles or samples fur¬ nished by customer. When jobs are completed tickets are returned to office and priced as follows: Cost of stock is figured from job- ticket and copied on first line of recapitulation column; time of composition and presswork (shown in cost columns) multiplied by rate per hour; bindery cost and miscellaneous items are all charged under heading of recapitulation. The total gives the cost of the job. The percentage of profit is now added and the price (if not previously estimated and fixed price given) charged where space is provided. 68 THE INLAND PRINTER The date, name, job number, number of copies, description and price are now entered in the DUPLICATE BILL-BOOK. This book is 14 by 17 inches in size, containing one thou¬ sand bills, four to leaf; perforated full length in center, out¬ side half (8 by 14) divided by parallel perforations, from center to edge, into four sections, 3)4 by 8 inches each. Regu¬ lar form of bill-headings are printed on reverse side of perfo¬ rated sections, which, when billing, are folded back on blank (inside) half (with carbon paper between) and a copy taken. INVOICE FILE. It is not necessary to copy on any book invoices of goods or services received. The most economical manner of han¬ dling these invoices is to compare each one with goods as received, mark “ O. K.,” if correct, and file in an indexed invoice file. When statements are presented they are checked against the O. K’d bills, and, if correct and paid, the follow¬ ing entry is made on cash-book : “ Sept. 1, Jones Paper Co., Mdse, per bills, Aug. 1, 30, $112.00.” If charged to account the same entry is posted to the account on the ledger. The bills are then filed away — accessible for future reference. Form 2— Job Ticket Date Job No. Promised Stock Shelf Stock Name Size wt. color Description Size allowing turn Stock Size wt. color No. Copies Size Cuts out the way Composing-room Pressroom Cuts out the way Stock required Proof Promised Impressions at per $ Sent to Size allowing turn Style Color ink Stock Size wt. color Make-up Position of form on sheet Cuts out the way Special Cuts out the way One or two sides Stock required Single Forms Stock cut at per $ Electrotyped Hold form Delivery Binding Folding Packed Blocked Collated Covers Will call for Perforated Bound Deliver to Punched Numbered Ruling Trimmed , C. O. D. The original is detached and delivered with job, and duplicate remains in book as a record and intermediate entry between order-book and the ledger. As all business houses demand invoices with goods and the bills must be made out, by using this duplicate bill-book you have an advanced book of record with no extra time and labor expended. Posting is done direct from this book, dispensing with a journal and avoiding the liability of charging customers with uncompleted orders, when posting from order-book. Each page of the duplicate bill-book is footed and forwarded, and a grand total made at end of month, representing the month’s production. THE CASH-BOOK needs no explanation. Every business house, however loose its accounting methods are, keeps an itemized account of all moneys received and expended. LEDGER. Date, job number, recognizable description, and price of orders on duplicate bill-book, all entries in cash-book, and totals of statements rendered and O. K. (as above explained) are posted to the ledger. Every item of expense is charged to the various departments — composing-room, pressroom and stock. Expense borne by all departments is designated and charged as general expense. This division is necessary to arrive at accurate time cost. An indexed, loose-leaf ledger is preferable, with accounts grouped to facilitate reference, and the saving of time in making out monthly statements of accounts. RECORD OF STATEMENTS RENDERED. When making monthly statements, the balance, current business and total amount of account should be copied in a separate book. An inexpensive day-book can be ruled by hand into five columns, for “ Name,” “ Balance,” “ Current Print- THE INLAND PRINTER 69 ing,” “ Amount of Account,” and “ Remarks.” In the column headed “ Remarks ” can be recorded the disposition of the statement, whether mailed, presented in person, or any other information. This book will assist in keeping up with collections. PROVING. The total of “ Current Printing ” column in record of statements rendered should correspond with monthly grand total of duplicate bill-book. This will prove that all printing billed out has been charged. The duplicate bill-book should be checked, by items, against order-book, to prove that all completed work has been billed. Omissions should be immediately entered and mistakes corrected to avoid carrying accounts over another month. STATEMENT OF EARNINGS AND EXPENSES AND RESOURCES AND LIABILITIES. Every firm should take a statement each month to deter¬ mine the profit or loss of the month’s business. This will be some trouble, but the time could not be more profitably spent. A good form to follow is shown by form 3. When estimating depreciation always deduct amount of new material, machinery, equipment and fixtures purchased, when substituted for old. I11 increasing capacity, additions to equipment are charged to investment. Form 3 STATEMENT — MONTH OF 190 Earnings and Expenses Dr. Cr. Printing — August 1-31 — Less labor and material invested in uncompleted orders July 31 Labor and material in uncompleted orders August 31 — Merchandise and miscellaneous receipts Stock used — invoice of July 31 Purchased in August — — Invoice of August 31 Inks used — Invoice of July 31 Purchased in August Invoice of August 31 Contract work Expense — August 1-31 Had Accounts Pay-roll August 1-31 Depreciation of plant Repairs Interest on capital invested Profit in August business RptSOURCES Liabilities Invoice — less depreciation of Original inveslme?it Office fixtures and shelving Office fixtures and shelving — Composing-room Composing-room Pressroom Pressroom Miscellaneous equipment — Miscellaneous equipment Cash on hand and in bank Capital Accounts receivable Accounts payable Bills receivable Bills payable Invoice August 31 of - Stock Inks — Labor and material in uncompleted printing Net gain 70 THE INLAND PRINTER EARNINGS AND EXPENSES — DEBIT COLUMN. The total amount of printing billed and charged, less labor and material in uncompleted printing as per invoice of preced¬ ing month ; labor and material invested in uncompleted print¬ ing not billed, and merchandise sales, represent receipts and amounts are placed in the debit (left) column. CREDIT COLUMN. Against these figures are placed the expenditures — amount of stock, ascertained by adding to stock on hand at beginning of month (shown by invoice of preceding month) the amount purchased during month, and subtracting therefrom amount of stock on hand at close of month ; total amount of inks used during month is ascertained in same manner as stock ; contract work, binding, Linotype composition, or any services per¬ formed outside office; expense, rent, light, power, insurance. taxes, stationery, postage, advertising, freight, drayage and express (excepting what may be charged against individual orders), rags, oil, gasoline and all other items of expense; one-twelfth the amount of the previous year’s bad accounts, or any sum that will cover that loss or liability; the pay-roll, figured for each day of the month ; one-twelfth annual depreciation of fixtures, machinery and material ; an allowance for repairs in machinery and fixtures ; one-twelfth annual interest on capital invested- — ■ in the credit (right) column. Each column is footed, and a balance from the debit column is profit ; from the credit column, loss. By comparing profit with amount of business transacted, the percentage of profit in production is shown. RESOURCES AND LIABILITIES — RESOURCES. The present value of the plant is ascertained by deducting depreciation from original value of the equipment, entering Form 4. Co.— Corrections. Ch. — Changes. L.— Lockup. P. — Proof. Compositor Date S. — Superintendence. Time Began Job No. Composi¬ tion. Altera¬ tions. Distribu¬ tion. Miscel¬ laneous. 7:30 40 5° s 10 20 3° 40 50 9 10 20 30 40 5° 10 10 20 3° 40 5° 11 10 20 30 40 50 12 10 20 3° 40 5° 2 10 20 3° 40 5° 3 10 20 3° 40 50 4 10 20 3° 40 .so 5 10 20 3° Totals. Hours worked. Form s Time Began . Job No. Make- ready. Feed¬ ing. Impressions. Lost Time. Cylin¬ der. Pony. ISt Jobber. 2d Jobber. 7:30 40 5° 8 10 20 30 40 5° 9 10 20 30 40 50 10 10 20 3° 40 5° 11 10 20 30 40 5° 12 10 20 3° 40 5° 2 10 20 30 40 5° 3 10 20 3° 40 5° 4 10 20 3° 40 50 5 10 20 3° Totals. Hours worked THE INLAND PRINTER 71 Form 6 COST SHEET — MONTH OF 190 General Expense Expense Apportionment — Non-productive labor Composing-room, 45 % Bad accounts - — Pressroom 45 % Depreciation — office fixtures, 25 %, miscellaneous equip. Stock 10 % Stock Expense apportionment Stock used during month — Express, freight, drayage and incidentals Percentage to be added to stock to cover general and incidental expense % Composing-room Apportionment general expense Number productive hours Depreciation @ 20 % Cost per productive hour — Interest on investment @ 6 % Department expense Total number hours worked and paid for — Wages paid Gross cost composing-room Less distribution time — Less foreman’s productive time Actual time cost per hour — Pressroom — Cylinders Apportionment general expense Number of productive hours Depreciation @ io % Cost per productive hour Interest on investment @ 6 % Department expense — Repairs Number of impressions Wages paid Cost per thoucand impressions Gross cost cylinders in pressroom Pressroom — Jobbers Apportionment general expense Number of productive hours Depreciation (a } io % Cost per productive hour Interest on investment @ 6 % Department expense Repairs Number of impressions Wages paid Cost per thousand impressions Gross cost jobbers in pressroom the remainder as follows — office fixtures and shelving, com¬ posing-room, pressroom and miscellaneous equipment — under head of “ Invoice — Less Depreciation ” ; cash on hand and in bank; accounts receivable; bills receivable; invoices of stock, ink, labor and material invested in uncompleted work, represent the resources. LIABILITIES. The full value of original investment, subdivided as shown under head of “ Original Investment,” also cash capital invested; accounts payable and bills payable, represent the liabilities. The difference between the columns — -a balance from resources, gain; from liabilities, loss — will show what profit the investment is earning. At close of year all bad accounts should be deducted from bills receivable and charged, together with other losses of every description, to profit and loss, to make a correct annual statement. 72 THE INLAND PRINTER TIME LOST. It is not practical to keep any time system without original time entries, and it is very important, for economy sake, that the form used by the workmen be so arranged that no unneces¬ sary figuring is required. All producers- — compositors, pressmen, feeders and any one whose labor is charged against jobs — are given a time- ticket each morning which provides for a record of every minute’s production. Foremen, of course, only keep a record of productive time that can be charged on jobs, the remainder of their time charged to superintendence. Pressroom super¬ intendence can be charged to lost time. In the small office, where the proprietor and foreman are in personal touch with all production, it is not necessary to itemize in cost of job composition, original composition, cor¬ rections, alterations, proofreading, imposition, distribution and superintendence. The benefits resulting in large offices are that the manager is able to locate and correct leaks in abnormal time for any item, and keep in touch with the compositor. The system hereafter outlined gives the total only of items of job composition in addition to original composition, distri- a column allowed for each press under head of " Impressions ” columns. Time and impressions on cylinder presses are kept separate from jobbers. POSTING TIME ON ORDER-BOOK. Time-tickets are gathered at closing time and turned over to office, ending the responsibility of foreman and workmen. The bookkeeper should verify the totals and then post all pro¬ ductive time — -composition and alterations on compositor’s ticket, and make-ready and feeding time on pressman’s and feeder’s ticket, which are between double rules — to the jobs in order-book, guided by job numbers. Great care must be exercised in posting time, and each item checked as posted. The workman’s total time can be copied from ticket on time- book, saving the foreman that trouble. SUMMARY OF TIME. The daily gross totals of footings of individual time- tickets in each department are entered on a separate time- ticket. Footings on compositor’s time-slips are added together daily and the grand totals placed under correspond¬ ing heads on a compositor’s time-ticket, the only change in arrangement necessary is substitute “Date” for “Job No.” Form 7. DAILY RECORD OF ORDERS. 190 Composing room. Pressroom. Copy Hook. Proof Promised. Proof Sent Out. Ready for Press. Remarks. Ready for Press. When to Be Printed. Impressions Completed. Cylinder. Pony. 1 st Jobber. 2d Jobber. bution and superintendence. Also shows actual running time cost per hour, including distribution and superintendence. Form 4 shows compositor’s time-ticket. Abbreviations for convenience of compositor are given in corner of the margin, where is also written name and date ; time began on “take” is checked in first column (where time for day is reduced to units of ten minutes) ; number of job, shown by job-ticket, is copied under head of “Job No.”; “ Composition ” column is for record of composition time ; “ Alterations ” column for time of changes from copy charge¬ able to customer, if not charged the time is prefixed by “ Corrections ” abbreviation and carried over to “ Miscel¬ laneous ” column ; distribution time is placed under head of “ Distribution ” ; all other items entering into the cost of composition, prefixed by an abbreviation, are marked in “ Miscellaneous ” column. When compositor’s “ take ” is finished, and he is ready for another job, he runs a pencil line from starting time checked to time finished, and the total time is easily ascertained. The first blank column is for foreman’s total productive time — a supplemental record only. The last column is not used by workman, its use is explained further on. This form should be about 5 by 7 inches. The figures in “Time Began” column can be set in eight-point, allowing space for ten-minute entries. Form 5 shows pressman’s and feeder’s time-ticket. The margin and first two columns, “Time Began” and “Job No.” are kept same as on “Compositor’s Time-ticket.” The third column, “ Make-ready ” is for time of make-ready and special washups ; “Feeding” is for time spent in running; “Lost Time” is for daily washups and oiling, and waits between jobs; number of impressions is marked in “Impres¬ sions ” columns, under proper press heading. The pressman’s and feeder’s time-ticket is same length as compositor’s, but the width is regulated by number of presses ; column, and total hours worked and paid for placed in last (blank) column. The daily totals of all footings of “ Press¬ man’s and Feeder’s Time-ticket” are likewise copied on a separate ticket as just explained. These summaries of daily time and number of impressions, together with information on “ Statement of Receipts and Expenses and Resources and Liabilities ” furnish the data necessary to arrive at labor cost (form 6). COST-SHEET — GENERAL EXPENSE. Rent, light, heat, insurance, taxes, stationery, postage, advertising, all supplies, miscellaneous expense; non-pro¬ ductive labor (proprietor, bookkeeper, errand