Printing Apparatus for the Use of Amateurs
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Introduction to Printing Technologies
Edited with the trial version of Foxit Advanced PDF Editor To remove this notice, visit: www.foxitsoftware.com/shopping Introduction to Printing Technologies Study Material for Students : Introduction to Printing Technologies CAREER OPPORTUNITIES IN MEDIA WORLD Mass communication and Journalism is institutionalized and source specific. Itfunctions through well-organized professionals and has an ever increasing interlace. Mass media has a global availability and it has converted the whole world in to a global village. A qualified journalism professional can take up a job of educating, entertaining, informing, persuading, interpreting, and guiding. Working in print media offers the opportunities to be a news reporter, news presenter, an editor, a feature writer, a photojournalist, etc. Electronic media offers great opportunities of being a news reporter, news editor, newsreader, programme host, interviewer, cameraman,Edited with theproducer, trial version of Foxit Advanced PDF Editor director, etc. To remove this notice, visit: www.foxitsoftware.com/shopping Other titles of Mass Communication and Journalism professionals are script writer, production assistant, technical director, floor manager, lighting director, scenic director, coordinator, creative director, advertiser, media planner, media consultant, public relation officer, counselor, front office executive, event manager and others. 2 : Introduction to Printing Technologies INTRODUCTION The book introduces the students to fundamentals of printing. Today printing technology is a part of our everyday life. It is all around us. T h e history and origin of printing technology are also discussed in the book. Students of mass communication will also learn about t h e different types of printing and typography in this book. The book will also make a comparison between Traditional Printing Vs Modern Typography. -
The Building of a Book
•^. f. THE BUILDING OF A BOOK THE BUILDING OF A BOOK A SEKIES OF PRACTICAL ARTI- CLES WRITTEN BY EXPERTS IN THE VARIOUS DEPARTMENTS OF BOOK MAKING AND DISTRIBUTING WITH AN INTRODUCTION BY THEODORE L. DE VINNE EDITED BY FREDERICK H. HITCHCOCK THE GRAITON PRESS PUBLISHERS NEW YORK COPTEIGHT, 1906, Bt the GRAFTON PRESS. Published December, 1906. ©etiicatctj TO RE.VDERS AND LOVERS OF BOOKS THROUGHOUT THE COUNTRY FOREWORD " The Building of a Book " had its origin in the wish to give practical, non-technical infor- mation to readers and lovers of books. I hope it will also be interesting and valuable to those persons who are actually engaged in book mak- ing and selUng. All of the contributors are experts in thoir respective departments, and hence write with authority. I am exceedingly grateful to them for their very generous efforts to make the book a success. THE EDITOR. vU ARTICLES AND CONTRIBUTORS Introduction 1 By Theodore L. De Vinne, of Theodore L. De Vinne & Company, Printers, New York. The Author 4 By George W. Cable, Author of " Grandissimes," "The Cavalier," and other books. Resident of Northampton, Massachusetts. The Literary Agent 9 By Paul R. Reynolds, Literary Agent, New York, representing several English publishing houses and American authors. The Literary Adviser 16 By Francis W. Halsey, formerly Editor of the Nexo York Times Saturday Itevieio of Books, and literary adviser for D. Appleton & Company. Now literary adviser for Funk & Wagnalls Company, New York. The Manufacturing Department ... 25 By Lawton L. Walton, in charge of the manu- facturing department of The Macmillan Company, Publishers, New York. -
Press Glossary.Numbers
A Helpful List of Terms Used at the Bow & Arrow Press Anti-Skin Spray Spray solvent in the magenta cans that keeps the ink from drying in the can and forming a skin. Use each time you put a can away Apron Wear this to keep from getting ink on your nice clothes, or don’t wear nice clothes to the Press. Awl Metal implement for punching holes in paper. Band-Aids Use for cuts, scrapes and slices. In the closet near the big flammables cabinet. Beeswax Rectangular lumps of beeswax used to lubricate and waterproof the bookbinder’s thread for making booklets. Bench Hook A simple tool that hooks onto a table and allows you to cut linoleum blocks without using your hands to brace the block. Helpful for avoiding cuts, scrapes and slices. Big Black Barrel This is where rags go to die. Put them here when there is no white left on them. Biohazard Can This is where rags go when they can be used again. Always pull from the Biohazard Can before you pull from the box in the closet. Blankets Soft woolen pieces of felt that protect the intaglio press and your plate from pressure. See Starch Catcher, Pusher Felt, Pressure Felt Bone A bookbinder’s implement for making sharp creased folds. Brayer A roller with a handle. Always place metal-side down, never rest on the rubber. Broken Type Can Next to the end of the No. 4 Press. Put broken type in here to be melted down into new type. Burin Engraving tool made of tool steel. -
