THE DASH

After Roman numerals, even though they have the value of ordinals.After MS and similar symbols.In technical matter, after the recognized abbreviations for linguistic epochs. IE (Indo-European), MHG (Middle High German)and after titles of well-known publications indicated by initials such as AAAPS (Annals of the American Academy of Political Science).

After Roman numerals, even though they have the value of ordinals.

After MS and similar symbols.

In technical matter, after the recognized abbreviations for linguistic epochs. IE (Indo-European), MHG (Middle High German)

and after titles of well-known publications indicated by initials such as AAAPS (Annals of the American Academy of Political Science).

When a parenthesis forms the end of a declarative sentence the period is placed outside the parenthesis, as in the preceding example. A period is placed inside a parenthesis only in two cases.

1. After an abbreviation.

This was 50 years ago (i.e. 1860 A.D.)

2. At the end of an independent sentence lying entirely within the parenthesis.

Lincoln was at the height of his powers in 1860 (He was elected to the presidency at this time.)

When a sentence ends with a quotation, the period always goes inside the quotation marks.

I have just read DeVinne’s “Practice of Typography.”

The same rule applies to the use of the other low marks, comma, semicolon, and colon, in connection with quotation marks. Unlike most rules of grammar and punctuation, this rule does not rest on a logical basis. It rests on purely typographic considerations, as the arrangement of points indicated by the rule gives a better looking line than can be secured by any other arrangement.

Other Uses of the Period

1. The period is used as a decimal point.

2. The period is used in groups, separated by spaces, to indicate an ellipsis.

He read as follows: “The gentleman said . . . .he was there and saw . . . . the act in question.”

He read as follows: “The gentleman said . . . .

he was there and saw . . . . the act in question.”

The dash is a very useful mark which has been greatly overworked by careless writers. It is very easy to make in manuscript and serves as a convenient cover for the writer’s ignorance of what point should properly be used.

The conspicuousness of the dash makes it a very useful mark for guiding the eye of the reader to the unity of the sentence. It is particularly useful in legal pleadings where there is much repetition of statement and great elaboration of detail. In such cases commas, semicolons, and even parentheses are so multiplied that the relation of the clauses is lost sight of. The confusion thus arising may often be cleared up by intelligent use of the dash.

The dash is sometimes used to connect a side heading with the text that follows, or to connect the end of that text with the name of the writer.

A Rule for Peace.—If it be possible, as much as lieth in you, live peaceably with all men.—St. Paul.

The dash is sometimes used in catalogue work as a ditto mark.

De Vinne, Theodore Low. Historic Printing Types. New York, 1886.——The Invention of Printing. Francis Hart & Co., New York, 1878.——Plain Printing Types. Oswald Publishing Co., New York, 1914.

De Vinne, Theodore Low. Historic Printing Types. New York, 1886.

——The Invention of Printing. Francis Hart & Co., New York, 1878.

——Plain Printing Types. Oswald Publishing Co., New York, 1914.

French printers use the dash in printing dialogue as a partial substitute for quotation marks. Quotation marks are placed at the beginning and end of the dialogue and a dash precedes each speech. This form is used even if the dialogue is extended over many pages.

Rules for the Use of the Dash

1. To mark abrupt changes in sentiment and in construction.

Have you ever heard—but how should you hear?

2. To mark pauses and repetitions used for dramatic or rhetorical effect.

They make a desert, and call it—peace.Thou, great Anna, whom three states obey,Who sometimes counsel takes—and sometimes tea.

They make a desert, and call it—peace.

Thou, great Anna, whom three states obey,

Who sometimes counsel takes—and sometimes tea.

3. To express in one sentence great contrariety of action or emotion or to increase the speed of the discourse by a succession of snappy phrases.

She starts—she moves—she seems to feelThe thrill of life along her keel.

She starts—she moves—she seems to feel

The thrill of life along her keel.

In this connection DeVinne gives the following excellent example from Sterne:

Nature instantly ebbed again;—the film returned to its place;—the pulse fluttered,—stopped,— went on,—throbbed,—stopped again,—moved, —stopped,—Shall I go on?—No.

Attention may be called to Sterne’s use of the semicolon and the comma with the dash, a use now obsolete except in rare cases.

4. To separate the repetition or different amplifications of the same statement.

The infinite importance of what he has to do—the goading conviction that it must be done—the dreadful combination in his mind of both the necessity and the incapacity—the despair of crowding the concerns of an age into a moment—the impossibility of beginning a repentance which should have been completed—of setting about a peace which should have been concluded—of suing for a pardon which should have beenobtained—all these complicated concerns intolerably augment the sufferings of the victims.

5. At the end of a series of phrases which depend upon a concluding clause.

Railroads and steamships, factories and warehouses, wealth and luxury—these are not civilization.

6. When a sentence is abruptly terminated.

If I thought he said it I would—

7. To precede expressions which are added to an apparently completed sentence, but which refer to some previous part of the sentence.

He wondered what the foreman would say—he had a way of saying the unexpected.