boy or any employe who does not account for labor on a time ticket) ; allowance to cover bad accounts ; depreciation of office fixtures and shelving and any miscellaneous repairs ; deprecia¬ tion of miscellaneous equipment — are apportioned as follows: Composing-room, forty-five per cent; pressroom, forty-five per cent ; stock, ten per cent. STOCK COST. Compare apportionment of general expense, plus express, freight, drayage and any direct expense, with amount of stock used during month. This expense is reduced to a per cent representing cost of handling stock. COMPOSING-ROOM TIME COST. Apportionment of general expense; one-twelfth annual depreciation (at least twenty per cent) ; one-twelfth annual interest on capital invested; department expense (any expense and incidentals chargeable to composing-room) and wages paid, represent the gross cost of month in composing-room. Divide gross cost by number of productive hours (shown by “ composition ” and “ alterations ” columns on composing- room daily summary slip) to ascertain cost per hour of job composition. Deduct distribution and foreman’s productive time from total number of hours worked and divide gross cost by the remainder, to learn actual running time cost of composition. THE INLAND PRINTER 73 PRESSROOM COST. Keep separate account of time and impressions on job and cylinder presses. Time and impressions on job-presses are bunched, as it would be splitting hairs to attempt finding difference in cost of production on various sizes and makes of job-presses. The method of ascertaining cost is the same on either job or cylinder presses. Apportionment of general expense (subdivided and charged against either jobbers or cylinders in proportion to equipment) ; one-twelfth annual depreciation (ten per cent) ; one-twelfth annual interest on capital invested (six per cent); pressroom expense — power, rollers, inks, rags, oil, gasoline, etc. ; repairs and wages paid, represent gross monthly cost of pressroom. Divide gross cost by number of productive hours (“make- ready ” and “ feeding time ” on pressroom’s daily summary of time) to find cost per hour on job or cylinder presses, as the case may be. Divide gross cost by number of impressions for cost per thousand impressions. SUPERINTENDENCE — - JOB-TICKET FILES. The following files are necessary for the safekeeping of job-ticket en route with production. Job-tickets are first placed on “Stock” file; when stock is cut and a sheet is placed in tickets, they are forwarded to composing-room; “Copy Hook,” “Proof Out” and “Ready for Press ” files are provided in composing-room for stages of advancement in composition ; from “ Ready for Press ” file in composing-room tickets are transferred (with locked-up forms) to “Ready for Press” file in pressroom; when jobs are put on, tickets are kept on press files ; and when com¬ pleted placed on “Completed Work” file; a delivery file is provided for jobs ready for delivery. Tickets are left in office, after delivery of jobs, and as accumulated, arranged in numerical order, wrapped in packages of even hundreds and shelved for future reference. If a duplicate order is received and original ticket is desired for data, refer to customer’s account on ledger for job number, then to package containing the ticket. DAILY RECORD OF ORDERS. The following day’s production is planned in the evening, and complete instructions given to foremen by the use of form 7. The daily record of orders is made out in triplicate, original kept in office, duplicate and triplicate (carbon copies) given to foremen of composing-room and pressroom. Always keep the composing-room, if possible, at least one day ahead of pressroom, having enough tickets on “ Ready for Press ” file to keep the presses busy next day. Annoy¬ ance and loss of time always attends a hand-to-mouth policy between these departments. At close of day all ticket files are brought to office and job numbers copied in the proper columns as follows : COMPOSING-ROOM. Job numbers of all tickets are copied under heading of “Copy Hook”; time proof is promised in “Proof Promised” column; when proof is out check under “Proof Sent Out”; when proof is returned, corrected and jobs are ready for press check in “Ready for Press” column. Any special information can be jotted under “Remarks.” Job numbers of tickets on “ Ready for Press ” file are entered in PRESSROOM COLUMN under first heading, “ Ready for Press ” ; time to be printed in “ When to Be Printed ” column ; number of impressions under head of “ Impressions ” (a column provided for each press with headings corresponding) in column designating press on which job is to be run; when completed check in “ Completed ” column. Form 8 ESTIMATE BLANK Salesman Date 190 Name Description No. copies Size Stock Shelf stock I Size \\t. Color Stock Size Wt. Color Cuts out way; out way Stock required At per Cost percentage on stock Composition Style Make-up “ for colors Changes Electrotypes X X p c r M x Impressions Make-ready Ink One or two sides? (_ How many to sheet? f Changes j ) P O 2 -) a u - Q < £ Blocking Perforating Numbering Collating Folding and gather ing i Wire l Stitching / Thread f Trimming Ruling Binding — — T otal cost — Percentage of profit | Price 74 THE INLAND PRINTER RUSH ORDERS are underscored as entered. Instruct composing-room in “ Ready for Press ” column when to get form ready, and the pressman in “ Ready for Press ” column in pressroom, when form is expected to be ready, and promised time of delivery in “ Completed ” column. The “ Completed Work” file from pressroom is emptied and tickets given to delivery clerk, who gathers the work, per¬ forms necessary finishing details (or sends the work out for completion if necessary), inspects and compares same with job-tickets. If instructions have been correctly followed the jobs are wrapped, and the tickets finally turned over to book¬ keeper or manager. Jobs are then priced on the order-book, entered on the duplicate bill-book, and original bills detached and delivered with jobs. STOCKMAN AND SHIPPING CLERK. Stockman and shipping clerk positions should be merged, there not being enough cutting and delivery to keep two men busy. One person can easily perform the duties of both positions and find time for blocking and simple bindings. This consolidation will simplify superintendence by leaving only three persons — foreman of composing-room, foreman of pressroom and stock-delivery clerk — answerable to manager for production. The duties of the stock-delivery clerk are so numerous and detailed that it is practically impossible to keep time on his work. The best way to account for this expense is to charge each job with cutting and delivery in proportion to bulk and quantity. The minimum charge on small orders should be at least 25 cents, and ranging upward. ESTIMATING. With labor cost established, all guesswork in pricing print¬ ing is eliminated and estimates can be intelligently made. The work of estimating carries with it the highest responsibility. To keep in mind the numerous details of production and to avoid omissions an estimate memorandum should be used (form 8). The proper cost per cent is added to stock items, compo¬ sition and presswork charged per labor cost figures, and after all items are estimated the total should represent the entire cost. The profit added will then be net. Original estimates are kept in indexed letter file. If successful in competition the copy and specifications are compared with estimate and customer notified at once of any changes entailing additional expense in production. Estimate blanks are also used as a memorandum when tak¬ ing orders and instructions from customers. It is not conve¬ nient to enter each job on order-book and fill out job-ticket as received and dangerous to depend upon the memory for details. Comparisons of estimates with cost of completed jobs, if carefully studied, will minimize errors in estimating compo¬ sition and other items of unknown cost. IN CONCLUSION. Elaborate bookkeeping and office and workroom systems are expensive when the time of manager is wholly taken up with details, or the proportion of non-productive labor is unduly increased by the employment of additional bookkeepers. In offices of small and medium size, especially, office help and other non-productive labor must be reduced to the minimum to keep productive labor cost within competitive limits. The foregoing embodies all essentials in office accounting, gives as good results in ascertaining labor cost as any system, and the time required will not exceed one hour daily over bookkeeping of the simplest character. To those unfamiliar with cost accounting, this system may seem complicated at first sight, but, if adopted, they would soon learn that it is practically self-sustaining, requiring less attention to books and production than when no system is employed. THE ENTHUSIASM OF CONVICTION. It is interesting to know that Sir Thomas Lipton says that aside from yachting, business is his sole amusement. He says that he finds the conduct of his commercial enterprise the most fascinating kind of sport. He enters into his work with con¬ stantly increasing delight and pleasure, and work that to another would be overwhelming in its responsibility and vexa¬ tions is to him a pleasure, because it is exactly suited to his tastes and because he finds in it his greatest delight. He says that he is the hardest-worked man in his whole force of workers. In advertising a business, in buying merchandise, in man¬ aging men, in doing all the work of a great establishment, the A NON-UNION FEEDER. man who is surest of success is the man who is in love with his work. A credit man in estimating the desirability of an account will give considerable attention to a man’s business habits. If he does his work with the attentiveness and regularity of the man who is enthusiastic over his duties, his success is twice as certain as the success of the man whose habits are good and whose hours are regular, but who finds every task a matter of drudgery and difficulty. One reason why many men fail in business is that they are not in love with their work. They are not able to rise to the needs of the moment ; they lack enthusiasm that will carry them over difficulties ; they are caught and defeated by obsta¬ cles that they can not surmount, because they do not love the business of grappling with difficulties. They are half defeated because they have no definite likings, no definite aim, and are at the mercy of whatever unforeseen difficulty they lack the moral courage or the interest to check before it becomes over¬ powering. Find a man who is in love with his work and you will find the reason why many a venture has gone on to success when other men said it was doomed to failure. An enthusiastic belief in one’s own work, coupled with the diligence and attention that must result from that enthusiasm, will determine success when everything else promises failure. If a man is in the wrong place, let him get out of it as soon as possible. If he has cultivated the doubting habit of mind, the nervelessness that is born of indifference, let him, for his own sake, get as quickly as possible into a place where he sees ahead of him a goal that he believes in and that he is sure he can attain by force of his own powers. — The Keystone. PRIDE OF THE CRAFT. I do not wish to miss a copy of the “ pride of the craft.” — Joseph Aron, Boston, Massachusetts. THE INLAND PRINTER THE ENTERTAINMENT OF THE FORTY-NINTH SESSION OF THE INTERNATIONAL TYPOGRAPHICAL UNION. DELEGATES, ex-delegates and visitors to the forty- ninth session of the International Typographical Union were entertained on a scale of bounteous hospitality which eclipsed all previous efforts in this direction. Indeed, such lavishness of entertainment as was offered Columbia’s guests would not be possible in any other city except the nation’s capital. The various entertaining bodies vied with each other in the magnificence of their festivals, and the heartiness with which the visitors accepted each invitation was highly encouraging to the hosts. ( O guests freely fraternized, exchanging greetings and renewing old acquaintances. The Woman’s Auxiliary of Columbia Typographical Union, No. iot, held forth in the hotel parlors and made welcome the ladies accompanying delegates and visitors. A dainty luncheon was served and several musical numbers rendered, the recep¬ tion being of an informal character and the guests made to feel that their welcome was earnest and hearty. Prof. Willis L. Moore, Chief of the Weather Bureau, an old-time printer, was introduced later in the evening and made a few facetious remarks and pledged fair weather for convention week. Mark L. Crawford, ex-president of the International Typographical Union, also addressed the gather¬ ing, and after several songs and other festivities the partici- ... % n THE FORTY-NINTH CONVENTION OF THE I. T. U. IN SESSION. Not only was this the largest meeting of delegates to an International Typographical Union convention, but the num¬ ber of visitors and ex-delegates present was the greatest ever known, and far exceeded expectations and precedent. Although called upon to entertain fully one-third more guests than calculated upon, the manner in which the local bodies arose to the occasion was the subject of high encomium and hearty congratulation. Columbia Typographical Union started the ball Saturday evening preceding convention week by giving an informal reception at the Ebbitt House, which had been chosen as headquarters of the International Typographical Union. Here Chairman F. N. Whitehead and members of the reception and entertainment committees bade the visitors welcome and extended the glad hand of fellowship to all. During the evening a buffet lunch was served, and the refreshments, both solid and liquid, were spread in abundance. Delegates and pants retired, greatly impressed with the hospitality and capacity of Columbia’s entertainment committee. Sunday morning found every delegate and visitor on hand to take train for Baltimore, to which city they went as the guests of Baltimore Typographical Union. Although in the morning the skies 'were threatening, the weather soon cleared, and after the fifty-minute ride the entire party embarked on the steamer Emma Giles and were taken down Chesapeake Bay to Annapolis. The cool, clear day and saline breeze were excellent appetizers, and the entertainment committee of Baltimore union had abundantly provided for this condition. The stop at Annapolis permitted the boat to be cleared and the tables spread, so when the excursionists returned aboard from their trip around the quaint city, the capital grounds and Naval Academy, a bountiful feast awaited them. Leaving Annapolis, the boat was headed for Tolchester Beach, arriv¬ ing about 4 o’clock, where an hour or more was spent by the 76 THE INLAND PRINTER party, bathing in the invigorating salt water, boating, or in various recreations about this beautiful resort. On the return trip luncheon was served, the party returning to Washington well convinced of Maryland’s famous hospitality. The committee in charge of Baltimore’s entertainment was composed of G. P. Nichols, chairman; A. Stair, A. L. Jack- son, T. D. Roberts, R. A. Williamson, G. W. Frizzell and A. J. Wagner. This committee, with the active assistance of delegate’s badge. BALTIMORE TYPOGRAPHICAL UNION, No. 12 SUNDAY, AU8US! 9, 1903 CONVENTION I 1. T. U. BALTIMORE SOUVENIR BADGE. a number of subcommittees, labored for months to provide the splendid entertainment given, and covered themselves with glory in its discharge. The round of pleasure so soon begun was continued Mon¬ day. The convention adjourned early to become the guests of Columbia Union on a trip by boat down the Potomac to River View. The freedom of