MACHINERY for BOOK and GENERAL PRINTING. Until A
FEB. 1899. 103 MACHINERY FOR BOOK AND GENERAL PRINTING. - BY ME.WILLIAM POWRIE, Member, OF LONDON. Until a comparatively recent period Typography was almost the only process employed in the production of books and other readable matter ; but it is now largely supplemented by lithography, collotypy, &c., each requiring special machinery and appliances for their effective development. In fact the operations in a modern priuting factory are specialized and carried on in departments, in a similar way to work in an engineering establishment ; and a simple list of the various machines employed would fill several pages. As an excellent detailed description of a rotary newspaper-printing machine, and the method of producing a daily paper, has been given by Mr. John Jameson in the Proceedings of this Institution for 1881 (page 511), the author purposes dealing at present with the leading classes of Machines employed for Book and Job Printing. Although the art and method of printing from movable types was invented about the beginning of the fifteenth century, it mas not until the early part of the present century that printers’ engineers and tool-makers began to produce power-driven machinery. Since then the improvement and development of printing machinery has been continuous, and more especially during the last tLirty years, until the modern printing machine bears about the same comparison with the early ones that a first-class express locomotive does with the historic ‘‘ Rocket ;” and printers’ engineering is now an important department of mechanical work. There is great diversity of details in the presses and machines used by typographic printers: some are of the “platen” kind,printing the whole surface of the sheet at once; and others are of the ‘‘ cylinder ” class, printing one line at a time, but Downloaded from pme.sagepub.com at UNIV NEBRASKA LIBRARIES on June 4, 2016 104 TYPOGKAPAIC PRINTING QfACHINERY. -
Lahor and Technology in the Book Trades
The Quest for Autonomy and Discipline: Lahor and Technology in the Book Trades WILLIAM S. PRETZER JLHERE IS MUCH to be learned about the history of labor and technology in the book trades. There is also much to be learned/rom the history of labor and technology in the book trades. Understanding the production of printed goods and their components will not only help us understand the changing nature of demand, distribution, circulation, and impact of print, but these investigations will also increase our knowledge of general aspects of the American Industrial Revolution. Indeed, the history of the book trades should be seen as part of the larger history of American labor and technology. Much of this larger history is composed of the evolving character of conflict and conciliation in the workplace. And while the role of the plebeian classes as participants in the cul- ture of the printed word is a topic well worth exploring, the focus here is on the role of the producers of printed culture. Continuing through the third quarter of the nineteenth century, two themes stand out in this history. First is the quest for autonomy pursued by master artisans and capitalist employers in terms of their control over raw materials, product markets. This is a revised version of a paper presented at a needs-and-opportunities conference on the history of the book in American culture held at the American Antiquarian Society, November 1-3, 1984. I am grateful to Rollo G. Silver and Steven Rosswurm for their comments and to Kevin S. Baldwin for his research assistance. -
Printing in Isaiah Thomas's Time
Printing in Isaiah Thomas’s Time Printing in Isaiah Thomas’ time had changed very little since Johannes Gutenberg first printed his Bible in 1455. The press that Isaiah first learned to use was essentially the same type of press used for centuries. It was made of wood and called a block or blaeu style press. It was operated by hand and took an enormous amount of strength to pull the handle or bar that turned a large metal screw that in turn pressed a square block of stone down on the type to make an impression. Printers would develop the muscles on the side of their body with which they pulled on the press. This overdevelopment of these muscles made them walk and move with what was called a printer’s gait. It was possible for printers to recognize another printer by the way he moved down the street. 1 The printing process started by setting type. Every character, including all letters, punctuation marks, and even blank spaces, were made out of individual pieces of metal. These pieces of type were often called faces , which was short for typefaces . These pieces of type would be placed in wooden boxes divided into little partitions for each letter, punctuation mark, or space. Much like a contemporary computer keyboard, these type cases were arranged for easy and quick access to those partitions containing the letters that were used most frequently. Printers were careful to make sure the individual characters were separated and in their proper partitions. Type that was all mixed up was called a printer’s pie. -
