DOCSLIB.ORG

Punctuation Rules

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Punctuation Rules PUNCTUATION CONVENTION Pareto’s Principle in Punctuation: 20% of the RULES covers 80% of the situations. Master and Apply them, and you will be functionally literate in composition. Convention: a way in which something is generally done, especially within a particular field. Punctuation and Usage are neither Commandment (“Thou shalt..”) nor Whim (“I feel like..”). Motorists drive on the right or left side of a road, depending upon whether they travel in America or England. Children choose not to wear swim suits to their mother’s funeral. Funeral attire is dictated neither by law nor by impulse: appropriateness (how most thoughtful people dress) trumps. Careful writers learn and use the major punctuation and usage conventions listed below. CAPITALIZATION 1. Capitalize the first word of a sentence. 2. Capitalize the first word of a direct quotation (do not capitalize the first word of a quoted sentence fragment). 3. Capitalize proper nouns (particular person, place, thing, or idea) and proper adjectives (adjectives formed from proper nouns). All other nouns are common nouns; all other adjectives are common adjectives. 4. Capitalize titles when they come before names (Professor Higgins). 5. Capitalize family relationships if the relationship is part of the name (Aunt Sue). 6. In titles of books, poems, etc., capitalize the first word, all important words, and prepositions of four or more letters. 7. Capitalize product names only when they are trademarks (Kleenex, Styrofoam cup) 8. Capitalize points of a compass only when they are regions (the South). 9. Capitalize words referring to Deity. PERIODS 1. Statements and abbreviations are followed by periods; questions are followed by question marks; strong, emotional expressions are followed by exclamation points. 2. An imperative sentence may be followed by a period or an exclamation point depending upon the force intended. 3. Polite requests may be followed by a period instead of a question mark to indicate confidence in the response. COMMAS 1. Use commas to separate items in a series (unless all items are joined by “and” or “or”; use semicolons for clarity if the items themselves contain commas. 2. Use a comma to separate two or more equal adjectives preceding a noun; do not separate the last adjective from the noun if the adjective is thought of as part of the noun; do not separate a modifier in the series if it modifies one of the adjectives. 3. Use a comma to separate two independent clauses joined by a simple conjunction (and, or, but, for, or, nor, yet). 4. Use a comma to set off introductory expressions (ah, oh, however, etc.). 5. Use a comma to set of introductory participles and infinitives. 6. Use a comma to set off introductory participial phrases, infinitive phrases, and adverb clauses. PUNCTUATION CONVENTION 7. Use a comma to set off one or more nonessential, introductory prepositional phrases totaling five or more words. 8. Use a comma to set off terminal adverb clauses, only if the clause is an afterthought. 9. Use a comma to set off nonessential adjective clauses and participial phrases. 10. Use a comma to set off parenthetical (interrupting) expressions (of course, etc.) 11. Use a comma to set off appositives and appositive phrases. 12. Use a comma to set off contrasting expressions. 13. Use a comma to set off direct addresses. 14. Use a comma to set off direct quotations. 15. Use a comma to set off second and succeeding elements in dates, addresses, and geographical items. 16. Use a comma for clarity (e.g., words repeated for emphasis, words possibly misread if not separated). SEMICOLONS 1. Use a semicolon to separate two, parallel, independent clauses not joined by a conjunction; a comma may be used if the clauses are extremely short. 2. Use a semicolon to separate two, independent clauses joined by a complex conjunction (however, nevertheless, etc.). 3. Use a semicolon to separate items in a series when one or more of the items contain internal commas. 4. For clarity, use a semicolon between two independent clauses joined by a simple conjunction if the clauses themselves contain commas. COLONS (mean, “note what follows”) 1. Use a colon after an independent clause to introduce items in a series (i.e., not following a verb or preposition). 2. Use a colon to introduce (long) quotations of two or more sentences, or a formal statement. 3. Use a colon to separate independent clauses when the second restates, explains, or illustrates the first. 