all the sports at this beautiful resort was extended all who went, as also to the dinner pro¬ vided for by the committee. Bands of music on the boats, which made hourly trips to the resort, and orchestras in dancing pavilions, provided means of enjoyment, while the “ shoot the chutes ” and other sports were freely patronized. The ladies and children especially enjoyed the treat provided on this occasion, and its pleasures will not be soon forgotten by the participants. The program of entertainment for Tuesday was under the auspices of the Washington Ex-Delegates’ Association. This body is a group of delegates to former conventions numbering one hundred members, now employed in the national capital, and their program consisted of a trolley ride to historical Arlington Heights, the former home of Robert E. Lee; thence to Mount Vernon, the old home and tomb of Wash¬ ington, and returning by way of Alexandria, Virginia, where an appetizing buffet lunch was served. The trip was a most delightful one, the view from Arlington Heights and Mount Vernon being most impressive. After luncheon at Alexandria the party visited Carlyle house, Grace church and other his¬ torical points of interest, made so by their connection with the lives of Washington and Lee. At Portner’s brewery the visitors were made welcome and presented with souvenirs in the shape of miniature steins and larger ones filled with the nectar of Gambrinus. Ex-delegate’s day will long be remem¬ bered by those who took part in this outing. Invitations had been issued to Columbia’s guests to par¬ ticipate in a carriage ride through the city of Washington and parks Wednesday afternoon, and promptly at 3 o’clock carriages were taken at the Ebbitt House and the drive com¬ menced. Over one hundred and fifty carriages were in line and the cavalcade at once proceeded through the beautiful residence portion of the city and then through scenic Rock Creek Park. The drive through the shady depths of the natural forest, along the banks of the turbulent stream, was thoroughly enjoyable, and its restful pleasures appreciated by the weary bodies of many who had been all but overcome by the comprehensiveness of Columbia’s hospitality. The enter¬ tainment committee’s thoughtfulness in providing this means of rest and recreation between the strenuous rounds of con¬ viviality and sociability was commended by all, and the delights of the ride and the buffet luncheon served at Huerich’s on the return constituted one of the most delightful of the many entertainments provided by the hospitable hosts of the nation’s capital. As a side attraction, a game of baseball was played at the American League grounds between Washington and Baltimore unions for the benefit of the inmates of the Union Printers’ Home at Colorado Springs. The game was largely attended by an indulgent crowd of fans, who overlooked many errors marked on the margins of the score cards and never kicked when the copy cutter handed the game to Baltimore at the end of nine hours — or innings. Thursday was Women’s Auxiliary day, the ladies of the local auxiliary taking charge of the visiting ladies and treat¬ ing them to a ride around the most interesting of American cities on the “ Seeing Washington ” cars. In the evening a visit was made to the Congressional Library, the magnificence of which was a revelation to many and an inspiration to all. At the invitation of the proprietors of the Arlington Brewery, at Rosslyn, Virginia, many thirsty souls visited their plant in the evening, but of the sights they saw there nothing will be written. Friday the committee issued a general invitation to all members of the local union and visitors to the convention to spend the day at Cabin John’s Bridge, and an immense gather¬ ing took advantage of the opportunity to visit this popular pleasure resort. The moving pictures, scenic railway and other entertainment features were thrown open to the guests, and a special musical program was arranged for the occasion by Haley’s orchestra. Altogether a delightful evening was spent and all returned to the city satiated with the festivities of the week. THE TYPOS’ OUTING ON CHESAPEAKE BAY. (Cartoon by Bradford in Baltimore Herald.) During Friday and Saturday the visitors were escorted through the numerous Governmental buildings, the Bureau of Engraving and Printing and the old and new Government Printing-offices being the centers of attraction. Every courtesy and consideration were shown the visitors and a hearty wel¬ come extended them by their brothers in the Governmental service. After the adjournment of the convention on Saturday, many availed themselves of the opportunity to visit the great THE INLAND PRINTER cities of New York, Philadelphia and Baltimore, returning to their homes with a new conception of Eastern hospitality. GOSSIP OF THE CONVENTION. All had plenty — none too much. The most orderly convention in history. There was a noticeable absence of the old-time “ tourist.” The “ gentleman from Texas ” was very much in evidence. Charles (“Resolution”) Spencer was around giving the glad hand to all. F. N. WHITEHEAD, Chairman, Committee of Arrangements. Miss Carrie E. Cathcart, of St. Joseph, Missouri, was the only lady delegate to the convention. L. C. (“Boss”) Shepard, of Chicago, was about among his many friends during convention week. Percy B. S. Thayer, night foreman of the Boston Herald, was one of Boston’s delegates to Washington. Ex-International Presidents William B. Prescott and Mark L. Crawford were prominent visitors at the convention. The convention took its hat off to the Washington Post when Monday’s editorial, “ Hats Off to the Printers,” was read. Oscar J. Ricketts, foreman of printing, Government Print¬ ing Office, accompanied the excursionists on Baltimore’s outing Sunday. “Black” John Douglas, delegate from Bradford, Penn¬ sylvania, was one of the interesting characters at the con¬ vention. Thomas A. Whalen, superintendent of the municipal print¬ ing office, of Boston, was in Washington to take in the con¬ vention. Some of the Western contingent discovered on the Balti¬ more excursion that crabs and ice cream do not agree at close quarters. Alfred Page Marston and William Briggs, of the Govern¬ ment Printing Office, entertained a number of friends in princely fashion during convention week. Chicago’s delegation was a cosmopolitan one — Joseph I. Leigh, an Englishman; John McGowan, Irish; Conrad Mueller, German, and Leon Hornstein, a Jew. A large lobby was sent from St. Louis to Washington to convince the delegates that St. Louis was the center of the 77 earth, but their oratorical ability was not needed to decide the matter. The delegation were all gentlemen of large capacity. Delegate Kaurer, of Wilkes-Barre, Pennsylvania, com¬ plained that the convention wastes valuable time and “ gets in a whole lot of hot air that don’t cut any ice.” William (“Kicker”) Mill, ex-delegate of 1878, who has a wide acquaintance among the old-timers, attended the Washington convention and was kept busy shaking hands. Jesse L. Nave, of Bristol, Tennessee, ex-delegate to Cin¬ cinnati, was the youngest delegate to the Washington con¬ vention. Delegate Nave has not yet reached his twenty-first birthday. The manager of the Ebbitt House, headquarters of dele¬ gates, said the delegates were more orderly than a recent convention of ministers, and quieter than the Epworth Leaguers. W. S. Osbon, of Dayton, Ohio, six feet five in height, doubled up with J. P. Murtaugh, of LaSalle, Illinois, a four footer, and wherever they went were known as the “ long and short men.” President Joe Jackson, accompanied by his band of war¬ riors and several cases of printed matter and badges, took the city by storm and won the convention for St. Louis in 1904 hands down. A beautiful souvenir guide-book was given to every lady visitor at Arlington on Tuesday’s excursion of the Ex-Dele¬ gates’ Association. It was finely illustrated and was highly prized by its recipients. Capt. William M. Meredith, chief of the Bureau of Engrav¬ ing and Printing, was greatly missed at convention headquar¬ ters, his recent bereavement in the loss of his wife casting a gloom over his many old-time friends. Bob Shields, delegate from Butte, Montana, sprung the most unique card at the convention. Embossed on sheet copper, it was eagerly sought after, even the newsboys of Washington hunting for the man who was giving away “gold cards.” Mrs. J. W. Bramwood, wife of the secretary-treasurer of the International Typographical Union, was presented with a handsome set of silver teaspoons. The gift was a token of esteem from her lady friends in Washington. ]. A. HUSTON, Secretary, Committee of Arrangements. z. T. JENKINS, Chairman, Reception Committee. C. T. U. No. 101. “ Mike ” Colbert, “ Charley ” Hawkes, Louis Hornstein, Professor Moore, of the Weather Bureau, and a number of ladies, were so entranced by the beauties of Annapolis that they missed the excursion boat when it left for Tolchester Beach on the Baltimore outing, Sunday. By returning to Baltimore and catching a later boat to Tolchester, they rejoined their friends on the excursion steamer. The souvenir badge which Baltimore Typographical Union presented to each guest at its outing consisted of an oyster 78 THE INLAND PRINTER shell with a small metal crab attached, and streamers of black and yellow ribbon. They were eagerly sought after and treasured. George M. Ramsey, ex-president New York Pressmen’s Union, No. I, who enjoys the distinction of having represented both pressmen’s and typographical unions at international con¬ ventions, was “ in the hands of his friends ” during conven¬ tion week. The convention souvenir, a handsome volume of nearly one hundred pages, illustrated with views of the capital city and portraits of officials of the union and the National Gov¬ ernment, was presented to each delegate and visitor, and highly treasured. The smoker given by the Central Labor Union to the delegates of the International Typographical Union and the International Stereotypers’ and Electrotypers’ Union was well attended. It was one of the many delightful incidents of convention week. H. S. Sutton, printer by vocation, novel writer by avoca¬ tion, was one of those who acted as guides to convention JOB M. JOHNSON, D. C. VAUGHAN, President, Columbia Typograph- Vice-President, Columbia Typo- ical Union. graphical Union. visitors. Mr. Sutton was delega1-'’ from Washington to the Denver convention of 1889 and was secretary of the Atlanta convention in 1890. William Henry Stubbs, the champion Baltimore Linotype operator, had a clean proof in the baseball game between Baltimore and Washington unions. The only mark he got was one in the run column, having no hits, put outs, assists or errors. Stubbs played right field. Charles E. Ellis, of Richmond, Virginia, eighty-eight years old, and a delegate to the first international convention, held in Cincinnati over fifty years ago, was in Washington renew¬ ing old acquaintances and making new ones. Mr. Ellis was also a delegate to Washington in 1868 and again to Cincinnati in 1870. President Joe M. Johnson, of Columbia Typographical Union, was called away from the city to attend the funeral of his father at Fayetteville, Tennessee, his duties devolving upon Vice-President Vaughan during his absence. Mr. John¬ son returned to Washington before adjournment of the con¬ vention. The local reception committee of the Woman’s Auxiliary, which had the matter of the comfort of the visiting ladies in charge, was composed of Mrs. J. M. Johnson, chairman; Mrs. Charles Jack. Mrs. A. W. Bowen, Mrs. Charles Nace, Miss Abertheny, Miss Daisy Cummings, Mrs. William Garrett and Mrs. J. E. Goodkey. At the close of the session of the Woman’s Auxiliary, silver mounted gavels were presented by the ladies to Mrs. Laura Gordon, president of the local auxiliary, and to President J. M. Johnson, of Columbia Typographical Union, in acknowl¬ edgment of the warm reception and splendid entertainments tendered them during convention week. A special gift of a large arm-chair and a marble block to accompany the gavel was made to Mrs. Gordon. The delegates to the International Stereotypers’ and Elec¬ trotypers’ Convention, who went on the Baltimore excursion as guests of Baltimore union, later presented Baltimore’s dele¬ gation to the Typographical Union Convention with a gold- W. J. HANAFIN, President, Baltimore Typograph¬ ical Union. headed cane as an acknowledgment of the courtesy extended them, stipulating that it be carried by Baltimore’s delegate to future conventions. Washington has numerous social clubs and societies com¬ posed of printers, not the least of which is the Columbia Debating Society, members of which are employed on the night force in the Government Printing-office. These men gather in the afternoon a couple of times each week and debate live topics of importance in national and union affairs, MRS. FRANK A. KENNEDY, LAURA B. GORDON, President, Woman’s Auxiliary, President, Woman’s Auxiliary, I. T. U. No. 13. thus bringing out latent talent in its members and setting an example which might be followed with advantage in other large cities. One of the pleasing events of the closing day at auxiliary headquarters was the presentation of a handsome silver loving cup to Secretary-Treasurer Donnell by Mr. and Mrs. George F. Halsey, of Washington. The card accompanying the cup was inscribed : “ Kindly accept this token as a souvenir of the forty-ninth session of the International Typographical Union. Pleasant remembrances of the past and good wishes for the future.” Mrs. Donnell also received a handsome picture of the new Government Printing-office building from Mrs. Roberts, of the Washington auxiliary. George E. Esterling, delegate from Denver, Colorado, was the most popular man at the convention. Everybody wanted THE INLAND PRINTER 79 to exchange cards with him, and the genial foreman of the United States Colortype Company disposed of nearly two thousand of the handsome cards he brought with him. They were in the shape of a folder containing six three-color pic¬ tures of Colorado scenes, the delegate’s card showing him MISS KATHERINE KIDD SPENCER, MRS. JOE M. JOHNSON, Chairman, Entertainment Commit- Chairman, Reception Committee, tee, Woman’s Auxiliary, No. 13. Woman’s Auxiliary, No. 13. mounted on a burro, with the line below reading “ Me and Satan.” Mr. Esterling also distributed a trunkful of three- color pictures and souvenir booklets among the Washington ladies. W. S. Waudby, candidate for Commissioner of Labor, had an amusing experience at the luncheon given at Huerich’s after the carriage ride. Mr. Waudby had secured some salad for his party and was making his way toward them through the crowd, when he was captured by a lady who relieved him of his burden, saying she had been waiting for some time. Recovering from his astonishment at being mistaken for a waiter, he secured a second supply, but before he could “ deliver the goods ” he was waylaid by the same lady who again confiscated the “ take.” On his third attempt he gathered some friends about him and with the interference so formed reached his party without further mishap. As a slight token of appreciation for the many delightful entertainments of convention week, Chairman F. N. White- head, of the committee of arrangements, was presented with a beautiful gold watch and chain by the delegates to the convention. Mr. Whitehead’s efforts were ably seconded by the other members of the committee, Messrs. J. A. Huston, John R. Berg, H. B. Goodrell, E. E. Calhoon, J. B. Dickman. T. M. Ring, C. C. Thompson, H. F. Sauter, E. W. Patton, E. E. Wear, G. B. Seibold, T. J. Rowe, T. F. Ellis and D. W. Fleming. To each of the committeemen a gold enameled emblem of the secret society or fraternity to which they belong was