/
a obi, heat Better Kind © .] with Less Labor aes Waste,
Our aim in the development of the “CENTURY” has been
to increase the product
f THE INLAND PRINTER. 3
Dimensions, Speeds and Weights.
of the Pressroom. | fecal Ue EOD tea
| No. Rollers. Bed. Form. Working Speed. Boxed. Unboxed.
When you install 00 4 45 X 62 40 X 58 1,800 24,665 20, 309
|| O 4 43 X 56 38 x 52 2,000 23,257 19, [00
a MO Ne) URW insist | I 4 39 X 52 34 x 48 2,200 19,700 16,539 | | 2 4 36 x 48 31 X 44 2,400
| 5 b | ss Eee tk Oy is 2
[aie TM, Wp) LO She 4 sercd2 926x538, 25600) 5 usijo2) | 10,917
|| 4 4 26 X 36 DDI BR 2,700 10,250 7,970
our guaranteed speed. A 9. (snes | Bae ge! Vaeon | Keun Baan
5 2 DS IX Bit 21 xX 28 3, 200 8,350 6, 500
NOTE.—AIl rollers clear the largest form.
Records made in printing offices on regular work:
No. 0 “CENTURY ”’— Bed, 43 x 56 in.; Letterpress Form; Sheet, 37 x 56 in. 425,371 impressions printed in 307 hours; average per hour, 1,385, or 13,850 per day.
Franklin Printing Co., Philadelphia, Pa. No. 00 “CENTURY ’’— Bed, 45 x 62 in.; Label Form; Sheet, 23 x 54 in. 87,700 impressions printed in 58 hours; average per hour, 1,512, or 15,120 per day. C. J. Krehbiel & Co., Cincinnati, Ohio. No. 00 “‘CENTURY’’— Bed, 45 x 62 in.; Letterpress Type Form; Sheet, 372 X 54 in. 41,260 impressions printed in 24 hours and 15 minutes; average per hour, 1,701, or 17,010 per day. Murdoch, Kerr & Co., Pittsburg, Pa. No. I “CENTURY ”’’—-Bed, 39 x 52 in.; Color Form; Sheet, 33 x 48 in. 52,000 impressions printed in 30 hours and 15 minutes; average per hour, 1,719, or | 17,190 per day. The American Label Co., Baltimore, Md.
NOTE.— Full report of the work produced on a No. 0 ‘‘CENTURY”’ Press in the office of the Review and Herald Co., Battle Creek, Michigan, which won the Grand Final Contest in the Tournament of the ‘‘CENTURY,”’’ will be found in the September number.
THE CAMPBELL COMPANY,
334 Dearborn Street, Chicago. 5 Madison Avenue, New York. fC 5 Bridewell Place, E. C., London. 73 St. James Street, Montreal.
“SAS.
5
t 4 THE INLAND PRINTER. e\
\
Publishers for some time have seen —
that the ideal equipment for a small but growing daily paper is a Web Perfecting press printing from flat forms of type.
Up to the advent of the ‘“Multipress,”’ however, all presses of this type had proven more or less defective in at least four vital points, viz.: Speed, handling of the web, impression and distribution.
Practical experience had demonstrated, for instance, that the speed guar- anteed of 5,000 an hour could not be maintained; that unless a high-grade and expensive paper was employed, annoying and frequent breakage of the web would occur; that type wore out rapidly and that the ink distribution \
\
was not good, one page being gray, another black. In \
The “MULTIPRESS”
(Many Presses in One)
y
these defects do not exist. From 5,000 to 6,000 4, 6 or 8 page papers can be printed day in and day out. An expensive grade of paper is not necessary to prevent the breakage of webs. The impression cylinders will not grind the type, and the ink distribution aids in making the product handsome and attractive.
It will pay those publishers who have hesitated between a stereotype web and other flat-bed web machines to examine the “Multipress.” It fills a long-felt want. Kun it with a man and a boy.
THE CAMPBELL COMPANY,
334 Dearborn Street, Chicago. 5 Madison Avenue, New York. 5 Bridewell Place, E. C., London. 73 St. James Street, Montreal.
Y yf
THE INLAND PRINTER. D
ome ™. Co Intending Purchaser's i HARRIS B The summer demand for our presses has been
ry e to accumulate any stock whatever for the fall trade. It *, PRESS ° would therefore be well for those who intend putting in “6, our presses in the near future to send in their orders at
° ©
@ Bi a once, as it is a case of first come, first served, and presses
go out as fast as they are finished and tested.
unprecedented, and notwithstanding the recent 50 per
cent increase in our facilities, we have so far been unable
. 2 : : : 2
E wish again to call attention to the fact that our envelope, card, tag, blotter, box blank and hand sheet feed devices are all parts of one press, and are not separate and distinct presses, as many still mistakenly suppose. All of these
feeds except the hand sheet feed are guaranteed to run 5,000 per hour,
@ G
and commonly make ten, twelve and even fourteen thousand impres- sions per hour. The hand sheet feed is capable of 4,000 impressions per hour, but as it depends upon the expertness of the operator, the speed is not guaranteed.
clacrdncieineiaereys Mees
We also make a
Numbering Press
which is indispensable to those
who have large amounts of numbering work, and we make automatic bag presses on which our guaranty is 5,000 per hour. For full particulars, address
Che Harris Automatic Press Zo.
NILES, OHIO, U.S. A. |
6 THE INLAND PRINTER.
ESTABLISHED 1850, INCORPORATED 1861 REINCORPORATED 189). Capttal Stack.
$250,000.00.
. f Sy f WwW. C, SISLEY i Ww EVANS, C.D. AHODES, J |. GIBSON FOngiGttonrices! mh sts : PREB. AND MANAGES ViCE-PRES, TREASURER. Pgh! SEC y ANO SUFT 59 Paternaste: Rov, = : .
Giindeiborg 152, Hamburg, Germany, Akersgaden 74, Christiania, IES Norway % "© Weiherweg 48. Basel Switzerland...
London, E. C., Eng.”
2 5 a Lone Distance TELePHone. 2 SRANCH. OFFICES: : ~ CHICAGO, ILL., 324 DEARBORN ST.
ATLANTA, GA., 243 SOUTH BOULEVARD
DRE Crash, HOD, poveswese 25, 1898.
Miehleé Printing Press & Mig. Co., COW, Cilalaipoig cs WWUlCOMm SeSo9g Clit@eyZO@g NL, Gentlemen:
It affords us pleasure to state, in response to your letter of the 18th inst., that the two Michle presses, one No. 00, and one No. 4, which we bought from you over & year ago, have been a boon and a blessing to us; and, in compliance with your request, we will try to enumerate briefly a few of their points of superiority, that we have found in using them, es follows;
We have demonstrated, to our entire satisfaction, that the registering qualities of the Miehle, even at the highest rate of speed, is as nearly perfect as possible. The impression is uniform and rigid, and the bed motion, is, in our opinion, the only one that is based on sound mechanical principles.
We have found that the Miehle can be operated with less absorption of power than any other printing press with which we are acquainted. The positive and continuous motion given to the angle rollers, not only increases their power of distribution, but also makes the rollers last as long and do as much work at a high rate of speed as a low one. This has meant to us great saving in expense for rollers, and we have had no trouble with waste composition on our forms.
The two deliveries, enabling the operator to deliver the work right or wrong side up at will, without smutting, is a valuable feeture; and so also
is the second lift motion given to the cylinder, by which the guide rests can
AN EUS, WINE MIND) 1PLRUTIN |UD BRC
Mio Wo Io 63 IM, CO. -2-
be run close to the packing when the sheet is taken, thus giving plenty of
open space for delivery without marring the print. This does away with
all slackness in the sheet, which is the cause of blurring on the front edge of the impression.
Besides giving rigidity to the press, the four roller bearing tracks,
underneath the bed, obviate the necessity for readjusting the large rollers.
in order to preserve a level impression.
Yours very truly, i
Among our sales for the last month were:
TWO large presses to The Review & Herald Publishing Company, Battle Creek, Mich. Making FOUR Miehles in their office. TWO presses to The Armour Printing Works, Chicago. Making in all TWELVE Miehles in their office. TWO presses to R. R. Donnelley & Sons Company, Chicago. Making a total of FOURTEEN Miehles in their office. FOUR presses to Photo Colortype Company, Chicago.
Which increases their press capacity to SIXTEEN Miehles.
THE MIEHLE PRINTING PRESS & MFG. CO. CHICAGO.
~
8 THE INLAND PRINTER.
Calendar Plates
Pe Oleee °
BESEASISS | S 00 BRReSesee
NSE SEMEN NE NENZNENENZENE AES NE NESE SE NLA NEIL ME NL ME NE NESE NE ME SE NESE NESE SE NL NENE SEE ie
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I Poles |.-.| 2| 2) 3] 4 ooo i) 2) 3) 4] 5) 6 |---| I] 2] 3) 4] 5 {lo | 4 ifs [213 4 | 5|6)\7)8 “In| &) 5) 6) 7) 8) girO\ITH| | 7 8) gIorl 12/13 \~ 6) 7| 8} g)rojx1\12 |}| 8 6 8) g/LO}II |Ins 190 | 191 | 198 | 193 | 194 | 195 | 196 Ap) § |x2\x3/14/15/16.17|18||| B r4|r5|16|17/18 19/20 2 13/14|15/16|r7|18)19 |]| & | 1 | 9 10 I 12 13 14.15) 3 5 |19)20)21]22/23)24)25 E |21|22/23/24 25) 26|27 3 20 21/2223 24 25|26 2 197 | 198 | 199 | /200 >| 20r | 202 | 203 yy Pea sles 28 29}30)/31| selec] 22|28129 3O3E oe on S| | 16 17 18 19 20 21 22: fq] eels: Hoo 50d |oacllo00lsoallecal[eoalfoooI| |]. |Io00 [Sesloneleeslesclee less ereleeleeeless|eeleceleee Mill labs eerie a al Hn} el Glia B34): voll Bl 3) 45 6 7| 8) oft 23 24 25 26 27 28 29 YD |r2|13)14\ 15) (1617/18 ||) 2 |rr\r2lr 14 dl Ine 17]|]| B ro|rz)12/13)14/15|16 | | zix | 212 |
Mn 2 |t213/14 | 13 E 13|14)15)16 ||| E | (aa
sh = |19) 20\21 22/23/24] 25 ||| 5/18 19 20|21 22) 23/24 Bet 2s20 7 20|21/22/23 |}| § 30/3 31). oc ee So ocice SSP ses 3} 26 ie 29/30 ane |25|)26|27| eae R 24|25 26 24 28|29 30 4
ENTI|| _lfooellacdlosel|aod loool |ood}oos \occllood local food lacel|aodlfocal| |” locelloadlleoal oodloodlood \ ee
3
274 R75 276 207 278 R79 280
281 282 283 284 285 286 287
288 289 | 290 291 292 | 293 294
295 | 296 | 297 | 298 299 | 300 301 2 g | sO | Ay XY New Moon | First Quar.| Full Moon | Last Quar.
| 4th 12th 18th 26th
PERFECT PLATES.
Complete Assortment. } ‘moverare prices.
FOR SPECIMENS, ADDRESS
ERANKLIN ENGRAVING & ELECTROTYPING Co.
341=351 Dearborn Street, CHICAGO.
AVIS) WINILGZNINIID) TP IRIUN| 1 18Iser 9
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V
V V V / V Y / V y
YL AW .A QA. BW -B .®_.®Q, .Q,_ .@Q_.Q,_.Q, .@,_.Q_.@,_ .@,.@Q,_- ~A .~B .~BW B® .®B,. BW ~ Mica < e > ay AY AY AY AY Ay Ay A Ay A Ae bt GOI I'F SII I ID -_ fF FT Ff lie (I) NV
>:
te UNIVERSAL Wire Stitching Machines.
-— WM - > S>
SIO’ eD
: > SS SN SSS
THE SIMPLEST AND
MOST PERFECT MADE.
| \ an — All working parts are \( = oo "made of best quality steel, \Q hardened and carefully \ tempered, 1]
Workmanship and ma- \ é
The UNIVERSAL WIRE STITCHING terial guaranteed. W
MACHINES are built in five sizes, adapted to all requirements. f THOUSANDS W IN USE WV BY BEST HOUSES W ec | INTHIS CouNTRY W a AND ABROAD. W
ee CAR AC TN aN No. 1 (Double Head) one sheet to ¢-8 inch. 9) 66 66 7-8 66 1-4 <6 “eé 1 1-4 66 66 “ce 3-8 “é
ne “al vil ill | vin il |
=
new
Number 4 UNIVERSAL uses Flat and Round Wire, has Flat and Saddle Tables. W Capacity, one sheet to 1% inches. W
E.C. FULLER & CO. W
SOLE SELLING AGENTS, NY)
279 Dearborn St., Chicago. 28 Reade Street, New York. W
— <P LY LY LP LY LY LY LY LY LP 49 4 yy hy 4 4) 49 49 49 40 Ae A LY 2) 2) 29 20 49 40 49 29 40 49 40 49 49 444) TSSSSSSSSSSSHSSSSSESTFESESSSE SES SSSSEFSSSETE
10 THE INLAND PRINTER.
The GOSS Fact rain
Combination Black and Color Press for Newspapers.
HE above is an illustration of our Straightline Combination Newspaper and Color Press, for printing black and three colors at the same time and at a speed of 25,000 of either 4, 6, 8, 10 or 12, or 12,500 16, 20
or 24 page papers, from stereotype plates cast in the same stereotype machinery as the body of the paper, and producing first-class printing; and from the fact that there are no angle bars, tapes or switches, the product is delivered free from smudge or mill marks of any kind.
We guarantee our presses to come up to contract speed.
This combination press does what has heretofore required several machines. We save the extra floor space, power, time, ete.
The press can be operated to print at one operation the regular black and three extra colors, or can be used for the regular edition with all black only, or can be used to print colors separate, without any changes or altera- tions. On application, will be pleased to send samples of work done on our combination presses.
Patented and manufactured by
THE GOSS PRINTING PRESS CO.
NEW YORK OFFICE, 312 Temple Court. Sixteenth St. and Ashland Ave., CHICAGO, ILL. BOSTON OFFICE, 12 Pearl Street.
Cable Address—Goswal, Chicago.
THE INLAND PRINTER. 1]
Why not realize
let your [es | what operator 4 trimming double his . Gi two edges output in = Fa RS n> at once trimming? ae) a = = means?
Patented Noy. 30, 1897. Other patents pending.
A Few of our Recent Orders:
It Med Ns || | Public Printer, . : . Washington, D.C.
E, Ives & Sons, ; F : . New York.
| Manhattan Press, . : New York.
WO uts || Street & Smith (2 PAchines\y . New York.
|| Blumenberg Press, : : : New York.
| J. F. Tapley Co. . . . . New York. © | | American Book Co., . ; : New York.
to {rl mM ill BGs. 5 so 5 Deserts, || Wells & Richardson Co. . Burlington, Vt.
|| || McLoughlin Bros., . : . Brooklyn, N. Y.
© ||| Tuttle, Morehouse & eae Co., New Haven.
O U r | eS ||| E, Fleming & Co., . - : Boston.
||| A, Nielen, . : : Cincinnati.
| United Brethren Publishing Houee: : Dayton. |! Woodward & Tiernan Printing Co., St. Louis.
WITH ONLY ONE TURN | The Peruna Drug Mfg. Co. Columbus. OF THE TABLE. | Dr. Shoop Family Medicine Co, . Racine, Wis. Springfield Ptg. and Bdg. Co., Springfield, Mass. P. F, Pettibone & Co., . 3 : Chicago.
SEYBOLD "MACHINE Co
DAYTON, OHIO.
P NEW YORK.CHICAGO, ST LOUIS. LONDON. : makers of ueechinery, for Bookbinders Hal eo ar ap us. hla 2£
4
"Je ‘oosiouesy ues 4S Jvads SIZ
‘09 ‘DAW NIVMS NSAMCVH - “UOSIEY 10 ‘2ugyda]a, $ 24se0) Iyloeg s}UIsY OBEIYD ‘322135 Usogseag 1/27 —2d1JJO U42}S2M @ MOVE Hog ty eo LN) IW u BA
“s2aseueK) ‘NOLNYOHL “MH 6 "WHOA MAN ‘LaguLS NNW 6G ‘L39uLS 3SOY EZ OL 6} Q
*J0}D2}19q M2U IY} JO ewjea 24} nok 0} usejdxa sn yeT = ‘ajqesnp pur BuUOIs ‘a[duss st tjas}jo jnoyiM YIOM S$} S20p ¢s}22Y8 24} suypuey ‘yamod ‘aseds I00]} ‘JOQE] S2AALS } +4809 24} S2ONpes I] “pe *yonposd oues 24} jas nod sinoy jo Jaquinu 24} Fey Ul *p? *sassasd OM} JO YIOM IY} S20p HI asnes2q *3S{
THE INLAND PRINTER.
“paulJaouod ase apes} Jo sjsoys 24} Se Je} Os ystUaTos e NOA ee JE woLosasg adanNpY aH]
eee ee ee SISOD PUP SINOY J2}J0Ys ‘saolid Mo] 21% sJaqyutid \) 24} SUIGINISIP sjsoys 24 7 *sJSOYS S228 pur suopeupnyey § QC) x SPU JayJOM pest} eq} AJUQ *sJSOUS Ul SaAajaq }S}JUIIOS ON] —
THE INLAND PRINTER. 13
© C from any business is regu- Drawing out the Profits “oo goods sold so much as by the prices at which you sell them. You cannot sell goods right unless you buy them right, and the best way to buy blank books thus is to select a reliable, well-known line to handle exclusively — one that you can buy all the time and with confidence in the makers. We
have been making
STANDARD BLANK BOOKS “°°
enlarging and im- proving the line all the time. Surely the goods must have merit, and they have. You can insure yourself a balance on the right side if you sell them, for they are now, as they always Ses will be, HONEST GOODS—FULL COUNT—FAIR PRICES.
Standard Blank Books with Keith’s Celebrated Made by BOORUM & PEASE COMPANY, Manfrs. for the Trade only,
Papers in them are unsurpassed. 101-108 DUANE STREET, NEW YORK CITY.
oo oo eo eRe eRe oe oo oo on on ep eGo eGo ep eo fo eo eo op oo op op ooo oGp eGo eGo oe eGo ee eo ep chp op ep hp oh
Oswego Machine Works we
319 Dearborn St., Chicago, Il.— J. M. IVES, Western Agent.
RY rent compact arrange- ment for driving the.... BROWN & CARVER
PAPER CUTTING MACHINES
with Electric Motor. No extra floor space required. The Brown & Carver Cutters cut square, clean and fast. Accuracy guaranteed.
ae
&
SELLING AGENTS:
VAN ALLENS & BOUGHTON, - - 17 to 23 Rose St., New York. MILLER & RICHARD, - - 7 Jordan St., Toronto, Can. C. R. CARVER, - - 25 North Seventh St., Philadelphia, Pa. ae AMERICAN TYPEFOUNDERS'’ co, 405 Sansome St., San Francisco. KENNEDY & MASON, - 414 East Pearl St., Cincinnati, Ohio. THE WILL R. KNOX MACH'Y CO., 207 N. Second St., St. Louis, Mo.
eb Gp ofp ep ep op eo eo ee ep eGo op oo oo oo eo ep ep ep ep oS op op So COSOOOOPSOOSOOSOOOSOOOOOOOS
PPro rrr oro oo oor rroorood New Lightweight Metal Furniture 334% iii
It is the only furniture built on strictly scientific principles. The greatest resistance is directly against the squeeze.