4. Use colons in certain standard usages like time (3:30), salutations of business letters (Dear Mr. Job:), separation of titles and subtitles (Love: A Critical Core), etc. ITALICS / QUOTATION MARKS 1. Italicize (underline) titles of complete literary and artistic works such as books, films, movies, albums, television series, plays, programs, periodicals (like magazines and newspapers), works of art, ships, etc.; however, use quotation marks to indicate subdivisions such as titles of chapters, parts of books, or other short works like short stories, poems, songs, articles, episodes, etc. 2. Italicize (underline) words, letters, and figures referred to as such; italicize (underline) foreign words. 3. Use quotation marks to enclose slang words, technical terms, definitions, words used in a special sense, or other unusual expressions. QUOTATIONS 1. Use quotation marks to enclose a person’s exact words. PUNCTUATION CONVENTION 2. When a quotation is divided into two parts by an interrupting expression, the first part begins with a capital letter, the second part begins with a small letter. 3. Set off a direct quotation from the rest of the sentence by a comma, question mark, or exclamation point; do not use more than one comma or end mark. 4. Commas and periods are always placed inside quotation marks; semicolons and colons are always placed outside quotation marks; question marks and exclamation points are placed inside the quotation marks only if they are part of the quotation. 5. When quoting a passage of more than one paragraph, use quotations marks to start each paragraph, but only to end the final paragraph quoted. 6. Use single quotation marks to enclose a quote within a quote. 7. Use quotation marks (sparingly) to emphasize irony, humor, or sarcasm. APOSTROPHES 1. Use an apostrophe and “s” to show possession in a singular noun; use only the apostrophe if the noun already ends in “s”; use the “s” and apostrophe only to show possession of a plural noun ending in “s.” 2. In hyphenated words, names of organizations, and words showing joint possession, only the last word is possessive in form. 3. Use an apostrophe to form a contraction. 4. Use an apostrophe and “s” to form the plural of letters, numbers, signs, and words referred to as such. HYPHENS 1. Use a hyphen to divide a word at the end of a line. 2. Use a hyphen to form compound numbers (twenty-one through ninety-nine). 3. Use a hyphen with numbers forming compound adjectives (ten-year-old child), fractions used as adjectives, and thank-you used as an adjective. 4. Use a hyphen to form a compound adjective preceding the word it modifies. 5. Use a hyphen after certain prefixes (ex-, self-, all-,), before the suffix -elect, and after all prefixes used with a proper noun or adjective (anti-Christ, etc.). DASHES (loud dash: manuscript, longer than a hyphen; typing, two hyphens) 1. Use a dash for summaries (i.e., to mean namely, in other words, that is, etc.) 2. Use a dash to set off parenthetical elements and interruptions. 3. Use a dash to attribute a quotation (—Cicero). PARENTHESIS / BRACKETS 1. Use parenthesis to enclose incidental information or explanatory matter added to a sentence. 2. Use brackets to enclose explanations in quoted material when the explanation is not part of the quoted material. ELLIPSIS 1. Use an ellipsis to show the omission of words from quoted material..
Load more

Recommended publications
  • INGO GILDENHARD Cicero, Philippic 2, 44–50, 78–92, 100–119 Latin Text, Study Aids with Vocabulary, and Commentary CICERO, PHILIPPIC 2, 44–50, 78–92, 100–119
    INGO GILDENHARD Cicero, Philippic 2, 44–50, 78–92, 100–119 Latin text, study aids with vocabulary, and commentary CICERO, PHILIPPIC 2, 44–50, 78–92, 100–119 Cicero, Philippic 2, 44–50, 78–92, 100–119 Latin text, study aids with vocabulary, and commentary Ingo Gildenhard https://www.openbookpublishers.com © 2018 Ingo Gildenhard The text of this work is licensed under a Creative Commons Attribution 4.0 International license (CC BY 4.0). This license allows you to share, copy, distribute and transmit the text; to adapt the text and to make commercial use of the text providing attribution is made to the author(s), but not in any way that suggests that they endorse you or your use of the work. Attribution should include the following information: Ingo Gildenhard, Cicero, Philippic 2, 44–50, 78–92, 100–119. Latin Text, Study Aids with Vocabulary, and Commentary. Cambridge, UK: Open Book Publishers, 2018. https://doi. org/10.11647/OBP.0156 Every effort has been made to identify and contact copyright holders and any omission or error will be corrected if notification is made to the publisher. In order to access detailed and updated information on the license, please visit https:// www.openbookpublishers.com/product/845#copyright Further details about CC BY licenses are available at http://creativecommons.org/licenses/ by/4.0/ All external links were active at the time of publication unless otherwise stated and have been archived via the Internet Archive Wayback Machine at https://archive.org/web Digital material and resources associated with this volume are available at https://www.