8. To connect extreme dates in time indication.

The war of 1861—1865. The war of 1861-1865.

9. To define verse references in the Bible or page references in books.

Matt. v: 1—11.Matt. v: 1-11.See pp. 50—53.See pp. 50-53.

Matt. v: 1—11.Matt. v: 1-11.

See pp. 50—53.See pp. 50-53.

Note.In instances such as given in the two preceding rules the en dash may sometimes serve if the em dash appears too conspicuous.

10. A dash preceded by a colon is sometimes used before a long quotation forming a new paragraph. In other cases no point need accompany the dash.

The dash is sometimes used as a substitute for commas. Writers on the subject say that this use occurs when the connection between the parenthetical clause and the context is closer than would be indicated by commas. The distinction, if real, is difficult to see. It would be better if none but the most experienced writers attempted the use of the dash in this way.

Dashes are often used instead of marks of parenthesis. It is better to let each mark do its own work.

The parenthesis, commonly used in pairs, encloses expressions which have no essential connection with the rest of the sentence, but are important to its full comprehension. It is liable to be neglected by writers because the dash is easier to make, and by printers because it is generally thought to mar the beauty of the line. Its distinct uses, however, should not be neglected.

Rules for the Use of the Parenthesis

1. To introduce into a sentence matter which is not essentially connected with the rest of the sentence, but aids in making it clear.

Trouble began when the apprentice (who had been strictly forbidden to do so) undertook to do some work on his own account.This year (1914) saw the outbreak of a general war.

Trouble began when the apprentice (who had been strictly forbidden to do so) undertook to do some work on his own account.

This year (1914) saw the outbreak of a general war.

2. In reports of speeches to enclose the name of a person who has been referred to, or to indicate expressions on the part of the audience.

The honorable gentleman who has just spoken (Mr. Lodge) has no superior on this floor in his knowledge of international law. (Applause.)

3. Parentheses enclosing interrogation points or exclamation points are sometimes introduced into a sentence to cast doubt on a statement or to express surprise or contempt.

He said that on the fifth of January (?) he was in New York.This most excellent (!) gentleman.

He said that on the fifth of January (?) he was in New York.

This most excellent (!) gentleman.

4. Parentheses are used, generally in pairs, sometimes singly, to enclose the reference letters or figures used tomark division and classification in arguments or in precise statements.

This is done because: (a) it is clearer; (b) it is shorter.

These signs may be printed in several ways.

(a) a) (a)a) (1) 1) (1)1)

The old-fashioned form of parenthesis, always made too thin, may need a thin space between it and its adjoining character when it is placed too close to any letter that nearly fills the body in height, as in ( Hall ). The space may not be needed when the proximate character has a shoulder, as in ( Art), or when the parenthesis follows a period.)

The italic form of parenthesis is objectionable in book work. Distinction is sought for the word in italic and not for the parenthesis enclosing the word. The italic parenthesis may be used in job-work or full display lines of italic letters.

Brackets are used in pairs, like the parentheses. In Job composition either brackets or parentheses may be used, as suits the fancy or is convenient. In descriptive text matter, however, brackets should not be used where parentheses are clearly indicated.

Rules for the Use of the Bracket

1. To enclose words or phrases which are entirely independent of the rest of the sentence.

The enclosed words are usually comments, queries, corrections, criticisms, or directions inserted by some person other than the original writer or speaker.

2. To enclose passages of doubtful authenticity in reprints of early manuscripts, special amendments to bills under legislative consideration, or any other portions of a text which need peculiar identification.

3. In legal or ecclesiastical papers to indicate numerical words which may have to be changed, or to indicate where details are to be supplied.

This is the first [second or third] publication.The officers shall remain in office [here state the time] or until their successors are duly qualified.

This is the first [second or third] publication.

The officers shall remain in office [here state the time] or until their successors are duly qualified.

4. To avoid the confusion caused by a parenthesis within a parenthesis.

5. A single bracket is used to enclose the ending of a long line of poetry which will not fit the register and has to be run over into an adjoining line.

Doubt whether to use parentheses or brackets can usually be settled by this general principle:

Parentheses always enclose remarks apparently made by the writer of the text. Brackets enclose remarks certainly made by the editor or reporter of that text.

The interrogation is the point that asks questions. It should always be placed outside quotation marks unless it is a part of the quotation itself.

Rules for the Use of the Interrogation

1. The interrogation point is used at the end of every direct question.

Are you there?

Indirect questions, that is, statements that a question has been asked, do not require the interrogation.

He asked me if I was there.He asked the question, Are you there? and received no answer.

He asked me if I was there.

He asked the question, Are you there? and received no answer.

2. At the end of each of a series of questions thrown into a single sentence.

Did he speak in an ordinary tone? or shout? or whisper?

3. The interrogation, like a certain inflection in the voice, may indicate that a sentence, though declarative in form, is really a question and requires an answer.

You are, of course, familiar with New York?

The exclamation mark is the mark of strong emotion.

