A. A. Stewart

SUGGESTIONS TO STUDENTS AND INSTRUCTORS

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 from.

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

QUESTIONS

• 1. What does good typography demand on the part of the craftsman?
• 2. What advantages have movable types over other methods of preparing a page for printing?
• 3. Wherein is typesetting easy and wherein difficult?
• 4. What is really the principal working material of the compositor?
• 5. What habits should be formed at the beginning of the young compositor's work?
• 6. How should the compositor stand?
• 7. How should the compositor dress for his work?
• 8. Why is it unnecessary to learn all the cases in the market?
• 9. What case plans is it necessary to learn?
• 10. What is the plan of the common capital case?
• 11. What is the common lower-case plan?
• 12. Describe the California job case.
• 13. What are some wrong methods of learning the case?
• 14. Describe a good way of learning the case.
• 15. What incidental advantage has this method?
• 16. What is the unit of measurement for type?
• 17. How are type bodies graduated in size, and what are the most used sizes?
• 18. What is an em, and how is the term applied to type?
• 19. How do we find the quantity of type on a page?
• 20. How were type sizes formerly designated?
• 21. What is a pica, and how is the term now used?
• 22. How are leads, slugs, and the like graduated in length?
• 23. How are point-system calculations converted into inches?
• 24. What are spaces and quads, and how are they commonly designated?
• 25. How may the apprentice learn to tell the difference in the regular spaces in his case?
• 26. How many regular spaces are usually found, and how may they be combined to meet most of the requirements of composition? (The instructor should exercise the apprentice in making the combinations shown in the table by asking him how he could get specified spaces.)
• 27. How has the system of width been applied to spaces?
• 28. What are high spaces and quads, and when and why used?
• 29. What are quotation quads, and how are they used?
• 30. What is the peculiarity of typewriter types and spaces?
• 31. What is the difference between spaces for script types and the spaces for ordinary roman types?
• 32. What is the meaning of the terms spacing, justifying, and leading?
• 33. What devices are used for spaces thinner than 5-space? Describe them fully.
• 34. What may be used when thin spaces are lacking, and what caution should be observed?
• 35. What is the first step before beginning to set type, and how is it done?
• 36. What may you use for a gage to set the composing stick?
• 37. How may you provide for compression of types in locking up?
• 38. How may you be sure the stick is properly squared up?
• 39. How do you set the knee in place and keep it there?
• 40. What is a composing rule, what is its use, and why is it not more frequently used?
• 41. How is the composing stick held?
• 42. In what position is the type in the stick read?
• 43. What should the compositor first do to his copy?
• 44. How is the type selected, picked up, and put in the stick?
• 45. How should every line of type end, and how can you make it do so?
• 46. Describe two methods of changing spaces.
• 47. When is a line well justified, and what faults are to be guarded against, and why?
• 48. What care should be taken with long lines, and why?
• 49. What care should be taken regarding leads and rules, and why?
• 50. Why is careful justification important?
• 51. What common mistakes do beginners make in the use of spaces?
• 52. What simple rule should be observed in this connection?
• 53. Why should the beginner use leads and a composing rule in setting his first stickful?
• 54. What care should the beginner use in filling his stick?
• 55. Describe fully the operation of emptying the stick?
• 56. What should be looked for when the type is first placed in the galley?
• 57. What must be done when the galley is full, and why?
• 58. Describe the operation fully.
• 59. What care should be given the feet of the type?
• 60. How can time be wasted in these operations and how saved?
• 61. For what purposes are proofs taken?
• 62. How is the type prepared for taking proofs?
• 63. How are proofs taken with a planer and mallet?
• 64. What kind of matter may be proved in this manner and what should not, and why?
• 65. What should be done to insure correctness before the stick is emptied?
• 66. What should be done if the correction requires change of space or re-justification?
• 67. Describe the process of correcting from revised proof.
• 68. How may simple errors, such as a wrong letter, be corrected?
• 69. How should important changes requiring re-justification be made?
• 70. How should lines of type be carried when taken out for correction?
• 71. What careless habit is sometimes indulged in, and what is the result?
• 72. What happens when the changes are extensive, such as the insertion of a new phrase or sentence?
• 73. Describe two ways of handling this problem.
• 74. What care should be taken when this kind of work is done?
• 75. What should be done if a line of type is pied in correcting?
• 76. What will the beginner find to be his greatest difficulty in setting type?
• 77. Are the words in a page separated by absolutely uniform spaces, and why?
• 78. What is necessary to make reading easy?
• 79. What does good typesetting require to secure this?
• 80. What constitutes a well-spaced line?
• 81. What constitutes a well-spaced paragraph?
• 82. What special care should be taken in spacing the last line of a paragraph?
• 83. What is the standard spacing between words, and how may it be varied?
• 84. What has the length of line to do with spacing?
• 85. Does even spacing always look even, and why?
• 86. Where may you put thin spaces in order to get a word or syllable into the line?
• 87. Where may you use thicker spaces to lengthen the line a little?
• 88. In what special places are thin spaces properly used?
• 89. How are punctuation marks spaced?
• 90. How are spaces used with the em dash?
• 91. What should be done when you come to the end of a paragraph, with only a few letters for the last line?
• 92. How should you treat the last line of a paragraph when the matter nearly or quite fills the line?
• 93. What care should be taken in justifying lines, such as head-lines and paragraph ends, in which quads are used?