    [Show full text]
  • The English Renaissance in Context: Looking at Older Books
    The English Renaissance in Context: Looking at Older Books The History of the Book Books from the 16th and 17th centuries are both quite similar to and different from books today. The similarities include such things as use of the Codex format, general page layouts, use of title pages, etc. The codex book has been around for a long time. Its roots go back to the age of Cicero, though it only comes into more general use with the spread of Christianity throughout the later Roman Empire in the 4th and 5th centuries CE. Since then, the codex book has undergone a long and gradual evolution during which time the book, its properties, and characteristics became firmly embedded in Western consciousness. Roughly speaking, the general layout of the page that we use today came into existence in the 13th century, with the rise of the universities and the creation of books for study. It is possible, for example, to look at a page in a medieval manuscript and experience a general orientation to it, even if you cannot actually read the text. The evolution of the book, we emphasize, was slow. Such conventions as pagination, title pages, foot or endnotes, tables of contents, indices, et alia are by and large relatively recent additions. We take these features for granted; but prior to the age of Gutenberg, they are hard to find. University of Pennsylvania Libraries - 1 - Furness Shakespeare Collection The English Renaissance in Context: Looking at Older Books Renaissance books can certainly look very different from books today. They exhibit a variety and diversity that have long since been standardized and homogenized.
    [Show full text]
  • The Impact of the Historical Development of Typography on Modern Classification of Typefaces
    M. Tomiša et al. Utjecaj povijesnog razvoja tipografije na suvremenu klasifikaciju pisama ISSN 1330-3651 (Print), ISSN 1848-6339 (Online) UDC/UDK 655.26:003.2 THE IMPACT OF THE HISTORICAL DEVELOPMENT OF TYPOGRAPHY ON MODERN CLASSIFICATION OF TYPEFACES Mario Tomiša, Damir Vusić, Marin Milković Original scientific paper One of the definitions of typography is that it is the art of arranging typefaces for a specific project and their arrangement in order to achieve a more effective communication. In order to choose the appropriate typeface, the user should be well-acquainted with visual or geometric features of typography, typographic rules and the historical development of typography. Additionally, every user is further assisted by a good quality and simple typeface classification. There are many different classifications of typefaces based on historical or visual criteria, as well as their combination. During the last thirty years, computers and digital technology have enabled brand new creative freedoms. As a result, there are thousands of fonts and dozens of applications for digitally creating typefaces. This paper suggests an innovative, simpler classification, which should correspond to the contemporary development of typography, the production of a vast number of new typefaces and the needs of today's users. Keywords: character, font, graphic design, historical development of typography, typeface, typeface classification, typography Utjecaj povijesnog razvoja tipografije na suvremenu klasifikaciju pisama Izvorni znanstveni članak Jedna je od definicija tipografije da je ona umjetnost odabira odgovarajućeg pisma za određeni projekt i njegova organizacija s ciljem ostvarenja što učinkovitije komunikacije. Da bi korisnik mogao odabrati pravo pismo za svoje potrebe treba prije svega dobro poznavati optičke ili geometrijske značajke tipografije, tipografska pravila i povijesni razvoj tipografije.
    [Show full text]
  • The Meaning of the Law: Traditional Interpretations
    THE MEANING OF THE LAW: TRADITIONAL INTERPRETATIONS We all know what it means to break the law. It is perhaps the most fundamental fact governing our social behaviour that we understand the constraints and the pressures to stay within the law and the consequences of not doing so. The law is pervasive, controlling our lives in many more ways than we are usually aware; nevertheless, in most commonplace situations we have a fairly accurate knowledge of what the law requires and what it forbids. In those grey areas in which this is not clear, you might seek legal advice about your rights and obligations. In such situations, one thing you will not ask of a solicitor is the precise nature of the law, or, for that matter, why you should obey it; such questions would be quite inappropriate. These, however, are among the fundamental questions about the law. What exactly is the law? What does legal validity mean? What is a legal system? What is the 'Rule of Law'? These questions have been asked by legal philosophers since the first appearance of civilised legal systems, and the variation in answers has been of practical as well as theoretical significance. The purpose of this first chapter is to introduce the main points of disagreement on these questions and to explain some central strands of traditional approaches to an understanding of the meaning of law. Morality and law at variance The issue which stands behind nearly every controversy in contemporary legal theory is the problem of how law is to be understood in relation to moral values.
