APPENDIX IV.
TERMS USED IN A COMPOSING-ROOM.
Author’s proof.—The clean proof sent to an author after the compositors’ errors have been corrected.Bastard title.—A short title preceding the general title of a work.Bastard type.—Type with a face larger or smaller than its appropriate body: as Nonpareil on Minion body, or Minion on Nonpareil body.Batter.—Types accidentally injured in a forme.Beard of a letter.—The outer angle supporting the face of a type and extending to the shoulder.Blank page.—A page on which no matter appears.Body.—The shank of the letter.Boxes.—The compartments of a case in which the types are placed.Break.—The last line of any paragraph.Casting off.—Estimating how many pages a certain quantity of copy will make in type.Chapel.—The meetings held by compositors for the purpose of redressing grievances, collecting fines, and disposing of their funds.Clean proof.—When a proof has but few faults in it, it is called a clean proof; and when a proof is to be sent to the author, the compositor is ordered to pull a clean proof.Clearing away.—Properly disposing of materials after a work has been completed.Close matter.—Solid matter with few break-lines.Companionship.—All the hands on a work.Composing.—Setting type.Correct.—When the reader reads the proof, or the compositor corrects the mistakes marked in the proof, they are both said to correct; the reader the proof, the compositor the type.Corrections.—The alterations or errors marked in a proof.Cut-in letter.—A type of large size adjusted at the beginning of a line at the commencement of chapters.Cut-in note.—A note justified into the side of a page.Distributing.—Returning types to their various boxes after having been printed from.Double.—A repetition of words.Dressing a chase or forme.—Fitting the pages and chase with furniture and quoins.Even lines.—When a piece of printing has to be executed in great haste, a number of compositors are employed on it, and the copy is cut into small pieces for each, to facilitate the making-up, imposing, and the general furthering of the work; if the copyshould be in long paragraphs, the compositors have each to begin a line and to make their copy end a line, frequently with great irregularity of spacing. This is termed making even. In newspapers it is of constant occurrence.Fat.—Poetry and leaded matter.Folio.—The figure or figures which stand at the head of the page; also a sheet of paper once doubled.Forme.—The pages when imposed in a chase.Foul proof.—A proof with many faults marked in it.Fount.—An assortment of type in definite proportions.Furniture.—Strips of wood or metal, placed around and between pages when imposed.Gauge.—A strip of reglet with a notch in it, passed with the making up, to denote the length of the pages.Get in.—To set close.Gutter-sticks.—Furniture used in imposition to separate the pages.Half-title.—The title of a book inserted in the upper portion of the first page of matter.Head-line.—The top line of a page containing the running title and folio. When there is no running title the folio is styled the head-line. Chapter lines are head-lines, as are also the titles of articles in periodicals and newspapers.Imposing.—Arranging and locking up a forme of type in a chase.Imprint.—The name of the printer or of the publisher appended to jobs or title-pages.Inferior letters.—Small letters cast near the bottom of the type.Justifying.—Spacing out lines accurately.Keep in.—To crowd in by thin spacing.Keep out.—To drive out or expand matter by wide spacing.Kerned letter.—Type of which a part of the face hangs over the body.Laying cases.—Filling cases with a fount of new type.Laying pages.—Placing pages on the stone in the proper order for imposition.Lean.—Close and solid matter.Lean face.—Light, thin type.Letter hangs.—When the page is out of square.Locking up.—Tightening up a forme by means of quoins.Longcross.—The bar that divides a chase the longest way.Low case.—When the compositor has set almost all the letters out of her case.Making up.—To arrange the lines of matter into pages.Making margin.—In imposition, arranging the space between the pages of a forme so that the margin will be properly proportioned.Measure.—The width of a page.Open matter.—Matter widely leaded or containing numerous break-lines.Off its feet.—When matter does not stand upright.Out.—An omission marked in a proof by the reader.Over-running.—Carrying words backward or forward in correcting.Passing the making-up.—Passing to the next hand in order the lines remaining (if any) after a compositor has made up her matter, together with the gauge and proper folio.Pie.—Type promiscuously intermingled.Planing down.—To bring down types evenly on their feet, by laying a planer on the page and striking it firmly with a mallet.Revise.—The last proof of a forme before working it off.Riding.—Type at the end of a line catching against a lead, or the ends of leads over-lapping each other.Runs on sorts.—Requiring an inordinate proportion of particular letters.Shank.—The square metal upon which the face of a letter stands.Signature.—A letter or a figure used at the bottom of the first page of a sheet, to direct the binder in placing the sheets in a volume.Sorts.—The letters in the several case-boxes are separately called sorts, in printers’ and founders’ language.Squabble.—A page or forme is squabbled when the letters are twisted out of a square position.Shoulder.—The upper surface of the shank of a type not covered by the letter.Stet.—Written opposite to a word, to signify that the word erroneously struck out in a proof shall remain.Superior letters.—Letters of a small face, cast by the founder near the top of the type.Table work.—Matter consisting partly of rules and figures.Take, or Taking.—A given portion of copy.Turn for a letter.—When a sort runs short, a letter of the same thickness is substituted, placed bottom upward.Wayz-goose.—A term given to the annual dinner customary among printers during the summer months.White line.—A line of quadrats.White page.—A blank page.Working in pocket.—When the hands share equally their earnings on a work.
Author’s proof.—The clean proof sent to an author after the compositors’ errors have been corrected.