(See the cut.) Guarenteed to be accurate. — SEE WHAT YOU SAVE:
I5- Ib. Font, $ 3°75) cate to 20 lbs. of any other costing $5.00 20 ce ae 5.00, 26% ‘ “ “e ae 6.66 25 esa Mu RO 2 Sin Uva asic es H eS 333 50 72/515 Osan OGG 2/4 mC “16.66 Sine ss 18.75, WG je ss a “25.00 100 °° ~ 200 8 sega 33-33 : Our prices are subject to the prevailing discounts. : Thousands of pounds now in use. , ses : Manutactured and Complete Printing, Electrotyping and for sale by FR W | Pie) le L bed | FG e GO.
Stereotyping Outfits our Specialty. Send for Catalogue. 82-84 Fulton St., NBW YORK GITY.
CLASS I. Stop-Cylinder Printing Machine.
The machine shown in illustration above is our Stop-
Cylinder Press with back delivery.
Class of Work.
This machine is designed for the finest cut and color work.
Perfect Register. The sheets being fed to the gauges, and seized by the grippers while the cylinder is at rest, together with the positive action of the cylinder and register racks, insure a perfect register at all times.
Cylinder Starting and Stopping Device Is positive in its action, having large steel-faced cams with easy curves, operating direct connections with the cylinder. It is capable of working at great speed without jar or noise. On large sizes the impression cylinder is geared to the bed on both sides.
The Side Frames
Are of the box pattern and are securely fastened to the bed- plate by bolts and wedges.
The Type Bed
Is made sufficiently heavy to prevent the leads, quads or reglets from working up, and is supported by four steel- shod tracks.
Ink Distribution.
It has cylinder, table, cam and roller inking distributions. There are six form rollers covering the form. The inking rollers are large, and by means of one lever, the top dis- tributing rollers can be raised from the vibrating rollers, the vibrators from the form rollers and the form rollers from the form.
By pulling one lever
The form rollers, riders and vibrators are separated from each other and raised off the form.
Double Rolling.
The machine can easily be made to roll the form once, |
twice, or any number of times, or trip at will.
THE INEAND “PRINTER:
TWO-REVOLUTION Av’ STOP-CYLINDER
PRESS
Sent pant
o BABA
CLASS HN. Two-Revolution Four-Roller Press.
Front Fly Delivery. The machine shown here has the following points of merit:
The New Continuous Bed Motion ;
Is so simple that you can instantly understand why the press runs so fast without jar.
The New System of Ink Distribution
Is the best yet devised and excels that used on stop-cylin- ders. The ink is first ducted to the distributing rollers, which run continuously, and is thoroughly distributed before being transferred to the ink table.
Interchangeable Rollers.
All composition rollers are interchangeable. When the form rollers are worn they may be used for distribution; a changeable marking means is provided to show their posi- tion when in use. :
The Sheet Cutter Is driven by gearing, and cuts the sheets evenly and clean.
Rigid, Even Impression
Is insured by the special construction of the bed and cylin- der, reducing labor of make-ready to a minimum.
The Type Bed Is made sufficiently heavy to prevent the leads, quads or reglets from working up, and is supported by four steel-shod tracks.
Continuous Register Rack.
The cylinder and bed register racks are the full length of the bed, full depth tooth} and positive in their operation.
The Air Cushions,
Four in number, are placed on the tracks to assist in revers- ing the bed; by turning a handle they can be adjusted to suit the speed while the machine is running. There is no resistance while turning slowly.
Gripper Motion Is accurate and is provided with a safety self-righting attach- ment to prevent breakage should the grippers be left in the wrong position. Back-up Motion Is provided, which is effective and noiseless in operation. Sheet Jogger. The delivery board is fitted with a Sheet Jogger, and many other improvements not on other machines. Distributing Rollers Can be taken out over the fountain without moving the delivery board.
Movable Delivery Board. The delivery board can be slid towards the impression cylinder when cleaning the ink table and distributing rollers.
SCOTT PRESSES SATISFY.
NEW YORK OFFICE, TIMES BUILDING. CHICAGO OFFICE, MONADNOCK BLOCK. ST. LOUIS OFFICE, SECURITY BUILDING. BOSTON OFFICE, WINTHROP BUILDING. CINCINNATI OFFICE, NEAVE BUILDING
Cable Address—WALTSCOTT, NEW YORK.
Waiter Scott & Co.
Plainfield, N. J., U.S.A.
THE INLAND PRINTER. 15
(9 9 Sv ve) So ve) a yy Sv (Sv a) Sy Sve rv ee)
t)
AT OUR: EXTENSIVE WORKS IN NEWARK, N. J., AND HANOVER, GERMANY
from ice oe id by ga
We make
the a aaa olo1 nponel ae,
Inimitable Printing Inks
PAD NE GK BNOS: cs HR: SCHNEEMANN. ( ESTABLISHED 1843. ) Offices NEWARK, N. ¥, and No. 536 Pearl St, NEW VORK. WESTERN BRANCH:
188 MONROE STREET, CHICAGO, ILL.
CS ee a (eo a (So oy a) (SS) a) Sa) Sa Sa yp oS a) ar a Su Sv Se) oe) (A (YAS) A) ASR A) aa Aaa AAs) AAA aA) aA) aA) ss)
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We keep the Best INK on Earth for Prouty and Monona Presses. Rubber Blankets, Type, etc.
Z|
4 i =
THE INLAND PRINTER.
WHS
thusiastic public favor.
ARAARBARIAARADIADAAARAI
THE NEW LEVERLESS MONONA. The Printer’s Delight.
ARAARAAARAAAABAARAAARAAAAARARAAAAAAA AAR AAAS
PRINTERS APPRECIATE OUR PROFIT-MAKING
eeCrade Helps ee
1epEs Stock Certificate, Litho-Typo Stationery, Diploma, Certificate of Deposit, Bond,
Check and Draft Blanks.
Prices and Samples to the Trade for the asking.
will sink all opposition.
The Best Press on Earth.
Never before did a press win such immediate en-
A big Printing Supply House says: “We are amazed at the ease with which it runs.”
Dewey’s Fleet and the LEVERLESS MONONA
All sizes from 7-col, Folio to 7-col. Quarto. =
TAAAAARARAABAARARA
Proprietors,
NCE
“THE MOST FORTHE MONEY. PF PRICE LISTS AND SAMPLES ON APPLICATION.
GOES LITHOGRAPHING Co.
160-174 ADAMS ST.
W. G. Walker & Co. ... Madison, Wis.
GSA fithographing
«for the Trade...
Our facilities are unexcelled.
Price and quality unequaled
WRITE FOR SAMPLES AND PRICES.
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PREREREP PP
PPPRH REGARDING ITS OTHER QUALITIES: PPPHP —— eee IY IS BLACK @ It is dense, soft ana free-flowing. ¥ AND ie Dries rapidly when printed. Some of CLEAN our customers claim that they can WORKING send work to the bindery in_ three
hours after printing *% *% * *% &
—~=~q_——— SS *SYoous: can see that at a
00-000 0000100002021 0102+ 0220120120120 +9 #O0+ Ore Ooo O22 O22 O12 O20 010010 ee ere or ++ O11 O11 01+ 0 +2012 0-2 0-0 O10+10-1O Fy
No Off-Setting No Slip-Sheeting
4
It is sold at... 40c. IN POUND LOTS
40c. IN 100 LB. LOTS 40c. IN 1000 LB. LOTS
No Discounts—40 Cts. net
2020 @ 0022 @ 22 O20 22 02082202 O-0@ 20200121020 +2O 1 O20 O12 O ++ O12 019-9900! ee ee
J. &.
Okie Co.
MANUFACTURERS OF High Grade Printing Inks
Kenton Place
PHILADELPHIA
2 © 20 es ©2020 0e Wee Oe O++ e+ O22 Oe2 Oe Oe Oe Oe Ore Wer Wer Gor Wer Oo Gor Os OO Ore _ SS S__——_—_—_—_——__—_—
Three Grades of Softness of
this Ink always kept in stock
HO 0++ 02+ 00101-02102: 02+ 01+ Orr Orr Orr Oe O11 OHH Oe O11 OHO OOOO OrOr Os e@ee Ger © reer © v2 Ore Ger eee Oe+ © +2 Gos Bes Ooo Ger Oo Gos Ooo Ger Gor Oo Soe Goo Por Hor Doe O eHoe Ore Gor Oo Oe Her Gore Do O ++ Bee Gor Ooo Ser Bor Ors O-e Sor Oe- ©: Or Oe Wer os Oo Dor Sor Gor Ges Oo Or Oe D0 Oe 2020020 20 ++O +00 0001001 O09 o-}01 O19 O11 O11 0120100120220 20O 2102001000!
—————————eeee—e—e——— ©9900 G02 © 00 @ +020 0r O20 O00 10001022 O00 10 O10 G29 O19 Ose +9 201-010 Oe Ose Oe
ou Lapeer
Chis is a very fine color = = Give it a trial
Permanent Label Red
It
e Ho
a Fine Worker = = = Price, 75¢. list
DIDO DORS DORI Ia Oao
ASSIS!
RSS SONS! Ho MSD O HONS)
4 J. ©. Okie Company Manufacturers of high Grade Printing Inks Ikenton Place « « e « Pbiladelpbia, Penna.
~~
Philadelphia, Feb. 18th, 1898. | Messrs. F. E. Okie Company, Philadelphia,
ENO) ENO) Gentlemen :—For many months past we have been using your 40c. Cut Ink in large quantities and we have never had an ink that gave us as much satisfaction in its use. It has proven all you claimed for it, and more, as
END) EN 6) we can show you better results than you have in the specimen pages you
A have been using in the “Inland Printer,’’ and with this identical ink.
You may duplicate our order of January 27th, 1898, for two hundred
pounds in ten pound cans. Yours truly,
CHAMBERS PRINTING HOUSE.
F. V. CHAMBERS.
PALE PPI
—'
This is printed on 524 Fine Enamel, made by Irwin N. Megargee & Co., Philadelphia
THE INLAND PRINTER. 17
= ~ 38M ss aye REALS
<<
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Rts
18
THE INLAND PRINTER.
St.Louis. :
CS) ©
HIS Cut is made from a photograph of a car-load of type and printers’ supplies shipped September 8th, by the INLAND TYPE FOUNDRY to the DORSEY PRINTING COMPANY, at Dallas, Texas. Their plant, recently destroyed by fire, was the most complete in north- ern Texas. Before purchasing a new outfit, Mr. Henry Dorsey made an eight weeks’ trip through the country, visiting different type foundries and printers’ supply houses and thoroughly examining into the merits of every article offered. Only the best was selected in each case, without regard to price, and in equipment the new establishment is not surpassed by any in the country.
Particular attention was given by Mr. Dorsey to the type question, and after a most thorough examination he decided that not a type should enter the office which was not cast on STANDARD LINE AND UNIT SET, as made only by the Inland Type Foundry, of Saint Louis. The order was given with instructions to get out everything of the best quality without regard to price.
Printers who are looking for a greater profit and at the same time desire to improve the quality of their work should make a similar investigation. They will find that the lack-o’-system type they use is the most expensive article they can buy and a source of constant annoyance, and that TyPE WHICH IS NOT STANDARD LINE IS DEAR AT ANY PRICE. Just as soon as printers make that discovery they will have greater profits in their composing rooms and their orders for type will go to the
INLAND TYPE FOUNDRY 217-219 Pine Street, SAINT LOUIS
THE INLAND PRINTER. 19
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20 THE INLAND PRINTER.
Mmeeeceeecccccece sSSSSSSSSSSSSH W W W W : Linotype Italics §
\W y ype 1Tancs | v v
W v BBB BB y mY Co. Vv WV HE addition of italics and small caps to W . Linotype capacity completes the perfect . ‘if performance of the machine as an adjunct : ‘if WV to the up-to-date book office. By means NV WY of a shift-key attached to the regular key- WV W W WW board the operator may set italics or small W WV caps at will, each matrix being provided NV y with two characters, one above the other, e ‘id the lower character being brought into use ‘id W by means of the shift-key. This improve- W _ ment has been pertected by months of use e NV and by exhaustive tests, and is being placed ‘if WV as rapidly as possible in the leading book NY W offices of the country. A booklet telling W W W \) about it will be sent free. 2 2 #2 #2 # # (\ W | W W W W BBB BB W v v iy Mergenthaler Linotype Company w y PHILIP T. DODGE, Cribune Building, New Vork v W W
THE INLAND PRINTER. 21
Che Chandler 5 Price Press Pyramid
SHOWING ACTUAL SALES AND DELIVERIES OF THIS RENOWNED PRESS FROM DATE OF THE BEGINNING OF BUSINESS UP TO JULY 30, 1898.
ENDING JULY 30:
\ We 1887-311 GORDONS.
NS 1888 — 867 GORDONS. — BAA A CAA
1889—413 GORDONS. A 1890—610 GORDONS.
1891652 GORDONS. 1892-657 GORDONS.
1893-732 GORDONS.
1894—743 GORDONS.
1895-1,143 GORDONS.
1896—1,375 GORDONS.
1897—1,086 GORDONS. 1898—1,589 GORDONS.
} SOLD AND DELIVERED IN TWELVE YEARS
: TOTAL NUMBER CHANDLER & PRICE GORDONS
THINK OF IT! 9,678 MACHINES MADE, SOLD AND DELIVERED iN TWELVE YEARS. SUCH IS THE RESULT OF MANUFACTURING GOODS OF REAL MERIT. THE CHANDLER & PRICE PRESSES LEAD! ASK YOUR DEALER FOR THEM AND ACCEPT NO SUBSTITUTE. -& oe
THE CHANDLER & PRICE CO., makers, CLEVELAND. OHIO, U.S. A.
22 THE INLAND PRINTER.
latin ited eared ie cog NI ROE 4 ;
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3) of Inks is what we wish to do in this advertisement. Ana the Inks we talk are the ¢ ¢ QUEEN CITY. They have the superior working qualities and fineness that are required 3) ) to turn out the choice grade of printing. Among our spectalties which you ought to try, j you oug sy) ¢ ( because they have been demonstrated to be the inks above all others adapted to meet the ) Py exacting requirements of fine illustrative work, are the ( ¢ Ff. D, Book and Half-Tone Ink ; 5 o LA, al[- LONE INRS,. “alt ¢ Send us your address at once, so that we can mail you samples of the beautiful work done ") : ae ues and our other full line of inks. It will help you to turn out a finer character ; of work. : ) D 448 ¢ Queen City Printing Ink Company, 5 é a Home Office, Cincinnati, Ohio. . ) ranch, 347 Dearborn Street, ¢ ¢ Chicago, Itt. Q p) Senaenerenacecerenareneceiasenale asenes ee ee ee eee
THE INLAND PRINTER. 23
Gi sass ata aaa y atte SFSSESSSISSSSSFFSFSFFS STFS SSSI FSSSS SS : BLOTTERS
MN
a ALEN DARS
a Cc are the best advertising medium in use today,
n and those with beautiful illustrations by the
THREE-COLOR PROCESS are the best of the best.
e
om
wr
t
:
op We print them on the best 120-lb. stock, size : 4% x9, and sell them to printers cS
©)
PSS FI Oe
CHEAPER THAN YOU CAN PRINT THEM.
JOHN T. PALMER,
SEE4SESEEEEEESEEEESRSOLOLOLEOSY
¥ y 4 ss NY, 10 desi dy. The largest, finest and most diversified See eee 406 Race St., line of Calendars ever offered : samples. iM AND SEA aL / to the tra de. v LOSSLESS OLSSSLESLELLESSSSSASSSSELE SELLS SY - W Copper Etchings, © |Buy your Flat Writings direct Domestic Cithosrapby and y from the manufacturer, and get uniform stock at all times. Imported Art Souvenirs. v We carry in Chicago the largest stock of Loft Dried and Tub ¢ W | Sized Papers in the West. All Papers are of our own manu- AN y facture and lines that you can duplicate at any time. ‘\ Complete Sample lines furnished practically FREE v y eran “to responsible jobbers and printers. Write at once for w in rs AN Py comer W Ledgers Linens Bristols uN % v Superfines Colored Flats Wedding Papers W Fines Ruled Stock Fancy Papers THE NOVELTY ADVERTISING CO. ¥ Bonds Envelopes Embossed Roads Manufacturers, Publishers, Importers, vy Wedding Note, Quarter Ream WALNUT AND HICKORY STREETS, PAPERS | soods and Rapeterics. COSHOCTON, OHIO. 4 gio g Capacity 35 Tons Daily. W . a | Write for WHITING PAPER COMPANY ¥. ee ee ey a ee ee sss: es ss ss Es os s,s ML , S€eSeSSSeSSSSSSSSSSSSSSSSSSSSSSSSSSSEE Sees Bawa Ov Adama Stresth CHICAGO!
machinery can be applied. The Royle machines are admirably calculated to save money, while at the same time they improve the char- acter and appearance of the work. They are built on correct mechanical principles, the work is not ‘‘slouched,’’ and hence they can be depended upon to do what is claimed for them.
P. LASIRENGE, @ Remtnation Road, E.C. JOHN ROYLE & SONS,
peo PATERSON, N. J., U.S. A. C. J. ROBERTSON, 588 Craig St.
CONOMY in the production of engravings is materially furthered : by the use of suitable machinery, in all operations to which Q
24 THE INLAND
TP URSLINY Ua 1R.
UE
LC se55 LARGEA-4-— gb PLATE
‘26 & 2% PARK
PLALE ty 21 &23 BARCLAY ST.
MFG. CO.
MANUFACTURERS OF
Prepared Gums, Glues, Sizes and Finishes....... Pastes, Cements, Mucilages.
ARABOL.
15 Gold Street, New York.
Does not get sticky on the pad in damp
SPHINX PAD CEMENT weather, nor adhere to the tissue in
copying books. More elastic and stronger than other brands. Colors are fast and brilliant — red, green, blue and white. The best solidified composi-
ARABOL PAD COMPOSITION tion on the market. Guaran-
teed to keep sweet in hot weather and to preserve a uniform thickness.
Remelts readily. Does not string. The ideal paste for the pressroom. Keeps
9 PRESSMAN S FRIEND soft in the pail and contains no lumps to
disturb the packing and batter the type.. Does not swell the packing nor wrinkle the paper. Also used for backing pamphlets.
MACHINE GUM
water will reduce it.
For use on folding and mailing machines. Ready for use. Guaranteed to keep for three months. Cold
Does not harden in the keg.
For | iest bookbinding. FLEXIBLE GLUE MAE eRe IaCtiE ERanVGrdinary glue. SPHINX LIQUID GLUE No. 2. Ssuscinsaningtstuc ie ge
saving the gas and trouble of dissolving. No smell.
EMBOSSING LIQUID For leather, cloth and silk. ARABOL MUCILAGE, XX
mouth of the bottle.
MATRIX PASTE
The cleanest mucilage, transparent, easy flowing, not crusting at the
Ready mixed. Needs only reducing by cold water.
