Hot Metal Composition and Cold Metal Composition
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IBM Selectric IT, with Manual, Ribbon, and Correction Tape
BART Q2B2 No. 1-2 Typewriters. No.1 Manual typewriter: Remington, 1965 with library keyboard. 23 x 36 x 49 em. No. 2 Electric typewriter: IBM Selectric IT, with manual, ribbon, and correction tape. 19 X 39 X 52 Cffi., in box, 32 X 46 X 66 CIDo BART Q2C3 No.1 Computers No. la Apple lie computer, CPU with drives 1 and 2, and cable connections No. lal Owner's manual No. la2 Installation manual No. la3 DOS User's manual No. la4 DOS Programmer's manual No. laS Appleworks Tutorial No. la6 80-Column Text card manual No. la7 Extended SO-Column Text and supplement No. laS Applesoft Tutorial No. la9 Appleworks startup training discs No. lalO Screenwriter II word processing manual No. lall Hayes Micro-modem lie manual No. 1b Apple Monitor ill No. lbl Owner's manual No. lc Daisy wheel printer: Brother HR 15, with tractor feed, cable, and ribbons No. lcl Instruction manual No. lc2 Instruction manual model HR 15 No. lc3 User's manual No. lc4 Tractor Feeder instruction manual I ART c No. la- lb in box, 54x49x56 em. Q2(il3 No. le in box, 19x39x48 em. No.1 Gift ofRiehard Ogar. BART Q2C34 No.1 Computer software manuals. No.1 WordPerfect. No.la Reference version 5.2 No.lb Shared applications version 1.3 No.lc Workbook for Windows version 5.2 No. ld Program discs In box, 23 x 10 x 20 em. BART Q2S2 No.1 Supplies. No.1 Carbon paper, black, standard weight and size, 8 x 11 inches/Middletown, CT.: Remington Rand, 1960? On manufacturer's box: reproduction in blue of seal bearing legend: THE UNNERSITY OF CALIFORNIA 1868 LET THERE BE LIGHT. -
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. -
236 Tugboat, Volume 9 (1988), No. 3 Some Typesetting Conventions
236 TUGboat, Volume 9 (1988), No. 3 Some Typesetting Conventions suitability to contents Graeme McKinstry, Not all these factors are equal in their effect on readability University of Otago, nor are all the factors within your control but it is possible New Zealand. to use some of the above factors to make your documents more readable. One of the major advantages of T@ is that it makes it possible for authors to typeset their own work. However, Typeface and size of type this new found power has not been automatically asso- There are two broad classes of fonts: serif ("serifs" are ciated with a knowledge of typesetting and typographic the finishing strokes at the end of letters) and sans-serif design and so some very unreadable documents have en- (without serifs, e.g., fonts such as Helvetica). Of the sued. This is further exacerbated by authors believing two, serif fonts (such as Computer Modem, and Times- they do know something about typesetting ("Doesn't ev- Roman) are easier to read for large quantities of text, eryone?") and ignoring all attempts to lead them in the "because it has been shown that we read our own lan- right direction, e.g., LV@. guage not letter by letter but by recognizing the shapes Although TEX users are less prone to fall into this of words . " [31. The serifs tend to help in this "shape trap as compared to your average WYSIWYG user there are recognition". For example try to decipher the following still some fundamental typographic lessons to be learned. two lines (they don't form words): These principles are so fundamental that even a com- puting consultant, such as myself, is able to learn, and possibly even more importantly, understand why we have them. -
Progress in Printing and the Graphic Arts During the Victorian
CORNELL UNIVERSITY LIBRARY BOUGHT WITH THE INCOME OF THE SAGE ENDOWMENT FUND GIVEN IN 1891 BY HENRY WILLIAMS SAGE Ik Cornell University Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924032192373 Sir G. Hayter, R./l. Bet* Majesty Queen Tictorta in Coronation Robes. : progress in printing and the 6raphic Hrts during the Victorian Gra. "i BY John Southward, Author of "Practical Printing"; "Modern Printing"; "The Principles and Progress of Printing Machinery"; the Treatise on "Modern Typography" in the " EncyclopEedia Britannica" Cgtii Edition); "Printing" and "Types" in "Chambers's Encyclopaedia" (New Edition); "Printing" in "Cassell's Storehouse of General Information"; "Lessons on Printing" in Cassell's New Technical Educator," &c. &c. LONDON