Rules for the Use of the Exclamation

1. After every expression of great surprise or emotion.

Look, my lord! it comes!Angels and ministers of grace defend us!Alas! my father.

Look, my lord! it comes!

Angels and ministers of grace defend us!

Alas! my father.

2. After interjections and other exclamatory words.

Hurrah! Good! Away! Oh!

Where the exclamations are repeated without particularly emphasizing each one, each may be followed by a comma except the last.

Ha, ha, ha! That’s a good joke!

O used as a vocative or to express a desire or imprecation does not call for an exclamation.

O John.Oh, yes.O, that night would come!

O John.

Oh, yes.

O, that night would come!

The exclamation is sometimes used in job printing to fill out a display line or for other inadequate reasons. These uses should be avoided.

The apostrophe is primarily the sign of the possessive case, but it has several other uses.

Rules for the Use of the Apostrophe

1. The apostrophe for the possessive case is added only to nouns, not to the pronouns, which have their distinct possessive forms.Itsis a possessive pronoun.It’sis an abbreviation forit is. Do not use an apostrophe with the possessive adjectiveshers,ours,yours,theirs,its.

2. All nouns in the singular and all nouns in the plural except those ending instake an apostrophe andsto form the possessive.

Nouns in the plural ending instake an apostrophe only to form the possessive.

There is much difference of opinion as to the invariability of the rule concerning singular nouns ins. DeVinne advises following the pronunciation. Where the secondsis not pronounced, as often happens, to avoid the prolonged hissing sound of anothers, he recommends omitting it in print.

Moses’ hat, for Moses’s hat.For conscience’ sake.

Moses’ hat, for Moses’s hat.

For conscience’ sake.

3. The apostrophe indicates the omission of letters in dialect, in familiar dialogue, and in poetry.

That’s ’ow ’tis.’Twas ever thus.

That’s ’ow ’tis.

’Twas ever thus.

When two words are practically made into one syllable, a thin space may be put before the apostrophe, except thatdon’t,can’t,won’t, andshan’tare consolidated. This use of a space serves to distinguish between the possessive insand the contraction ofis.

Where death ’s abroad and sorrow ’s close behind.

4. Figures expressing dates are often abbreviated, but it is not good general practice.

The boys of ’61.It happened in ’14.

The boys of ’61.

It happened in ’14.

5. The apostrophe is used to form the plural of letters and figures.

Cross your t’s and dot your i’s.Make 3’s and 5’s more plain.

Cross your t’s and dot your i’s.

Make 3’s and 5’s more plain.

Except in these cases the apostrophe is not a plural sign and should be so used only when it is intended to reproduce a dialect or colloquialism.

Wrong: All the Collins’s were there.Right: All the Collinses were there.

Wrong: All the Collins’s were there.

Right: All the Collinses were there.

The finaledof past tenses and past participles was formerly pronounced as a distinct syllable, thus:clos-ed,belov-ed, and this pronunciation continued in common use in poetry long after it was discontinued in prose. During this period of transition the modern pronunciation was indicated by dropping theeand using an apostrophe, thus:clos’d,belov’d. It is now understood that while the full spelling is to be used, the old pronunciation is not to be used unless specially indicated by placing a grave accent over theeof the last syllable, thus:belovèd.

At the same period poets, especially, used an apostrophe to indicate a silenteas inev’ry, but the usage is now obsolete.

Such abbreviations asDep’t,Gov’t,Sec’y, and the like, are objectionable in print. If such abbreviations are necessary it is better to use the formsDept.,Govt.,Secy.

The hyphen is used to join compound words; to mark the division of a word too long to go entirely into one line; to separate the syllables of words in order to show pronunciation; as a leader in tabular work. For this last purpose the period is to be preferred to any other mark in use. Tabular work without leaders is obscure and therefore objectionable.

Quotation marks are signs used to indicate that the writer is giving exactly the words of another. A French printer named Morel used a comma in the outer margin to indicate a quoted line about 1550. About a century later another Frenchman, Ménage, introduced a mark («») resembling a double parenthesis but shorter. These marks were cast on the middle of the type body so that they could be reversed for use at either the beginning or the end of a quotation. The French have retained these signs as their quotation marks ever since.

When the English adopted the use of quotation marks, they did not take over the French marks, but substituted two inverted commas at the beginning and two apostrophes at the end of the quoted paragraph. These marks are typographically unsatisfactory. They are weak and therefore hardly adequate to their purpose in aiding the understanding through the eye. Being cast on the upper part of the type body, they leave a blank space below and thus impair the beauty of the line and interfere with good spacing. Certain rules for the position of quotation marks when used with other marks are based upon these typographical considerations rather than upon logical considerations.

Rules for the Use of Quotation Marks

1. Every direct quotation should be enclosed in double quotation marks.

“I will go,” said he, “if I can.”

Reports of what another person has said when given in words other than his own are called indirect quotations and take no marks.

He said he would go if he could.

2. A quotation of several paragraphs requires quotation marks at the beginning of each paragraph, but at the endof the last one only. In legal documents, and sometimes elsewhere, quotations are defined and emphasized by putting double commas at the beginning of every line of the quotation.