presented. Those of the committee who belong to no society received handsome silk umbrellas. The session of the Woman’s International Auxiliary was most harmonious, and the daily sessions productive of much good in furthering the work of this branch of the Typograph¬ ical Union. The new officers elected were: President, Mrs. Frank A. Kennedy, Omaha, Nebraska; secretary-treasurer, Mrs. E. D. Donnell, Cincinnati ; first vice-president, Miss Laura B. Gordon, Washington ; second vice-president, Mrs. Charles McKee, Indianapolis ; third vice-president, Mrs. Edward Buchanan, Nashville, Tennessee; fourth vice-presi¬ dent, Mrs. C. C. Huston, Atlanta, Georgia; chaplain, Mrs. Waudby, Rochester, New York; guide, Mrs. Frank O. Martin, St. Joseph. Missouri. The oratorical ability of the members of Columbia Union has often been commented upon and their versatility as enter¬ tainers has been the subject of remark. It is not generally known that this quality has been developed in many of the members by an organization among the capital city typos, called, in the parlance of the cafe, “ The Knockers Club,” the true name of the order being the Knights of Momus, 01 disciples of fun. This club holds monthly meetings in the downtown hotels, and entertains as guests of honor men of theatrical, congressional or journalistic prominence. The program calls for an original story, poem or other form of entertainment from each of the members, and the guest of the evening likewise contributes to the entertainment. The scintil¬ lating wit and repartee of these evenings and the impromptu speeches made on these occasions are the means of developing much of the admirable qualities so noticeable in Columbia’s membership during the recent convention. The Mailers’ Trade District Union held their first conven¬ tion in Washington the week of the International Typograph¬ ical Union Convention, and matters of great importance were considered, and many new laws made which will have a tendency to benefit the craft greatly within the next year to come. The delegates’ credentials were received and the following delegates seated : Charles Heidrick, Chicago Mail¬ ers, No. 2; D. J. McCullough and William Keating, New York Mailers, No. 6; Eugene F. Murphy, Boston Mailers, No. 1; Joseph Hudnall, St. Joseph Mailers, No. 15; Thomas Morton, Toronto Mailers, No. 5; C. F. Masters, Kansas City Mailers, No. 7; Joseph Roehl, St. Louis, Missouri, and Edward Eby, Cincinnati Mailers, No. 17. Mr. James J. Mulcahy, the president, has done considerable for the welfare of the mailers in general, and his report and the recommendations therein met with the hearty approval of the many delegates present. The secretary-treasurer reported the treasury in a very healthy CAPT. W. R. RAMSEY, President, Ex-Delegates’ Associa¬ tion of Washington. CHARLES T. GRAFF, Chairman, Reception Committee, Ex-Delegates’ Association. condition, and suggested that the Organization Committee use every available effort to strengthen the locals now in existence, and secure more applications for new membership. DO CONVENTIONS PAY? BY W. B. PRESCOTT. THE convention season is over, and the question “Are such gatherings worth while?” is a pertinent one, even though it be somewhat hackneyed. So far as employers’ associations are concerned, such meetings are not open to objection. Most, if not all, of the delegates defray their expenses, so if their time be devoted to the social delights incident to the occasion, and that suits them, it is nobody’s business. And frequent conventions are, perhaps, necessary in the case of young organizations that have questions of principle and business policy to settle. But with old-established trade unions, having no fundamental issues to dispose of, and where the bills must be paid from not overly plethoric treas¬ uries, which in turn are recouped from the pockets of strug¬ gling working people, there is little or no excuse for the 80 THE INLAND PRINTER wanton waste of time and money which is characteristic of the average annual convention. The International Typographical Union sets the fashion among printing-trade organizations in such matters, and also furnishes an excellent illustration of the absurdity of the prevailing practice. Time was when the advocates of frequent sessions put forward the claim that they were a business necessity. That reason is not seriously advanced at this time by the knowing ones, and we are told a convention is a good advertisement for any society, and the social side — the oppor¬ tunity it affords delegates and visitors of renewing old friend¬ ships and making new ones — • is well worth the price. Prob¬ ably the participants in these pleasant festivities think so, as they enjoy a sumptuous holiday at cut-rate prices, while the stay-at-homes, in one way or another, pay the difference. And the home-guards are the people in whose interest the con¬ ventions are supposed to be held, and who, as compensation for supplying the money for the “ good (or bad) time,” harbor the delusion that the “ delegates will do something of a definite character about this or that affair.” Fortunately — the word is used advisedly — typographical conventions seldom take definite or drastic action on any subject. The atmos¬ phere of good-fellowship so permeates the places where dele¬ gates assemble there is a constant striving to dispose of vexed questions so that the immediate company will be satisfied. That disputes should be “ settled right ” is not thought of by the average delegate, as such a policy would interfere with the week-long era of good feeling which the entertainment committee spends thousands of dollars in promoting. It also explains why so many matters, hoary with age, make their appearance at convention after convention. Really, instead of “ doing something,” the delegates seem to exercise much ingenuity in evading knotty problems, first by accepting every invitation to a junket that is presented, and then, finding they have not time to thoroughly investigate the problems, referring them back to the officers “ with power to act,” and with “ instructions to report.” This is similar to the drillmaster’s command, “ As you were ! ” for such questions usually emanate from or have passed through the hands of the officers, and their parade before the convention gives them an airing which proves more harmful than beneficial to the union. This do-nothing policy is generally comfortably designated as con¬ servative, in contradistinction to what occasionally happens. Sometimes between entertainments, or perhaps just after returning from an epicureanlike repast, a perplexing but half- digested problem comes up for discussion. A delegate opens the debate, ignoring the law and the facts in the case (but why think of such prosaic things when every day is a holi¬ day?), and appeals to the sentimental and sympathetic in his auditors, discussing anything but the real issue. This sets a pace agreeable to the sensuousness which follows the enjoy¬ ment of a good meal or accompanies happy anticipation of the joys of the next gastronomic event on the program, and a flood of oratory of a like character is let loose. Finally a vote is taken and the local union is indorsed or the action of the officers approved, as the case may be, with a whoop and a hurrah. This is called decisive action, though under just such conditions Typographical Union conventions have made some of the most egregious blunders that have cursed the craft. The writer has often wondered why the home-guards — the men who pay the freight and who have no axes to grind • — • tolerate the continuance of these annual “ hot-air ” tests. The history of the Typographical Union demonstrates that while conventions have been the prolific promulgators of plans to establish benefit features of various kinds, they have ever failed to secure the funds- — a fatal omission. It was not until the members at large became the lawmakers that the organization had one (always excepting the traveling-card system) of the several features which have served it so well, and of which the members are proud. Nowadays, there are many things which a convention is unable to accomplish, though there is nothing which a convention can do which can not be done as well, if not better, by the officers or the members. Furthermore, almost every great mistake of the International Union and every indefensible and ridiculous law on its books can be charged to conventions. At one time it was said hasty legislation was due to the delegates electing the officers, which fostered “ politics ” to such an extent that legislation was overshadowed to the extent of being lost sight of. Now, however, the members select the officers by popular vote, yet union “ politics ” is as breath to the nostrils of the delegates and the small army of visitors that, in these latter years of grace, follow conventions, and the accompanying good things. If one were to ask a logical and truthful man who has attended three or four con¬ ventions why these things be, he would probably receive the answer vouchsafed the writer by such a man, who said : “ The delegates talk politics for the same reason they accept invita¬ tions, and the next convention will be held in the town that promises the most entertainment — there is no real business before them ■ — not even enough to furnish a text for a “ healthy session.” This straightforward fellow struck the keynote. Not being the first, or even the third, convention he had attended, he did not allow the pleasant fictions of the welcoming addresses or the soft-sawder of the press to delude him into the belief that he was of much importance in a body doing great things. And what of the cost of a Typographical Union conven¬ tion? At a low estimate, the recent one caused an outlay of $30,000, though some have estimated the total cost to have been $60,000, or $1.50 per member — and at that thousands were not represented in any way- — -and was in actual session about thirty hours ; in round figures, the approximate cost was from $1,000 to $2,000 for each hour in session. Con¬ sidered in this light, the affair assumes the aspect of a function of the Newport smart set, rather than an assemblage of rep¬ resentatives of workingmen. And yet, with all this expendi¬ ture, the main topic of conversation among the delegates was not so much how the interests of the organization could be advanced, as the election of officers. With that the conven¬ tion, as such, had no more to do than it was officially concerned with the succes of aerial navigation. The members are not aware of these things, because they have acquired the habit of regarding conventions as prime essentials, and do not scrutinize their acts or cost carefully. If they but realized the meager results achieved by the average delegate, as compared with the outlay, and that indulgence in similar extravagance for other services rendered the union would be disastrous, the folly would soon come to an end. Or, if delegates were called upon to show what they had done for the money voted them, as other officers are, the stated convention would be doomed. For a short period Typographical Union law read that con¬ ventions could only be held after a call had been approved by a majority of the members. At that time the organization was in harmony on this question rvith the more progressive labor unions the world over. Unfortunately, however, the city in which the next convention should be held had been named, and the local union there, itching to do the grand as an entertainer — in conjunction with members ambitious to be delegates and partake of the entertainment — secured a recon¬ sideration of the vote. By dint of much canvassing and the industrious circulation of misleading assertions, the no-stated- convention law was repealed by a majority about equal to the number of candidates in the field. It is fair to conclude that if the matter were fairly presented to the members of this old organization, and they fully informed as to the facts, the useless and expensive convention would be put in the “ has- been ” class. There are numerous ways in which the unions could spend the money to better advantage. Let it remain in the member’s pocket rather than fritter it away in the prodigalities attending the yearly junkets — by courtesy called conventions. THE INLAND PRINTER 81 BY E. F. WAGNER. Correspondence relating to this department is respectfully invited from lithographers, lithographic artists, and others inter¬ ested. Individual experiences in any way pertaining to the trade are solicited. Differences of opinion regarding answers given by the editor will receive respectful consideration. Ad¬ dress all samples and letters to Lithographic Department, The Inland Printer, Chicago. The following list of books is given for the convenience of readers. Orders may be sent to The Inland Printer Company. Photolithography.- — George Fritz. $1.75. Grammar of Lithography. — W. D. Richmond. $2. Lithographic Specimens.- — Portfolios of specimens in the highest style of the art, published by Joseph Heim. Album Lithographique, part 20, $1.50. American Commercial Specimens, second and third series, $3.50 each. Modern Alphabets, $3.50. Imitating Lithographing on Celluloid. — J. L. K., Wash¬ ington, D. C., writes : “ Kindly give me a recipe for fastening lithographs in colors to appear like printing done direct on the celluloid.” Answer. — • Fasten the printed sheets to the transparent celluloid by using a varnish made by taking one part gum shellac, one part camphor and four parts of alcohol ; dissolve same and use very thin, placing sheets under a reason¬ able pressure. Conditions in South Africa.— The Lithographic Gazette, the official organ of the United Lithographers of Great Britain and Ireland, prints a warning to those who have come under the influence of unscrupulous agents giving glowing accounts of the good (?) conditions existing in that desolated land. It also publishes a price-list of foods, rents and oth°r neces¬ saries, showing that the cost of living is excessively high and wage competition very fierce there. Instructions for Engraving on Stone. — W. F. W., Coshocton, Ohio, writes : “ Is there any book giving instruc¬ tions for engraving On stone or, in other words, lithographing on stone? Does the ‘Grammar of Lithography’ give instruc¬ tion in engraving?” Answer. — The “Grammar of Lithog¬ raphy,” on page 131, gives pretty full explanations for this part of the lithographic profession. The Inland Printer, in its lithographic department, has covered the subject of engraving at various times, with practical hints gathered from shop experience. See index to the volumes for several years back. Lithographic Conditions in England. — The British lithographer complains in the Lithographic Gazette about having very often to work under the foremanship of a typog¬ rapher, simply because he is a cheap man. It is further stated that in the lithographic establishments they use old-fashioned machinery, in the most cases entirely worn out, and if the workman complains thereof it is hinted that some of the best jobs were once run from those presses. The English lithographer is not encouraged by his employer, as his brother in the States is, therefore he jogs along contentedly in the same old way, while foreign competitors go ahead throwing out old machinery and installing new. Book-cover Designing in America.