PNRABOL THE EMMERIGH
Improved Bponzing and —7H(( Gi Dusting
Machine vvvv
SIZES.. ANE a—<——_—sisg Za
12 x 20 LTE A ee
14x 25 Qn nT
ae x 80 Sa
40 238 iy a4 4
36 Over 1,500
40 és Machines in use.
SPECIAL BRONZING MACHINES are made for bronzing heavy paper stock, such as Photograph Mounts, Mats, etc.
We also manufacture an excellent Roughing Machine, for embossing tablet covers, etc.
EMMERIGH & VONRERLEHR, 191-198 Worth St., New York.
Write for Prices and Particulars.
THE INLAND PRINTER 25 eye AW ceeeag, o& Bate SANTA fe & adr weeeng & Ay = Sens SANA TY = Ss BSTEN NN, = Dia WAY, SS aes vera weeye Nese Nerray ey “ey WA, Hy 4
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WOVE AND LAID.
RY My GQSSSEAs BY < VY Qe we
‘Parsons ‘Paper Companys
Colored Writings
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b » f | Large Variety O: Parsons Paper Company 4 always ol He hots 3 in stock... | Ha OLWORE, MASS. y a Sou ah Oe 3 #Gaeed dy dy Ae ay hy cei ae wm eget ee OCS sins = Sere stash = SWanees w Sivas ernest S = Seanncsttel tt tanesste is dl
i. IU mal i
ee
will e ay credit ee
for Same on first order.
26 THE INLAND PRINTER.
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: \ SS Z hed \ ae Wb : : ? 5 5 . VS = : id 1 t Fs . ea ea | GY \ ee DN \ ZA yi A as ENN YX y SKE hh aN Lp 6 p . \ — i Wh Wh h\\ < ANG \ Pa 4% ha \ \ Bea es \ ew = \) si \ 4 by ——$—_— vas \ ZG Na y P t A “WN \, XY J N
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LOMGREN Z
ROS &C) &
HALF-TONE. ZING“WOOD —
ENGRAVERS =
AND ELECTROTYPERS
175 MONROE. ST. CHICAGO
\N SS Ss ~~ ti SS os SSS : SSS : Ge = Z WS SS |) ss >) SSS SS . gS : Be, |= Te || | = SiN! ~ == : = = SS —= 3 A yyy I
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THE INLAND PRINTER. 27
Sherid ans THE ACHE
PERFECTION IN PAPER
lew Glodel. ™™
AUTOMATIC CLAMP, with great clamping power, and special false bottom brought down by the foot.
FALSE BOTTOM shows where knife will strike paper. Gives quick adjustment for line or label cutting. No shifting of piles. INDICATOR at top of machine —a new device. Shows position of back gauge. Mathematically correct.
New’
ws New vooet 7 ie Noiseless. Rigid. Even Cut. Power. Speed. Accuracy.
|| SHERIDA
BUILT IN ALL SIZES, 36 to 70 Inches.
KNIFE STOCK AND CLAMP drawn down from both ends. Result — Uniformly even cut. SMOOTH, ROTARY MOTION — gives the highest speed without jar, and is absolutely noiseless. HEAVY AND ACCURATE WORK is its forte. Will respond to the most exacting demands. THE QUICK RETURN OF KNIFE is a great feature.
Mee © Bb sae RIDAN,
Paper Cutters and Bookbinders’ Machinery,
eMatomeprices andunerms: New Yorx—Cuicaco—Lownpon.
28 THE. INLAND /PRINTER.
What they say
when they know —
We are glad to be able to testify to the merits of the Wetter Numbering Machines. We started using them about ten years ago; some of the machines bear numbers 14, 15, 16, 45, 46. 47, etc., and have been in constant use since they were purchased. We have now seventy-three in daily use.” , i
For work which cannot be produced on our special machinery, we find the Wetter more reliable than any other which we have ever used ;.and our large experience in numbered work enables us to speak with confidence in their favor. You cannot put it too strongly.
Wishing you future success, we are, Very truly yours,
GLOBE TICKET CoO., PHILADELPHIA. : Hes) }
It is a pleasure for us to recommend your Wetter Typographic Numbering Machines. stronger and wear better than any other machines that we have ever had.
With best wishes for your future success, we are, Yours truly,
THE REYNOLDS & REYNOLDS CO., DAyron, ©H10,
|
: We have tried all the various makes of numbering machines and have found none to give us so much satisfaction as the Wetter. For the purpose for which it is intended, it is undoubtedly the best machine on the market.
Yours truly, PHILIP HANO & CO., NEw York Cirvy.
Some time ago, I should judgeabout six months, I ordered ten numbering.
machines from a Philadelphia printing supply house; these were called ‘‘\—— Numbering Machines,’ and on account of one discrepancy and another jin them, they were practically worthless as numbering machines to us.
I saw the Golding Co.,and asked them if they could not supply your >
numbering machines with a style of figure that we desired, to take the place of ours, which they consented todo. They therefore placed an order with you
Tam,
We have used them for a number of years and find’ they are built -
for ten numbering machines, and this order was placed with you at our sug- gestion, because we knew the value of your machines through some business dealings with Messrs. Dunlap & Clark, in the numbering of postal notes. Since we have had these machines made by you we have not had one error in the numbering of several million tickets. We consider your numbers or numerals elegant in shape and the machines perfect in their working, and also take this opportunity of thanking you for your kindness in getting us fixed up so quickly in connection with the changes in the machines in num- bering from one to ten. Thanking you for your prompt attention in connection with the matter, Neen Ui a Very truly yours, so aie T. A. BRADLEY, PHILADELPHIA.
1") { haa f . . . . | Ashort'time ago we purchased twelve typographic numbering machines
from another numbering machine manufacturer, because they were offered to us for less money than you quoted us. We put them on fast and slow running presses, but could not make them
‘work correctly, All of the many attempts of the manufacturer to make them
work failed. We then purchased through a dealer thirty-eight of your Wetter Machines, twenty-two regulars and sixteen specials, and they have never made a single miss or skip.
On the strength of the other manufacturer's guarantee we paid for their machines upon delivery. We were then obliged to institute legal proceed- ings ,to'get our money back.
It cost us a great many dollars ‘‘monkeying”’ with the machines, and it was not until the manufacturer became discouraged in the many attempts to
_make them work right that we decided to buy the ‘‘ Wetter.”
The thirty-eight Wetter Machines have paid for themselves many times over in the short time that we have been using them.
When we are again in the,ymarket for more numbering machines we shall certainly consider no other machine but the ‘‘ Wetter.”
Wishing you continued success, I remain, Yours very truly,-
EDWARD McKENNA, NEw York City.
These are only a few of the many who have recently come out strong and frankly in favor of the ‘‘ Wetter.’’ If you desire to
consult the highest authority on Numbering Machines, address
JOSEPH WETTER & CO.
515 to 521 Kent Ave., BROOKLYN, N. Y.
THE DEXTER RARID DRO ROLE DOUBLESSIXTEE NEO DDE IX
DEER POLDIBIN COMPANY
NEW YORK, 97 Reade Street.
CHICAGO, 315 Dearborn Street.
BOSTON, 149 Congress Street.
MAIN OFFICE AND FACTORY— PEARL RIVER, N.Y. (One hour from New York City.)
THE INLAND’ PRINTER. 29
FOR THE PRESSROOM.
No Slipping or Springing of Forms.
There IS no Kodak but the Eastman Kodak.
“Kodak Quality”
Means highest quality; means better lenses, shutters, finish and workmanship than can be found in other cameras. That’s why. Kodaks have for ten years been the standard. That’s why the clerk says: ‘As good as a Kodak” when he is trying to sell some other instrument.
All 1898 Kodaks use our light-proof film car- tridges and can be loaded in daylight. Several styles use either films or glass plates inter- changeably.-y
Kodaks, . . $5 to $35
Part payment taken in Advertising in first-class i publications.
EASTMAN KODAK CO. Rochester, N.Y.
Catalogues free, by mail.
PESESSEESESHEEEEESE EEL ELSES SEEEEELELEELELELEELELEELELLELES
: : : :
AN THON Y’S PATENT LINE SCREEN HOLDER
No Kits.
No Trouble.
Holds any size of Plate and Screen.
Distance between Plate and Screen adjustable.
Send for Descrip- tive List.
CROSS-LINE SCREENS...
Unsurpassed for opacity and sharpness of lines and transparency of spaces. Send for Free Catalogue of Photo-Engravers’ Supplies.
The International Annual and American Process Year Book. Articles by Beeles, Bogardus, Duchochois, Hough, Kupper, Talbot, Walmsley, etc. Price 75c., postage 15c.
E. & H. T. ANTHONY & CO., 591 Broadway, New York, or 45, 47 and 49 East Randolph Street, Chicago.
Anderson’s Photo-Mechanical Processes ana Guide to Color Work.
A complete guide to the photo-reproduction processes, three-color work, etc. Illustrated with three-color print, color chart and many half-tones. Price $5. For sale by
E. & H. T. ANTHONY & CO., 591 Broadway, New York, or 45, 47 and 49 East Randolph Street, Chicago.
AND THE INLAND PRINTER CO., 214 Monroe St., Chicago.
IEISSSSSE SEIS SSE TEST IENEEMEA ISO RERSEC STIS LETH EOE
wed
Adjustable Iron Furniture
MADE ON PRACTICAL PRINCIPLES.
WILL SPREAD FROM 34 to 26 INCHES.
Can be adjusted down to a Nonpareil.
MADE IN TWO SIZES— PLAIN AND NICKELED.
12-inch, plain, $3.00; nickeled, $4.50 24-inch, plain, $4.00; nickeled, $6.00 One set of 12 and 24 inch, plain, $6.75
Weight of 12-inch set, 6 lbs.; weight of 24-inch set, 13 lbs.
W. H. O'BRIEN,
The Trade Supplied. Box 57; AKRON, OHIO.
Reasonable Discount.
BUFrALo INK.
“1S AN INK - THATIS
ALL INK!
AND “IT WORKS” "BUFFALO INKS ALWAYS DO
: Bu FFA LO PRINTING INK Wonk BUFFALO, N. Y.
30 THE INLAND PRINTER.
The Minuteman of 1775
Was a power in his day, but the Challenge-Gordon Press and the boy who feeds it sixty a minute—one every second —are in front just now!
One every second! Pretty fast, isn’t it? The 8 x 12 Challenge- Gordon does it, and faster if you can feed it. When in the market for a new press, remember the Challenge-Gordon is the only job press with the following recent patents and improvements: New Impression Throw-off, new Noiseless Disk Motion, new Depressible Grippers, Counterbalanced Platen, etc.
Seven sizes: 8x12upto 144%x22. Prices no higher than O.S. Gordons without these improvements. Write your dealer for new descriptive circular.
THE CHALLENGE MACHINERY CO.
The Minuteman of 1775. By D.C. French. 2529 TO 2555 LEO STREET, CHICAGO.
Che Aluminum Plate ana Press Company
Office, No. 87 Nassau Street, Borough of Manhattan, . . . . WMIEW YORK CITY.
ALUMINUM PLATES for Surface Printing, and Printing Machinery adapted to the same.
AGENTS for the owners of the original Basic Patent for Printing from an Aluminum Surface.
Factory and Laboratory at Plainfield, N. J.
The mechanical department of our business is under the charge and direction of Mr. John Brooks, for over thirty years superintendent of the Potter Printing Press Works, and Mr. W. S. Huson, for twenty-five years with R. Hoe & Co. and the Campbell Company.
The United States Aluminum Printing Plate Company is the sole owner of the Mullaly and Bullock patent (INo. 459,239), the first and basic patent for printing from a surface of aluminum, and The Aluminum Plate and Press Company is its business agent. Any and all infringers of said patent will be vigorously prosecuted.
THE INLAND
ARE YOUR LINOTYPE MATRICES AND SPACEBANDS WORTH SAVING? IF THEY ARE, YOU SHOULD PRO- VIDE A CONVENIENT AND SAFE RECEPTACLE FOR THE STORAGE OF THESE VALUABLE ADJUNCTS OF THE LINOTYPE MACHINE::::
Worth Saving
No suitable cabinet for this purpose has heretofore been offered. After a careful study of the requirements and with the assistance and advice of several linotype experts we have constructed the cabinet illustrated herewith, and we have full confidence in its excellence and
Sectional View of Lower Drawer, showing Spacebands.
and twelve matrix drawers. There is also a deeper drawer at the bottom of each cabinet, as the illustration shows, for the accommodation of the small tools and the spacebands, which are strung on a brass rod. The six-drawer cabinets will answer the requirements of an office running one or two machines; the eight-drawer is for offices running two to four machines; the ten-drawer is for offices running four to six machines, and for larger plants one or more of the twelve-drawer cabinets will answer.
Each drawer is 141% x 15 inches inside measure. There are ten grooves in each drawer, upon which the matrices are: placed edgewise. The capacity, therefore, of each drawer is 142 running inches of matrices set on edge. The drawers are placed in the cabinet on an incline. This position of the drawers prevents the ends of the lines of matrices from falling down and becoming disarranged.
These cabinets are strongly constructed and made of hardwood. Aside from their practicability and usefulness they will be an ornament in any Office.
Sectional View of Matrix Drawer, showing Matrices in place.
THE HAMILTON MFG. CO.
Main Office and Factory, TWO RIVERS, WIS. Eastern Factory and Warehouse, Middletown, N. Y.
PRINTER.
Eight-drawer Linotype Matrix Cabinet.
| Te ROLL-CURTAIN FRONT is provided with a first-class lock,
and when the cabinet is closed the con- tents are in dust-proof compartments where they are perfectly safe.
With each drawer we furnish six metal slugs, as shown in the illustration.
Snnnarinraann 5 ; ~ ; Metal Slug (full size).
These slugs can be used at the ends of matrix lines or for dividing special char- acters which are not always required.
Full descriptive circular and price list of these cabinets furnished on ap- plication. Write for particulars.
Remember us when you want any- thing in the line of
Wood Jype Wood Goods.
| Our line was never so complete and the
quality never so high. For sale by all supply houses and dealers.
ASK FOR HAMILTON GOODS. LOOK FOR OUR STAMP; IT IS A GUARANTY OF EXCELLENCE.
39 ‘THE! INLAND’ PRINTER.
Roller Moulds.
Roller-Making | Machinery.
cites
Job Roller Casting Machine.
Send for estimate for large or small outfit. Everything up to date.
Moulds are guaranteed to be true and free from flaws.
New York Depot: 32 East Tenth Street.
JAMES ROWE,
(6 W. Jackson Street, CHICAGO.
If you do not receive
the ‘‘ News- Monger,” send us your address and it will be mailed you.
>) Norm =I} oa Io = 40 <— come — 4} ee — |} | a = |} )§ ae — }}}> eo = 1) Hoa — HHI —
Job Roller Casting Machine. . :
\ ! z i | ! 53 i | y = | ' z i | | t 53 i | ! > | 53 | i L
= ee — He tte ee eo 8 Bar eee
Cs
| Chambers’ Special Double- Sixteen Point-Feed Machine for Bible Work.
HIS folding machine, No. 601S, is designed expressly for folding thin Bible papers, either inset or outset, and with the
greatest possible degree of accuracy. There are certain features: in-its construction, necessary for accomplishing the work designed, that make it unsuited for folding extremely thick, heavy paper., It is adjustable for double-sixteen sheets ranging in size from 16 x 24 to 28x 4o. Driving pulleys are 63/ inches in diameter, and should make 200 revolutions per minute. Floor space occupied is’5 feet 3 inches by 7 feet 6 inches.
Mantaureay CHAMBERS BROTHERS COMPANY,
Fifty-second Street, below Lancaster Avenue, E. C. FULLER & CO., Agents, |. |) tay sis NEW YORK and CHICAGO. PHILADELPHIA, PA.
AOC
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THOGRAPHIC
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Medium Reflex Blue, 416-67.
COPYRIGHTED.
Chinese manuscript about two thousand years before Christ. The Chinese then
wrote manuscript with Black Pigment without any illumination.
tion
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The ornamenta-
in this design was taken from a very ancient work in the British Museum.
Gold Ink, 577-93.
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IS IT that two pounds of ink at times will not produce more impressions than one pound of apparently the same ink? ce a ce Simply because there is a difference in
ink the same as there is in papet. There are to-day so-called “loaded” inks offered for sale, containing a cheap adulterant that costs practically nothing, and possessing no inherent printing quality whatever. Such inks are sold for less than a pure, unadulterated ink, but in actual use prove to be more expensive than pure ink. A perfect ink possesses qualities of permanency, purity, and brilliancy of color. Such inks are AULT & WIBORG’S, who them- selves manufacture the ingredients that go into the composition of their inks, and, therefore, they know exactly what is in them, and what can be done with their inks,
ee ‘
83
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@)INNER CHI.
PURPLE, B. 565-37. IMPERIAL ORANGE, 584=17.
From painting by Jean Ingres, in the Louvre, Paris.
JOAN OF ARC, THE MAID OF ORLEANS.
At the Paris Exposition of 1855 a salon was devoted to the works of Ingres, the pupil of David, and the greatest painter of his time. Ingres was born about 1780, and died in 1867. The original of the picture hangs in the Supplementary Halls of the Louvre, on the third floor from the ground, in the second room, where may also be seen the same artist’s ceiling-painting for the Museum of Antiquities (on a lower floor), a work which is called ‘“ The Apotheosis of Homer,” and ranked as his masterpiece. Joan of Arc was painted in 1854, and doubtless moved Napoleon III to offer to the famous artist the honor of a separate salon at
the Exposition, for Ingres resented the neglect with which Frenchmen viewed his works, and had steadfastly refused for twenty years to publicly exhibit. Asa
result of the exposition, Ingres was made a Senator and Grand Officer of the Legion of Honor. The reader will note an angularity or harshness in this picture,
the reverse of Raphael’s style, but the sudden and dramatic stroke on the eye will not be forgotten. Lady Dilke has written an interesting article on the life of
Ingres in the Encyclopedia Britannica.
1-3
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Copyright, 1898, by The Inland Printer Company.
A TECHNICAL JOURNAL, DEVOTED TO THE ART OF PRINTING. Vor. XXII — No. 1. CHICAGO, OCTOBER, 1898. VBS Rt opices so cents: \y 9) ¢ ALUMINUM IN THE GRAPHIC ARTS.* | ~° “i NO. II.— BY PROF. W. E. WOODBURY, F.R.P.S. v med
HE general technical manipulation of aluminum as regards the
different direct and transfer drawing
plates,
and copyings, is practically the same as that of the stone or zinc. The following will give a short explana- tion of the preparation of the plates, and the manner of working on them during drawing, printing, etc. It should be borne in mind, however, that this technical working, if good results should be obtained, must be accompanied by still more accuracy and cleanliness, and the strictest adherence to the follow- ing instructions is necessary:
I. THE PREPARATION OF THE PLATES.— New as well as used aluminum plates must first of all be cleaned with turpentine, and immersed from six to ten hours in a bath consisting of three parts water and one part nitric acid; then the plates have to be well scrubbed with water and a piece of felt, on both sides, rinsed and put away to dry. This bath removes all fatty and acid substances from the surface of the metal—that is, cleans it thor- oughly without affecting it. As soon as the surface of the plate assumes a whitish appearance it is in proper condition for any drawing or transfer, and the grinding that has to follow is only necessary in order to roughen the surface somewhat so as to adapt same to the ready acceptance of the grease of the drawing or transfer, and so that moisture distributes itself uniformly in the free spots. ground after the bath, and new ones more carefully at that. and a block of wood covered with felt. fastened properly, moistened, covered with powdered pumice and then energetically polished with a rotary motion with the felt-covered block, the latter also moistened. It is needless to say that the pumice stone, as soon as ground out and becoming dirty, will have to
All plates, smooth as well as grained, have to be
The grinding is done with powdered pumice stone The plate is
* Translated from Das Atelier des Photographen.