The same result may be better obtained by using smaller type, or indenting the quotation, or both.

3. A quotation included within another quotation should be enclosed by single quotation marks.

He said: “I heard him cry ‘Put down that gun,’ and then I heard a shot.”

4. Titles of books, essays, art works, etc., are usually enclosed in quotation marks. When the books are supposedly familiar to all readers, the marks are not used. You would not print “The Bible,” “Paradise Lost,” “The Iliad.”

The titles of books, etc., are sometimes printed in italics instead of being enclosed in quotation marks. This is a matter of office style rather than of good or bad practice.

5. In writing about plays or books, the name of the work may be quoted and the name of a character italicized. This is done to avoid confusion between the play, the character, and the real person portrayed. “William Tell” is a play.William Tellis a character in fiction. William Tell is a national hero of Switzerland.

This usage is by no means uniform; here again, we are on the ground of office style.

6. Names of vessels are sometimes quoted, sometimes italicized, and sometimes printed without distinguishing marks. Here we are once more on the ground of office style.

7. Sentences from a foreign language are usually enclosed in quotation marks. Single words or phrases are usually printed in italics. Both italics and quotation marks should not be used except under certain unusual conditions or when positively ordered by the author.

8. Quotation marks may be used with a word to whichthe writer desires to attract particular attention or to which he desires to give an unusual, technical, or ironical meaning.

This “gentleman” needs a shave.

9. When a quotation is long or when it is introduced in a formal manner, it is usually preceded by a colon. Isolated words or phrases call for no point after the introductory clause. This is true when the phrases so quoted run to considerable length, provided there is no break in the flow of thought and expression.

10. When a quotation ends a sentence the quotation marks are placed after the period.

The comma is always placed inside the quotation marks.

The position of the other marks (semicolon, colon, exclamation, and interrogation) is determined by the sense. If they form a part of the matter quoted, they go inside the quote marks; if not, they go outside them.

11. When quotation marks occur at the beginning of a line of poetry, they should go back into the indention space.

“Breathes there a man with soul so deadWho never to himself hath said,‘This is my own, my native land’?”

This illustration is also a good example of the use of marks in combinations. We have first the single quotation marking the end of the included quotation, then the interrogation which ends the sentence, then the double quotation marks in their proper position.

Quotation marks should not be used needlessly. Very familiar expressions from the best known authors, such asto the manor born,a conscience void of offence,with malice toward none and charity for all, have become part of the current coin of speech and need not be quoted. Lists of words considered as words merely, lists of books or plays, and other such copy should be printed without quotation marks. Sprinkling a page thickly with quotation marks not only spoils its appearance but makes it hard to read, without adding to its clearness of meaning.

Book titles are now set without points. This fashion was introduced by Pickering of London about 1850. This method is generally to the advantage of the title page thus treated. It is possible, however, to carry it too far and so to obscure the sense. Commas should not be omitted from firm names, such as Longmans, Green & Co., as in case of such omission there is no way of knowing whether one or more persons are indicated. Punctuation should not be omitted from the titles which may accompany an author’s name, nor from the date if day and month are given as well as year.

Avoid the doubling of points wherever possible. When an abbreviation precedes a colon, omit the period. When an abbreviation precedes a comma, the period is often inserted, but in many cases one or the other can be dropped to advantage. The dash is not generally preceded by a comma, semicolon, or colon in current printing usage. A comma should rarely go before the first parenthesis. If used at all with the parentheses, it should follow the closing parenthesis. When a complete sentence is enclosed in parentheses, the period falls within the parentheses. When the enclosure is a brief passage at the end of a sentence, the period falls outside the parentheses.

Do not put a period before the apostrophe and the possessivesas inCo.’s. The wordCompanymay be abbreviated toCo.although it is not desirable to do so if it can be avoided. The possessive ofCo.isCo’s.

1. A comma separates clauses, phrases, and particles.

2. A semicolon separates different statements.

3. A colon is the transition point of the sentence.

4. A period marks the end of a sentence.

5. A dash marks abruptness or irregularity.

6. Parentheses enclose interpolations in the sentence.

7. Brackets enclose irregularities in the sentence.

8. An interrogation asks a question for an answer.

9. An exclamation marks surprise.

10. An apostrophe marks elisions and the possessive case.

11. Quotation marks define quoted words.

Correct Composition. By DeVinne. Oswald Publishing Company, New York.

The Writer’s Desk Book. By William Dana Orcutt. Frederick A. Stokes Company, New York.

A Manual for Writers. By Manly and Powell. The University of Chicago Press, Chicago.

Composition and Rhetoric. By Lockwood and Emerson. Ginn & Co., Boston.

The Art of Writing and Speaking the English Language. By Sherwin Cody. The Old Greek Press, Chicago.

Handbook of Composition. By Edwin D. Woolley. D. C. Heath & Co., Boston.

English Composition, Book One, Enlarged. By Stratton D. Brooks. Ginn & Co., Boston.