    [Show full text]
  • No. 3 Science and History Behind the Design of Lucida Charles Bigelow
    204 TUGboat, Volume 39 (2018), No. 3 Science and history behind the design of Lucida Charles Bigelow & Kris Holmes 1 Introduction When desktop publishing was new and Lucida the first type family created expressly for medium and low-resolution digital rendering on computer screens and laser printers, we discussed the main design de- cisions we made in adapting typeface features to digital technology (Bigelow & Holmes, 1986). Since then, and especially since the turn of the 21st century, digital type technology has aided the study of reading and legibility by facilitating the Figure 1: Earliest known type specimen sheet (detail), development and display of typefaces for psycho- Erhard Ratdolt, 1486. Both paragraphs are set at logical and psychophysical investigations. When we approximately 9 pt, but the font in the upper one has a designed Lucida in the early 1980s, we consulted larger x-height and therefore looks bigger. (See text.) scientific studies of reading and vision, so in light of renewed interest in the field, it may be useful to say Despite such early optimism, 20th century type more about how they influenced our design thinking. designers and manufacturers continued to create The application of vision science to legibility type forms more by art and craft than by scientific analysis has long been an aspect of reading research. research. Definitions and measures of “legibility” Two of the earliest and most prominent reading often proved recalcitrant, and the printing and ty- researchers, Émile Javal in France and Edmund Burke pographic industries continued for the most part to Huey in the US, expressed optimism that scientific rely upon craft lore and traditional type aesthetics.
    [Show full text]
  • View of the Great
    This dissertation has been 62—769 microfilmed exactly as received GABEL, John Butler, 1931- THE TUDOR TRANSLATIONS OF CICERO'S DE OFFICIIS. The Ohio State University, Ph.D., 1961 Language and Literature, modern University Microfilms, Inc., Ann Arbor, Michigan THE TUDOR TRANSLATIONS OP CICERO'S DE OFFICIIS DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of the Ohio State University By John Butler Gabel, B. A., M. A., A. M. ****** The Ohio State University 1961 Approved by Adviser Department of Ehglis7 PREFACE The purpose of this dissertation is to throw light on the sixteenth-century English translations of De Offioiis, one of Cicero’s most popular and most influential works. The dissertation first surveys the history and reputation of the Latin treatise to I600 and sketchs the lives of the English translators. It then establishes the facts of publication of the translations and identifies the Latin texts used in them. Finally it analyzes the translations themselves— their syntax, diction, and English prose style in general— against the background of the theory and prac­ tice of translation in their respective periods. I have examined copies of the numerous editions of the translations in the Folger Shakespeare Library, the Library of Congress, and the libraries of the Ohio State University and the University of Illinois. I have also made use of films of copies in the British Museum and the Huntington Library. I have indicated the location of the particular copies upon which the bibliographical descrip­ tions in Chapter 3 are based.
    [Show full text]
  • Cicero-Milo-Lsf-As-Schools.Pdf
    Extracts from Persuasive Language in Cicero’s Pro Milone Introduction for Teachers The material which follows consists of extracts from a 2013 book published by the Institute of Classical Studies, which will soon be available on-line on an Open Access basis. Access is also here provided to those sections of the book pertaining specifically to the selections from the speech on the current OCR syllabus (H043 & H443), in the hope that the linguistic focus of the work may make it useful for teachers guiding AS & A Level students through the complexities of Ciceronian Latin, even though the work was not originally designed with schools in mind. The main body of the book consists of a sentence-by-sentence analysis of the speech covering gram- matical structure and contribution to argument. This analysis is different in several respects from traditional commentaries, but shares with them a focus on language and on small details. It aims for a consistency in providing some information for every sentence in the text, specifically: • Each sentence is printed in such a way that the syntactic structure is to some extent visible on the page. • The number and type of clauses in each sentence is listed. • Each sentence is paraphrased and/or its function in terms of contribution to the argument is described. Similar consistency has not been attempted in providing comments on individual phrases; those that do appear tend to focus on themes important to the overall argument of the book, such as Cicero’s use of first- and second-person grammatical elements. The purpose of this tightly-focused analysis of language and content was originally, in research terms, to support an argument about the nature of the text which is outlined below.