4 : It should take about an hour’s time to properly grind a plate of one“square meter. «
II. DRAWING AND RETOUCHING.— Outside of en- graving, all lithographic drawing can be done on alumi- num plates in the very same manner and with the very
be renewed.
same materials as used on stones. In the same way, that is, faulty parts
of same —can easily be corrected with fatty sepia or
copies made in a photographic way
crayon. [Erasures with a pointed or sharp instrument (scraping) are not permissible. Important corrections will therefore have to be made after the first print, when they can be made with little effort and without injuring the grain of the plate. The plates must be kept free from all fatty substances, just the same as the stone. Pencil outlines accept color, and will be seen in the print —a preparation with leadpencil is therefore not permissible, but a transfer can be made with gelatin
carbon tissue paper.
Ill. ErcHinc AND DRAwinG.—The etching fluid used in the preparation of these plates is composed of seven to ten parts of thick gum solution, and one part — two per cent—phosphoric acid. This solution should be concocted a few days before use, in order to have the proper effect on the plate. To apply this etching fluid a clean, soft sponge should be used, with which same should be distributed quickly in both directions; then the sponge should be squeezed out and all superfluous After this the plate is coated The
etching and gumming should be done as rapidly as
fluid removed with it. with a thick gum solution and fanned till dry.
possible, otherwise there will be danger of blurring the drawing. This danger is lessened by previously applying alkali, and by the performance of the whole proceeding in a warm temperature.
IV. THE PrIntTING.— In all stages of the printing it must be observed that the temperature of the room
is at least 55° Fahr., or warm water has to be used
for moistening. To apply colors, rubber rollers are
36 THE INLAND PRINTER.
generally used, and for the printing of crayon drawings leather rollers are preferable. For large plates propor- tionately large rollers should be used, inasmuch as with small rollers the colors become dull and dirty through
the frequent application of them. For this reason it is
jes Peds art 8
zs rite
FROM A PENCIL DRAWING ON ALUMINUM.
necessary to cover the rollers frequently with fresh paint in the laying on of light shades. In printing by the hand process from the aluminum plate, polished and level lithograph stones can be used to support the plate. Between the plate and stone, however, the strictest cleanliness must be exercised; as even the smallest par- ticle of foreign matter between them will make a slight impression in the metal, producing cor- responding raised spots in the surface, which will readily accept color and after- ward show in the print. The washing is done the same as on stone. The gum
same solution will be necessary. After a thorough cleaning and drying, the following solution must be
freely put on the plate:
WEEP 50 0.0.00000000000000060000000000000000 1400 parts ANBBIC BSloc0.000000000000000000000000000¢ 4o parts INFOS AG, 6 o0000000000000000000000000000 20 parts Siiore lor AO! cooccovccdco0ccn0000000000 5 parts
This must be applied very freely, so that all parts of the drawing are correspondingly covered with the fluid. After a minute or so the plate is cleaned with running water and rapidly dried, after which drawing can con- tinue in the places where previous drawing has been removed, as well as everywhere else. Of course, cor- rected plates must again be etched, the same as the stones, for which reétching of corrected spots sulphuric acid is effective. With sulphuric acid the slightest details can be removed with a pen or brush, and spots manipulated in this manner are at once put in proper condition for a new drawing.
VI. Orrsets.— Offsetting on aluminum is done indirectly, that is, with powdered coloring matter, as the slightest traces of grease will show in the print. Such prints must, for that reason, be made on exceed- ingly smooth paper, so that the color does not stick to the surface of the paper, or the clearness of outlines will be lost. The best powdered coloring matter is terra di Siena, black or bronze-blue, which must be shaken uniformly over the paper. Before the transfer is put on the plate, it must be washed with benzine. Offsets that are too strong can be made a little lighter by being wiped off with clear water.
VII. TRANSFERS AND AppITIONS.— For transfer- ring also, every method of the lithographic technic
must be thoroughly removed and_ the drawing washed out to the same degree. With crayon plates due care must be exercised so that the crayon will not be dissolved by the application of water. After printing is finished, the plate has to be covered with wax paint and gummed the same as a stone. The plates should be covered with alkali over the gum, hard loose paper placed between them, and put away in a dry closet.
V. CoRRECTING.— When corrections or additions are to be made, transfer color should be applied, the plate covered with powdered resin and slightly heated. On those parts which should be removed entirely, a solu- tion of four parts nitric acid and one part gum should be applied, and after two or three minutes removed with running water. If the first application of the above solution is not effective, the acid has not acted sufficiently, in which case another application of the
‘4 F a ven y Mi } Vay I Fae Se
FROM A PEN-AND-INK SKETCH ON ALUMINUM.
and every material used for stones is available for alumi- Transfers that are not absolutely perfect should never be used for additions, because it is very hard to correct imperfections on aluminum., The simplest way to make transfers is with damp transfer paper, by which method the plate can remain dry.
num.
When using trans-
THE INLAND PRINTER. a7
parent transfer papers, a slight dampening of the latter Too profuse dampening makes the trans- Through
is necessary. fer blind, and prevents acceptance of grease. this the transfer seems badly covered, and disappears gradually. As soon as the transfer is finished, apply warm water to the plate, soak the paper off, rinse until the plate is thoroughly cleaned, and dry rapidly. In this state, the plate is in the best condition for correc- tions with fatty chalk and sepia. After the plate is gummed it will not accept any more coloring matter, and in this condition it can remain for days without harm. After the
gum coating is dry A \% the transfer should NW) x be washed out with lithophine, not water, and af-
ter the color has 1 been loosened and ¢ the washing tinc- i=
ture is dried_up a bit, water should be applied and the picture developed witha greasy black cloth. But care must be taken as to the right pro- portion of water and grease, so that no foreign outlines are created, which would show in the print. Dirt spots should be removed with powdered charcoal or pumice stone, or through the application of sulphuric acid. For rapid print- ing presses, rubber rollers are prefer- able to leather roll- ers. For printing with aluminum, all colors, varnishes and siccatives used for bemtakenwebhe dampening with rapid printing presses must be done with little water and absolute uniformity. The water used for this purpose should be renewed several times daily, and same should be pure, without admixture of salts, glycerin, etc. A plate prepared in this manner will yield from ten to thirty thousand copies. Numerous ineffectual attempts have been made to procure a suitable substitute for the frail glass plates for collotypes, and trials with aluminum in this connection have given the best results and opened up a bright future for this metal in this direction also. Even the
gC sien |
dh
stones can
FROM A CHALK DRAWING ON ALUMINUM.
copying with aluminum plates, coated with collotype preparation, has great advantages, because the progress of the printing may easily be watched, through the bending up of one corner of the plate, and failure result-
ing from too long exposure is thereby minimized.
The application of coloring matter is much easier on aluminum plates, because the picture will show a good deal clearer on the light-gray ground of the metal than on a glass plate. In some cases the glass plates often
require fifteen to twenty trial prints before a good print can be obtained.
With an aluminum plate good results will show after two or three trials. August Albert, a teacher in K. K. Lehr Versuchsaostalt, Photographie und Reproduc- tions verfahren, in Vienna, one of the most eminent ex- perts in collotypes, has made a thor-
i ough test of the N
the und
fur
aluminum plate for this purpose dur- ing the past year or so, and in rela- tion to his impres- sions and to the changes necessary he mentions the following:
I. THE CLEAN- ING OF DHE IP i, AW 1 So INS ' plates are to be I scrubbed
with a mixture of ammo-
i Re fb fe to 3) and dried ) , aaa aI . with a clotia. AN Reepenne— INE aii] =, From plates that Hb
\ have been the gelatin coat-
nium and water (1
used,
ing is removed by the application of a very thin solution of sulphuric acid (about 1 to 30) and the further manipulation is the same as with a new plate. Alkali solutions must not be used, as they destroy the aluminum.
2. PRELIMINARY PREPARATION.— This is done the same way as on glass, and a thin gelatin coating should be used, inasmuch as gelatin coated thickly peels off in the print.
3. THE PREPARATION WITH CHROME GELATIN.— This preparing is done with a mirror plate supporting the aluminum plate, and during the drying in the oven
the metal plate must be held level. Bent or warped
5) THE INLAND PRINTER.
plates are useless, as an unequal surface results there- from.
4. COPYING. is easier for the reason mentioned before.
The copying with aluminum plates The printing can be controlled through the bending up of parts of the plates, same as paper copies. 5. DAMPENING AND PRINTING. type plates must be dampened with glycerin and water
Aluminum collo-
only, without any admixtures of ammonia, fixing soda, etc. If the latter be applied, they affect the plate more or less, and even strong copies will then print shadeless. may be wiped with a moisture containing a little For this purpose, a moisture containing acids will no doubt prove very effectual.
be adjusted in the press by the very same clamps
Now and then the plate ammonia so as to clear up the picture. These plates can
that are to hold glass plates.
Although the use of aluminum does not exactly revolutionize lithographic and photo - mechanical reproduction methods, and the use of the litho- graphic stone for certain purposes can hardly be excelled, the discovery of this new metal must, nevertheless, be hailed with joy, in view of the many advantages it affords in certain lines of the lithographic art, especially for the direct copy- ing process. Only the future will show whether the bright hopes created by the many successful trials in the use of this metal will be realized. The many successful tests made heretofore by Scholz and others, which in every respect show improvement over the use of zinc, would indicate that these expec- tations have a sound basis.
Written for THE INLAND PRINTER.
DISCRIMINATION IN THE USE OF WORDS.*
NO. XIII.— BY F. HORACE TEALL.
[* a lecture on ‘‘ Corruptions of Language,’ G. P.
Marsh says: ‘‘I have spoken of the ignorance of grammarians as a frequent cause of the corruption of language. An instance of this is the clumsy and unid- iomatic continuing present of the passive voice, which, originating not in the sound common sense of the people, but in the brain of some grammatical pretender, has widely spread, and threatens to establish itself as another solecism in addition to the many which our lan- guage already presents. The phrase ‘the house is being built,’ for ‘the house is building,’ is an awkward neolo- gism, which neither convenience, intelligibility, nor syntactical congruity demands, and the use of which ought therefore to be discountenanced, as an attempt at the artificial improvement of the language in a point He says that if the phrase ‘‘is being built”’ is used, we must also reject ‘‘is
which needed no amendment.’’
missing,’’ and say ‘‘the paper is being missed,’’ and also that such expression would logically justify “* would have been being built,’’ etc.
* Copyright, 1897, by F. Horace Teall. All rights reserved.
The historical facts are that originally the form for such expression was ‘‘ the house is a building’” or **on building,’ etc.; that by omission of particles these etc.; and that, because of ambi- guity in many cases, ‘“‘is being built,” etc., were adopted by many writers. the last form was never used until about 1815, but it
became ‘‘is building,”’ Some grammarians say that
has been in the language more than four hundred years.
From A NEGATIVE ETCHING ON ALUMINUM.
While we cannot aver that there is error in expres- sions like ‘‘ Dinner is preparing,’ ‘‘ The house is build- ing,’’ many of our best writers prefer ‘* Dinner is being prepared,’’ etc. convenient example for use in justification of the latter It is, ‘‘ Immunes Being and refers to soldiers.
A heading in a newspaper is the most
form, in some instances at least. Distributed in the Province,’’ Certainly it would not do to say “ Immunes distribut- Woes :
Prominent among those who strongly condemn being built,’’ etc., are Goold Brown, Peter Bullions, G. P. Marsh, and Richard Grant White. Fitzedward Hall wrote the best argument known to the writer in favor of the locution, and it is given as an appendix in his book, ‘‘ Modern English.”’
‘“Teopardize”’ is said to be a modern word which we could easily do without, yet many careful writers are not willing to do without it, and it has been found con- venient by poets. There seems to be no good reason for objecting to it, though Richard Grant White did so in these terms: ‘‘ Among the monsters in this form, none is more frequently met with than ‘jeopardize,’ a foolish and intolerable word, which has no rightful place in the language.’’ The shorter form ‘“‘jeopard’’ is not so much used now as it formerly was, ‘‘jeopardize” having nearly superseded it.
Bardeen’s ‘‘ Verbal Pitfalls,’ one of our most recent books on word-uses, says that ‘‘jewelry (for particular jewels)’ is indefensible. This is worthy of mention
cc
is
WIRE, UINfILZNINTID) JP IRIN TE T3 Re 39
here mainly because the book is written and published by the conductor of a large educational publishing business and also of a teachers’ agency, so that its unreasonable dictum is likely to gain wide acceptance among teachers. In support of the absurd assertion, part of a paragraph from Richard Grant White’s ‘“Words and their Uses’’ is quoted, of which para- graph Fitzedward Hall says: ‘‘A larger variety of superficial philology than is here exhibited could not easily be condensed within the space which it occupies.’’ One sentence in the matter thus criticised seems as silly as anything written about language could possibly be. It is this: ‘‘ ‘Jewelry’ is, properly, the name of the place in which jewels are kept.’’ The word never had such a meaning.
A curious example of infectious carping is found, arising probably from some writer's liking for an old word, in recent assertions that ‘‘ kinsman’ is to Dem prelernedumtOmmeltheimmashelative wamucmrelationya SOL ‘“connection,’? But no one does prefer the old word nowadays, and it is comparatively little used. Fitz- edward Hall says that a writer ‘‘ having occasion, in 1754, to use the word ‘kinswoman,’ remarks on it as being old-fashioned.’? These words are old- fashioned, yet they may serve a good purpose, on occasion, as being more definite than the other and commoner ones. be preferred.
Many grammarians insist that ‘‘last’’ should never be used of two only, and that ‘‘latter’’ should never be used of more than two. The Standard Dictionary says in its ‘‘ Faulty Diction’’ appendix: ‘‘In strict sense, ‘last’ is not properly used of only two, since it is a superlative; ‘latter,’ not properly of more than two, since it is a comparative. But while the use of ‘last’ for ‘latter’ and of ‘latter’ for ‘last’ has had wide sanc- tion in literature, the present tendency, under the impulse of grammatical criticism, is toward strict con- struction.’’ Generally, this is true; but a reading of Goold Brown’s ‘‘Grammar of English Grammars,”’ page 282, should convince any one of the truth of his first sentence on the subject: ‘‘ The common assertion of the grammarians that the superlative degree is not applicable to two objects is not only unsupported by any reason in the nature of things, but it is contradicted in practice by almost every man who affirms it.’’ Under some circumstances the uses objected to are not only permissible, but preferable. Of the circumstances writ- ers must be the judges. The words should seldom be changed by proofreaders without the writer's permis- sion. Other comparatives and superlatives should be treated similarly. , :
It is not easy to ascertain why any one ever used either ‘‘lengthened”’ or ‘‘lengthy’’ when meaning simply long. Blackwood’s Magazine, in October, 1867, is quoted as saying: ‘‘ This daring interloper [length- ened] has made good its way in the language. Expres- sive of a new meaning, the word must be accepted.”’ Why the word is called a daring interloper is beyond our
They are certainly not always to
It does not seem, when properly used, deserving With the verb. ‘‘ lengthen ’”’
oe)
ken. of any such stigmatization. in good ‘repute, in the sense ‘‘to make long, should it be objected that its participle is not good for ‘made long’’? This is clearly something more than merely being long, and one word for such a sense is better than a number of words. ened’’ is made in the following sentence, quoted in ‘“The Verbalist,’’ by Alfred Ayres, as showing a misuse instead of ‘‘long’’: ‘For a lengthened period the means which I could with propriety devote to the pur- chase of books was very limited.’’ No critic is justi- fiable in assuming that a writer does not mean what he says in such a sentence. What it says is that the time was made long, probably meaning that the period was
why
Proper use of ‘‘length-
longer than might have been expected. ‘‘ Lengthen- ing’’ also is misconstrued by this critic in the following: ‘““ Beouile the heavy hour with studying the faces of the congregation below, or watching for the last leaf of the lengthening sermon.’’ This does not mean long ser- mon, but sermon that, is becoming or showing itself to be tediously long. Again, this critic says of ‘‘lengthy”’ that ‘‘it is of comparatively recent origin, and, though it is said to be an Americanism, it is a good deal used He asserts that the most careful writers They certainly do, and
in England.”’ prefer the word ‘‘long.”’ should, when that is the only meaning, and probably in almost every instance ‘‘a long sermon”’ or ‘‘a long d
or whatever might be the thing spoken of, SS ILemneqilayy ””
ce
discourse,’ is preferable to is perfectly legitimate for a meaning such as ‘‘ unduly or tediously long,’’ but not for mere length. The date of the earliest acceptance of ‘‘lengthy’’ as a good word is uncertain, but Fitzedward Hall says it was used in Eng- land in the time of the American colonists; the Century Dictionary says that the earliest uses of the word found by readers for the dictionary are British, and the Stand- ard quotes J. R. Lowell as saying that ‘‘ we have given back to England the excellent adjective ‘lengthy,’ ”’ which seems to imply that it had dropped from English
ce
a lengthy sermon,’’ etc.
use for a time.
It has been said that ‘‘it is a well-settled rule among good writers that ‘few,’ ‘fewer,’ ‘fewest’ shall be used in describing objects the aggregate of which is expressed in numbers, while ‘little,’ ‘less,’ and ‘least’ are applied A. better relate to
to objects which are spoken of in bulk.” expression of the rule is that ‘‘few,” etc., number, and ‘‘little,’’ etc., to quantity or measure. We should not say ‘‘less than twenty persons,’ but ‘(fewer than,’’ etc. Edward S. Gould, in his book ‘“Good English,’’ said that the well-settled rule might be unsettled by a few simple illustrations, such as
‘‘Tohn is fewer than six feet high,’’ ‘‘I gave fewer than a hundred dollars for that picture.’’
that ‘‘less’’ is right in these uses, and it is; but that
He means
Ca, Initia dred dollars,’’ etc., are expressions of measure and quantity, and not of number.
does not unsettle the rule, for ‘‘six feet,’’
(To be continued.)
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INLAND PRINTER
[Entered at the Chicago Post Office as second-class matter.]
A. H. McQUILKIN, Epiror.
Published monthly by
THE INLAND PRINTER COMPANY
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ADDRESS ALL COMMUNICATIONS TO THE INLAND PRINTER COMPANY.
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Vor. XXII. OCTOBER, 1898. No. t. a.
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EDITORIAL NOTES. TEST case has been instituted against the Manhat- tan Railroad Company to annul its charter, on the ground that it has violated its rights and duties as a corporation by engaging in a business not permitted by its charter, in allowing its property to be let for hire for advertising purposes. The art of advertising is widen- ing its boundaries in no uncertain way.