The following questions, based on the contents of this pamphlet, are intended to serve (1) as a guide to the study of the text, (2) as an aid to the student in putting the information contained into definite statements without actually memorizing the text, (3) as a means of securing from the student a reproduction of the information in his own words.A careful following of the questions by the reader will insure full acquaintance with every part of the text, avoiding the accidental omission of what might be of value. These primers are so condensed that nothing should be omitted.In teaching from these books it is very important that these questions and such others as may occur to the teacher should be made the basis of frequent written work, and of final examinations.The importance of written work cannot be overstated. It not only assures knowledge of material, but the power to express that knowledge correctly and in good form.If this written work can be submitted to the teacher in printed form it will be doubly useful.

A careful following of the questions by the reader will insure full acquaintance with every part of the text, avoiding the accidental omission of what might be of value. These primers are so condensed that nothing should be omitted.

In teaching from these books it is very important that these questions and such others as may occur to the teacher should be made the basis of frequent written work, and of final examinations.

The importance of written work cannot be overstated. It not only assures knowledge of material, but the power to express that knowledge correctly and in good form.

If this written work can be submitted to the teacher in printed form it will be doubly useful.

1. What is punctuation?

2. How were ancient manuscripts written?

3. What were the first punctuation marks, and how were they used?

4. What can you tell about punctuation marks in the manuscript period?

5. What can you tell about the punctuation of the early printers?

6. Who may be said to have systematized punctuation?

7. Give the names of the principal punctuation marks and the meaning of the names.

8. Give a list of the punctuation marks now in use and show how they are made.

9. Name and describe the two systems of punctuation.

10. What is the tendency in the use of punctuation?

11. Why is it necessary for a compositor to understand punctuation?

12. When should the compositor follow copy and when not?

13. What five general directions should always be remembered?

14. What is the comma used for?

15. What is the tendency in the use of commas?

16. What are reversed commas used for?

17. How are commas used with numerals?

18. How are commas used in table work?

19. How are commas placed in relation to the words whose meaning they help?

20. Give the rules for the use of the comma.

21. What are the four general principles for the use of the comma?

22. What is the semicolon used for?

23. Give the rules for the use of the semicolon.

24. What is the colon used for?

25. Give the rules for the use of the colon.

26. What is the period used for?

27. Where are periods used?

28. Where are periods omitted?

29. How do we use the period in connection with parentheses?

30. How do we use the period in connection with quotation marks?

31. What is the reason for this rule?

32. What other uses has the period?

33. What is the dash used for?

34. What special use of the dash is found in French books?

35. Give the rules for the use of the dash.

36. Are other punctuation marks used with the dash?

37. What is the parenthesis used for?

38. Give the rules for the use of the parenthesis.

39. When would you use letter spacing with the parenthesis, and why?

40. What use is made of the italic parenthesis?

41. Give the rules for the use of the brackets.

42. What is the distinction in use between the bracket and the parenthesis?

43. What is the interrogation point used for?

44. Give the rules for the use of the interrogation.

45. What is the exclamation point used for?

46. Give the rules for the use of the exclamation.

47. What is the apostrophe used for?

48. Give the rules for the use of the apostrophe.

49. What is the use of the apostrophe in past participles?

50. What is said of the use of the apostrophe in such abbreviations asDep’t?

51. What is the hyphen used for?

52. What are quotation marks used for?

53. Give the rules for the use of quotation marks.

54. When are quotation marks omitted?

55. How are book titles now punctuated?

56. Should punctuation marks be doubled?

57. How is the comma used with parentheses?

58. How would you punctuate the possessive of an abbreviation, for example,the Doctor’s house, using the abbreviationDr.?

59. Give a brief summarized statement of the use of the twelve punctuation marks.

Absolute—Free from the usual grammatical relations.

Antecedent—That to which a relative pronoun or a relative clause refers.

Apposition—When the meaning of a noun or pronoun is made clear or emphatic by the use of another noun or pronoun, the two are said to be in apposition.

Clause—A group of words consisting of a subject and predicate with their modifiers and forming a part of a sentence; a sentence within a sentence.

Compound Sentence—A sentence consisting of several clauses.

Coördinate Clauses—Clauses of equal rank.

Declarative Sentence—A sentence which states a fact.

Exclamatory Sentence—A sentence which utters an exclamation.

Independent Adverbs—Adverbs not in grammatical relations with other words in the sentence.

Interrogative Sentence—A sentence which asks a question.

Minor Clauses—Clauses other than the principal clause or main statement of a sentence.

Parenthetical—Incidental; not an essential part of a sentence or statement.

Particle—One of the minor parts of speech not inflected, that is, not undergoing changes in form.

Phrase—An expression consisting usually of but a few words, denoting a single idea, or forming a separate part of a sentence.

Relative Clause—A clause joined to the rest of the sentence by a relative pronoun.

Salutation—A form of greeting, especially at the beginning or end of a letter.

Salutatory Phrase—The words forming a salutation, or greeting.