Bastard title.—A short title preceding the general title of a work.
Bastard type.—Type with a face larger or smaller than its appropriate body: as Nonpareil on Minion body, or Minion on Nonpareil body.
Batter.—Types accidentally injured in a forme.
Beard of a letter.—The outer angle supporting the face of a type and extending to the shoulder.
Blank page.—A page on which no matter appears.
Body.—The shank of the letter.
Boxes.—The compartments of a case in which the types are placed.
Break.—The last line of any paragraph.
Casting off.—Estimating how many pages a certain quantity of copy will make in type.
Chapel.—The meetings held by compositors for the purpose of redressing grievances, collecting fines, and disposing of their funds.
Clean proof.—When a proof has but few faults in it, it is called a clean proof; and when a proof is to be sent to the author, the compositor is ordered to pull a clean proof.
Clearing away.—Properly disposing of materials after a work has been completed.
Close matter.—Solid matter with few break-lines.
Companionship.—All the hands on a work.
Composing.—Setting type.
Correct.—When the reader reads the proof, or the compositor corrects the mistakes marked in the proof, they are both said to correct; the reader the proof, the compositor the type.
Corrections.—The alterations or errors marked in a proof.
Cut-in letter.—A type of large size adjusted at the beginning of a line at the commencement of chapters.
Cut-in note.—A note justified into the side of a page.
Distributing.—Returning types to their various boxes after having been printed from.
Double.—A repetition of words.
Dressing a chase or forme.—Fitting the pages and chase with furniture and quoins.
Even lines.—When a piece of printing has to be executed in great haste, a number of compositors are employed on it, and the copy is cut into small pieces for each, to facilitate the making-up, imposing, and the general furthering of the work; if the copyshould be in long paragraphs, the compositors have each to begin a line and to make their copy end a line, frequently with great irregularity of spacing. This is termed making even. In newspapers it is of constant occurrence.
Fat.—Poetry and leaded matter.
Folio.—The figure or figures which stand at the head of the page; also a sheet of paper once doubled.
Forme.—The pages when imposed in a chase.
Foul proof.—A proof with many faults marked in it.
Fount.—An assortment of type in definite proportions.
Furniture.—Strips of wood or metal, placed around and between pages when imposed.
Gauge.—A strip of reglet with a notch in it, passed with the making up, to denote the length of the pages.
Get in.—To set close.
Gutter-sticks.—Furniture used in imposition to separate the pages.
Half-title.—The title of a book inserted in the upper portion of the first page of matter.
Head-line.—The top line of a page containing the running title and folio. When there is no running title the folio is styled the head-line. Chapter lines are head-lines, as are also the titles of articles in periodicals and newspapers.
Imposing.—Arranging and locking up a forme of type in a chase.
Imprint.—The name of the printer or of the publisher appended to jobs or title-pages.
Inferior letters.—Small letters cast near the bottom of the type.
Justifying.—Spacing out lines accurately.
Keep in.—To crowd in by thin spacing.
Keep out.—To drive out or expand matter by wide spacing.
Kerned letter.—Type of which a part of the face hangs over the body.
Laying cases.—Filling cases with a fount of new type.
Laying pages.—Placing pages on the stone in the proper order for imposition.
Lean.—Close and solid matter.
Lean face.—Light, thin type.
Letter hangs.—When the page is out of square.
Locking up.—Tightening up a forme by means of quoins.
Longcross.—The bar that divides a chase the longest way.
Low case.—When the compositor has set almost all the letters out of her case.
Making up.—To arrange the lines of matter into pages.
Making margin.—In imposition, arranging the space between the pages of a forme so that the margin will be properly proportioned.
Measure.—The width of a page.
Open matter.—Matter widely leaded or containing numerous break-lines.
Off its feet.—When matter does not stand upright.
Out.—An omission marked in a proof by the reader.
Over-running.—Carrying words backward or forward in correcting.
Passing the making-up.—Passing to the next hand in order the lines remaining (if any) after a compositor has made up her matter, together with the gauge and proper folio.
Pie.—Type promiscuously intermingled.
Planing down.—To bring down types evenly on their feet, by laying a planer on the page and striking it firmly with a mallet.
Revise.—The last proof of a forme before working it off.
Riding.—Type at the end of a line catching against a lead, or the ends of leads over-lapping each other.
Runs on sorts.—Requiring an inordinate proportion of particular letters.
Shank.—The square metal upon which the face of a letter stands.
Signature.—A letter or a figure used at the bottom of the first page of a sheet, to direct the binder in placing the sheets in a volume.
Sorts.—The letters in the several case-boxes are separately called sorts, in printers’ and founders’ language.
Squabble.—A page or forme is squabbled when the letters are twisted out of a square position.
Shoulder.—The upper surface of the shank of a type not covered by the letter.
Stet.—Written opposite to a word, to signify that the word erroneously struck out in a proof shall remain.
Superior letters.—Letters of a small face, cast by the founder near the top of the type.
Table work.—Matter consisting partly of rules and figures.
Take, or Taking.—A given portion of copy.
Turn for a letter.—When a sort runs short, a letter of the same thickness is substituted, placed bottom upward.
Wayz-goose.—A term given to the annual dinner customary among printers during the summer months.
White line.—A line of quadrats.
White page.—A blank page.
Working in pocket.—When the hands share equally their earnings on a work.