    [Show full text]
  • A New Paradigm for Punctuation Albert Edward Krahn University of Wisconsin-Milwaukee
    University of Wisconsin Milwaukee UWM Digital Commons Theses and Dissertations 5-1-2014 A New Paradigm for Punctuation Albert Edward Krahn University of Wisconsin-Milwaukee Follow this and additional works at: https://dc.uwm.edu/etd Part of the Linguistics Commons, and the Modern Languages Commons Recommended Citation Krahn, Albert Edward, "A New Paradigm for Punctuation" (2014). Theses and Dissertations. 465. https://dc.uwm.edu/etd/465 This Dissertation is brought to you for free and open access by UWM Digital Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of UWM Digital Commons. For more information, please contact [email protected]. A NEW PARADIGM FOR PUNCTUATION by Albert E. Krahn A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in Linguistics at The University of Wisconsin-Milwaukee May 2014 ABSTRACT A NEW PARADIGM FOR PUNCTUATION by Albert E. Krahn The University of Wisconsin-Milwaukee, 2014 Under the Supervision of Professor Fred R. Eckman This is a comprehensive study of punctuation, particularly the uses to which it has been put as writing developed over the centuries and as it gradually evolved from an aid to oral delivery to its use in texts that were read silently. The sudden need for standardization of punctuation which occurred with the start of printing spawned some small amount of interest in determining its purpose, but most works after printing began were devoted mainly to helping people use punctuation rather than try to discover why it was being used. Gradually, two main views on its purpose developed: it was being used for rhetorical purposes or it was needed to reveal the grammar in writing.
    [Show full text]
  • The Practice of Typography; a Treatise on the Processes of Type-Making
    W^UIBRARV.;. aMUBRA oCii LA- ^OFCAllFOff^ ^OFl. o ^^ ^ !!]? '^)i mm ^/yaiAINH, •''^A'jvas , \WtUNIVr >10SAN( 5- -c, CO -n «-j O u_ %ojiiv3jo^ %o\\mi^^ <rii33NYsoi^'^ '^•/mmi •UIFOMi^ i;niver5/a v^lOSANC o -n O •re: <rjl30NV ^10SANC[I^ ^iLlBRARY(2^ -^ILIBRA mo ?Hii!M ir.'v'.Aurci r,- , r TAii I nn. ^ H\ m\ym/A C3 Cc DN^SOl^"^ - r\rrA'iFn'?j.. f^ *- J 30 O II1V3W^ Mm<^ ''<imm{\\'^' f^. "^^ '^imhrn'm' INfl3WV THE PRACTICE OF TYPOGRAPHY THE PRACTICE OF TYPOGRAPHY A TEEATISE ON THE PEOCESSES OF TYPE-MAKING, THE POINT SYSTEM, THE NAMES, SIZES STYLES AND PEICES OF PLAIN PRINTING TYPES BY THEODORE LOW DE VINNE, AM. SECOND EDITION fi f^.ni'Ai-'^. NEW YORK THE CENTURY CO. 1902 Copyright, 1899, by Theodork Low DeVinne. The DeVinne Press. 1 9 OS. PREFACE THIS treatise is a summary of detached notes collected by the writer since 1860. A desire to make it complete and exact has prevented its earlier publication. As an aid to this result each chapter has been revised recently by experts in different branches of printing. In its present cor- rected form it is believed that it will be found of use to all who seek for information about types which cannot be compressed within the ordinary manual of printing, or be gleaned quickly from the specimen books of many type-founders. The scope of the book has to be limited to plain types. Re- marks concerning newspaper types, typographic decorations, and recent fashions in book-work, have to be postponed. The composition of title- pages may be the subject of another treatise.
    [Show full text]
  • Fonts for Latin Paleography 
    FONTS FOR LATIN PALEOGRAPHY Capitalis elegans, capitalis rustica, uncialis, semiuncialis, antiqua cursiva romana, merovingia, insularis majuscula, insularis minuscula, visigothica, beneventana, carolina minuscula, gothica rotunda, gothica textura prescissa, gothica textura quadrata, gothica cursiva, gothica bastarda, humanistica. User's manual 5th edition 2 January 2017 Juan-José Marcos [email protected] Professor of Classics. Plasencia. (Cáceres). Spain. Designer of fonts for ancient scripts and linguistics ALPHABETUM Unicode font http://guindo.pntic.mec.es/jmag0042/alphabet.html PALEOGRAPHIC fonts http://guindo.pntic.mec.es/jmag0042/palefont.html TABLE OF CONTENTS CHAPTER Page Table of contents 2 Introduction 3 Epigraphy and Paleography 3 The Roman majuscule book-hand 4 Square Capitals ( capitalis elegans ) 5 Rustic Capitals ( capitalis rustica ) 8 Uncial script ( uncialis ) 10 Old Roman cursive ( antiqua cursiva romana ) 13 New Roman cursive ( nova cursiva romana ) 16 Half-uncial or Semi-uncial (semiuncialis ) 19 Post-Roman scripts or national hands 22 Germanic script ( scriptura germanica ) 23 Merovingian minuscule ( merovingia , luxoviensis minuscula ) 24 Visigothic minuscule ( visigothica ) 27 Lombardic and Beneventan scripts ( beneventana ) 30 Insular scripts 33 Insular Half-uncial or Insular majuscule ( insularis majuscula ) 33 Insular minuscule or pointed hand ( insularis minuscula ) 38 Caroline minuscule ( carolingia minuscula ) 45 Gothic script ( gothica prescissa , quadrata , rotunda , cursiva , bastarda ) 51 Humanist writing ( humanistica antiqua ) 77 Epilogue 80 Bibliography and resources in the internet 81 Price of the paleographic set of fonts 82 Paleographic fonts for Latin script 2 Juan-José Marcos: [email protected] INTRODUCTION The following pages will give you short descriptions and visual examples of Latin lettering which can be imitated through my package of "Paleographic fonts", closely based on historical models, and specifically designed to reproduce digitally the main Latin handwritings used from the 3 rd to the 15 th century.