SiMPKiN, Marshall, Hamilton, Kent & Co. Ltd. 1897. X^he whole of the Roman Cypc in tbta Booh has been set up by the Linotj^pe Composing Machine, and machined direct from the Linotj'pc Bars by 6eo. CH. loncs, Saint Bride Rouse, Dean Street, fetter Lane, London, e.C. ^ ^ ^ ^ ^ ^ ^ W Contents. ^^ Progress in Jobbing Printing Chapter I. Progress in Newspaper Printing Chapter II. Progress in Book Printing - Chapter III. Printing by Hand Press Chapter IV. Printing by Power Press Chapter V. The Art of the Compositor Chapter VI. Type-Founding Chapter VII. Stereotyping and Electrotyping Chapter VIII. Process Blocks Chapter IX. Ink Manufacture Chapter X. Paper-Making Chapter XI. Description of the Illustrations Chapter XII. ^pj progress in printing peculiarity about it It is not paid for by the person who is to become its possessor. -
Development of Computer Typesetting
Early steps in computer typesetting in the 1960s Jonathan Seybold, September 2018 1961–1964 Michael Barnett’s “Experiments in Typesetting” In 1961, Michael Barnett, an associate professor at MIT wrote a computer program that could produce punched paper tape output to drive a phototypesetting machine. He used this to produce the “Tail” from Alice in Wonderland, and a phototypeset press release. These were the first documents that were phototypeset from output generated by a computer. In 1962 Barnett received a research grant to continue this experiments. This lead to development of the PC6 system, which was used to produce a variety of reports, pamphlets and other publications in late 1963 and early 1964.1 Hardware: IBM 709/90 computer and a Photon 560 phototypesetter. Software: Written in Fortran, with a few routines written in FAP (Fortran Assembler). Written for a specific Photon 560 set-up. Typefonts were identified by disk position and row number. The TYPRINT program for text output composed text to fit a predefined page width and depth. Lines were broken after the last complete word that would fit on that line. There was no attempt at hyphenation. Pages were arbitrarily broken after the last line that would fit on the page. Special commands could be embedded in the text to tie text elements together. When it encountered these, the program would simply make the page as long as necessary to accommodate all of the text in the “no break” area. Given the scientific academic setting, the most notable feature of TYPRINT was a program written by J.M. -
Print Magazine: February 2012 Documenting the Twitter of 1886
32 PRINT 66.1 FEBRUARY 2012 DIALOGUE DOCUMENTING THE TWITTER OF 1886 Douglas Wilson is a 29-year-old Why a film on Linotype? Did you have any pre- a computer but completely mechanical. graphic designer and letterpress vious connection to printing or typesetting? Mergenthaler approached the problem of printer by trade, and Linotype: The I taught myself letterpress printing as part mechanizing typesetting from a different Film, a documentary about the of my B.F.A. senior-thesis project. During angle from anyone else. Once he solved it, amazing Linotype machine, is his that time, I visited a local letterpress trade a syndicate of newspaper owners tried to first movie. For the last year and shop and encountered my first Linotype. I remove him from his own company. a half, he and two friends have was instantly hooked. been researching the history of The more I researched the Linotype, the That sounds familiar. What was your goal in the Linotype, traveling from rural more I realized how very little information making this film? I felt the story needed to Iowa to the modern headquarters was out there. For such a common machine be told. For a machine that was as ubiqui- of the manufacturer, in Germany. that was once in every city in the world, tous as the Linotype, very few people know The result is a rich study of Ottmar the Linotype didn't have much written about it. As I further studied the invention Mergenthaler’s contraption, or recorded about it. It was as if everyone of the Linotype, I found a story as capti- whose importance is next to that became so wrapped up in the newer type- vating as Citizen Kane. -
Typographic Terms Alphabet the Characters of a Given Language, Arranged in a Traditional Order; 26 Characters in English