The following list of publications, comprising theTypographic Technical Series for Apprentices, has been prepared under the supervision of the Committee on Education of the United Typothetae of America for use in trade classes, in course of printing instruction, and by individuals.

Each publication has been compiled by a competent author or group of authors, and carefully edited, the purpose being to provide the printers of the United States—employers, journeymen, and apprentices—with a comprehensive series of handy and inexpensive compendiums of reliable, up-to-date information upon the various branches and specialties of the printing craft, all arranged in orderly fashion for progressive study.

The publications of the series are of uniform size, 5×8 inches. Their general make-up, in typography, illustrations, etc., has been, as far as practicable, kept in harmony throughout. A brief synopsis of the particular contents and other chief features of each volume will be found under each title in the following list.

Each topic is treated in a concise manner, the aim being to embody in each publication as completely as possible all the rudimentary information and essential facts necessary to an understanding of the subject. Care has been taken to make all statements accurate and clear, with the purpose of bringing essential information within the understanding of beginners in the different fields of study. Wherever practicable, simple and well-defined drawings and illustrations have been used to assist in giving additional clearness to the text.

In order that the pamphlets may be of the greatest possible help for use in trade-school classes and for self-instruction, each title is accompanied by a list of Review Questions covering essential items of the subject matter. A short Glossary of technical terms belonging to the subject or department treated is also added to many of the books.

These are the Official Text-books of the United Typothetae of America.

Address all orders and inquiries toCommittee on Education, United Typothetae of America, Chicago, Illinois, U. S. A.

PART I—Types, Tools, Machines, and Materials

1.Type: a Primer of InformationBy A. A. Stewart

Relating to the mechanical features of printing types; their sizes, font schemes, etc., with a brief description of their manufacture. 44 pp.; illustrated; 74 review questions; glossary.

2.Compositors’ Tools and MaterialsBy A. A. Stewart

A primer of information about composing sticks, galleys, leads, brass rules, cutting and mitering machines, etc. 47 pp.; illustrated; 50 review questions; glossary.

3.Type Cases, Composing Room FurnitureBy A. A. Stewart

A primer of information about type cases, work stands, cabinets, case racks, galley racks, standing galleys, etc. 43 pp.; illustrated; 33 review questions; glossary.

4.Imposing Tables and Lock-up AppliancesBy A. A. Stewart

Describing the tools and materials used in locking up forms for the press, including some modern utilities for special purposes. 59 pp.; illustrated; 70 review questions; glossary.

5.Proof PressesBy A. A. Stewart

A primer of information about the customary methods and machines for taking printers’ proofs. 40 pp.; illustrated; 41 review questions; glossary.

6.Platen Printing PressesBy Daniel Baker

A primer of information regarding the history and mechanical construction of platen printing presses, from the original hand press to the modern job press, to which is added a chapter on automatic presses of small size. 51 pp.; illustrated; 49 review questions; glossary.

7.Cylinder Printing PressesBy Herbert L. Baker

Being a study of the mechanism and operation of the principal types of cylinder printing machines. 64 pp.; illustrated; 47 review questions; glossary.

8.Mechanical Feeders and FoldersBy William E. Spurrier

The history and operation of modern feeding and folding machines; with hints on their care and adjustments. Illustrated; review questions; glossary.

9.Power for Machinery in Printing HousesBy Carl F. Scott

A treatise on the methods of applying power to printing presses and allied machinery with particular reference to electric drive. 53 pp.; illustrated; 69 review questions; glossary.

10.Paper Cutting MachinesBy Niel Gray, Jr.

A primer of information about paper and card trimmers, hand-lever cutters, power cutters, and other automatic machines for cutting paper, 70 pp.; illustrated; 115 review questions; glossary.

11.Printers’ RollersBy A. A. Stewart

A primer of information about the composition, manufacture, and care of inking rollers. 46 pp.; illustrated; 61 review questions; glossary.

12.Printing InksBy Philip Ruxton

Their composition, properties and manufacture (reprinted by permission from Circular No. 53, United States Bureau of Standards); together with some helpful suggestions about the everyday use of printing inks by Philip Ruxton. 80 pp.; 100 review questions; glossary.

13.How Paper is MadeBy William Bond Wheelwright

A primer of information about the materials and processes of manufacturing paper for printing and writing. 68 pp.; illustrated; 62 review questions; glossary.

14.Relief EngravingsBy Joseph P. Donovan

Brief history and non-technical description of modern methods of engraving; woodcut, zinc plate, halftone; kind of copy for reproduction; things to remember when ordering engravings. Illustrated; review questions; glossary.

15.Electrotyping and SterotypingBy Harris B. Hatch and A. A. Stewart

A primer of information about the processes of electrotyping and stereotyping. 94 pp.; illustrated; 129 review questions; glossaries.

PART II—Hand and Machine Composition

16.TypesettingBy A. A. Stewart

A handbook for beginners, giving information about justifying, spacing, correcting, and other matters relating to typesetting. Illustrated; review questions; glossary.