    [Show full text]
  • Classics: Latin Mark Scheme for June 2010
    GCE Classics: Latin Advanced GCE F362 Unit L2: Latin Verse and Prose Literature Mark Scheme for June 2010 Oxford Cambridge and RSA Examinations OCR (Oxford Cambridge and RSA) is a leading UK awarding body, providing a wide range of qualifications to meet the needs of pupils of all ages and abilities. OCR qualifications include AS/A Levels, Diplomas, GCSEs, OCR Nationals, Functional Skills, Key Skills, Entry Level qualifications, NVQs and vocational qualifications in areas such as IT, business, languages, teaching/training, administration and secretarial skills. It is also responsible for developing new specifications to meet national requirements and the needs of students and teachers. OCR is a not-for-profit organisation; any surplus made is invested back into the establishment to help towards the development of qualifications and support which keep pace with the changing needs of today’s society. This mark scheme is published as an aid to teachers and students, to indicate the requirements of the examination. It shows the basis on which marks were awarded by Examiners. It does not indicate the details of the discussions which took place at an Examiners’ meeting before marking commenced. All Examiners are instructed that alternative correct answers and unexpected approaches in candidates’ scripts must be given marks that fairly reflect the relevant knowledge and skills demonstrated. Mark schemes should be read in conjunction with the published question papers and the Report on the Examination. OCR will not enter into any discussion or correspondence in connection with this mark scheme. © OCR 2010 Any enquiries about publications should be addressed to: OCR Publications PO Box 5050 Annesley NOTTINGHAM NG15 0DL Telephone: 0870 770 6622 Facsimile: 01223 552610 E-mail: [email protected] F362 Mark Scheme June 2010 Section A: Prescribed Prose Literature Question Mark AO (a) In lines 1-3 (recognosce ..
    [Show full text]
  • Museum Printing
    MOPSummer:Layout 1 5/3/11 4:42 PM Page 1 Museum OF the Printing GalleyVolume 32 • Issue 2 • Summer 2011 DEDICATED TO PRESERVING THE PAST OF PRINTING AND ALL OF ITS RELATED CRAFTS Message From The President In This Issue or the last two years we have been fortunate to have a Colonial print shop on We Get Questions—Members and loan, complete with an English Common Press. Gary Gregory, founder of others ask about presses and other F“Lessons on Liberty” and a member of the Museum’s Board, supported this print paraphernalia. Pages 3 and 3 exhibit in many ways. Gary has now found an appropriate home for this historically- accurate print ship at the Clough House, adjacent to Old North Church. The Printing Museum Type Sale—A great oppor- Office of Edes & Gill is Boston’s colonial-era printing experience and visitors will have tunity to find type, presses, and the opportunity to engage living historians working the printers’ trade in pre-revolu- other printing material. Saturday, tionary Boston. If you are in Boston, visit Gary and also make a trip to North Andover June 11th. Page 4. and visit the Museum. Over the winter, our gang painted and tiled the second floor conference room. Gutenberg was an Idiot—It took a They also kept the 20-year old boiler operating. while to get the type right for the The Museum’s Library Advisor, Brian Frykenberg arranged with OPALS (OPen- Bible. Page 5 source Automated Library System) to allow web-based public access to electronic records of the Museum’s books and ephemera.
    [Show full text]