Typographic Terms alphabet The characters of a given language, arranged in a traditional order; 26 characters in English. ascender The part of a lowercase letter that rises above the main body of the letter (as in b, d, h). The part that extends above the x-height of a font. bad break Refers to widows or orphans in text copy, or a break that does not make sense of the phrasing of a line of copy, causing awkward reading. baseline The imaginary line upon which text rests. Descenders extend below the baseline. Also known as the "reading line." The line along which the bases of all capital letters (and most lowercase letters) are positioned. bleed An area of text or graphics that extends beyond the edge of the page. Commercial printers usually trim the paper after printing to create bleeds. body type The specific typeface that is used in the main text break The place where type is divided; may be the end of a line or paragraph, or as it reads best in display type. bullet A typeset character (a large dot or symbol) used to itemize lists or direct attention to the beginning of a line. (See dingbat.) cap height The height of the uppercase letters within a font. (See also cap line.) caps and small caps The typesetting option in which the lowercase letters are set as small capital letters; usually 75% the height of the size of the innercase. Typographic Terms character A symbol in writing. A letter, punctuation mark or figure. character count An estimation of the number of characters in a selection of type. -
Chapter 1 Lesson 4 Technology in the 1500S
GL5 History Teacher Text Chapter 1 Lesson 4 Technology in the 1500s Student Objectives: • Review the invention, design, and uses of the printing press. • Describe how the printing press works and its importance in history. • Discuss the astrolabe and its use in navigation in the 1500s. • Make, use, and test an astrolabe. Worldview Integration: • God wants us to read, circulate, and explain his Word to others. (Acts 8:26-40; letters of Paul) • God is the maker of the heavens and the Earth. (Genesis 1:1). • God gave us the stars and constellations to help us navigate here on Earth. (Matthew 2:1-12). Materials: • C1L4 “John Gutenberg and the Invention of the Printing Press” from Great Inventors and Their Inventions by Frank P. Bachman, teacher resource • C1L4 Making a Simple Astrolabe • C1L4 An Instrument with a Past and a Future, teacher resource • C1L4 Printing Press Illustrations, teacher resource • Potatoes or soft objects that can be formed into letters • Paper for printing press messages • Ink or paint to dip letters into to “print” their messages Introduction: Two important inventions made possible what we call the Age of Discovery (AD 1400-1799). One was the application of an ancient tool called the astrolabe—a compact instrument used to observe sun, moon, stars, and other celestial bodies. The other was the invention of the printing press by Johannes (John) Gutenberg. He figured out the use of movable type. Because of the printing press and the travel journals of the explorers, people across Europe were able to read about a new world and its potential for trade and wealth to Europeans. -
Machine for Outting Or Shortening Linotype Slugs. Application Filed Feb, 15, 1906
No, 823,788, PATENTED JUNE 19, 1906. R., F. JACOBS, MACHINE FOR OUTTING OR SHORTENING LINOTYPE SLUGS. APPLICATION FILED FEB, 15, 1906. 2 SHEETS-SHEET , Rew. s. GRAA co, roto-irilogRAPHERS, WASklog, c. No. 823,788, w PATENTED JUNE 19, 1906. R. F. JACOBS, MACHINE FOR OUTTING OR SHORTENING LINOTYPE SLUGS, APPLICATION FILED FEB, 15, 1906. 2 SHEETS-SHEET 2. N . <Z% E. I t a - NS s % s seass Es 9s 3 see . NSbNN (s Sse 2x ae SNN a ity al SAzeSF'ss eae Elektklubs N2S es 2 a e. N s SNSS1 a a Y FOSS al X S 24% s : X- itsa a D - - - - - - E e O se/ RSSŠ sae w Š5 NS ASSs es s N f N s Š 8wewtot le-- Aa e g s . too es SR SS 3 6%a24. (22.22% Q4 2-z, / al?y %Coorg, UNITED STATES PATENT OFFICE. ROBERT F. JACOBS, OF BALTIMORE, MARYLAND, ASSIGNOR OF ONE-HALF TO CHARLES F. WALTHER, OF HOWARDWILLE, MARYLAND. MACHINE FOR cutting OR SHORTENING LINotype-slugs. No. 828,788. Specification of Letters Patent. Patented June 19, 1906. Application filed February 15, 1906, Serial No. 301,184, To all whom it may concern: provide a slug-cutting machine with a limit 55 Be it known that I, ROBERT F. JACOBs, a ed number of attached but movable spacers citizen of the United States, residing at Bal of varying widths, the variations being ac timore, in the State of Maryland, have in cording to the point system so that one or vented certain new and useful Improvements several spacers may be quickly moved into in Machines for Cutting or Shortening Lino position, and thereby locate a stop or abut type-Slugs, of which the following is a specifi ment where it will accurately represent a cation. -