The Museum of Printing History Offers Hands-On Learning Opportunities for Students of All Ages
Welcome The Museum of Printing History offers hands-on learning opportunities for students of all ages. Visits to the Museum are appropriate for a wide range of subjects, whether the focus is science and technology or English Language Arts, history or fine arts and crafts. With exhibitions dedicated to the development of essential technologies, American and Texas history, the traditions of Western literature and art – as well as working galleries for crafts such as papermaking, printmaking, and bookbinding – the visiting student will encounter scholars and artists who are gifted at bringing the past to life. Museum of Printing History tours are customizable to the needs of any class. Discuss a course or unit topic with our Curator or Artist-in-Residence to develop a tour which fits the subject matter that the students are currently exploring. If suitable for the size of your group, it is also possible to introduce hands-on projects, such as a session printing in our lithography studio with Houston artist Charles Criner, or an introduction to book construction and history with one of our bookbinders. In addition to regularly scheduled classes, the Museum of Printing History can work with your school or community group to schedule workshops on a wide range of topics relating to the art of the book. We have a list of workshops available on demand, or we may work together to design something special for your group. For questions, or to schedule your outreach workshop, please contact Amanda Stevenson, Curator, [email protected], 713-522-4652, ext. 207. Contents Preparing for your Visit Maps & Directions 2 Tour Information 3 Museum Overview 4 Pre-Visit Discussions 5 Museum & Post Visit Activities 11 1 Preparing for Your Visit Convenient to downtown and to all major freeways, the Museum is located at 1324 West Clay, between Waugh Drive and Montrose, just south of Allen Parkway. -
Survey of Hygienic Conditions in the Printing Trades : Bulletin of the United States Bureau of Labor Statistics, No
U. S. DEPARTMENT OF LABOR JAMES J. DAVIS, S^ cretary BUREAU OF LABOR STATISTICS ETHELBERT STEWART, Commissioner BULLETIN OF THE UNITED STATES ) BUREAU OF LABOR STATISTICS J No. 392 INDUSTRIAL ACCIDENTS AND HYGIENE SERIES SURVEY OF HYGIENIC CONDITIONS IN THE PRINTING TRADES By S. KJAER Of the United States Bureau of Labor Statistics SEPTEMBER, 1925 WASHINGTON GOVERNMENT PRINTING OFFICE 1925 Digitized for FRASER http://fraser.stlouisfed.org/ Federal Reserve Bank of St. Louis ADDITIONAL COPIES OF THIS PUBLICATION MAY BE PROCURED FROM THE SUPERINTENDENT OF DOCUMENTS GOVERNMENT PRINTING OFFICE WASHINGTON, D. C. AT rn CENTS PER COPY Digitized for FRASER http://fraser.stlouisfed.org/ Federal Reserve Bank of St. Louis PREFACE In 1922 the International Joint Conference Council of the Print ing Industry planned an investigation of the hygiene of the printing trades. The general supervision and control of the investigation was placed by the Joint Council in the hands of Dr. Frederick L. Hoffman. The Bureau of Labor Statistics was, from the start, called into these conferences and subsequently agreed to do a definitely outlined part of the work involved in the general survey. Under the agree ment the Bureau of Labor Statistics was to conduct a branch of the work involving the employment of at least one field investigator. Mr. Swen Kj aer was assigned to this field work. The schedules and questionnaires had of course been jointly agreed upon by Doctor Hoffman and the Bureau of Labor Statistics. Special Agent Kjaer began his field work in October, 1922, completing it early in 1924. The present bulletin is the beginning of the publication, of the re sults of the joint survey of the hygiene of the printing trades made by the International Joint Conference Council of the Printing In dustry and the Bureau of Labor Statistics in cooperation. -
Principles of Typesetting
h e H T a p p y T PREPARE y p e s e t t 1. Determine the longest line to be set. Keep in mind that if lines are staggered left e r or right, your line must run the entire length from most left to most right. 2. To determine the length of leading to use: add at least 48pts to the line length (to give room for large spacing on the ends of each line) and round up to the nearest convenient furniture length. 3. Set up your work area. Pull your type tray out carefully and set it on one of the work counters. Set a good amount of the leading length and thickness that you’ve chosen next to the type tray. Check your leading to make sure it is all the same length (no oddballs). 4. Clear out the spacing compartments in your tray. The spacing in these trays are often a bit jumbled. Sort them out before you begin. 5. Retrieve some word-spacers, ems, and quads from the appropriate spacing drawer, and sort them into the appropriate compartments in your type tray. If necessary, you may want to pull out the spacing drawer and set it along-side your type tray. 6. Hold the composing stick so that your wrist is as straight and relaxed as possible. Have your thumb or forefinger poised to hold type as you set it in the stick. BEGIN SETTING 1. Lay in a piece of leading. If the leading is too long to fit easily, check the leading length and check the placement of the “stop” on the composing stick. -