OTHING tells more against a bindery than per- N mitting the work to go out with soiled edges. Of course this is obvious to anyone, and yet a great many books are delivered in just this condition. Edge gilding on the tops seems to offer special opportunities for soiling, as the gilder’s size and red chalk are apt to splash on the unprotected fronts. A little severity all along the line is the only remedy. In the extra shop it is possible to cover the edges with a wrapper after rounding and backing, but on ordinary work this is not practical.
HE policy of THE INLAND PRINTER in presenting both sides of the industrial question, in a thor- oughly impartial manner, is meeting with gratifying approval from all fair-minded employers and employes. As stated by THE INLAND PRINTER when this policy was inaugurated, the one-sided journal, advocating the rights of one or the other controversialist at all hazards, is losing caste. Within a few weeks the American Craftsman, of New York, one of the oldest industrial papers in America, has succumbed to the inevitable, while lesser lights in Chicago and Cleveland have also gone out of existence. The average reader, no matter which side he is on, is willing and anxious to hear both sides of the argument.
ITHOGRAPHERS working with the old-style flat- bed presses are confronted with the problem of competition of an overwhelming character by the houses using modern machinery. If, with less capital invested, and with other advantages, an establishment can turn out double the number of printed sheets of the largest size that is possible by the old method, what will the trade do when such houses propose to draw trade by cutting the price of printing in half? Aluminum plates and the new rotary presses are a success, and are factors without which no one can figure on lithography in the future. Their use will require the full capacity of all hands, and many new ones, and as the output is increased the price of lithographic printing will be diminished.
A WISE MOVE. | the recent convention of the United Typothetz had done nothing else than provide for a thorough test of the right of municipal councils and other govern- mental bodies to require the placing of the union label upon their printing, it would still have done enough to justify the meeting, and to recompense its members for
42 THE INLAND PRINTER:
their long journeyings from home. It has long been a moot question as to just how far any branch of the gov- ernment can take cognizance of the labor organizations, and to say that in work for which all classes of the community, union or non-union, are taxed, any portion of the taxpayers shall be debarred from participating therein. and boards of aldermen, with the fear of the opposition of the labor vote constantly before their eyes, pass such partial laws. It is also not difficult to account for the sustaining of these laws by local judges in the lower courts, who are also susceptible to the potent influence of the organized workingman’s ballot. It will be a good thing, therefore, to get a ruling from the highest court and the least prejudiced tribunal in the land. Both employer and employe should welcome it. The Typothete committee having this matter in charge is
It is easy to understand how common councils
given an opportunity to perform a valuable service for the printing trade of the entire country. ca)
THE PHOTO-ENGRAVERS’ CONVENTION. E publish elsewhere expressions received from a number of the gentlemen present at the con- vention of the National Association of Photo-Engrav- ers, held at Brighton Beach in August. A careful reading of these letters indicates that members of the association are taking a very lively interest in the doings of that body, and a glance at the names of those who have favored THE INLAND PRINTER with these letters shows that the best men in the trade are repre- sented in the organization. The bringing of the organ- ization to a point where it can be of great benefit has been accomplished, and those who were backward in joining at the start should now feel justified in handing in their names for membership and becoming identified with the association which is now in a position to do them much good. Many new names have been added to the list since the first meeting was held, and there will no doubt be others ready to take part in the good work before the next annual convention at Put-in-Bay. The gentlemen who have so freely given their time, their money and their experience in forming the associ- ation, and in doing the work necessary to put the body on its feet, are to be congratulated upon the work accomplished; and they will have the pleasure of not only seeing the trade all over the country greatly bene- fited, but have the satisfaction of feeling that their names will be associated with having accomplished something which at one time seemed impossible to many people in the trade.
AN ENCOURAGING OUTLOOK.
HE INLAND PRINTER is particularly gratified
by the action of the Milwaukee convention of the United Typothetz in giving a hearing to representatives of the International Typographical and Printing Press- men’s unions. For years this journal has advocated just such a policy for the employers, believing that naught but good could come from a closer and more
harmonious relationship between the organizations of employers and employes. It is true that the employers were a long time in accepting this view, holding aloof from the unions in spite of numerous efforts on the part of the latter to secure a conference, but at last they have seen the unwisdom of this policy and by an over- whelming vote offered the privilege of their convention floor to the representatives of the unions mentioned.
It may be said that no tangible results have thus far grown out of the meeting, but this need not discourage anyone. The new policy has been inaugurated, the ice has been broken, and THE INLAND PRINTER will be very much surprised if good does not come of it. If this first step is followed up as it should be and as it undoubtedly will be, it will lead to greater toleration on both sides. The employer will learn that the unions are not necessarily built on a stand-and-deliver policy; the employe will discover that there are good legitimate business reasons why the employer cannot at a moment’s notice grant an increase in wages or a reduction of hours whenever the union demands it.
In fact, THE INLAND PRINTER hopes to see the day arrive when all differences of opinion between employing printers and their employes will be adjusted by conference and conciliations without resort to strikes and other violent means which are now so often used with disastrous results to all concerned. We believe the Milwaukee convention took the initial step toward bringing about this desirable result.
THE WAGES OF COMPOSITORS.
ESSIMISM among workmen in the printing trades
would seem to be excusable enough, judging from the views expressed by Mr. Silas W. Read, of Montreal, Canada, who, referring to a tabulated statement recently published in the 7yfographical Journal, giving the wages of compositors in the United States and Canada, points out that, with the exception of a few cities, operators are employed for as low as $18 per week on morning papers and $15 on evening papers. Why this should be so, Mr. Read says, is hard to understand: ‘‘One hundred and eighty thousand ems constitute a week’s work. Nearly everywhere in Canada, and many places in the United States, operators are practically on piecework. If I am employed on a paper paying $18, and I cannot set 180,000 ems a week, my services will be dispensed with; but ro cents per thousand for all matter over that amount is paid as a bonus in many instances. Operators should be compensated much better than they are. Before the introduction of the Mergenthaler, newspaper printers were seldom, if ever, displaced on account of age. The old man may have grown slow, but that was not a sufficient reason for an employer to dispense with the services of a faithful employe. There was, to the employer, no material loss attached to the old man’s slowness, and why should he be removed? But with the operator it is different. The machines have cost the publisher $3,000 each, and if the operator is slow it is at
his employer’s expense. The publisher desires to earn
THE INLAND PRINTER. 45
as much money as he can, and to make the machine a profitable investment the operator must be fast. Thus it is that, although the old-style compositor may not be more than forty, he is turned down. He is told that younger men possess better eyesight, more speed and endurance than those who have spent their youth in the old-fashioned composing room. It is not the employer’s intention to lose money, consequently he engages com- positors who are naturally the best fitted to be operators, and the young man is in demand; but he will not always be young. At forty years of age he, too, will be on the ragged edge. At one time he may have been a record- breaker, but a ‘has been’ is not wanted on machines. Already there are many operators who know nothing about setting type, and in a short time our newspaper printers will be made up of young men who have never learned the case, and when through natural weakness they lose their employment, their condition, unless they have provided against destitution, will be even worse than that of the old stick-handlers. The working life of the operator is short, and that fact should cause him to demand a proper value for his services. If he is a cheap worker, when his time comes to make room for a younger expert, and he has not been able to provide for a retirement, he will discover to his sorrow what a fool he has been.”
DEPARTMENT EXPANSION AND COMPETITION.
ETURNING activity in business is coming slowly but surely, and the printer is casting about him in the effort to neglect nothing that will bring him profit in all the departments of each job of finished work. His danger lies in the spirit of enterprise prevalent today. The engraver wants to be his own printer and binder. The binder wants to be his own engraver and printer, and the printer wants to stop at nothing short of making his own pulp to make his own paper. While the age tends to make specialists, the spirit of the department stores is in all industries, and the paradox is perhaps more pronounced in the printing trade than most others. In this connection we append a letter received from a successful printer, Mr. W. N. Grubb, of Norfolk, Virginia, which should prove suggestive to the printer who aims to do all classes of work embraced in the printing trades, and who is weak enough to meet the prices of all competitors. Mr. Grubb says: ‘‘I have not a large office — no cylinder presses and no bindery, and there is no electrotype foundry in the town. Of course, I have to pay for my ruling, etc., and whoever does the work makes his profit on it. If this was done in my office, I would not add as much profit as the one who would do it outside, so in my case it would be nec- essary for a larger margin to be had on any job of that kind to yield me a fair profit on my work. I know that, for some reasons, a small office without a bindery, etc., is at a disadvantage, but, take it in the long run, I feel that I have a better chance of making money than my competitors who have all the ‘side shows’ to their
plant, and who mst keep the ‘old thing’ on the rush all the time, or dzst.
‘“T have come to the conclusion that it is an 2#posst- bility for any office to figure, in advance, the exact cost on any job. At the end of any given period one can find out how much he has made or lost, and from that experience he should be able to continue business on a paying basis.
‘“Now, many years ago I adopted a very simple method of estimating, and what I thought a very fair price for doing the work, and with very few exceptions have adhered to the same. Occasionally a friend will say, ‘Mr. So-and-So will do the work 25 cents or 50 cents lower than your price, but if you want it at that you can have it.’ Well, it would be folly for me to reject such an offer, but where the difference is large, and after going over my figures and finding them what I think is right, I never fall to the other man. I would rather he should lose than that I should.
‘“On all composition, plain, whether solid or other- wise, except on rule and figure work, I charge 50 cents per 1,000 for the composition, and take the body type used as my basis for calculating. Jobwork I use pica as my measure. I find that that rate will put the form on my press at a profit. Presswork I rate at $1 per 1,000 on 8 by 12 press, and $2 per 1,000 on 12 by 18 press, which includes ink, etc., unless it is of a very expensive kind, and then I put it at cost. Stock is put at exact cost.
““Now, what is the result ? of work, about all that I could turn out. any bills, except for the current month, and can pay I am the only proprietor of a printing
I have had an even run I do not owe
them any day. office in business today who was in business the year I started, 1872. The conclusions come to, many years ago — that the best work I could do would command fair prices — have been fully realized up to the present (va, ”
Written for THE INLAND PRINTER. MUSIC PRINTING.* NO. I.— BY W. H. DRIFFIELD. HISTORICAL. T has been well said that ‘‘He who would most profit in any trade must first understand somewhat of its history and growth,’’ and before entering upon the practical and technical aspect of this very important subject it is our intention to glance briefly at its history. Music printing may be divided into three great sec- tions: lithography, plates, and type; and though these do not by any means exhaust the methods of repro- duction, still they are the chief methods, and those of more recent date, not having taken a hold upon the market which would warrant their inclusion in this series of articles, will be passed over. These articles being written more particularly for those who intend adopting this profession, and who, it may be presumed, have already acquainted themselves
44
with the main features of the work, there is no neces- sity for explaining the etymology of the titles already named.
MOVABLE TYPES.
The first method of reproducing music was by mov- able types, and this will, therefore, be considered first.
Ottaviano dei Petrucci, the pioneer in this branch of the trade, was born at Fossombrone, in Italy, in the year 1466, and commenced business at Venice, as a printer, at the age of thirty-two years, at which time he obtained from the Senate the privilege of printing mzszc for a period of twenty years. When forty-five years of age, he left his business at Venice in other hands, and returned to his native town, where, in 1513, he secured a patent from Pope Leo X. for the sole right to print music in the Roman States for fifteen years; from which fact it may be inferred that even at this early period in its history the printing of music was rigorously guarded.
The method which Petrucci invented was, how- ever, a very slow and tedious one, he having to take two impressions where one now suffices, namely, one for the stave and another for the characters placed thereon. The want of system, and many peculiar char- acters, restricted its use to the printing of church chants and ordinary music. Petrucci died in the year 1539, and though all honor is due to him as the pioneer of this important industry, he cannot be said to have given anything like a perfect system to his successors, or ren- dered much assistance to its advancement.
It was evident that Petrucci’s invention was capable of great improvement, and in 1507 a German printer named Oeglin came forward with another style, the basis of which was formed on entirely different prin- ciples. He printed both the staff and characters at one impression, thus considerably reducing the cost of pro- duction, and introducin new era in the art.
The shape of the note-heads used up to this period were the old-fashioned square ones (used in some places up to the present day) and known as Gregorian music — so-called after the inventor of this kind of music, Pope Gregory the first. In 1525, however, Briard, of Avig- non, France, introduced the now familiar oval-shaped note-head, and though by this he greatly improved the appearance, the style of setting up the type was still unaltered.
Thirty-one years later, Robert Ballard secured, by special permission of the King of France, the sole right to print music in all parts of the country, thus prevent- ing all other printers in France from music printing, engraving, or founding, under penalty of a heavy fine.
The perfecting of the art had so far been accom- plished by representatives of three different countries, and more than another century elapsed before any im- portant advancement was made; but in 1660 we are told that John Playford, a London printer, introduced a new way of representing eighth and sixteenth notes. These notes had previously been printed separately, and Play- ford’s improvement consisted in tying them together by
g, as it were, the keynote to a
AMEND, IONPL/ZNINIID) 1PIRIUNT IMEI.
means of horizontal lines drawn through their stems, in groups of fours or sixes, thus facilitating quicker read- ing, and enablingthe compositor to do his work with acceleration.
Other methods of music printing were now being introduced, and it was obvious that if type-music print- ing was to retain its position some advancement must be made in its methods of working, as its appearance was of a very stiff nature, and no graceful ‘“‘ties’’ or intri- cate pieces of composition could be accomplished by its use, as with other systems which were being pushed for- ward, particularly engraving. The improvement, how- ever, came at last, for in 1755, Breitkopf, of Leipsic, perfected a system which, with a number of small char- acters, enabled the compositor to set up almost any composition given to him. These characters all being cast to a uniform measurement (or, as we should now term it, on the point system) caused the art of music composing to be based upon mathematical calculations, but at the same time rendered this the most intricate and difficult of any branch of a compositor’s work. With Breitkopf’s method almost every character in music was cast on either one or more bodies. This remarkable improvement (which may be designated as the invention of music types as we have them today) caused many others of a similar style to spring up in opposition, but they were only of short duration, and soon disappeared. No change of any importance has been made since the time of Breitkopf, the only altera- tions requiring notice being in the design and cut of the characters, the manner of combining them, and the addition of many useful sorts.
Every character in music is now represented in type in one or more pieces, and, in addition, there are many sorts essential for correct justification, making, in all, between three and four hundred characters in a com- plete music font. The setting up of music type requires peculiar skill and judgment, and will be dealt with at some length in succeeding numbers of THE INLAND PRINTER. ENGRAVED MUSIC.
The charge of being ‘‘made in Germany’’ cannot be laid against engraved music, as is the case with mov- able types and lithography; for it was in Rome that the trial of engraving music on metal plates was first made, when, in 1586, a collection of canzonets were executed by Martin van Buyten, and published by Verovio; and this method, soon proving popular, was adopted in France, Germany, the Netherlands, and England.
It is a very interesting fact that the first music print- ing done in America, in the year 1690, was from engraved plates; and a historical American publication is a collection of church music published by Josiah Flagg, of Boston, in 1764, which 1s of additional impor- tance because of the fact that the engraving was executed by Paul Revere, of revolutionary fame.
Engraving as first practiced was slow and tedious, each character having to be scratched in with a crude
graver. Toward the close of the seventeenth century a
THE INLAND PRINTER. 45
way of softening copper was invented by the Dutch, which enabled them to use punches for the production of characters on the plates. These punches, in the time of their early introduction, were necessarily limited in number, and were restricted to the larger characters, as clefs, note-heads, tails, etc. The minor characters, with the stave lines, being scratched in as formerly with the The punches were sunk into the plate by a A more uniform appear-
graver. slight stroke from a hammer. ance was thereby imparted to the work, and the cost of production considerably reduced. From 1586 to 1710, copper was the only metal used for this purpose, but in the latter year pewter was introduced, the first efforts on which, however, were a complete failure; but toward the end of the eighteenth century a London engraver greatly improved the method, and, with slight altera- tions, such as improved punches and gravers, this is the one mostly in use at the present day, this metal being much cheaper and more easily worked upon than
copper.
LITHOGRAPHED MUSIC.
The adaptation of lithography to music printing came about in a rather singular manner. C. M. von Weber, the eminent composer of the eighteenth cen- tury, was intimately acquainted with Aloys Senefelder, of Munich, the inventor of lithography and himself a musician. Weber, as might have been expected, was anxious to know if the discovery could be utilized in the production of numerous compositions which he, time to time, desired publishing. He was, in fact, so interested in the invention that for awhile he entirely forsook his musical studies and devoted most of his time to the adapting of lithography to music printing, and it is supposed that to Weber must be granted the honor of its first application to music. Another reason for arriving ‘at this decision is that Weber’s Opus No. 2, a set of variations for the piano, printed in 1799, is the oldest example extant of litho- graphed music.
The leading publishing houses of Germany and France commenced immediately after this to employ lithography, but it was not used in other countries to any great extent until the present century was well advanced.
With the introduction of the lithographic cylinder press, about 1850, there came about a great revolution in music printing, and since that time the greater pro- portion of music published has been printed by this process.
from
It is out of the limits of a historical sketch of this style to unfold the many technical and other difficulties which were encountered and overcome in all the three methods briefly surveyed; but, with a little thought, the artisan of today can well imagine the patience, endur- ance and skill that were necessary in order to bring each process to its present state of perfection; and 1 behooves the present generation not to be satisfied with the accomplishments of bygone ages, but always strive
to still further improve and bring to a higher state of perfection the branch of the art preservative with which
they are associated. ( To be continued.)
Written for THE INLAND PRINTER.
DRAWING FOR PRINTERS.*
PART II. NO. IV.— BY ERNEST KNAUFFT. (Editor of the Av¢t Student, and Director of the Chautauqua Society of Fine Arts.)
This and the following chapters devoted to lettering give much practical information to the printer which may be enhanced in value if before reading them he will proceed as follows: Let him turn to the advertising pages of this magazine and copy, as dest he can, three or four lines of ornamental let- tering of three or four different fonts. After he has done this, then read this chapter and the next, and follow the suggestions there. We think he will then get a fuller benefit from them than if he reads our suggestions first and then proceeds to letter according to our directions.
GREAT deal of time is wasted by the beginner who attempts to letter because of his impression
that he can do original lettering. Now, times speaks of ‘‘ original lettering,’’ meaning that the lettering shows individuality in treatment, and is not the
a critic some-
Intec dine role froude-Ond- ih kelte mamigyatt ob ich war AA 'p oy Las geltalt-das hoffe act Shed lange nae Vn durh die piLMtuckh” the Ov mnie LSU vilhac brahe > dy fack die wil meckliche; Appi ftan trie 7 cher wats Zeharw %& watt rd foe ache da Wo MULINGE yibhohe fav: rudy gritite wut “ nekhey nunc. oer Jubte mid) 7 roller fam em Fut (ine enz tune. Wal ey Hyregoe durl dine gbre- vhidye mite © IG (hehe pélege. n mrt ere erie, fibehytite. F Nene ie dinen (eullen (ege-do hat | fe wien ” tet gar wolgegt al de wWlre gemeihe y ye A
ob BV Nun Ie wat (eee Kee frric er Waigerbivine 1 ningey “yee ge fact we Ollerbiuie. vogelitu wne~ ind mantigryalr. wo qreldber tet o’walt. ze Ire Wil courigy lyze bate. ch wil nal ie hale ringe- alte miive abien tage Colimirnilyparriegeligen- Celt fo mete, (F «ly fender hlage- (rentrotte mucly ze fut: wour labtg rotee nwt hat mich vF oF ee Swunt.