17.Printers’ ProofsBy A. A. Stewart

The methods by which they are made, marked, and corrected, with observations on proofreading. Illustrated; review questions; glossary.

18.First Steps in Job CompositionBy Camille DeVéze

Suggestions for the apprentice compositor in setting his first jobs, especially about the important little things which go to make good display in typography. 63 pp.; examples; 55 review questions; glossary.

19.General Job Composition

How the job compositor handles business stationery, programs and miscellaneous work. Illustrated; review questions; glossary.

20.Book CompositionBy J. W. Bothwell

Chapters from DeVinne’s “Modern Methods of Book Composition,” revised and arranged for this series of text-books by J. W. Bothwell of The DeVinne Press, New York. Part I: Composition of pages. Part II: Imposition of pages. 229 pp.; illustrated; 525 review questions; glossary.

21.Tabular CompositionBy Robert Seaver

A study of the elementary forms of table composition, with examples of more difficult composition. 36 pp.; examples; 45 review questions.

22.Applied ArithmeticBy E. E. Sheldon

Elementary arithmetic applied to problems of the printing trade, calculation of materials, paper weights and sizes, with standard tables and rules for computation, each subject amplified with examples and exercises. 159 pp.

23.Typecasting and Composing MachinesA. W. Finlay, Editor

Section I—The LinotypeBy L. A. HornsteinSection II—The MonotypeBy Joseph HaysSection III—The IntertypeBy Henry W. CozzensSection IV—Other Typecasting and Typesetting MachinesBy Frank H. Smith

A brief history of typesetting machines, with descriptions of their mechanical principles and operations. Illustrated; review questions; glossary.

PART III—Imposition and Stonework

24.Locking Forms for the Job PressBy Frank S. Henry

Things the apprentice should know about locking up small forms, and about general work on the stone. Illustrated; review questions; glossary.

25.Preparing Forms for the Cylinder PressBy Frank S. Henry

Pamphlet and catalog imposition; margins; fold marks, etc. Methods of handling type forms and electrotype forms. Illustrated; review questions; glossary.

PART IV—Presswork

26.Making Ready on Platen PressesBy T. G. McGrew

The essential parts of a press and their functions; distinctive features of commonly used machines. Preparing the tympan, regulating the impression, underlaying and overlaying, setting gauges, and other details explained. Illustrated; review questions; glossary.

27.Cylinder PressworkBy T. G. McGrew

Preparing the press; adjustment of bed and cylinder, form rollers, ink fountain, grippers and delivery systems. Underlaying and overlaying; modern overlay methods. Illustrated; review questions; glossary.

28.Pressroom Hints and HelpsBy Charles L. Dunton

Describing some practical methods of pressroom work, with directions and useful information relating to a variety of printing-press problems. 87 pp.; 176 review questions.

29.Reproductive Processes of the Graphic ArtsBy A. W. Elson

A primer of information about the distinctive features of the relief, the intaglio, and the planographic processes of printing. 84 pp.; illustrated; 100 review questions; glossary.

PART V—Pamphlet and Book Binding

30.Pamphlet BindingBy Bancroft L. Goodwin

A primer of information about the various operations employed in binding pamphlets and other work in the bindery. Illustrated; review questions; glossary.

31.Book BindingBy John J. Pleger

Practical information about the usual operations in binding books; folding; gathering, collating, sewing, forwarding, finishing. Case making and cased-in books. Hand work and machine work. Job and blank-book binding. Illustrated; review questions; glossary.

PART VI—Correct Literary Composition

32.Word Study and English GrammarBy F. W. Hamilton

A primer of information about words, their relations, and their uses. 68 pp.; 84 review questions; glossary.

33.PunctuationBy F. W. Hamilton

A primer of information about the marks of punctuation and their use, both grammatically and typographically. 56 pp.; 59 review questions; glossary.

34.CapitalsBy F. W. Hamilton

A primer of information about capitalization, with some practical typographic hints as to the use of capitals. 48 pp.; 92 review questions; glossary.

35.Division of WordsBy F. W. Hamilton

Rules for the division of words at the ends of lines, with remarks on spelling, syllabication and pronunciation. 42 pp.; 70 review questions.

36.Compound WordsBy F. W. Hamilton

A study of the principles of compounding, the components of compounds, and the use of the hyphen. 34 pp.; 62 review questions.

37.Abbreviations and SignsBy F. W. Hamilton

A primer of information about abbreviations and signs, with classified lists of those in most common use. 58 pp.; 32 review questions.

38.The Uses of ItalicBy F. W. Hamilton

A primer of information about the history and uses of italic letters. 31 pp.; 37 review questions.

39.ProofreadingBy Arnold Levitas

The technical phases of the proofreader’s work; reading, marking, revising, etc.; methods of handling proofs and copy. Illustrated by examples. 59 pp.; 69 review questions; glossary.

40.Preparation of Printers’ CopyBy F. W. Hamilton

Suggestions for authors, editors, and all who are engaged in preparing copy for the composing room. 36 pp.; 67 review questions.