• 94. Do you need spaces with hyphens?
• 95. How are the dollar mark and English monetary signs used?
• 96. What should and should not be done in re-spacing a line in order to get a good result?
• 97. What is the proper space between sentences?
• 98. What should follow the period or Roman numeral in numbered paragraphs, and why?
• 99. How are quote marks spaced?
• 100. When may spaces be used between the letters of a word?
• 101. Give a general rule for spacing Old English or other black letter.
• 102. What general rules should be followed in spacing italics?
• 103. What peculiarity is there in the casting of some italic capitals and what does it call for?
• 104. What special precautions should be used in handling kerned italics?
• 105. What kind of spaces do words in capitals need, and why?
• 106. How should you space roman capitals of standard faces?
• 107. What is a simple general rule for spacing, and how may it be modified?
• 108. How do the shapes of the several letters affect the spacing of capitals?
• 109. What can be done to improve the spacing of lines having abbreviations or initials?
• 110. How are initials in groups, such as college degrees, treated?
• 111. What care should be taken when there are two or more lines of capitals of the same size?
• 112. How are lines of small capitals spaced?
• 113. What relation has spacing to legibility?
• 114. What is the general rule about wide spacing?
• 115. What relation has spacing to leading?
• 116. What is the widest spacing ordinarily allowable in roman lower-case matter, and what permits occasional use of wider space?
• 117. Where are wide spacing and wide leading desirable, and what caution should be observed in using them?
• 118. Name and describe the several kinds of indention?
• 119. What is the use of indention and what excess should be avoided?
• 120. What is the usual paragraph indention?
• 121. What is the relation between indention and measure?
• 122. What is the relation between indention and kind of matter?
• 123. Should the indention of paragraphs be varied in a single book or job to suit varying matter or type, and why?
• 124. What common defect occurs in widely indented paragraphs, and how may it be avoided?
• 125. What is the first consideration in indenting poetry, and how is it secured?
• 126. What material is used in indenting poetry?
• 127. What is the relation between indention and rhyme?
• 128. How is blank verse indented?
• 129. What is the indention when the rhyme is in two adjoining lines?
• 130. What can you do when a line is longer than the measure?
• 131. Describe the setting of center heads, sub-heads, cut-in heads, running heads, and box heads.
• 132. How are headings punctuated in modern practice?
• 133. What is the purpose of the initial letter, and how has it been used?
• 134. What considerations govern the choice of an initial?
• 135. How are initials set?
• 136. What follows the initial?
• 137. How should the initial line?
• 138. How should the space around the initial be treated?
• 139. What is the relation between the size of the initial and the text lines?
• 140. What may be done to secure this relation, but under what restrictions?
• 141. What is the effect of the initial on the length of the text lines after it, and how may it be handled?
• 142. What is make-up?
• 143. How are newspaper pages and the like made up?
• 144. What appliances are needed for make-up?
• 145. How is the galley placed, and where does the make-up man stand?
• 146. How are the pages handled, and why?
• 147. What should be done before make-up begins, and why?
• 148. What has the make-up man to do with justification?
• 149. How is the length of the page measured?
• 150. How is the length of book pages set in one size of type determined?
• 151. Where may extra leads be used, and where not?
• 152. What should the gage indicate when the page contains several sizes of type, and why?
• 153. What should be used for book, periodical, or other work that is to be made up frequently from time to time?
• 154. What is the first step in making the galley matter into pages?
• 155. What difficulties are likely to occur, and how may they be met?
• 156. What precaution may be taken to forestall difficulties?
• 157. How may inexpensive work be made good work?
• 158. What is desirable in the division of a paragraph which runs from one page to another?
• 159. Is there any objection to ending paragraph and page together?
• 160. What should be done if the last line of a paragraph comes at the top of a page or the first line at the bottom?
• 161. What should be done when the last line of a page ends with a short word divided by a hyphen and finished on the next page?
• 162. What is the rule in book work as to the sinking of the first page of preface, chapters, and the like?
• 163. What styles of running head are used, and what determines the choice?
• 164. When is the running head omitted?
• 165. Where are numbers placed?
• 166. What is the usual space between the running head and the text, and why?
• 167. What positions should be avoided if possible for sub-heads?
• 168. What should be avoided in chapter endings?
• 169. Why should type be kept clean?
• 170. What is the best substance for cleaning type?
• 171. What bad method of application is often used?
• 172. How should the cleaning substance be applied?
• 173. What is sometimes needed to complete the cleaning?
• 174. What other substances are sometimes used for cleaning type?
• 175. What is the process of cleaning type with lye?
• 176. How should the beginner prepare himself to distribute type?
• 177. What is the process of distribution for a beginner? for a more experienced apprentice?
• 178. What matters should be especially watched in distribution?
• 179. How should the types be put in the boxes?
• 180. How should special characters be handled?
• 181. What particular annoyance is often caused by the distributor, and how may it be avoided?
• 182. How are advertisements and similar matter distributed?
• 183. What should be done if there is much type to distribute?
• 184. How should spaces be distributed?
• 185. How should pied type be distributed?
• 186. When and how should boxes be cleaned?
• 187. How should type be handled to prevent injury?
• 188. What should be done with thin leads and pieces of card or paper?
• 189. What may be done to make it easier to distribute small types in solid or leaded paragraphs