- — “ Twentieth Century Cover Designs ” shows the finest covers designed during the last few years in this country by such men' as Will Bradley, Walter Enright, Frank Plazenplug, Ralph Fletcher Seymour, and women who rank equally high, as Kate Griswold, Blanche McMannus, Mrs. Henry Whittman and others. There are about two hundred designs by leading artists. This book is a correct guide to artistic book designing. It contains a number of essays by practical craftsmen on the use of 1-6 “ Colors,” “ Cover Designing in General,” “ Pyrography as a Fine Art,” Viennese “ Inlays,” and many other matters of far-reaching import in this art. It is a work for the high artisan and shows how beauty and utility can be united to produce the finest effects. For sale by The Inland Printer Company, Chicago. Price, $5. Experimenting on Aluminum. — “ Color Prover,” Cincin¬ nati, Ohio, writes : “ I have occasion to use powdered asphal- tum mixed with wax, and also need some oxalic, powdered to a fine dry dust. • I have tried to rub these things to a powder, but can not find the right way, somehow. Seeing that you answer a great many such shop questions, I make free to ask. Our druggist does not seem to understand, and my fellow craftsmen do not know. It is an experiment on aluminum I am after, and I will let you know the result.” Ansiver. — In order to obtain a good asphalt powder mixed with wax, it is necessary to fuse the wax and asphaltum together. Say to a certain quantity of pure Syrian asphalt, take ten per cent of pure beeswax; melt, and after cooling, break up into small bits and finally reduce to a fine powder. The oxalic acid, being hygroscopic, must be powdered in a hot mortar. Care should also be taken to dry the oxalic before crushing it. Rise in Prices in the Lithographic Industry in France.— In France the price for lithographic poster printing has at last been raised by the joint action of the employers’ syndicate, establishing a minimum per ream for the trade and twenty-five per cent more to direct customers on the follow¬ ing prices : Size, 24 by 32, per ream, $5, and subsequent reams, $1.25; size, 26 by 40, $6 per ream, and $2.06 for subse¬ quent reams; sizes, 30 by 42, 31 by 45, 32 by 48, inclusive, $8 per ream; sizes, 44 by 60 and 48 by 64, inclusive, $9.75 per ream, and $3 to $3.25 for subsequent reams ; size, 52 by 80, $18 per ream, and $6 for subsequent reams. It has also been agreed that in case of interruption by the customer the charge for lost time shall be $1 per hour for 32 by 48 inch, $1.25 for 40 by 56 inch, $1.50 for 48 by 64 inch and $2.16 for 52 by 80 inch. All spoiled sheets are invoiced and delivered on a basis of a five per cent discount, and the customer may add his imprint in cases where the work is direct. An Inviting Advertisement. — The Eclipse Electrotype & Engraving Company, of Cleveland, Ohio, sends a booklet of more than ordinary importance, as it is a gem in idea and execution. A unique combination of the three “ E’s ” upon the cover is printed in gold. It is bound with a- neat silk cord and enclosed in a transparent paper, which is so charm¬ ingly employed to give refinement to booklets. The title-page bears the inscription, “ Shop Rhymes,” and is deftly designed in modern style (gray and broken black). The introductory page has the rhyme, “Would you like to know how a ‘cut’ is made?” etc. Then come twelve striking pictorial reproduc¬ tions, showing the various stages that a “ cut ” has to pass through before it is shipped on the train to reach its destina¬ tion. The olive-black and soft gray tint, pictorial and literary matter, is carried through the entire book, giving unity of design to the production, and testifying to the fact that these people know, not only how to illustrate, but also how to “ write up ” advertising matter in a catchy manner. More Art Required. — According to the observations of a daily paper in its editorial part, the French consul at Rouen has commented upon the inartistic decoration with which our labels are sent abroad, and has warned our manufacturers that they must bestir themselves if they would compete with the French products, which, although not better, or perhaps much worse, are, nevertheless, exteriorly more acceptable to the fine artistic taste of the French people. A hint can be taken from this for application in trading at home, for it is an indisputable fact that the elegant manner in which an article is put up and labeled will be a convincing argument for its superiority, and nine times out of ten the public is 82 THE INLAND PRINTER right. If it is false economy which employs cheap designers or lithographers on work to pass review by a nation highly cultivated in art, then neither should it be forgotten that the American people are becoming educated on aesthetic lines, and they wish to see things of utility or for consumption brought before them in a shape that fits their greatness. Blue for Rubbing in Tracings on Gelatin. — A. C. D., Cincinnati, Ohio, writes : “ Will you kindly advise the writer, in your valued paper, what kind of blue (and where to get it), as per sample enclosed, marked No. i. We use it when making gelatin tracings for engraved work to rub into the lines. If you will notice, it is like flour, soft, can be rubbed over gelatin without scratching it and makes a fine tracing. Paper No. 2 contains the only kind I have lately been able to purchase. It is gritty and sandy and will scratch the gelatin. We are very anxious to get some of the No. 1 kind, but do not know what to call for. If you will advise us in your valued paper, your kindness would be greatly appreciated.” Answer.— The samples sent by our correspond¬ ent are mixed with more or less impurities. This color can be improved by washing in pure water, and, after letting the earthy matter settle, pour off the liquid, and the final residue (or after the water has evaporated) will be useful for pur¬ poses of rubbing in tracings. Still the trouble will be too great if you consider that litho. supply houses sell a powder for the purpose that fills the bill in every particular. An Easy Method of Printing with the Lithographic Roller. — P. S., Albany, New York, writes: “I have read with interest the question of E. F. H., in August Inland Printer. Your suggestions are very good (that of etching instead of engraving) for an amateur ; ought to be fine. Of course, he would have to be a draftsman, but for printing it would give a man some trouble, unless he was a copper¬ plate printer, for he would have to fill in the deep lines with ink by warming the plate, etc. Now I would like to suggest a much simpler method, and ask your permission to improve on yours, as far as the printing is concerned, for I have printed music from punched plates the same as from litho. stone, by first filling in the lines of the various depths with wax, while the plate was heated. This was carefully wiped off and made even with the surface, and then I could print from it same as stone, by damping; the ink will stick to the wax and the water to the plate, yet an inexperienced hand can not hurt it, as is the case on litho. stone.” Answer. — Many thanks for the able article; it is a very valuable sug¬ gestion, and E. F. H., and perhaps others, will be pleased for the contribution. Transferring to Lithograph Stone for “ Colored Prints.” — William B., Paterson, New Jersey, writes us: “ Would be pleased to know if you have papers giving instructions for transferring fast colored prints, etc., to stone and printing from litho. stone without etching stone, etc. Have been informed that printing can be done that way — what is known as transferring. If this is not the right way, let me know full particulars, etc. Also what paper, or maga¬ zine, or book, to get that will instruct amateurs.” Answer. — Our worthy correspondent has things mixed up regarding lithography, and it is difficult to say if he can be benefited by verbal advice. Our experience in the lithographic trade, which began in the pressroom, passed successively through the engraving and artists’ rooms and is now settled in the sketching and designing branch, is at all times at the disposal of those who have been less fortunate in acquiring knowledge of this profession, but it must be borne in mind that a calling like the litho. trade, even the most insignificant part thereof, is not acquired in a jiffy. Now, take our correspondent for instance. Lias he a press? Has he the other necessary paraphernalia and appurtenances? His letter shows that he has not; and if he had, he would not know what to do with them. Still if he possesses the energy to try and learn, through correspondence, such a many-sided trade, which is so difficult to learn even with the best of teachers, we will gladly assist him to the best of our ability, in the almost hopeless task. Regarding the above query, we will say that the best book on the subject is “Richmond’s Grammar of Lithography,” price, $2. For sale by The Inland Printer Company, Chicago. By “ fast-colored prints ” we take it he means decalcomania transfer prints. These can be transferred to a variety of objects. No printing can be done without etching or preparation of some kind, and so must a transfer be etched, as the transfer is made to print from. The litho¬ graphic columns of The Inland Printer, for the past five years, treat upon a great variety of questions pertinent to the litho. trade, to which we would also refer our corre¬ spondent. Half-tone from copperplate intaglio, by T. A. O’Shaughnessy, Chicago. PHOTOGRAPHY. An appreciation of photography by the late Pope Leo XIII. Translation by H. T. Henry, Litt. D., of Overbrook Seminary, Overbrook, Pennsylvania : Sun-wrought with magic of the skies, The image fair before me lies: Deep-vaulted brain and sparkling eyes And lips fine chiseling. O miracle of human thought, O art with newest marvels fraught — Appelles, Nature’s rival, wrought No fairer imaging. THE “TURNOVER IDOL.” A man daily worshiped an image called Big Turnover. Yet things fared ill with him. At last he bethought him angrily of his many vain oblations ; and he smashed the image ; when out of its head fell some gold coins. “ Ah,” said he, “ you will do more for blows than for worship. I don’t mind your being a broken, a smaller turnover, now, so only that you thus profit me a little better than before.” — Exchange. THE INLAND PRINTER 83 BY S. H. HORGAN. In this department, queries addressed to The Inland Printer regarding process engraving will be recorded and answered, and the experiences and suggestions of engravers and printers are solicited hereto. It is believed that herein will be found a medium for the interchange of valuable hints and suggestions never before offered to those in interest. The following list of books is given for the convenience of readers. Orders may be sent to The Inland Printer Company. Reducing Glasses, unmounted. 35 cents. Photoengraving. — By W. T. Wilkinson, revised and enlarged by Edward L. Wilson, New York. Cloth, $3. Drawing for Reproduction. — A practical handbook of drawing for modern methods of reproduction, by Charles G. Harper. Cloth, $2.50. Photoengraving. — By Carl Schraubstadter, Jr. Cloth; illustrated with numerous aiagrams, and provided with a copious index. $3. Lessons on Decorative Design. — By Frank G. Jackson, S. M. in the Birmingham Municipal School of Art. Elements, principles and practice of decoration. Cloth, $2. Theory and Practice of Design. — By Frank G. Jackson. Advanced text-book on decorative art; sequel to “Lessons on Decorative Design”; explaining fundamental principles underlying the art of designing. $2.50. Drawing for Printers. — By Ernest Knaufft, editor of The Art Student and director of the Chautauqua Society of Fine Arts. A practi¬ cal treatise on the art of designing and illustrating in connection with typography for the beginner as well as the more advanced student. Cloth, $2. Photoengraving. — By H. Jenkins. Containing practical instructions for producing photoengraved plates in relief-line and half-tone, with chap¬ ter on the theory and practice of three-color work, by Frederic E. Ives and Stephen H. Horgan, the frontispieces being progressive proofs of one of the best exhibits of three-color work. The whole is richly illustrated, printed on highly enameled heavy paper, and bound in blue silk cloth, gold embossed; new edition, revised and brought down to date; 200 pages. $2. Phototrichromatic Printing. — - By C. G. Zander. To learn the first principles of three-color work there is no better book than Zander’s " Phototrichromatic Printing.” The photoengraver or printer who attempts colorwork without understanding the laws of color phenomena will waste much time and money. To supply this elementary knowledge is the pur¬ pose of Mr. Zander’s book, and it is done in a thorough manner with¬ out scientific complexity. Fifty pages, with color-plates and diagrams. Cloth, $1. Prior’s Automatic Photoscale. — For the use of printers, publishers and photoengravers, in determining proportions in process engraving. The scale shows at a glance any desired proportion of reduction or enlargement, as well as the number of square inches in the proposed cut. It consists of a transparent scale, 8 by 12 inches (divided into quarter- inch squares by horizontal and perpendicular lines), to which is attached a pivoted diagonal rule for accurately determining proportions. A very useful article for all making or using process cuts. $2. Fogged Negatives. — W. N. B., Omaha, writes: “I am a half-tone operator and for the past four weeks have been troubled with fog on my negatives. This occurs on the surface of the film after development and can be wiped off with cotton under the tap. The fog causes the negative to be weak and thin. Blue litmus paper turns slightly red in my silver bath. Strength of bath forty-two grains to ounce. Temperature, 78° F.” Answer. — Your developing solution is too strong or too warm. Silver bath is too warm and not sufficiently acid. If these changes do not cure your trouble, write again, giving your formulie for collodion and developer. Organic Wet Plate Developer.- — V. de B., Montreal, writes : “ I am going back to photographic processwork after an absence of some years, and, having lost my photo¬ graphic books by fire, I am a loss for some recipes I used to have. I have searched the libraries here for a developer formula containing gelatin without success. None of the books on process give it and I think it would be just the thing for half-tone negatives. You are an old-timer in the business and may remember it.” Answer. — Yes, indeed, I remember it, and the disagreeable job it was making it. It. was a secret thirty years ago that was guarded carefully. It did certainly give perfectly clear negatives with intense blacks, but it required longer exposure and longer develop¬ ment, both of which would preclude its use in these days when time is money and operations must be done quickly. I will send formula to you by mail, as it would take too much space here, and is not of general interest now. Those, however, who want to try the effect of an “ organifier ” in the developer, can add one-half as much granulated sugar as they do photo¬ sulphate of iron in the developer, when they will find on using it that they can develop as long as they please without getting a deposit on the transparent portion of the negative. To Make Gelatin Insoluble. — -In so many photo¬ mechanical printing processes is it necessary to make gelatin insoluble? Alum, bichlorid of mercury, bromid of cadmium, chrome alum, chlorin gas, chlorid of platinum, formalin and tannic acid are some of the chemicals used for the purpose of hardening gelatin. Of these chrome alum is the best, but it is not always entirely satisfactory, owing to its acidity. Any attempt to render a chrome alum solution alkaline will result in throwing down a precipitate. Prof. R. Namais has been experimenting in this matter and he finds that taking a ten per cent chrome alum solution and adding ammonia until the solution becomes turbid and slightly alkaline, then adding a ten per cent solution of ordinary alum and boiling for some time a solution is obtained that will harden gelatin so thoroughly that it is not affected by acids. This is a valuable fact for processmen to know. Violet Rays Injure Eyesight. — -The electric arc lamps used for photographic work are going to be displaced by enclosed arc lamps, or to forms of lamps that will produce ultra-violet rays, those rays to which the photographic plate is most sensitive. This ultra-violet light is not a bright light and consequently the danger of its injuring the eyes will not be suspected until harm is done. So a word of warning is timely. Yellow glasses, such as are used to prevent snow- blindness, are all that are necessary to protect the photog¬ rapher’s eyes from injury, due to the ultra-violet rays. It is the ultra-violet rays in sunlight that burn the skin of the “ summer girl ” or the processman, but after continuing in the sunlight for some days nature furnishes a coat of tan, which is, after all, but a yellow filter to prevent the ultra-violet rays from injuring the skin. Let us take the hint from nature and use tan-colored glasses to protect the eyes. New and Old Collodion.