41.Printers’ Manual of Style

A reference compilation of approved rules, usages, and suggestions relating to uniformity in punctuation, capitalization, abbreviations, numerals, and kindred features of composition.

42.The Printer’s DictionaryBy A. A. Stewart

A handbook of definitions and miscellaneous information about various processes of printing, alphabetically arranged. Technical terms explained. Illustrated.

PART VII—Design, Color, and Lettering

43.Applied Design for PrintersBy Harry L. Gage

A handbook of the principles of arrangement, with brief comment on the periods of design which have most influenced printing. Treats of harmony, balance, proportion, and rhythm; motion; symmetry and variety; ornament, esthetic and symbolic. 37 illustrations; 46 review questions; glossary; bibliography.

44.Elements of Typographic DesignBy Harry L. Gage

Applications of the principles of decorative design. Building material of typography paper, types, ink, decorations and illustrations. Handling of shapes. Design of complete book, treating each part. Design of commercial forms and single units. Illustrations; review questions; glossary; bibliography.

45.Rudiments of Color in PrintingBy Harry L. Gage

Use of color: for decoration of black and white, for broad poster effect, in combinations of two, three, or more printings with process engravings. Scientific nature of color, physical and chemical. Terms in which color may be discussed: hue, value, intensity. Diagrams in color, scales and combinations. Color theory of process engraving. Experiments with color. Illustrations in full color, and on various papers. Review questions; glossary; bibliography.

46.Lettering in TypographyBy Harry L. Gage

Printer’s use of lettering: adaptability and decorative effect. Development of historic writing and lettering and its influence on type design. Classification of general forms in lettering. Application of design to lettering. Drawing for reproduction. Fully illustrated; review questions; glossary; bibliography.

47.Typographic Design in AdvertisingBy Harry L. Gage

The printer’s function in advertising. Precepts upon which advertising is based. Printer’s analysis of his copy. Emphasis, legibility, attention, color. Method of studying advertising typography. Illustrations; review questions; glossary; bibliography.

48.Making Dummies and LayoutsBy Harry L. Gage

A layout: the architectural plan. A dummy: the imitation of a proposed final effect. Use of dummy in sales work. Use of layout. Function of layout man. Binding schemes for dummies. Dummy envelopes. Illustrations; review questions; glossary; bibliography.

PART VIII—History of Printing

49.Books Before TypographyBy F. W. Hamilton

A primer of information about the invention of the alphabet and the history of bookmaking up to the invention of movable types. 62 pp.; illustrated; 64 review questions.

50.The Invention of TypographyBy F. W. Hamilton

A brief sketch of the invention of printing and how it came about. 64 pp.; 62 review questions.

51.History of Printing—Part IBy F. W. Hamilton

A primer of information about the beginnings of printing, the development of the book, the development of printers’ materials, and the work of the great pioneers. 63 pp.; 55 review questions.

52.History of Printing—Part IIBy F. W. Hamilton

A brief sketch of the economic conditions of the printing industry from 1450 to 1789, including government regulations, censorship, internal conditions and industrial relations. 94 pp.; 128 review questions.

53.Printing in EnglandBy F. W. Hamilton

A short history of printing in England from Caxton to the present time. 89 pp.; 65 review questions.

54.Printing in AmericaBy F. W. Hamilton

A brief sketch of the development of the newspaper, and some notes on publishers who have especially contributed to printing. 98 pp.; 84 review questions.

55.Type and Presses in AmericaBy F. W. Hamilton

A brief historical sketch of the development of type casting and press building in the United States. 52 pp.; 61 review questions.

PART IX—Cost Finding and Accounting

56.Elements of Cost in PrintingBy Henry P. Porter

The Standard Cost-Finding Forms and their uses. What they should show. How to utilize the information they give. Review questions. Glossary.

57.Use of a Cost SystemBy Henry P. Porter

The Standard Cost-Finding Forms and their uses. What they should show. How to utilize the information they give. Review questions. Glossary.

58.The Printer as a MerchantBy Henry P. Porter

The selection and purchase of materials and supplies for printing. The relation of the cost of raw material and the selling price of the finished product. Review questions. Glossary.

59.Fundamental Principles of EstimatingBy Henry P. Porter

The estimator and his work; forms to use; general rules for estimating. Review questions. Glossary.

60.Estimating and SellingBy Henry P. Porter

An insight into the methods used in making estimates, and their relation to selling. Review questions. Glossary.

61.Accounting for PrintersBy Henry P. Porter

A brief outline of an accounting system for printers; necessary books and accessory records. Review questions. Glossary.

PART X—Miscellaneous

62.Health, Sanitation, and SafetyBy Henry P. Porter

Hygiene in the printing trade; a study of conditions old and new; practical suggestions for improvement; protective appliances and rules for safety.

63.Topical IndexBy F. W. Hamilton

A book of reference covering the topics treated in the Typographic Technical Series, alphabetically arranged.

64.Courses of StudyBy F. W. Hamilton

A guidebook for teachers, with outlines and suggestions for classroom and shop work.

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