For the first few stickfuls, until the apprentice learns how to handle the lines without pi-ing, leads should be put between all the lines in the stick, even if they are to be taken out later to print the type as solid matter. A lead should be put at the top of the first line and after the last line in the stick. If a composing rule is used, this may or may not be kept with the lines. Many compositors insert the composing rule at the top of the first line while lifting the lines out of the stick, as the rule gives a good surface by which to take hold of the matter.

It is a good plan not to fill the stick too full before emptying. A few lines at first will be enough to practice with, until the knack of grasping the matter all around and lifting out is acquired.

The galley should be placed on the case or on an adjoining stand or inclined support, with the head turned toward the right. If the lines have been properly justified, there is no need to open the measure of the stick to extricate lines that seem very tight. In this case take out the lines separately, but keep the measure unchanged till the work is done.

The stick is emptied in the following manner, as illustrated in the accompanying diagram: Lay the stick near the bottom of the galley, with the top line or back of the stick at the lower rim of the galley. The two forefingers are then placed in the stick after the last line and the two thumbs beside the top line. The second fingers, doubled up, are pressed against the ends of the lines at both sides. Thus holding the lines evenly all around, the top lines are lifted slightly with a turning motion to bring the feet of the type upward. This gives a chance for the thumbs to get a better hold down beside the top line. The small fingers are meanwhile holding the stick down against the upward motion of the matter, while the lines are taken out. The types should then be held in a horizontal position, while the compositor turns his right side to the galley. Still holding the lines firmly, he next turns them feet down in the lower corner, with the beginning of the lines at the lower rim. (Do not release hold until the matter is close against the rim of the galley, keeping the middle fingers at the ends of lines to prevent any types from dropping out of place. If any types should drop, take hold of the handful again and move it farther down the galley, pick up the loose type and then slide the lines to the head of the galley and insert the missing type.)

When first placed on the galley the type is liable to be a little off its feet. Have a piece of good metal furniture 8×20 picas to place beside the lines, first at the bottom and then at the ends of the lines, and use this to square up the types on their feet.

An untrained compositor is prone to use more thin spaces than are necessary, and he quickly finds that there are not enough in the case to meet his wants. He puts in extra thin spaces to fill out the line instead of changing the spaces already in for thicker ones. He inserts 5-spaces beside 3-spaces through the line because this appears the easiest way, though in the end it is neither the quickest nor the best way. When wide spacing is necessary it is usually better to change the 3-spaces for en quads, and if the line does not then quite justify to put double spaces between long words or those having tall letters. Obviously it is not wise to put in two 4-spaces when there is a plentiful supply of en quads at hand. By using two thin spaces where one thick space will suffice the supply of thin spaces is soon exhausted, while there will be an over-supply of the thicker kinds left in the case. It often happens that the same kind of composition is set by an experienced workman with half the number of thin spaces used by a novice and it will show greater uniformity in spacing and justification.

Combinations of 3 5-spaces, 3 4-spaces, or 4 5-spaces should be used sparingly, and only when they are needed to justify the line. Two 3-spaces together are better than an en quad and a 5-space. There are usually more 3-spaces in the case, and they are easier to distribute than the thinner spaces.

A good general rule is never to use two or more pieces of material where one piece will suffice.