— 1 Inquirer,” Chicago, asks : “ Can you tell me why new collodion is speedier and gives fuzzier negatives than old collodion? And why does old col¬ lodion give harder and clearer negatives? This is to settle a dispute I have with one of those smart alecks who thinks he knows it all. An immediate reply will oblige.” Answer. — - This is not an easy query to reply to. There are probably sev¬ eral reasons why old and “ ripe ” collodion gives more con¬ trasty negatives than when it is new. Here is one reason : Collodion becomes yellow and then a dark amber color with age. This yellow color prevents the faint light, which reaches it in the camera, from penetrating beyond the surface of the film, consequently there is no halation, or fuzziness, due to the diffusion of light in the sensitive film. The developer acts only on the surface of the film, thus giving the clear negative which is a characteristic of old collodion. To prove this is so, add a few grains of carbonate of soda to a dark amber col¬ lodion, when it will turn to a light amber in color and give softer negatives. The Wash-out Engraving Process. — C. J. Carlisle, Brooklyn, New York, asks: “Will you please inform me of a book that treats of the wash-out gelatin process of photo¬ engraving? I wish to use it for some particular linework. It is a very old process, in use some twenty or twenty-five years ago. I have several books on photoengraving, but none of them treats on the wash-out process. In the process, as I understand it, the gelatin is rotted for forty-eight hours at 120 degrees of heat in an oven and then the sensitizer added. What I would like to know is the exact working details of the process.” Answer.- — -All interested in this method of engrav¬ ing will find a complete description of it on pages 103 to 121 84 THE INLAND PRINTER of Carl Schraubstadter’s book on photoengraving, catalogued at the head of this department and obtainable from The Inland Printer Company. I suspect that the account of the wash-out process, to which the reader is referred, is from the pen of Charles Chetham, an expert on all photoengraving processes and particularly authoritative on the wash-out gelatin method of producing relief plates. The Gillots of Paris.— In the last number of Procede is found the portraits, reproduced herewith, of the famous firm of Gillot, possibly the oldest firm of photoengravers in the world. Both of these men are now dead. The portrait of Firmin Gillot is one of the first zinc etchings they ever made, FIRMIN' GILLOT, 1820-1S72. CHARLES GILLOT, 1853-1903. probably over thirty years ago. The half-tone of Charles Gillot was reproduced from a small amateur photograph, the only likeness in the possession of the family. Strange that a man who engraved portraits of others by the thousand should neglect having a portrait of himself. It is the old story of the shoemaker’s children going unshod. Teaching Engraving to Convicts. — United States Secret Service agents are reported as saying that convicts taught photoengraving in State prisons are giving the Government much concern on account of the danger of these jail birds using their new trade in counterfeiting bank notes. Chief John E. Wilkie, of the Secret Service in Washington, is said to favor a bill prohibiting the teaching of photoengraving in prisons. This is really an important matter, not only to the government, but for employers and workmen. The writer knows of two cases where ex-convicts have left a trail through engraving establishments that are an unpleasant mem¬ ory. In one case the engraver picked the pockets of the clothes hanging in the closets of the shops that he tarried in for a short time. When he decamped it was learned that he picked up his slight knowledge of photoengraving in a New York “ reformatory.” The other engraver was doing time in a Western State prison. The demand for engravers was greater than the supply in that State, so an influential paper got him out. He swindled all the employes he dared on the paper that had been his benefactor, and then began a career of fraud across the continent. I hold one of his worthless notes still, which accounts for my “ being touched ” on this subject. Federal or State laws should forbid the teaching of convicts to become possible counterfeiters. Perchlorid of Iron. — It was in 1881 that the writer of this called the painter-etcher’s attention to the value of per¬ chlorid of iron, or ferric chlorid for etching copper. Up to that time etchers used the “ dutch mordant,” made by dissolv¬ ing two parts of chlorate of potash in eighty-eight parts of boiling water and adding ten parts of hydrochloric acid. This mordant made a great deal of fuss in etching. Gas bubbles were formed so rapidly that it required constant brushing to remove them. Perchlorid of iron was found to be such an improvement that one of the painters told of it in the New York Herald as a wonderful discovery by the writer, when the fact was I was indebted for my information to W. H. Fox Talbot, who described it in a British patent of April 21, 1858. The property which perchlorid of iron has of hardening the enamel while it etches the copper, makes it the ideal etching medium for half-tone plates. Tons of it are now being used for that purpose, though it is only within the last year or so that manufacturers are making it of a quality best suited to the wants of the copper etcher. Penrose, of London, has an improved perchlorid which is called “ persal.” For etching steel, one of its users adds ten per cent of nitrous acid to the “ persal ” bath. Another boils fourteen pounds of “ persal ” in water until a saturated solution is formed, when one ounce of aqua ammonia is added, after which the solu¬ tion is exposed to the air for a few days in shallow trays. It is then bottled for use, when it is diluted to the required strength, as shown by a Beaume hydrometer. Any good quality perchlorid of iron might be treated as is here suggested for " persal.” The Editor of “ Le Procede.” — It is a pleasure to present this month the portrait of Mr. H. Calmels, editor and pro¬ prietor of Le Procede, the only journal devoted to processwork in France. Mr. Calmels’ father was a photographer in Paris when the son was born, almost in a darkroom, forty-five years ago. He began work as an etcher’s apprentice at the age of fifteen. He assisted at the first practical half-tone work done in France, and was the first to make successful half-tones in England, where he also introduced the chromotypographic grain process over twenty years ago. He popularized the enamel half-tone method in both France and England by THE INLAND PRINTER 85 practical demonstration and through papers read before the Royal Photographic Society of Great Britain and other societies, starting besides the public etching courses at the Polytechnic School in London. Seven years ago he returned to Paris and fitted up complete workrooms, where every branch of processwork can be demonstrated and where courses are given to students who possess some knowledge of lithog¬ raphy or drawing. Mr. Calmels has been striving to get French processworkers to wake up to the improvements that other countries are adopting. He has pointed particularly to the United States as leading in machinery and methods. A file of The Inland Printer can always be found at his busi¬ ness place, No. 150 Boulevard du Montparnasse, Paris, and readers of this department are invited to call on him when they are “ doing ” Paris. A PATENTED BOOK. One of the most comprehensively ingenious vocabularies of the English language is undoubtedly the “ Thesaurus Dictionary,” published by a Philadelphia firm. So ingenious, indeed, is its typographical arrangement that its inventor, Mr. James W. Buel, of Philadelphia, has been able to secure a United States patent for its protection. This is said, with apparent truth, to be the only instance on record of a patent having been granted covering the arrangement, as distinct from the actual contents, of a book. The “ Thesaurus ” itself appears likely to be of use to students and writers in general, its purpose being the facilitation of the means for determining the exact word or phrase which shall clearly and without ambiguity express a desired idea. It is, however, from the typographical point of view that the “ patented book ” is chiefly interesting to the printer. The Avil Printing Com¬ pany, of Philadelphia, found themselves confronted by a task of no mean magnitude when asked to translate into type the intricately elaborate arrangement by which the compilers’ meaning is quickly made obvious to the reader. The apparently complicated references and cross-references are all made sim¬ ple and easily understandable by means of the different faces of type employed, it being no uncommon occurrence to find six or seven varying faces within the space of a few lines. The amazing difficulties of composition thus encountered were rendered of trifling account by the employment of Monotype machines. No other mechanical compositors, it is said, could have successfully disposed of so involved a specimen of typog¬ raphy, but to the Monotype it has presented no difficulties. Further than this, indeed, it has permitted the printers to keep the whole job standing in preparation for a reviewed second edition, at an expense which is merely trifling as compared with that of keeping the same amount of foundry type idle. In the case of this monotype composition it has merely meant the locking-up of the cost of so many pounds of type-metal, or a comparatively inappreciable sum. In point of fact, it is the Monotype which alone has rendered the preparation and publication of this elaborate “ Thesaurus ” a commercial possibility. STIMULATES EFFORTS OF PRINTERS. The Inland Printer is not alone valuable for the infor¬ mation it gives on the varied branches of the printer’s art, but calculated also to stimulate the desire to do creditable work, through the beautiful samples of typography it pre¬ sents. — Robert S. Grant, Los Angeles, California. EVERY ISSUE SEEMS BETTER. The Inland Printer comes regularly to hand, and is always of great interest to us. The writer has had your journal for the last ten or twelve years, and every issue seems to be better than the preceding one. — Carmichael, Wilson & Co., Limited, Sydney, Australia, Under this head will appear, each month, suggestive com¬ ment on the composition of jobwork, and all descriptions of decorative typography. Address all communications and speci¬ mens for criticism in this department to The Inland Printer Company, 120-130 Sherman street, Chicago, 111. Write name and address on all specimens sent for criticism. Specimens for reproduction should be printed in black ink on white paper, if possible, and mailed fiat. The following list of books is given for the convenience of readers. Orders may be sent to The Inland Printer Company. Vest-pocket Manual of Printing. 50 cents. Modern Letterpress Designs. — A collection of designs for job com¬ position from the British Printer. 60 cents. Contests in Typographical Arrangement, Volume I, containing 230 advertisements, submitted in a contest conducted by The Inland Printer. A valuable collection for comparison and study. 40 cents. Title Pages. — By Theodore Low De Vinne. Third volume of the series on “ The Practice of Typography.” Treats the subject from three standpoints — Historical, Practical, and Critical. Copiously illustrated. Cloth, i2mo, 485 pages, $2. Twentieth Century Cover-designs. — Contains essays on cover¬ designing by well-known experts, and many specimens of modern covers, printed in colors, on different kinds and shades of color stock. A beauti¬ ful piece of typography. $5, prepaid. Plain Printing Types. — By Theodore Low De Vinne. First volume of the series on “ The Practice of Typography.” A treatise on the processes of typemaking, the point system, the names, sizes, styles and prices of plain printing types. Cloth, i2mo, 403 pages, $2. Correct Composition. — By Theodore Low De Vinne. Second volume of the series on “ The Practice of Typography.” A treatise on spelling, abbreviations, compounding, division, proper use of figures and numerals, italic and capital letters, notes, etc., with observations on punctuation and proofreading. Cloth, i2mo, 476 pages, $2. Hints on Imposition. — By T. B. Williams. This book is a thor¬ oughly reliable guide to the imposition of book forms, and shows, in addition to the usual diagrams, the folds of the sheet for each form, with concise instructions which may be readily understood. Several chapters are devoted to “ making ” the margins, and this feature alone is well worth the price of the book. 4 by 6 inches, full leather, flexible. $1. Modern Type Display. — The latest and best book on artistic job composition. Its eighty pages contain about one hundred and forty up- to-date examples of letter-heads, bill-heads, envelopes, statements, cards and other samples of commercial work. In addition to the examples is reading matter fully describing the different classes of work and making many helpful suggestions for the proper composition of commercial work. Compiled and edited by Ed S. Ralph. It is a book which every intelli¬ gent compositor should possess. Size 7^2 by inches. Price, 50 cents, postpaid. Albert Klein, Chicago. — The rulework is entirely unnec¬ essary on a business card. Cut it out and depend on good type arrangement for the attractiveness of the job. Harry A. Palmer, Philadelphia.