26 Kymeabee curlele mere. ace made
Page from a Minnesingers’ song-book in the University library at Heidel- berg. Example of Gothic letter. The initial letters were in black and terra cotta. The letter W was half black and half terra cotta; the U, E, and I were terra cotta; the ornamentation was black. Inall probability the letters were half an inch or an inch high. If you examine them under a magnifying glass you can understand their construction better than as they now appear. The first verse reads as follows:
‘““Winter, dine triiben stunde und din kelte magnivalt, ob ich das erwenden kunde, daz siu wurden bas gestalt, das liesse ich dur die lange naht, und durh die vil minneklichen diu mir froeiden vil hat braht.”
mere slavish copying of some conventional form. But in comparison to the other branches of art there is no such thing as originality in lettering. Your letter must be, broadly speaking, either Gothic (or blackletter, thus #1) or Italian (or roman letter, thus A); that is,
* Copyrighted, 1897, by Ernest Knaufft. All rights reserved.
A6 THE INLAND PRINTER.
The
best thing for the beginner to do is to obtain some exam-
it must be built upon Gothic or Italian principles.
ples of good lettering and master two or three alphabets of Gothic or Italian style. After he has done this, he will see how all other alphabets he may come across in printed books will conform to the same general prin- ciples of the alphabets he has mastered. He will see how certain minor changes may be made, and if, in the end, he is anxious to be original he will by broadening a letter where it may be broadened, or bringing its eross-bar down a little lower than usual, give a sugges- tion of originality to his work. (The chances are, however, that he will prefer to prove himself a good workman, and be content to combine, place and exe- cute conventional letters. )
Strange’s ‘‘Alphabets,’’ recently published, is an excellent book to study, and we shall give several alpha-
ky VY Ay 2NIMPHIDIA THECOVRT 4 Oe OF FAYRIE 58,58 58 58 58 58 VO) SRP? LDECHAV- @ ~) set (7/4 CER DOTH I, — eee OF TOPAS .\ PAG INGE YA TELL, : CAI PACA MAD RAR-
= oy THIRD OF DOWSABELL, 4 WITH SUCH POORE TRI-
K SLES PLAYING: ‘et © OTHERS THE LIKE HAVE £@ LABOURED AT, e
SOME OF THIS THING,
AND SOME OF THAT,
AND MANY OF THEY
KNOW NOT WHAT, s BUT THAT THEY MUST IL E SAVING. G
ANOTHER SORT THERE
BEE, THAT WILL
BE TALKING OF THE
FAYRIES STILL,
NOR NEVERCAN THEY p> HAVE THEIR FILL,
37 wm Oe
Reduced page from ‘‘ Nimphidia,” by Michael Drayton; design and lettering by Charles Ricketts. Lettering to be compared with the Italian “Tucidario.”’
bets from it. The old books on the subject are apt to be too ornamental for the printer, and the example we give from Niedling’s ‘‘ Book Ornaments”? is of far less prac- But the Bauernseind alphabet is valuable for study. It shows
tical use than the Strange examples we shall give.
the construction of the capitals on a geometrical basis, giving an idea of how monumental letters are made. It is easy to see that with such a guide as this, made by an architect, the commonest workman, with the aid of the
+
LVCIDARIO Cioerdichiararore di molre belle & fingulart quiftioni
aa
eern
eee
$ 4S LP
Facsimile of the title-page of the ‘“Lucidario” (A. Mischomini: Flor- ence, 1494). Original size of rule, giving proportion of page, 4% by 77% inches. Showing early Italian type letter and wood-cut design in harmony with same.
square and compass, could cut in marble an immense dedication of a building or archway, though the letters might be two or three feet high. A little study of this alphabet will give you the ability to understand anything written upon the subject of roman letters, so that the following quotation from an article by Gleason White, taken from the Magazine of Art, will immediately become intelligible to you. Mr. White was writing of Charles Ricketts and the productions of the Vale Press. He said the Vale Press had its own type, its own paper with its own watermark, but the printing was done by Messrs. Ballantyne. The type designed by Mr. Rick- etts was ‘‘ based on the precedents of the best Italian alphabets.’
Mr. Ricketts believes that the plan on which all letters should be based is that of the perfect circle or the perfect square; it matters not which geometrical form you choose, since a certain number of letters—M, L, H, and the like —
demand a parallelogram, and others — C, G, Q, O—an ovate or circular plan. If to draw this distinction between types
THE INDAND PRINTER.
based on the oval or the circle appear a mere quibble, we must remember that the difference between the Byzantine and the Pointed styles, which divide architecture into two great sec- tions, is one of similar limit. There is all the difference in the world, to a specialist in types, between a small ‘“‘b,”’ “‘g”’ or ‘“o” that follows the circle (CQ), and one that is planned upon an oval (()). I wish to emphasize this point, because I know that the designer regards it as vital; and I, for one, agree entirely with his estimate of its importance. The question of ‘“ceriphs’’ and the angles of certain strokes; whether a W con- sists of interlaced V’s, or of two connected only by the ceriph ; whether the ceriphs of a capital T are vertical, or slant divers ways, or parallel —all these are secondary matters, but the plan of the letter is not secondary.
In the beautiful Kelmscott type, as in the famous Foulis fonts and other notable instances, the O is ovate, and all other letters agree with it. In Mr. Ricketts’ ‘‘Vale” type, the square and the circle dominate every letter. If this distinction be passed over as unimportant, further contention is useless. But on this point no compromise can be entertained. If it be unimportant whether the arch is a semicircle, or planned, like Euclid’s first problem, upon the intersection of circles, then it matters little. But so long ds architecture is separated by such structural difference, it follows that an O based on a circle, or an H based on a perfect square, must be entirely unrelated to the ovate O or the oblong H. When taste is in question, one allows the adversary equal vantage; but when geometry comes in, axioms must be observed. Therefore, the ill-founded asser- tion that Mr. Rickett’s type copies any modern font cannot be allowed. You may dislike his symbol for the ordinary ‘‘ &,”’ or dispute over the beauty of his ceriphs and the oblique strokes of certain letters; but if you maintain that a circle and an oval are practically alike, the question of these nicer points need not be raised.
We give a reproduction of a page from the Vale Press, and for comparison the Lucidario printed in Flor- ence in 1494. The similarity in the style of lettering is evident.
An evening or two spent in copying the Bauernseind alphabet and then making up one upon the principle that most of the letters should be contained in a square will lead you to understand the monumental letter, or what you recognize as upper-case roman. You might then begin to collect pictures of medizeval and classical monuments, and you would at a glance be able to see the principles upon which their inscriptions are con- structed, and you would see that though the letters of certain monuments differed in proportion from others, yet the letters themselves of all the classical monuments would be virtually the same, and most of the Italian medieval inscriptions the same in character. An Albrecht Durer alphabet given by Strange (on page 174) is particularly interesting, being constructed in the same manner as the Bauernseind.
The Stimmer and Rogel Gothic alphabets are almost worthless for printers’ designing, but it will not be with- out profit for you to realize that they are built upon the principle of the swell made with a quill pen, and this will lead you to the study of what you recognize as Gothic letters which grew out of the pen hand of the middle ages. Whether in solid black or white, any Gothic letter must have more or less the principles of the Stimmer and Rogel alphabets. Space will not per- mit of a full analyzation of the matter, so let us take the
47
letter L only. In its simplest form it consists of two lines (or ‘‘limbs’’ ) at right angles —one perpendicular, the other Both lines may be the same length; but conventionality has ordered that if either be the shorter, the horizontal should be. The irregularity of the ends of the letter, as in the monumental letters,
horizontal.
is not a necessary characteristic of an L (which may consist of two simple lines); but it is the most frequent form in the monuments and is associated with our idea of a capital letter. When made with a pen in the mid- dle ages it became customary to give the two lines an undulatory character, and there is hardly any kind of
XVIL.JAHRHUNDERT. TAF. XXIV.
Examples of seventeenth century alphabets. From ‘‘ Biicher Orna- mentik,’ by A. Niedling, Weimar, 1895. B. F. Voigt. The first alphabet, after Michael Bauernseind, is a monumental letter based upon the square, the margins of the letters being obtained by segments of circles. With such a diagram a letter ten feet high could be made as easily as one an inch high, and by an ordinary workman. The printer would not advisedly map out his letter with such exactitude, but it would be well to copy several of the letters, if not the whole alphabet, that he may study the character of the monumental letter. The second alphabet is after Chr. Stimmer; the third from a book printed by Hans Rogel.
twist or curve that is not given to them. In making initial letters, in order to fill up the space it became the practice to make two lines of the upright shaft, and sometimes three lines were used. Cross-bars were also introduced, so that in Caxton’s initial letters the L looks
like the monogram P. E. L. Almost nothing restrained
48
the caligrapher; and if he chose to make a dozen or two upright shafts, each getting smaller than the other on either side of the letter, the whole ending in some such Celtic interlacing as the base of the Niedling plate, he could do so. But none of this is an organic form ot the letter L; and additional curve is pure ornament. The distinction between the superficial ornament and the organic lines of a letter is easily understood by first practicing the Caroline hand and then the Gothic. In the next chapter we shall be more explicit as regards
details. (To be continued.)
Written for THE INLAND PRINTER.
ELECTROT YPING — DEPOSITING.
NO. XVII.— BY C. S. PARTRIDGE.
HEN a mold has been metallized by the dry graphite method, and before proceeding to strike it (i. e., precipitate on its surface a preliminary coating of copper to render it more conductive), it is essential that the air shall be expelled from its surface by thoroughly wetting it, otherwise the mold when first immersed in the bath will be apt to repel the liquid, and the film of air retained on its surface will partially insu- late the mold and cause holes in the shell. Wetting may be accomplished by pouring over the mold a small quantity of alcohol or wood spirits. A more economical method consists in placing the mold face up on a shelf in a tank partially filled with water in such a manner that it will rest an inch or two under the surface, and then by means of a rotary pump and a rose nozzle direct a stream of water upon it. In some foundries graphite is mixed with the water, in which case the apparatus becomes an auxiliary blackleader and aids in the metallization of the mold.
After wetting and striking the mold it should be immediately suspended in the bath from one of the rods connected with the negative pole of the dynamo or bat- tery. It will be recalled that the current enters the bath through the positive electrode and leaves it through the negative. It is obvious, therefore, that were the mold suspended from the positive rod no action would result.
The anodes are solid plates of rolled copper of any convenient thickness, but they should have as nearly as possible the same area of exposure as the cathodes. If the anode be much smaller than the cathode the deposit will be brittle and the solution become impoverished. If the anode should be much larger than the cathodes copper will be dissolved faster than it is deposited, increasing the density of the solution and resulting in streaks on the back of the electrotype and the forma- tion of uneven deposits.
Holes in the shell are usually due to defective black- leading or failure to expel the air from the mold by In some instances, however, they The remedy for the
thorough wetting. are caused by hydrogen bubbles. latter evil is to decrease the current strength or pass a camel’s-hair brush lightly over the mold several times
THE INLAND PRINTER.
during the time it is in the bath, or, better yet, agitate the solution.
The mold should be examined after it has been in the bath a few minutes, and if any dark spots are observed it should be at once removed and a solution of graphite and water, or, better yet, graphite and alco- hol, should be thoroughly rubbed into the defective spots. The mold should then be rinsed under a strong head of water applied through a spray nozzle and returned to the bath. On no account should the mold be allowed to dry while out of the bath.
The anodes should, of course, be suspended from the positive pole of the dynamo, and it is evident that only one anode need be provided for each pair of cathodes, for, to maintain an equal area of exposure, a mold should be placed on each side of the anode.
If the baths are arranged in series, which is the most economical method of working, the total number of molds should be divided as evenly as possible between the vats to insure an equal rate of deposition.
The copper sulphate solution requires little attention as a rule, because the proportions of its ingredients may be quite widely varied without materially affecting the quality of the deposited copper, and, on the other hand, the current strength may also be varied and the quality of the production still remain satisfactory; but, notwith- standing these facts, it is possible to make the solution too rich or too poor in metal, or too weak or too strong with acid, and the current density may be too great to work in harmony with the solution. Very often a defective shell may result from one of two or three causes. It is, therefore, sometimes necessary to experi- ment a little in order to determine the exact cause of the trouble. For instance, a sandy, pulverulent deposit may be caused by an excess of current, or it may be caused by an excess of metal in the solution, or both. A brittle deposit will be caused by a weak current, or a solution poor in metal, or both. But if the electro- typer be provided with an accurate voltmeter it is a comparatively easy matter to locate the cause of the trouble, for if the instrument indicates a current of suit- able tension for a properly proportioned solution, it may be assumed that the cause of the defective deposits will be found in the bath and may be removed by enriching or diluting the solution as may be indicated by the char- acter of the deposited copper.
Under ordinary conditions of current and solution, the molds should be separated from the anodes by a distance of about two inches; but if it is found that the deposit is very dark in color or granulated in texture, this distance may be increased, thereby increasing the resistance of the solution, which is equivalent in: its effect to cutting down the current strength.
After working a few hours the anodes become more or less coated with slime, consisting of impurities and small quantities of foreign metals, which are always present to a greater or less extent in rolled copper. To remove the slime, which has the effect of partially insu- lating the anodes, they should be removed from the
THE INLAND PRINTER.
bath once every day and thoroughly scrubbed and rinsed with clean water. 2
When molds are removed from the bath the anodes should always be disconnected from the dynamo, as otherwise copper would. be dissolved into the solution, thereby unduly increasing its density.
(To be continued.)
/ DESIGNERS AND ENGRAVERS OF TYPE.
/ BY WILLIAM E, LOY. NO, IX.—WILLIAM W. JACKSON.
HE fraternity of designers and engravers of type has suffered a great loss in the death of William W. Jack- son, which occurred at the residence of his brother, in
Atlantic City, New Jersey, August 14, 1898. Mr. Jackson was born at Camden, in the same State, July 25, 1847, and he thus died at the comparatively early age of fifty-one.
After serving two years’ apprenticeship in a machine shop, Mr. Jackson was apprenticed, November 1, 1868, to Edward Ruthven, an old punch-cutter in the employ of MacKellar, Smiths & Jor- dan. At the end of three years he was discharged by Mr. Ruthven, when he engaged with the MacKel- lar, Smiths & Jordan, under the tutelage of Richard Smith, of the firm. Mr. Jackson always spoke in terms of the highest appreciation of Mr. Smith, who, while not a de- signer or cutter, was an accomplished critic, and was of the most valuable assistance, encouraging and stimu- lating him. Here he remained until 1873, when he took an office of his own in Philadelphia and began business on his own account, receiving the patronage of nearly all the American type foun- dries, besides the Caslon Foundry, of London. His. first patron was George Bruce’s Son & Co., then Farmer, Little & Co. gave him a great deal of business, and in a few years orders came from all sides.
Mr. Jackson’s life was an extremely active one and _ his work of a very high order. His work for the MacKellar, Smiths & Jordan Foundry included such well-known and pop- ular series as Aquatint, Campanile, Ruskin, the ornamental capitals to Spencerian Script, the Japanese and Chinese Com- bination borders. It may be safely stated that placing the Japanese border in the hands of skillful printers marks a new era in ornamental display composition. During the decade of popularity of this and similar borders, some frightful examples of a total lack of the printer’s art are recorded, but this is not from a want of adaptability of the border characters.
The designing and cutting of scripts was the branch of his art in which Mr. Jackson acquired his chief distinction. He cut for Phelps, Dalton & Co. the Manuscript in two sizes, with two lower cases for each size (known in the trade as Phinney Script, from being an exact facsimile of the handwriting of the active partner in that foundry), and later he cut Ivy Script for Farmer, Little & Co. About this time he brought out the famous Steelplate Script for the Central, followed closely by the series of Stationer’s Script for Farmer, Little & Co., the Grace Script and Hazel Script for Barnhart Brothers & Spindler. He also cut the Abbey series for Farmer, Little & Co., a face which never reached the popularity of the De Vinne, yet is generally liked. ;
While Mr. Jackson was looked upon as the leader in cut- ting scripts, his activities were also directed in other channels. He it was who designed and cut the wonderful series of Philadelphia Lining Gothic, ninety faces in all, so proportioned and graduated as to leave nothing to be desired. He also cut
1-4
WILLIAM W. JACKSON.
49
for the Baptist and Presbyterian Missions in Siam the Burmese, the Siamese and the Shan alphabets, copied from manuscripts, and the first attempt at reducing these alphabets to the require- ments of letterpress printing. The last two years of his life were spent as designer for the Lanston Monotype Machine Company, of Washington.
THE CAMPBELL TOURNAMENT.
Business competition is continually developing new methods of advertising and we are often at a loss which most to admire, the brains which produce the article of trade or the brains which produce the manner of marketing them. When a mer- chant reaches out beyond the usual means of advertising and adopts a unique, practical and instructive idea which forces a community or a fraternity to realize the superiority of his wares his pride and gratification over the achievement may well be pardoned. A case we have in view is the late tournament inaugurated over a year ago by the Campbell Printing Press and Manufacturing Company, to reward the pressmen and feeders operating their Century press with cash who would most fully determine the speed, quality of work and economy of time of that particular make of press. These different contests have not alone demonstrated to the printing trade that the Century press possesses the highest grade of merit, but it has also shown the employing printers the amount of work which they could reasonably expect from their pressrooms by the use of this press. The claims for exact register, delicacy and firm- ness of impression, good distribution of ink, strength and speed which the users and designers of the Century have always made have also been substantiated by this instructive object lesson in unique advertising. We feel assured the readers of THE INLAND PRINTER have recognized the enterprise of the Campbell Company, and at least wish them, with us, a hearty success.
CHICAGO OLD-TIME PRINTERS’ ANNUAL PICNIC.
The sixth annual picnic of the Old-Time Printers’ Associa- tion, of Chicago, was held in Lincoln Park on the afternoon of July 30, and, as usual, was marked by the good cheer that comes with years of fraternal intercourse. The legends of the printing office acquire a newer interest as modern invention rele- gates the craftsmanship of the past decade to desuetude. The men who worked on the Chicago dailies long before’the war, therefore, told their reminiscences to attentive audiences, while others carried out the interesting programme of games, and wives, children, sweethearts and friends spent the afternoon in a companionship of enjoyment which will be held in kindly remembrance with the past reunions of the Old-Timers’ Asso- ciation. In the evening supper was served on the grass. In the games, the roo yards members’ race was won by C. G. Stivers, Matt Gaul coming in second. Mrs. B. M. Swift took the prize in the Ioo yards women’s race, and there were various races on the programme for the younger folks.
Alderman Kahler, A. H. McLaughlin and William Pigott were the judges in the athletic contests.
One of the features of the picnic was the trick bicycle riding of Mr. Bert Hoover.