Type-Composing Machines of the Past, the Present, and the Future
Type-Composing Machines of The Past, the Present, and the Future. A PAPER Read before the Balloon Society of Great Britain, at St. James’ Hall, October 3rd, 1890. by JOHN SOUTHWARD, Editor “Paper and Printing Trades Journal”; Author of “The Dictionary of Typography.”, “Practical Printing,” “The Principles and Progress of Printing Machinery” Article, “Typography” in “Encyclopaedia Britannica” and “Printing” in “Chambers’s Encyclopaedia” Examiner (1878) in Printing to City and Guilds of London Institute for the Advancement of Technical Education. [COPYRIGHT.] LEICESTER: RAITHBY, LAWRENCE & CO., LIMITED, DE MONTFORT PRESS, 1891. ADVERTISEMENT. The following Paper is given as it was originally written. Owing to shortness of time, some passages had to he omitted in the reading. THE visitor to the composing department of a printing office finds a number of operatives engaged upon a process that is, apparently, extremely monotonous and fatiguing. Standing before a pair of shallow wooden trays, known as cases, inclined desk-like, the compositor holds in his left hand what is called a composing-stick a little iron or brass frame, one side of which is movable, so that it may be adjusted to the required width of the page or column which the workman has to set up. The "copy" from which he works rests on the least-used part of the upper case. The practised compositor takes in several words at a glance provided the author writes an intelligible hand, which virtue is by no means universal. One by one, then, the compositor puts the letters of each word and sentence into his stick, securing each letter with the thumb of his left hand, which is, therefore continually travelling from the beginning to the end of the line. -
Letterpress Terms
Letterpress Terms GENERAL TERMS Type High – The height of type from it’s base to it’s printing surface. .918 of an inch or 15/16th. Letterpress – A traditional way of printing, where a plate with the image standing proud Type High Gauge – Tool for measuring if type of the surface is inked and then impressed is at the correct height. onto the paper. Traditionally, it was not correct to indent the paper but it has now become fashionable to do so. Printing Press - A device that applies pressure that transfers ink form a surface to a medium. They revolutionized mass communication, changed the course of history & today call back to simpler times. Put simply, they are magic. Platen Press– A press with a flat plate which is pressed against a medium (paper) to cause an impression. These have an inking disc up top and a large flywheel on one side. Pied Type – Type which is in a jumbled mess. Proofing Press – A press used to prep a print for production. The bed of this press is parallel to the ground and either a roller moves on top of the bed or the entire bed itself can move. Letterpress Terms SETTING A FORM California Job Case – method of organization of the letters in a case. is a kind of type case: a Form – what you set to print, composed of compartmentalized wooden box used to store letters and or images. movable type used in letterpress printing. It was the most popular and accepted of the job case designs in America. -
Bed & Platen Book Printing Machines
BED & PLATEN Book Printing Machines American and British streams of ingenious regression in the quest for print quality A technical study by Douglas W. Charles with a foreword by Stephen O. Saxe PLANE SURFACE PRESS MMXVII BED & PLATEN Book Printing Machines American and British streams of ingenious regression in the quest for print quality A technical study by Douglas W. Charles with a foreword by Stephen O. Saxe PLANE SURFACE PRESS MMXVII A C K N O W L E D G M E N T S In addition to the late William Elligett, whose urging and generosity spurred this study, the following institutions and individuals are owed particular thanks. The author takes credit for all errors of fact or interpretation. Bodleian Library, Staff British Library Quick Information (Patents), Ziaad Khan Compuset Centre of Darjeeling, Bon Pradhan Full Circle Media Arts, Gregg Poppen Historiche Drukkerij Turnhout, Herwig Kempenaers Ketchikan Daily News, Lew Williams III Ketchikan Public Library, Staff Leeds (UK) City Council, Business and Patent Information Services, Staff Oxford University Press (Archives) Dr. Martin Maw, (Library) Staff Radcliffe Science Library,Staff St. Bride Printing Library, Clare Amos, Lyn Arlotte, Robert Richardson Smithsonian Institution, Dr. Elizabeth Harris, Stanley Nelson Hall Anderson Don Charles Mick Elligett Peter Marsh Stephen O. Saxe Dorothee Snoek iii F O R E W O R D The bed and platen printing machine seems to be the “missing link” in the story of the evolution of the printing press. The narrative, as usually presented, begins with Gutenberg’s adaptation of the wine press, followed centuries later by Blaeu’s improvements in the 1620s.