— The blotter is well worded and arranged, but we take exception to the word- ornaments. They never would be missed if omitted. W. Herbert Ray, Newburgh, New York. — -The title is well designed and the arrangement is suitable for an advertis¬ ing booklet, but a simpler style is better for church printing. Lafayette F. Doerty, Findlay, Ohio. — The jobs shown are not exceptional in treatment. On the envelope the centering of the town under the rest of the lines would be an improve¬ ment. E. E. Butler, Forest, Mississippi. — Crowding the margins is one of the things that should not be done, and the use of too large type sizes on the headings is another. With the two errors corrected, the work would show great improvement. Fred Doig, St. John, New Brunswick. — The designs are good, but a tendency to use large sizes should be restrained, and leave off periods at ends of display lines placed there for ornamental reasons. It is ornament that does not ornament. Walter D. Nussbaum, Elkhart, Indiana. — If there is some doubt as to what size of type to use in filling a given space, it is best to use the smaller size. Leaded ten-point looks just as well as solid twelve-point, and in using the first there is less danger of the matter filling a larger space in type than is wanted. The commercial specimens are not exactly good, 86 THE INLAND PRINTER except the Furnace letter-head. A single light-face rule panel is rather ineffective. O. F. Linstrum, Georgetown, Texas. — The Church blotter is good except the last three lines, which should have been smaller and not so widely spaced between the words. As it stands, the lower part is wider than the top, an arrangement to be avoided for good appearance sake. Randall Printing Company, St. Paul, Minnesota. — -The desirable quality of fittingness — an appreciation of proper type selection for the work in hand — is the most obvious merit in the samples shown. In one or two cases, however, there is a departure from the best in type design. Excessive a HE undersigned. Merchant Tailors of Saint Paul, agree to close their stores during July and August, on Saturdays at one o ’clock, other days at five o’clock SCHAUB BROTHERS REID BROTHERS AWSUMB & ZAk HAGSTRUM & THORNQUIST AUGUST WITTMAN Saturdays at one o 'dock but not five on other days PEASE BROTHERS BANTZ & REISMAN A. F. M c B RIDE J. T. SCHUSLER DUNCAN & BARRY GOLDBERG & KRAM No. i. rulework in the way of underscores and ornament detract from good display. The reproduced announcement is a good example of harmony and natural composition. The initial is not large enough, and a large old-style letter would have been better, but otherwise it is a very satisfactory job. Rules and initials in red; the rest in black. (No. I.) Will F. Hollinger, Chadron, Nebraska. — • The blotter is sufficiently attractive, but might be improved a bit by cluster¬ ing, allowing more white space between the different state¬ ments. The letter-head needs, in the way of improvement, a one-point space between the lines and a reduction of the editor’s name two sizes. J. A. Coryell, Sioux City, Iowa. — When a firm name is displayed in caps, and small-caps, the use of a small-cap. “ & ” is generally desirable. If the word was used in place of the contraction it would be in small-caps., so why not be consistent and make the contraction small also? The word-ornaments harmonize very well with the type, being of about the same color value, but they might be dispensed with because of doubtful ornamental value. Charles S. Walker, Sioux City, Iowa. — The letter-head is in good enough style, although the reduction of the matter in the side panels one size would give better contrast. The ad. is well arranged, but overdone in the way of rulework and insufficiently displayed. A good ad. is a well-displayed ad., and strength and contrast are more efficient than mere ingenious arrangement. The main line should be very much stronger and the price figures in black type. Robert E. Lynch & Son, Philadelphia. — The wording of the receipt is a matter of taste. Perhaps the style is fitting in the Quaker city. The small blotter shows a good statement obscured by eccentric composition. Another case of the sim- Printing Cares of Business People Taken care of by Robert E. . Lynch6Son ^Dcinc a concern where the wants of those desiring print- ing. lithographing or booK-bindlng are tion. Give us a trial. Headquarter! Howard O Diamond Sts. P h . ladclphia Pennsylvania Printing Cares of Business People taken care of by Robert E. Lynch G- Son Being a concern where the wants of those de«lring printing, lithographing or book-binding arc given prompt attention. Give us a trial Howard and Diamond Streets Philadelphia. Pa. No. No. 3- plest way being the best, and failure to appreciate it. Why a design should be used that departs both from good style and legibility we do not know, when there is a much easier way to a better result, something in the style of the reset example. Obscurity caused by bad letter-spacing and crowding of type and rules are the errors chiefly noticeable. (Nos. 2 and 3.) Paul Ingebretson, Ogden, Utah.— Your card, although neatly printed, is errant in several ways. In order to make it THE CIRCLE PRINTING CO ARTISTIC PRINTING « Three Hundred Sixty, Eighteenth Street, OO DEN. - - - UTAH. No. 4. The Circle Printing Co. artistic Printing: 360 EIGHTEENTH STREET OGDEN, UTAH No. 5. conform more nearly to the term artistic, it should be printed in two colors instead of three and the type set in a series in place of a different face for each line. We reproduce it and THE INLAND PRINTER 87 a resetting in a style nearer to what the term artistic should imply. (Nos. 4 and 5.) Thaddeus S. Walling, Freehold, New Jersey. — Some restraint might be exercised in the use of ornament. Some of the borders used on commercial jobs are only suitable tor ads., and the occasional heavy rules placed at the top of CLOSING AND COMMENCEMENT EXERCISES The Farmingdale PUBLIC SCHOOL RED MEN'S HAU.. FARMINGDALE CLOSING AND COMMENCEMENT EXERCISES BI FARMINGDALE PUBLIC SCHOOL RED MENS HALL FARMINGDALE O. S. Hart, Keokuk, Iowa.— The No. 1 Oil letter-head is the best, on account of the stronger line used for the name, which is not overbalanced by the side matter as in No. 2. The Keppel bill-head is a distinct improvement over the copy, but the second display line could be made larger to advantage. Hugo Niehus, Dallas, Texas. — The Continental folder is attractive and consistent in every way except the first page. The same type face should have been used on the title as on the other pages, instead of four other kinds as shown. The Dallas Exchange card is very well displayed and in the proper style for that kind of business. S. M. Pettus, Charlotte, North Carolina. — Heavy under¬ scores should not be used when printed in black. They give to the work a funereal appearance not needed, and a one or two point rule is sufficient for emphasis. The reproduced THURSDAY. MAY and FRIDAY. MAY 29th, .90J Admission: Adults 15c; Children 10c Thursday, May 28th, and Friday, May 29lh, 1903 N. Y. Office: 292 W. Broad* 0^G COMPANY DEPARTMENT STORES WHOLESALE AND RETAIL 11-13-15 and *7 North Tryon and 1 2-1 4 West Trade Streets CHARLOTTE, N C. No. 6. No. 7. No. 10. pages are unnecessary and do not add a whit to the decorative value of the page. We reproduce a title with an inappropriate border and underscores, both too heavy for the type with which they are associated. The resetting illustrates this criticism. (Nos. 6 and 7.) William Groff, Lancaster, Pennsylvania. — Some miscon¬ ception of correct display is shown in the reproduced title. The word “ constitution ” should always be smaller than the name of the society. Common-sense and good arrangement both agree in so doing on this title, and a resetting is shown with the correction made. On No. 8 the type is cramped CONSTITUTION CONSTITUTION In and Out Society IN AND OUT ISOCI ETY Of Lancaster, Pa. OF LANCASTER. PA. of® ORGANIZED, MAY 21, I902. # ORGANIZED MAY 21. 1902. No. 8. No. 9. and stiff, an appearance helped somewhat by the rules and dashes at end of the lines. It is hard, at the best, to attain freedom and gracefulness in typography, and the additions always detract from these desirable results. (Nos. 8 and 9.) letter-head is a good example of what may be called the ingenious style of typography. The heavy rule and under¬ score should be in one color, the rest in another, in order to make an effective job. It is too heavy in black. The ornaments can be left off, and the word “ The ” put in old- H Definite Olork By and For Young Men. JOHN RUSKIN: “Invest your money in manhood, particularly young manhood.” DO NOT RETAIN ME OVER 48 HOURS, BUT MAKE YOUR SUBSCRIPTION and RETURN =ME PROMPTLY TO= STATE COMMITTEE Y. M. C. A. BUILDING CHARLOTTE, N. C. No. u. A Definite Work by and for Young Men JOHN RUSKIN “ Invest your money in manhood, particularly young manhood." Do not retain me over 48 hours, but make your sub¬ scription and return me promptly to STATE COMMITTEE Y. M. C. A. BUILDING CHARLOTTE, N.C. No. 12. style like rest of name. In setting a title in panel style and divided into parts, the sections should not be separated so far as to lose the effect of a single design. Two faces do not look well together as parts of the same title, especially widely variant styles as shown in the upper panel. (No. 11.) In the lower panel a more natural arrangement of the lines would do just as well, look better and be easier to set. These changes are shown. (Nos. 10, 11 and 12.) W. F. Brien, Hoosier Falls, New York. — Your type selection is not good. Most of the faces shown are out of date and should be replaced as soon as can be with some of the handsome and legible faces in popular use to-day. We would also suggest less elaborate rule and border designs, which, 88 THE INLAND PRINTER together with quieter shades of paper, would render your printing more attractive. The Howe Press, Rushton, Louisiana. — -Much variety in design is shown in the headings, but more restraint in the way of ornament would be helpful. The Bank cover is very much overburdened in this respect, and could very well dispense with CHARTER AND BY-LAWS LINCOLN PARISH BANK RUSTON, LA. No. 14. all of its adornment. The book is of a character that does not require embellishment of any kind, in fact it is very much out of place, and as things seen are more convincing than things heard, we show this correction to the end that an appreciation of the fitness of things may be cultivated. (Nos. 13 and 14.) Elmer Lewis, Nebo, Illinois. — Some study of good sam¬ ples of commercial printing and a better understanding of some of the elementary laws of correct printing will improve your work. Among other things we would suggest that it is better to make two lines of a statement rather than put it in I W. H. ARMENTROUT, t NEBO, ILLINOIS. jg Fine Shoes \ Specialty! - « 15 1 81 ■5 Give Us A Trial Order. 2:; I - I: SATiSFACTUN GUARANTEED. « No. 15. W. H. ARMENTROUT NEBO. ILLINOIS FINE SHOES A SPECIALTY We Save You Aoney on Boots and Shoes GIVE US A TRIAL ORDER SATISFACTION GUARANTEED No. 16. one line of extra-condensed type. Again, do not use pointers on commercial work. They may be used with extreme caution in ads., but never on other kinds of printing. The page repro¬ duced and reset shows the wrong use of an extra-condensed display line and improved appearance of the page by its non¬ use. (Nos. 15 and 16.) The Rice Press, Flint, Michigan. — The Gleaner booklet is certainly an ingenious and catchy bit of advertising. Any criticism from the job printer’s standpoint, however, would be out of place, because its conception and design is entirely the work of the advertising expert. Good plain composition in the style shown is entirely sufficient for such a job and in the best taste. R. H. Cunningham, Stamford, Connecticut.— A little more restraint in the typography of the “ About Ourselves ” booklet and a better grade of presswork would make it more consistent. Would suggest the removal of the rules top and bottom of the pages, and in place of them use a running head of the name and town on the left and some line pertinent to the business on the right. The Pirsch Press, Dayton, Ohio. — There are several things that are satisfactory and interesting in “ the doings of” the above-named firm. The type and its arrangement Phone, Main 1373 1 Dayton, Ohio . 190 The Pirsch Press TRINTERS PRODUCERS OF PRINTING THAT PLEASES THE PARTICULAR No. 17. are always suitable, and each job is properly garbed or typed,, to use an expression, in the style of letter that is appropriate or becoming for it. Quiet and proper designs prevail, inks and papers being called upon to do their part in the con¬ summation of much attractive work. The nearest approach to extravagance is the statement-heading reproduced, printed in a grayish blue and orange on a lighter blue stock. A card is also shown that is well balanced. Another very good feature is the insistent use of the imprint, and all of the sam- Choice Cigars & Tobaccos for Choicy People WM. F. BENSON JOHN VV. KOESTER Successors to Ed. C. ALBERT Kev West is Domestic Cl GARS No. 5 East Fifth Street DAYTON : OHIO Ttltthtne. Main 5S4 No. 18. pies shown are entirely worthy of the decoration. This use- of the imprint is important for two reasons. First, of course, its advertising value, and second, its influence for better work. The imprint should be the sign of a high standard of work, and the desire would be to always make it worthy ot that sign. (Nos. 17 and iS.) Huntly S. Turner, Ayer, Massachusetts.— The arrange¬ ment of the letter-head is good, but the main lines should be reduced one size. The Suspender booklet is not improved by the extreme indention of the paragraphs. It does not add one iota to the attractiveness of the job. As red is one color used in printing, rubricated paragraph marks could have been used with much better effect. H. LI. Mercer, Guthrie Center, Iowa. — Although we depre¬ cate the use of much elaborate design on commercial stationery, yet we appreciate the fact that in country offices this is almost the only outlet for the artistic expression of the compositor. THE INLAND PRINTER 89 The samples shown are generally good ; some of them ingen¬ ious and fanciful. On page 91 is shown a title-page set by a student in the Inland Printer Technical School. It is attractive and easily composed. The design is suitable for work of an advertising character, or in the front of a commercial catalogue, but is not a proper arrangement for a title to any printing of more dignified character. Good taste would condemn such an eccen¬ tric style, except in advertising, where odd or catchy designs are desirable sometimes. The inside panel defines the type display and gives feature, without which it would be simply a conventional, well-balanced title-page. Penotype Designs. — In the September issue were shown three ads. set in a very common, haphazard way and reset with some attempt at intelligent display. In this issue are shown the three reset ads. and beside them the same ads. reduced somewhat and embellished with decorative borders done with pen and ink and then etched. The “ Penotype process,” it has very fittingly been called. The comparison is offered in order to show the added value in distinctiveness given the by a decorative border of this kind. Although the type is smaller, its effectiveness is increased in two ways. The border and the white space between it and the type set the ad. apart from its neighbors, and the designed border gives individuality and grace. Of course this method could not be used in ordinary run of ad. composition, but for the No. 19. occasional demand for something more elaborate than an all¬ type design it is widely effective. An ad. of this kind among those of ordinary type display would be the most attractive one on the page. In this cooperation of compositor and artist, each contributes his important share of the work. The printer, by his knowledge of type values and display, supplies the struc¬ tural part of the work and the artist the distinction and grace that appropriate pen decoration will give. Lettering by an artist when well done is very attractive, but is apt to be extravagant in design and sometimes not very legible. Again, the matter furnished by the advertiser may be more than the artist can do economically or effectively. An artist does not always have a proper appreciation of correct display. The compositor in a much shorter time can assemble the type for an attractive and legible ad., arranged in a way that will allow the artist to add the decorative features in the best No. 20. possible manner. The type being set in a satisfactory manner, that would have been difficult and laborious for the artist, a clear black proof is taken on bristol board and the decoration is added that gives the design its graceful individuality. The compositor can furnish intelligent type display, but when further embellishment seems desirable he is very often at fault. The most artistic arrangement for type is the simplest, and any attempt at elaboration will not relieve the preciseness of an all-type