Among those present were :
Messrs. and Mmes. C. B. Langley, A. H. Brown, Frank Sheldon, Conrad Kahler, T. Barnard, W. McEvoy, John McEvoy, John Anderson, W. McDon- ald, William Mill, Samuel Pinta, Robert Figg, D. J. Hines, A. McLaughlin, A. McCutcheon, J. Hutchins, John Gordon, T. C. F. Brown, G. C. Stivers, W. Barlow, W. H. Nicholson, M. H. Madden, D. C. Davies, Henry R. Boss, Gus Crowell, William Norton, David James, B. Moody, Stephen Pitkin and daughter, Frank Harthier, Edward Racey, William Norris and(!family, John Duffy and family, Mrs. James King and family, Mr. and Mrs. Samuel Ras- tall, Bernhard Baumann and family, James Schock, John McConnell, M. Kearns, Mr. and Mrs. Mike Colbert, Thomas Wilson, Mrs. William7Considine, Mrs. Clara Marsh, Mrs. Joseph Newton, Mrs. D. T. Brock, Mrs. Edwin Irwin, Mrs. John R. Clarke and family, Mr. and Mrs. A. L. Fyfe, Mr. and Mrs. L. D. McCutchion, James Chisholm and family, Samuel K. Parker and family, George W. Day, president Chicago Typographical Union, No. 16; George Thompson, organizer Chicago Typographical Union, No. 16.
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THE INLAND PRINTER. 51
While our columns are always open for the discussion of any relevant subject, we do not necessarily indorse the opinions of contributors. Anony- mous letters will not be noticed; therefore correspondents will please give names —not necessarily for publication, but as a guarantee of good faith. All letters of more than 1,000 words will be subject to revision.
PERFUMED PRINTING INK AND OTHER SUGGES- TIONS.
To the Editor: STOCKBRIDGE, Micu., August 23, 1898.
I have often wondered if there is any such thing as per- fumed printing ink —for elite publications, you know, and printing of that sort; or would such a thing cost too much? This thought has occurred to me on opening some of our exchanges; the ink used on some newspapers when fresh would almost overcome oye, and if they can make ink that stinks, why cannot they make ink that smells good?
I have greased the case runs in the office where I work; it serves as a sort of healing balm to the vexation of pulling out and putting back the cases, especially those containing large fonts. I think it pays to have cases slide easily. I use lard or tallow. Care should be taken not to use too much, as that would soil the compositor’s hands when carrying the cases, and the grease dropping into the type below would not make it print any better.
Lard is good, I think, also, in country offices, to mix with the ink on the rollers and distributing apparatus of the presses, where they often go three or four days without being used, to prevent the ink drying. Machine oil will dry after a while ina dry room, but lard keeps a long time. I put it on the disk or ink table and run the press with the rollers on; that kills two birds with one stone and you do not have to daub your hands.
Does it'strike you as just right to have those long tails on the De Vinne cap R’s? When they come to the end of the line against the column rules, something has to give. This is on a newspaper. Of course it is different with jobwork.
E. O. GILDART.
PRINTING A NEWSPAPER AT SEA,
To the Editor : NEw York, August 24, 1898.
Printing in mid-ocean is by no means a new idea, as most of the large transatlantic liners are equipped with plants for the purpose of printing bills of fare, programmes and even four-page papers. The flagships of our glorious navy print all the orders on board, and the auxiliary cruiser St. Paul has been. printing a four-page War Budget since the beginning of our difficulty with Spain; but I believe the expedition fitted out by the New York Journal for the purpose of publishing the first American newspaper in Free Cuba was the largest and most interesting of all. So many questions have been asked me about my experience on this trip that I thought the columns of THE INLAND PRINTER would be the proper place to repeat it. It is only once in a lifetime that a printer has a chance ot taking a trip of this sort, and I am pleased to say that I was fortunate enough to be on this one.
While describing the printing outfit and how we published the paper, I will also relate a few incidents which occurred during our voyage of six weeks. We sailed from New York on June 17, bound for the first port in Cuba where we could land; but, as none of the cities had surrendered for some time after, we were compelled to stay at sea most of our time, or carrying dispatches from Siboney, Cuba, to Port Antonio and Kingston, Jamaica. Our print shop was located on the after deck of the steamship Silvia, which, by the Way, was not
a tugboat as some people imagined, but a ship of about 285 feet long. It is not necessary to state that our plant was not up to date, but was far superior to any that Ben Franklin ever used. We had a Washington hand press, two iron stands, four pairs of long primer cases, plenty of display type, lead cutter, rules, etc., and in fact everything necessary in case of emergency. The first two days out we took things easy, admiring the sights as we visited the different cities, but on the third we decided to lay the cases, as all the type was new. After getting all the empty cases on the deck, under a large awning, where we could enjoy the good sea breeze, we lashed them to the seats. Then our troubles began. About this time we were entering the Gulf stream, which is by no means a millpond, and things began to get mixed up, more especially the stomachs of our party. To make a long story short, it took us four days to lay the long primer and display type, a
aL JOURNAL DE NUEVA YORK
PERIODICO AMERICANO POR LOS AMERICANOS
PRIOR ONE CENT. stoner, cupa, JULY
ONLY A a T0 SANTIAGO
ON WATER. O vrwry, — ON_LAND.
Hs noascenvives
c z Come n, . ©. July 7, 1898. +
0 say that he takes
" ESTIMATE SB COESES AT SANTIACS AND GUANTANAMO
FIRST PAGE OF NEW YorK “‘ JOURNAL,”’ PRINTED ON DISPATCH BOAT SILVIA, OFF CUBA.
(The heading and other three pages of the sheet were printed in New York, two colors — red and blue— being used for the banners.)
portion of the time being devoted to gathering up and distribut- ing pi off the deck.
I began to feel by this time that I needed a sub. In my search for one I questioned most of the party, all of whom were war correspondents, and, of course, printers, and to my sur- prise was informed that they too were looking for subs. I finally ran across one of the sailors who claimed to be a printer, but as he did not have a card I decided to work myself rather than violate my obligation, even though we were in mid-ocean. After being out six days we landed in Kingston, Jamaica, which we found to be a beautiful country. During our sojourn here we visited most of the places of interest, also quite a number of printing offices. I fear I made myself some- what disliked, as I severely criticised their style of printing. A few samples shown me were certainly curiosities, and I was very much surprised when I was informed that they had been printed with ink instead of apple butter. The rollers on a Gordon press resembled an ear of corn with several big bites taken out. The “‘roasting’’ I gave them had some effect, as since my arrival in New York I have been informed that one of
52
these offices has ordered a complete new plant from a promi- nent founder. From Kingston we sailed for the Cuban coast, arriving off Morro Castle, in the midst of our blockading squadron, about 4 P.M., on June 22.
The sight of the battleships stripped for action was one we shall not soon forget. After getting some information from the flagship, we proceeded to Siboney, which is about eight miles from Morro Castle. It was here that we made our headquarters, and began looking around for a suitable place for our shop; but as there were no docks, a rough surf, and about two miles of water beneath us, we decided to do our printing aboard. After getting everything in shape, we were informed that our ships would bombard Aguadores and Morro the following morning at 6 o’clock. By the time our battleships were pour- ing in their shot, we were close enough to get a splendid view, and hear the deafening reports of the broadsides. We got so close during the fight that a Spanish shell passed within a
THE SINEAND PRINTER:
from burning Spaniards. It certainly was a grewsome sight and seriously affected our appetites. We also visited the Maria Theresa, Oquendo and the Colon, arriving off Morro Castle at 12 o'clock, just as the fleet were firing our national salute in honor of the birth of liberty. We also had the pleasure of wit- nessing the battle at El Caney a few days before. Some of the sights were very touching, especially those where our brave boys were being carried from the field, either dead or wounded, some still anxious to keep up their fight even though they were wounded.
The first edition of 7 Journal De Nueva York — Periodico Americano por las Americanas was issued on July to at Sib- oney, Cuba, and created quite a little excitement among the boys of both the army and navy and was anxiously sought as souvenirs. We printed quite an edition, enough to blister the hands of everyone in sight, as the hand press is not what it looks. We dispensed with the baseball and sporting extra, as
PRINTING THE CUBAN EDITION OF THE NEW YORK JOURNAL”? ON BOARD DISPATCH BOAT SILVIA, OFF SIBONEY, CUBA, JULY 10, 1898.
few picas of our smokestack. This, of course, sent a thrill of horror through most of us, and brought back fond recollec- tions of home and mother; but, plucking up courage, and ‘““Remembering the Maine,’’ we were anxious to see the finish, and thought nothing of several other shells which landed in the water near by.
On July 3, a day long to be remembered, we were in the neighborhood when ‘“‘ time ’”’ was called on Cervera’s fleet; but as this was to be a naval battle, we did not care to get mixed up with any stray shots, so kept at a fair distance. The result of the battle you all know.
On July 4, at 7:30 A.m., eight of our party were the first to board the Vizcaya, once the pride of the Spanish navy, but which now resembled a beautiful bunch of scrap iron, and was still red-hot. We gathered up a few relics, such as Mauser rifles, swords, revolvers, etc., and would have taken everything in sight had it not been for the intense heat and the odor
the cables were cut and it would be impossible to get the last inning or last race. Between trying to set a good string, clean proof, and follow copy, we had our own troubles, as in reaching for a lower-case f we were just as liable to strike the x box as anything, owing to the graceful roll of our boat. At any rate, we managed to get the forms to press in time to catch any old mail, and they were strictly up-to-date war style with scare headlines and double measure. We enjoyed the services of the crew, from the mate to the mess boy, as each was anxious to be a printer for the time being. A look of dis- gust came over the face of each as he was up to his fiftieth impression, as it was not the ‘‘cinch”’ they had supposed, but they lasted till our edition was finished, which was the “‘ largest on water.”’
We would have continued the publication at Siboney, but as the yellow fever had a better circulation than the paper of the same golden hue, we concluded to abandon the scheme until
some future date. We sailed for Port Antonio, Jamaica, on July 12, and after seeing the sights there and sampling their delicious fruits and that famous stimulant, Jamaica rum, were pleased with our trip, and a smile broke over our faces when the captain was instructed to set his course for New York, where we arrived a week later, happy once more to be with the ‘“push’’? on Park Row. Cuas. T. PEYTON.
INTERNATIONAL POSTAL STAMPS.
To the Editor : Mapison, Wis., September 7, 1808.
The current number of THE INLAND PRINTER contains a communication from a London firm of type founders concern- ing the discourtesy — to put it mildly — of some of their Amer- ican correspondents in neglecting to prepay sufficiently foreign mail.
The fact has come to me— it is somewhat relevant to the above, and was prompted by it — that if an American wanted to correspond with an Englishman and desired to inclose a stamp for a reply, he would find his own 5-cent stamp was “unavailable for prepayment of foreign mail from England,”’ to quote from my source of information.
It is probable that this, state of affairs comes up quite fre- quently in the commercial world. It is not a very profitable thing to buy an international money order for 5 cents and pay Io cents —2 cents for revenue —for the order. Yet that is what one has to do if one wants to be strictly ‘“‘ white’? toward his correspondent.
We have international money orders, why not international stamps, to be available throughout the Postal Union?
There is certainly merit enough in the question to deserve attention from Congress or whoever has a ‘“‘stand-in wid de Union.”’ Orto KNEY.
THE PRINTERS’ PROTECTIVE FRATERNITY.
To the Editor - New York, August 4, 1808.
There appeared in the July number of the leading represent- ative of the printing crafts a communication from. Leo M, Schnitzer, who, confessing to twelve years’ membership in the Printers’ Protective Fraternity, takes occasion to attack that honorable organization, he having recently joined the Typo- graphical Union, after failing of reélection as international secretary and editor of the Fraternity.
Mr. Schnitzer’s effort appears to be an attempt to ‘‘ expose the utter weakness of this midget society, separated, as they are, as widely apart as the Atlantic and Pacific.’’ If personal experience be accepted as valid evidence, let me say a few words — in answer to Mr. Schnitzer’s main point, the alleged weakness of the Fraternity —in testimony of the strength of the Fraternity, first speaking particularly and then generally.
Nearly eleven years ago, having served an apprenticeship in the country and elsewhere, I made choice between the Inter- national Typographical Union and the International Printers’ Protective Fraternity, continuing to the present day a member in good standing of the latter. In the time mentioned, the Fra- ternity has been employed in the leading newspapers in the lead- ing cities throughout the United States and in Toronto, Canada (witness Mr. Schnitzer’s partial list of local branches )— Kan- sas City, Mo.; Wilmington, Del.; New Haven, Conn.; Cleve- land, Ohio; Jacksonville, Fla.; New Orleans, La.; Little Rock, Ark.; Milwaukee, Wis.; Nashville, Tenn.; San Diego, Cal.; Albany, N. Y.; Los Angeles, Cal.; Omaha, Neb.; Santa Bar- bara, Cal.; New York, N. Y.; Philadelphia, Pa.; Springfield, Mo.; Fort Worth, Tex.; St. Louis, Mo.; Providence, R. I.; Boston, Mass.; Madison, Wis.; Chicago, Ill.; Lincoln, Neb.; Chattanooga, Tenn.; Montgomery, Ala.; St. Paul, Minn.; Tacoma, Wash., and others, the number of charters issued to date being about fifty. As these cities, as a rule, are the largest in their respective States, so the newspapers in them employing Fraternity men were, as an almost invariable rule, the largest, most prosperous, and highest wage-paying. Speaking for
THE INLAND PRINTER. 53)
myself, in my eleven years’ membership in the Printers’ Pro- tective Fraternity, employed in many of the cities mentioned, I never worked below the Typographical Union scale, but nearly always received higher wages than that scale called for. For years there was a clause in the constitution of the Printers’ Protective Fraternity which expressly prevented that organiza- tion from taking an office at less than the Union scale. How many tourist printers inside the Typographical Union can testify, as your correspondent here does, that in eleven years they never participated in a strike? This was Mr. Schnitzer’s boast for twelve years, but he now appears to be ashamed of such a record, for he says in your July number: “‘It is true they (the Fraternity) never strike, consequently the boycott becomes a dead letter.”
Again, Mr. Schnitzer says: ‘And as to arbitration! Arbi- tration, indeed! When a publisher desired to make a reduction in the scale it was made, and that was the end of it.’’ As under the jurisdiction of the Typographical Union, so under that of the Printers’ Protective Fraternity, the wage scale was sometimes reduced; but so rarely was this done that it never occurred in a Fraternity office while I was employed therein.
Mr. Schnitzer says: ‘‘I will say that many of the news- papers above mentioned were completely ruined financially owing to the employment of Fraternity men.’’? No evidence is submitted proving this statement, and we challenge its accuracy.
Mr. Schnitzer closes his communication by questioning the strength of the Printers’ Protective Fraternity because that organization did not fill nearly two hundred positions in San Francisco when appealed to by employers recently. Almost all of the members of the Fraternity are and have been regu- larly employed in good positions. Why should they jump “from the Atlantic to the Pacific’’ on twenty-four hours’ notice ~ at some one else’s convenience ?
There are a number of good reasons, creditable to the Fraternity, why its membership is limited. Its advanced prin- ciples have not yet received general acceptance by either labor unions or employers. Arbitration is only just beginning to recommend itself to employers, while labor unions positively prefer to retain the strike and the boycott among their weapons. Necessarily, the Fraternity’s principles attract to it men of good character and skilled workmanship, whose individual product is larger, and consequently more valuable to themselves, in higher wages, as well as to their employers, than is the product of their inferior, generally speaking, craftsmen.
The Fraternity was for ten years the only labor organization of national scope which repudiated the strike and boycott, and it has existed, in varying fortune, despite every effort of the powerful Typographical Union to encompass its downfall.
CHARLES A. DAVIS.
SAVING TIME IN WRITING.
To the Editor: St. Louis, Mo., September 9, 1808.
In two recent issues of THE INLAND PRINTER (in the ““Proofroom Notes and Queries’’ department) I note discus- sion of the subject of ‘‘ Longhand Contractions.”’ In the first, the conductor of the department asks for expressions of opinion as to the advisability of writers adopting and compositors becoming acquainted with a certain system having currency in England. In your September issue a correspondent speaks in favor of this system of longhand contractions, and wonders why American writers and printers do not make use of such a means of saving time and labor. Now, I, for one, wish to express myself as emphatically as possible (imagine this in italics) as being opposed to the introduction of any such devices in our midst. Compositors have enough to contend with in copy as it is now furnished, without being obliged to worry over an extensive number of abbreviations and con- tractions that are to be translated into good English. I am
54
positively glad that there is almost exact truth in this corre- spondent’s remark, that in America ‘‘every word is written out in full as it is to appear in print,’ and I trust the custom will never be otherwise, unless it comes to the point where the quoted statement will be entirely true and perfection in copy is fully attained. I am sure that the number of compositors who do not agree with me can easily be counted on one’s fingers; while all the others, like myself, want all copy to be as clear, precise and complete as it is possible to make it. So, avaunt with your scheme of longhand contractions, which I hope the good sense of our British brethren will permit to die out in England. I have, thank my stars, never been obliged to set from copy peppered with them, but still have some experience with these contractions. An English correspondent of mine uses them freely, and I find them an abomination. Sometimes he writes hurriedly, and then they are doubly and trebly abom- inable; so much so that I am tempted to be impolite enough to ask him to save my time instead of his, if he really uses them as time-savers.
Talking about saving time and labor in writing and printing, why not adopt a different method, in which there is really some downright good sense? But which I am much afraid the con- ductor of the Proofroom Notes department is quite too old- fogyish to second me in advising. I refer to the use of amended spellings. Many an unnecessary, positively unnecessary, letter can be omitted in both written and printed speech, without marring either the wording or the sense. It may not be gen- erally known that the three leading dictionaries now contain lists including some 3,500 spellings which have been amended under the auspices and by authority of the Philological Asso- ciations of America and England, and thus have the sanction of the foremost philologists, professors of language and dictionary- makers. These amended words are to be found in a supple- ment to the Century dictionary, in the preface to the Inter- national dictionary, and are incorporated in proper alphabetical position in the body of the Standard dictionary. I would advise all writers and printers who have access to either of these word-books to look up and become familiar with these amendments in spelling. By their use the only legitimate shortening of word-forms is attainable. And as the authority for their use is the very best, none need feel hesitancy about using them. They are not abbreviations nor ‘‘contractions,”’ but fixed forms, to be used alike in writing and printing, and comprise such spellings as these: Activ, adjurn, adz, affixt, allowd, alfabet, altho, ampl, angl, ankl, apolog, archt, ar, articl, asfalt, attacht, audibl, aw, ax, backt, bailif, batl, beuty, bedsted, believ, bookt, breth, bronz, buckl, bundl, carv, cata- log, chlorin, circl, deceiv, dismist, dialog, eufony, favorit, frend, giv, hyfen, kichen, litl, nerv, nickt, oxid, padl, fotograf, filoso- fer, fonografy, fysic, plaintif, practis, preferd, prolog, puzl, ratl, requisit, rifraf, scolar, scool, scribl, serch, shal, smel, solv, spel, stedfast, sutl, telegraf, thuro, tung, tuf, trubl, wagd, welth, wil, workt, yern, yung, etc.
There are some who get spasms akin to St. Vitus’ dance whenever the idea of spelling reform is mentioned. To such the list spoken of above would be unwelcome, and something to them more gentle may be advisable. Therefore, I would suggest, whenever in the dictionaries they find more than one usual way of spelling a word, that they always use the shortest form. For instance: adz, aigret, amylin, android, apothem, armor, aunty, ax, ay, balk, bans, bazar, bisk, brusk, bun, calif, calipers, carat, caviar, chlorid, dactyl, develop, distil, draft, dram, dulness, enur, envelop, eolian, esthetics, feces, fetal, fulfil, gage, gantlet, gild, gelatin, glycerin, good-by, gram, jewelry, labeled, likable, mama, manila, medieval, mold, mustache, orang-utan, oxid, pedler, phenix, pincers, program, quartet, rime, Savior, sherif, skilful, traveler, tunneled, vial, whisky, wo, woful, woolen, ete.