Black Arts, Printer's Devil and a Hellbox
Black Arts, Printer’s Devil and a Hellbox January 2015 Black Arts, Printer’s Devil and a Hellbox Volume 12 – Issue 1 By Dick Fox (Compiled from multiple internet sources, and personal experiences) By Dick Fox (Compiled from multiple internet sources, and personal experiences) The definition of a Printer’s devil – than apprentice in a printing It is our mission to identify, preserve accompanied me as we attended the 6 Annual Printer’s Fair at th and promote the historic establishment who performed a number of tasks, such as mixing tubs of legacy of the Temecula Valley and ink, fetching type, cleaning up after the journeymen (Continued printers, on or page attending 2) to educate the public about its to any other needed task. A number of famous men served as printers’ historical significance. devils in their youth, including Ben Franklin, Thomas Jefferson, Walt _____ Whitman, Mark Twain, Warren Harding, and Lyndon Johnson. 2015 Officers The origin of the term printer’s devil is not known with certainty. President Dick Fox Many theories exist of the phrases origin, such as: Printer’s devil may Vice President Rebecca Farnbach have come from the fact that areas of a printer’s apprentices’ skin Secretary Lisa Woodward Treasurer Roger Cudé inevitably would become stained black by the ink used in printing, and Past President Bonnie Martland black was associated with the “black arts”, the apprentice came to be Directors know as a devil. Cheryl Cady Lynn Cudé Another origin idea is tied to the fanciful belief among printers of Elaine Culverhouse old, that a special devil (the typographical personification of Titivillus) Elaine Eshom Jeffrey Harmon Bonnie Reed haunted every print shop, performing mischief such as inverting type, Myra Masiel-Zamora misspelling words or removing entire lines of completed work. -
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. -
Evolutionary Changes in Persian and Arabic Scripts to Accommodate the Printing Press, Typewriting, and Computerized Word Processing
TUGboat, Volume 40 (2019), No. 2 179 Evolutionary Changes in Persian and Arabic Scripts to Accommodate the Printing Press, Typewriting, and Computerized Word Processing Behrooz Parhami Department of Electrical and Computer Engineering University of California Santa Barbara, CA 93106-9560, USA [email protected] 1. Introduction 2. The Persian Script I have been involved in Iran’s computing scene for five Throughout this paper, my use of the term “Persian decades, first as an engineering student and instructor for script” is a shorthand for scripts of a variety of Persian five years, then as a faculty member at Tehran’s Sharif forms (Farsi/Parsi, Dari, Pashto, Urdu), as well of Arabic, (formerly Arya-Mehr) University of Technology for 14 which shares much of its alphabet with Persian. Work on years (1974-1988), and finally, as an interested observer adapting the Arabic script to modern technology has and occasional consultant since joining the University of progressed in parallel with the work on Persian script, California, Santa Barbara, in 1988. Recently, I put with little interaction between the two R&D communities, together a personal history of efforts to adapt computer until fairly recently, thanks to the Internet. technology to the demands and peculiarities of the Persian language, in English [1] and Persian [2], in an effort to The Persian language has a 2600-year history, but the update my earlier surveys and histories [3-6] for posterity, current Persian script was adapted from Arabic some archiving, and educational purposes. 1200 years ago [7]. For much of this period, texts were handwritten and books were copied manually, or In this paper, I focus on a subset of topics from the just- reproduced via primitive printing techniques involving cited publications, that is, the three key transition periods etching of the text on stone or wood, covering it with a in the interaction of Persian script with new technology.