design, but is apt to overload and oppress when only ornamentation was intended. This is shown in the cover-page reproduced (No. 19). Opposite is shown a simple arrangement of the same type surrounded by a decorative design (No. 20). The type and border composition is ingenious, but not nearly so attractive as the union of type and pen design. Grace and simplicity is a combination that always wears well, and both are apparent in the latter. Type borders and orna¬ ments fill a large and important place in typographic display, and we do not wish to deprecate or minimize their use. Many are the ways in which they help to produce novel and attract¬ ive designs. But a personal and distinctive touch is given the penotype, or combination of type and pen work, that a type design can not possess. Type borders and ornaments are stiff and unvarying. Penwork lends itself freely to the particu¬ lar requirements of the job in hand. The bakery ad., for instance, is given a border of wheat. In all the examples shown, the penwork has been done by an artist. This need 90 THE INLAND PRINTER not be necessary and sometimes might not be expedient. The decorative penwork may be done by the compositor, and the artistic and effective results obtained will only be limited by his knowledge of design and practice. Simple geometric designs may be tried at first, followed by more elaborate work as skill increases with practice. The work is interesting and will develop the artistic judgment and taste of the compositor. The type should be set at least one-third larger than the intended size of the job, in order that the penwork may be refined by the reduction. Ability to do this work will be, without doubt, part of the necessary equipment of the job printer of the future, and at the least is excellent practice to develop latent artistic talent, proving a “ stepping-stone to higher things.” The Cranford Press, Chiswick, England. — Good design, color and presswork all combine in the making of many attractive pieces of printing, including colored magazine inserts, booklets and catalogues. Artistic applies with equal force to color selection and presswork, the appreciative treat¬ ment of fine vignetted half-tones being especially noticeable. The entire collection shows so well the impress of good work¬ manship and artistic worth, that only in one or two small details can errors be noted. One of these is want of harmony between type selection and design. In one case a very dainty cover-design is followed by an announcement set in a heavy¬ faced type and printed in black ink. This is an incongruity that should not have been permitted. The use of a colored ink in harmony with the color of the cover would have been an improvement, but better yet the use of a type face of not quite so masculine a cut, inasmuch as it was a direct appeal to femininity — a millinery announcement. It is the better taste when type is used with illustration or design to use the sim¬ plest arrangement and plainest faces. In this way it acts as a foil and heightens by contrast the effectiveness of the engrav¬ ing or design. Fanciful rule and type designs at their best are precise and ungraceful when brought into competition with natural line drawing. C. V. Kinter, Charleroi, Pennsylvania.- — We use the title- page shown as an example of error in several ways. The border is not suitable for a title-page of the subject indicated, and the type is badly spaced and arranged. Good design requires that the largest type lines should be near the center. The word “ catalogue ” is too large, simply detracting from the tCljc Cubbs ©ustncss College CHARLEROI, PA. CATALOGUE 1903-4 THE BEST SCHOOl FOR THE MONEY NO. 22. display of the main line. The ornament is inappropriate, and occupies space better used by giving more white around the type lines. The page could be improved very much with only one change in type size by some rearrangement. Place the quotation at the top and the main lines next, use a smaller ornament, reduce the word “ catalogue ” two sizes and use figures for the year. The type used is not suitable for a C(?jar/frc<, ....... . . m Zo J. M. FLEMING. Dr., Practical PKimber arvd Gas Fitter. JOBBING A SPECIALTY. Mtionii Build«nf. SOS McKern Avenue. 'PHONES-Btll. Office 28-4; Residence >4-2. Federal 80. No. 23. title, and the resetting shows more appropriate faces and proper arrangement of the lines. (Nos 21 and 22.) The bill-head reproduced and reset shows how a stiffness and Charleroi. ‘Pa.. . . 190 .... co J. M. FLEMING, **. Practical Plumber and Gas Fitter JOBBING A SPECIALTY. Masonic Building. 505 McKean Avenue No. 24. heaviness may be relieved by irregular arrangement and con¬ trast in type sizes. By the change both the name and business gain in prominence by the law of contrast. (Nos. 23 and 24.) The Dietz Printing Company, Richmond, Virginia. — Type and pen design have been so gracefully blended in the specimens of printing shown that it is rather difficult to criti¬ cise them from a strictly typographic standpoint. Perhaps the term art printing might aptly describe this peculiar combina¬ tion of good design, harmonious color and suitable papers. Some of the all-type designs are wanting in proportion, espe¬ cially noticeable in some business cards, in which a smaller and neater display would more rightly harmonize with a pen sketch on each, illustrative of the business. The designed card is very handsome, the lettering being especially attractive on account of its legibility, a feature that all lettering does not possess. We think, however, that in plr.ee of the conventional lion, some design pertinent to the printing business should have been used. All the penwork is by Mr. Dietz, which may account for the beauty of the lettering- — the printer in him acting as a restraining influence on the artist — and thus making design the handmaid in the production of much good commercial printing. With this issue the personal comment on a large number of examples will cease and the department will be conducted in a manner that will be of greater benefit to readers at large. Although the individual comment is of interest to the person immediately concerned, it is not always lucid to others, and when a large number of these criticisms are brought together the general interest is sacrificed. The number of specimens sent in for review and comment is so large that it is impos¬ sible to mention all, or even the larger part, and many must necessarily be omitted. If all were noticed the comment would be so brief as to be valueless. In place of this personal comment, more complete criticism and analysis will be given to a lesser number of examples, reproduced and reset in every case, so that each one will be of general interest to all. Examples will be selected from enclosures sent us, but names will not be given, thus making the comment or instruction entirely impersonal. Answers to inquiries that will interest all will be printed. It is believed the department will gain in value by this change, and although some disappointment may be felt, the personal loss will be the general gain. THE INLAND PRINTER 91 AIR COMPRESSORS For Physicians, Dentists, Artists, Etc. .• . •. 47 Great Jones St., New York 180-182 E. Washington St., Chicago The Bishop & Babcock Co. MAKERS. Kirtland and Hamilton Streets, CLEVELAND Advertising title-page composed by a student in the Inland Printer Technical School. 92 THE INLAND PRINTER Telephone 1646 Peerless Bakery 519-527 SORAPARU STREET BEST BREAD BEST PRICES QUICK DELIVERY Hotel, Restaurant and Bar Trade a Specialty ’Phone us your orders Smoke El Sado Queen of Union-Made 5-cent Cigars. Not in the Trust. G. FALK fit CO., Makers 407 Decatur St. ’Phone 2220-22 We win friends every day. Nothing to beat them. We mean the TULANE $5.50 Shoe TULANE SHOE STORE 124 ROYAL STREET CHARLES A. SHOTT, Manager Comparative exhibit of three ads. in type and the same ads. reduced somewhat and embellished with designed borders in pen and ink. THE INLAND PRINTER 93 BY WM. J. KELLY. TO CORRESPONDENTS. — Letters for this department should be mailed direct to the office of The Inland Printer, Chicago. The names and addresses of correspondents must be given, not necessarily for publication, but merely to identify them if occasion should arise. No letters will be answered by mail which properly belong to this department. The following list of books is given for the convenience of readers. Orders may be sent to The Inland Printer Company. Phototrichromatic Printing. — See Process Engraving. The Color Printer. — By John F. Earhart. Price, $15 — now reduced to $10. A Concise^ Manual. of Platen Presswork. — By F. W. Thomas. A complete treatise on this subject. Pamphlet, 32 pages, 25 cents. Presswork.- — By William J. Kelly. A manual of practice for print¬ ing-pressmen and pressroom apprentices. New enlarged edition. Cloth, $1.50. The Harmonizer. — By John F. Earhart, author of “The Color Printer.” A book of great value to any printer who prints on tinted or colored stock. Cloth, $3.50. The Theory of Overlays. — By C. H. Cochrane. A practical treat¬ ise on the correct method of making ready half-tone cuts and forms of any kind for cylinder presses. 10 cents. Overlay Knife. — Flexible, with a keen edge enabling the operator to divide a thin sheet of paper very delicately. Blade runs full length of handle, which can be cut away as knife is used. 25 cents. Practical Guide to Embossing. — By James P. Burbank. Contains instructions for embossing by the various methods applicable to ordinary job presses, and much information not hitherto accessible. $1. White’s Multicolor Chart contains seventy-three specimens of cover-papers of various colors, shades and qualities, on which are printed six colors of ink — black, yellow, red, blue, green and brown — colors most generally in use. 40 cents. [The editor of this department desires to say that speci¬ mens of work alluded to in letters from enquirers often do not reach him, from some cause or another, and that he finds it hard to intelligently reply to the writers in the absence of the samples.] Wants our Opinion on Presswork. — The Louis Lange Publishing Company, of St. Louis, Missouri, writes as follows: “ We take pleasure in sending you, under separate cover, a copy of the anniversary number of our German publication, the Abendschule. Knowing that you are always interested in good presswork, we respectfully request you to look over the paper and give us your opinion in the coming issue of your esteemed publication.” Answer. — -Judging from the neatness of your attractive and well-printed letter-head, we are very much inclined to believe that the presswork on the anniversary number of the Abendschule (which is a high-class illustrated family publication, we believe), was in keeping with other specialties of your house. As we have not received the copy sent, we are at a great loss to record you a deserved good opinion. This we very much regret, indeed. A Novelty That Did Not Reach Us. — H. S. A., of Frank- ford, Philadelphia, writes : “ Enclosed are some blotters which we are putting out to customers. Perusing each month your criticisms on jobwork, I thought possibly there might be something of interest in an explanation of how the cut was run. You will notice we have it in four colors. The cut itself is made for one color only; but in printing we placed a piece of paper on the grippers, and then cut out the paper for each color as we needed it, thus saving the expense of a cut in colors, and producing equally as good results. We often resort to these tricks of economy in this office.” Answer. — We are very sorry that the blotters did not reach us; but your explanation is so clear it will doubtless suggest similar facility to others. The specimens would, doubtless, have inter¬ ested the writer very much, although the “ trick ” is not new. We have alluded on former occasions to the beautiful effects gotten from one plate, the colors running as many as seven. With genius and a fair pressman of experience with colors, novel results are possible with a half-tone plate made up of much detail. To Print on Aluminum.- — C. A. K., of Beverly, Massa¬ chusetts, says : “We notice that many printers come to you with their troubles. We have one. Can you inform us of a satisfactory way to print on aluminum? Would like to be able to put names on souvenirs in a way that they would not come off ; also to print half-tones.” Answer. — A good black ink is necessary to print on aluminum, costing about $2 or more a pound for best results. What is known as fine quick-drying job ink is a safe grade to use. Regular type will do for short runs, if properly made ready on press. For large numbers of cards of aluminum from same form, we suggest the use of strongly faced electros. A medium strong impression is necessary to secure good results; all portions of the form must be brought up even- — no low or bad letters should be Photo by Hildenbrand, Stuttgart/ HAPPY HOURS. used. Regarding instructing you how to print half-tones, we must tell you that that is considerable of an undertaking within the limited space at the disposal under this department heading. To print half-tones with any degree of success requires personal experience and skill, and can not be taught except by demonstration or letter, and then only after much personal effort. The nearest we can get you to the matter, and from which you may derive considerable information, is to purchase a copy of “ Presswork,” a text-book for press¬ men and apprentices, to be had by sending to The Inland Printer Company; price $1.50, postpaid. American Methods of Printing Liked. — H. B. C., of the Borough-of-the-Bronx, Manhattan, writes as follows : “ Below is a clipping from a letter received from a friend in England, who seems to be favorably impressed with the quality of some specimens of American workmanship he has seen, and wishes to go and do likewise. Here is the extract, which will explain itself : ‘ I have often wondered how the Americans print so well (litho.) on very rough paper. I have a lot of very hard paper to print on, but it never looks so nice as theirs, except when we damp it, and that is expensive. I have been wonder¬ ing whether you could get to know one or two fakes and let me know. It would do me a bit of good.’” Answer. — We hardly know what to say in reply to the wish of our English cousin, other than that hard packing is the basis of success of American methods of presswork on all grades of paper other than for newspaper printing. There is no fake about our way of doing good presswork, for it has been patiently brought to a science and its practice reduced to established methods. Good type, good rollers, good ink, good presses and skilful 94 THE INLAND PRINTER workmen combine to make it possible to print on almost any grade or color of stock, whether soft, hard, rough or smooth. A Booklet That Did Not Find Us. — -Mr. H. E. Rice, of the Huntsville Forester, Huntsville, Ontario, writes: “ Enclosed under separate cover is a booklet, 1 Official Guide,’ for the Huntsville and Lake of Bays Navigation Company. This work was done on a drum cylinder Hoe press by inex¬ perienced pressmen, and has many deficiencies, notably the illustrations. Will you kindly say what methods might have been pursued to have given a better class of work. The edition was ten thousand copies.” Answer. — It would have afforded us much pleasure to carefully scrutinize the booklet alluded to, but as the copy sent to us has not come to hand we are denied the privilege. Then we have a natural curiosity to see how well or how badly your two inexperienced pressmen did the presswork. If the booklet illustrates the lake region around Huntsville, then, indeed, was it necessary that the illustrations should be well printed, for no prettier lakes can be