Finally, and all the time, let us have the written copy spelled exactly as it is to be in print, devoid of all shorthand devices and longhand abbreviations. N. J. WERNER.
THE INLAND PRINTER.
THE EMPLOYING PRINTER.
CONDUCTED BY CADILLAC,
This department is published in the interests of the employing printers’ organizations. Brief letters upon subjects of interest to employers, and the doings of master printers’ societies are especially welcome.
WHEN MERIT WINS.
A striking example of the kind of relationship which ought to exist between all employers and their employes—more especially those engaged in the gentle art of printing — was given during a recent celebration of the twenty-fifth anniver- sary of the founding of the Detroit Hvening News. The paper, which has met with phenomenal success and been the means of rearing several fortunes, was established by Mr. James E. Scripps, who is still its chief owner. -One of the functions of the celebration was the gathering of the three hundred employes of the paper at the home of Mr. Scripps to congratulate him upon the auspicious event. Some of the employes were there who started in when the paper started, and many who had spent a score or more years in its service. In an address presented to Mr. Scripps by his employes it was said:
““As much as to any other feature of its character, the extraordinary success of the management of the institution you founded twenty-five years ago may be ascribed to the invariable impartiality and fairness with which honest zeal and genuine capacity in its service, whether in hand work or brain work, have met their genuine reward. As each stood, from day to day, strictly upon his merits, every man was animated by a zeal in the service which could spring only from the proud con- sciousness that his own industry, his own achievement, could alone contribute to his advancement. This consciousness ennobled every task, dignified every position, and made the whole working staff, from top to bottom, a small but proud democracy, in which each looked upon his own work as of prime importance and worthy of his utmost effort in its per- formance.”’
The typographical union congratulated Mr. Scripps upon having employed none but union printers during the twenty- five years of the ews’ existence. Mr. Scripps admitted that the office had been made union at the outset as a matter of policy, and added: ‘‘I am frank to acknowledge the great improvement in industrial conditions which the trades unions have wrought. The clean, healthful and moral atmosphere of our printing offices is evidence of this. The day of the disrep- utable, drunken printer has gone by, and the composing room yields nothing to other departments im respectability and worth.”’
Mr. Scripps not only employed union printers, but at times has paid a higher rate of wages than required by the union. He also endowed a bed in one of the local hospitals, which is at the disposal of any worthy sick member of the union. In many respects he has been a model employer. His employes testified their appreciation of this fact by presenting him with a handsome clock costing several hundred dollars.
BOSTON’S NINE-HOUR DAY.
While in Milwaukee attending the Typothetz convention, Mr. J. Stearns Cushing, proprietor of the Norwood Press, Bos- ton, and secretary of the association, told a reporter about the experiment of a nine-hour day in the book and job offices of the Hub city. He said: ‘“‘ Boston’s experiment is still too young to warrant any positive statement as to its success or failure. I believe, however, that success is sure to follow; at all events, we have never felt handicapped as yet by reason of the reduc- tion in hours. I think that better results are obtained from satisfied men working nine hours than by disgruntled ones plodding through ten hours.”’
WANTS THE UNIONS ENCOURAGED.
My old friend, Henry W. Cherouny, has been over to the faderland looking into the recently formed alliance between the master and journeymen printers of Germany. Despite his
THE INLAND PRINTER.
disappointment at finding an exceedingly low rate of wages prevalent, compared with the wages paid to journeymen printers in this country, Mr. Cherouny discovered much to confirm his belief that the master printer should encourage the work of the unions, and that master and man should work hand in hand for the common good. Incidentally, Mr. Cherouny picked up one or two new arguments to refute the contention of the Rochester employer that the employers should insist on paying journey- men only according to their individual worth without regard to a fictitious value placed upon their services by the unions. Here is what he says:
My Dear Rochester Anonymous: I read your answer to my letter on the necessity of a minimum scale of wages at Berlin, Germany, whither I had gone to study the nature and methods of the centralization of employing and journeymen printers, which had been effected in the German empire about two yearsago. The General Secretary of the Guild explained the benefits arising from ‘“‘ peace in printerdom,’’ and said: ‘‘ The unity of masters and journeymen has removed the virulence of competition from our business, and there is hope for a general improvement of prices and wages.”
At this stage of the conversation the mail carrier came in and placed the May number of THE INLAND PRINTER on the table. Of course, this diverted our attention. The secretary indulged in exclamations of praise on this model trade journal, stating that, much to his regret, Germany, with all its art and philosophy, possessed nothing to compare with it; and I was deeply touched by your satirical but amiable exaggerations on the arguments in my letter. It isnot new to me that“writers on economic questions often push good principles to extremes and by extravagant hyperbole incite laughter in order to evade argument. Therefore, I said to myself, like Hamlet when he met Laertes at Ophelia’s grave, ‘‘ Nay, and thou’lt mouth? I'll rant as well as thou!” If you declaim, let wages be $50, or $100, or $150 per week, I shall overact your partand sing like an hero in a tragic opera: Let us reduce the minimum scale to $12, or $10, or, better than this, let us join the German Printer’s Guild, then the legal minimum of wages will be five full silver dollars. But, good friend, with Hamlet’s Queen I daresay: ‘‘ This is mere madness!’ and turn to what you call ‘the truth of the matter.’’ I find it expressed in your admission that many of the disadvantages of employing printers are due to the inability of the International Typographical Union to equalize the cost of labor in every part of our country. If this be granted, the question to be answered is: Shall we try to equalize the cost of labor by breaking up the unions, so that every office may whirl in the St. Vitus’ dance of cut-throat competition until all break down in an emaciated condition; or, shall the employers build up the unions and endow them with strength to equalize wages?
This, gentlemen of the Typothetz, is the question before the printing trade, and in putting it clearly and trying to answer it, my heart is certainly not running away with my brain. I do not wish to enlist your sympathy with the laboring classes, but merely ask you to exercise that thoughtful self-con- trol which results from experience, and is sure to impart a healthy tone to the spirit of solidarity now fluttering, half lame, among our men. I want to arouse that enlightened self-interest which is the mainspring of self-devotion to our noble vocation, and which instinctively measures the personal good by the common good. Individual interests are not always identical with common interests; but the common weal is the groundwork of individual weal. And, above all, I want to arouse that patriotism which considers the Stars and Stripes an emblem of the American standard of life, depending, together with American manhood, on a high-minimum scale of wages.
It seems to me that it is nobler for printers to give way to their innate love of vocation and country, than to grope along in the fog of class pride and ruin both.
Divided among ourselves, we form the weakest set of business men in America, and all other trades who use our services will, as heretofore, take
advantage of our impotence in competition, and continue to reduce our fair.
share in the yearly net results of the great American balance sheet. Men of capital and education will desert our trade, and types and presses will, in the course of time, be handled by low and vulgar people.
United with our men, and, like the German printers, forming one national trade body for the purpose of increasing the printers’ share in the fruits of the national industry, we can stay the curse of over-competition, and compel all other economic groups of our country to respect and pay us as in olden times.
To this end we must encourage the promoters of the union principle in our own trade. The International Typographical Union has done its very best in the way of equalizing wages. The employers, however, even in large cities, hinder the unions from becoming useful to the commonwealth. As long as we, by innuendo and unjust preference, encourage nonunionism, just so long shall we hamper the International Typographical Union in generaliz- ing the minimum scale, and just so long shall we employers ‘‘ be handicapped in the race of competition.” It is true, the unions have often offended and in many cases tyrannized us; but, remember that we compel the men to treat us like enemies, and that harsh and obnoxious union rules are nothing but war measures in the present struggle between labor and capital.
And, if you ask the question: Is there no way of bringing competition among printers within the bounds of reason, other than making every print- ing office a card office? I plainly answer, No.
Some employers hold that simple agreement on prices in local typothetzes is sufficient to exclude or limit the dividing principle of competition. I do
ay9)
not believe it. All will agree in meetings on good prices and business custom, but none will act accordingly. For the curse of the prevailing principle of individualism is that one Shylock ina trade can compel all gentlemen of the same vocation, against their will, to act like vampires. Others say: Let us form trusts! They, indeed, may gain absolute control over wages and prices, but I think I speak for most printers when I answer: We do not want to be clerks holding shares instead of types and presses in our possession !
Let us maintain our modest independence and take for our guide the dic- tation of unbiased reason, overlooking the whole of our economic, social and political situation, which can be expressed in an epigram, as follows:
The cost of labor is the natural limit of competition.
And then join hands and build up the International Typographical Union in its endeayor to fix a living price of labor in every town and village of our country. Thus the despicable intrigues of local unions and employers for small individual advantages will come to an end, and the Printers’ Guild of the United States will appear before the people as an imposing body of citizens allied to maintain the honorable position of their trade in the pub- lic economy.
RAIN OR SHINE.
““Why don’t you repair the hole in the roof of your shanty ?”’ some one asked Pat.
“Faith,” replied the philosopher of Shantytown, ‘‘ whin it rains I can’t mend it, and whin it isn’t raining the hole makes no difference.”
Two years ago I asked an employing printer of my acquaint- ance why he didn’t attend the Typothete convention.
“Pll tell you,” he said. ‘‘ Business is so bad with us — half our force idle and our presses rusting to pieces — that I felt that I couldn’t really stand the expense. That’s why I didn’t go.”’
I asked my friend the same question this year.
““No, I didn’t go,’’ he admitted. ‘‘ Fact is, we’re so rushed with work —running night and day and orders away behind — that I really couldn’t get away. Awfully sorry to have missed it.”’
A WORD OF WARNING.
From all the information I can obtain on the matter it is apparent that the nine-hour question will resolve itself into one to be dealt with locally between the employers and their employes. In places where labor is strongly organized it may be the part of wisdom to yield to the demands of the union, or at least to seek a compromise, in others no such action may be necessary. Local typothetzes which enter into written agree- ments with the unions, however, should see to it that such agreements contain a clause stipulating that the question of hours shall not be reopened for a specified number of years. It is a well-known fact that the eight-hour day is the goal of the unions’ ambition, and that no sooner will the nine-hour day be achieved than the agitation for the lopping off of another hour will be begun. Proprietors are entitled to some assurance that trade conditions will be undisturbed for at least a few months atatime. The only way to do this is to shut off the constant agitation of the agitator.
ORIGIN OF THE TYPOTHET<E.
Ex-Congressman Joseph J. Little, of New York City, is credited with being the father of the Typothetee. Of its origin and the cause which suggested the idea, Mr. Little says:
‘“Several years ago the tariff committee in the House was preparing a new bill under which books were heavily taxed. Some enthusiastic congressman made an eloquent speech on the injustice of taxing knowledge, with the result that the tax was removed on that form, but was placed on the different materials that go to make up books. This hit the publishers hard, and a committee was formed in New York City, of which I was the head. Within forty-eight hours we had several thousand names attached to a petition. I went to Washington in company with other publishers named as the committee, and through the aid of one of the Senators from New York State we succeeded in defeating that section of the bill.
‘“The need for a national association of employing printers and publishers was made painfully apparent by the work we had to do in getting the petition ready for presentation, and the Typothetz is the outcome. The credit is by no means mine. I have done what I could for its progress and advancement, but
56
there are others who labored as faithfully and whose interests in it are as great as mine.”’ NOTES.
Tue plant and good will of the printing business heretofore carried on by G. A. Seipel, in Duluth, Minnesota, has been purchased by the firm of Peachey & Lounsberry.
Tue State printer of Iowa is suing the State officials for $1,000 claimed to be due for printing two special blank books of 200 pages each for use in the State treasurer’s office.
THE George G. Fetter Printing Company has bought out the Sowle Printing Company, of Louisville, and will continue the business under the name of the Fetter Printing Company.
Tue Independent Printing Company has been incorporated at Deadwood, South Dakota, with a capital of $10,000, The incorporators are W. O. Temple, James Conzett, F. Corwin, Joseph B. Moore and M. L. Fox.
Sixty members of the Cleveland Typothetee and their ladies recently spent a day in Detroit, the guests of the Detroit Typothete. Tallyho riding, visits to points of interest, lunch- eon at Belle Isle were among the events to make the day pass pleasantly and swiftly.
THE removal of the W. B. Conkey plant from Chicago to Hammond, Indiana, was the signal for trouble between the firm and its employes. The company announced its intention of running an ‘‘open office’’ and ignoring the Chicago scale. Nonunion men have been installed,; and several encounters between them and the old hands are reported.
Owr1nc to the remonstrances of the Typographical Union, the Ohio State printing contract has been awarded to the Wes- bote Company and J. L. Tranger, of Columbus. The Laning
ONE OF THE AMERICAN TYPE FOUNDERS’ STRONG MEN.
The above illustration is taken from an advance card sent out by Mr. Robert W. Leigh, who travels for the St. Louis branch of the American Type Founders’ Company. The cut is a striking one, and the announcement on which it is used ought to carry some weight.
Printing Company, of Norwalk, which has had the contract for a number of years past and was the lowest bidder this year, was objected to because it employed nonunion men. Over one hundred of the latter are forced out of employment.
Tue New York Herald says: ‘‘ Schedules of the Kennedy Publishing Company, of No. 110 Fifth avenue, of which Wil- liam J. Arkell is president, show liabilities $68,529 and actual assets $500. All the liabilities are on account of accommoda- tion notes to the Arkell Publishing Company, and $41,000 of
THE INLAND PRINTER.
the notes are held by various banks, which have $160,000 bonds of the Arkell Publishing Company as collateral security.”
Levi C. CHANDLER, an old-time printer, died recently in Sacramento, California, at the age of seventy-two years. Mr. Chandler was born in New York State, learned the printing trade in the office of the Boston Journal, and went to Cali- fornia with the Forty-niners. He assisted in founding several California newspapers, but at the time of his death had for- saken the field of journalism for that of a real estate dealer.
THE ARTISAN,
CONDUCTED BY AUG. M’CRAITH.
The purpose of this department is to give a fair consideration to the conditions in the printing trade which weigh upon the interests of the artisan, with notes and comments on relevant topics.
THE GERMAN-AMERICAN TYPOGRAPHIA.
The German-American Typographia is not generally known, and yet it is one of the best developed trade unions in the world. It is composed of printers employed on German work —newspaper, book and p iob. It was organized in Phila- delphia, in 1873. It isa part of the International Typographical Union, and has joint headquar- ters with the latter at Indian- apolis, with Hugo Miller as general secretary, who is also a member of the International Typographical Union executive council. Internationally, its members vote and act with the International Typographical Union on all matters; locally, it has its own unions, dues, assess- ments, disbursements. Regular conventions were abolished in 1884, since when none has been held, all questions being decided by the referendum. Briefly, its main details are:
Out-of-work benefit: $5 for sixteen weeks annually.
Traveling assistance: 2 cents for 200 miles, 1 cent for each additional mile.
Sick benefit: ¢5 per week up to $250, after which $3 up to $150 ($400 in all).
Death benefits: $200; for member’s wife’s death, $50.
Strike benefits: Married men, $7; single, $5 per week for eight weeks, after which out-of-work benefit applies.
The per capita tax for defraying these expenses is 4o cents per week. The local dues are additional. Total averaging $2.50 per month.
New York Local No. 7 pays, in all, 90 cents per week. Should a union’s receipts fail expenses, Secretary Miller orders the difference paid from a local’s treasury containing an excess. When the general funds are less than $5 per member, a special assessment of 5 cents per week is levied until squared.
During the past fourteen years the German-American Typo- graphia has paid close on to $250,000 in benefits, a record of which its members are duly proud. The Buchdrucker Zeitung, semi-monthly, is the official medium, furnished free to all the members.
From 1873 to 1884 the national organization of the German printers made slow but steady progress, keeping up a continu- ous struggle for advancement. Along with other organizations it took a prominent part in the memorable eight-hour agitation of 1886, and on May 1 of that year gained the desired end. A great number of the members at that time were of the opinion that such a movement was too radical, and favored a nine-hour day. But conferences with employers proved that the nine- hour day as well as the eight meant a struggle, so the union decided that if a fight was inevitable, it would do something worth while, and thereupon demanded and gained the eight- hour day, for which they now receive ten hours’ pay.
Huco MILLER.
THE INLAND PRINTER: 57
Although the employers declared emphatically they could not exist under the eight-hour rule, inasmuch as they must compete with American offices on a ten-hour system, they are still in existence and progressing —so is the German-American Typographia.
At the same time a union label was adopted, but since the amalgamation with the International Typographical Union it has been withdrawn in several cities and substituted by that of the allied trades council.
The advent of the typesetting machine was also met and satisfactorily arranged, although the union’s finances felt the
ingman’s party of the faderland. On this feature Secretary Miller writes:
“The socialistic movement in Germany is without doubt the purest and best understood class-conscious labor struggle of the world. In this party professional politicians have no footing, and labor fakers would not be tolerated long there. Of course, not all the two million and more men that voted the socialistic ticket of Germany understand the platform, but the great majority do, and the platform is O. K. While the move- ment started on political lines almost exclusively, the impor- tance of trades-unionism is steadily felt more in Germany, and
NIAGARA FALLS.
This wonder of nature will be visited by a number of the delegates to the International Typographical Union Convention to be held at Syracuse, New York, October 10, 1898, either on the going trip or on the return.
strain to a considerable extent. Five days per week and seven hours per day is the rule, while New York has secured Six.
Having solved the problem to the utmost extent of trade- union polity, the members of the Typographia individually have turned their attention to political methods, although the union itself stands neutral. Many of its members are to be found enrolled under the banner of state socialism, the work~
the trades unions are gaining ground all the time. Our union, like all bona fide trades unions, stands on trade-union prin- ciples, and individually our members are, to a great extent, socialists. Personally I do not take much stock in state socialism, but believe we must go through that state of affairs before going any further. I agree with you that the least amount of legislation possible is the best thing for human beings, but even that little must be controlled by the workmen
oO
de
if it should turn out all right, and therefore I believe in the use of the ballot in a class-conscious struggle.”
On the relationship of Bismarck to the workers, Secretary Miller has this to say:
“To do him justice would necessitate writing a book, and as stated in the beginning, I have no time to do so. Therefore let me say briefly: Bismarck was perhaps a great, and at least a very successful statesman, but he was, no doubt, a very small man (the last genuine representative of the old feudal system), and the goddess of liberty has no occasion to weep over Bis- marck’s grave. He was the author of the infamous anti-social- ist laws of Germany, by which hundreds of German workmen were driven from their families, home and country for no other crime than having other political opinions than this ‘great man’ Bismarck. He was, furthermore, unwittingly the founder of the Catholic political party in Germany, the ‘Cen- trum,’ by trying to bring religious opinion under the control of the crown. And in this, as well as in his attempt to oppress socialism, he was very unsuccessful. The socialists are now the strongest political party in Germany, and the Catholics, the ‘Centrum,’ are the second strongest in number of votes and the strongest in number of delegates.”
Secretary Miller has been in office since July 1, 1886, and has just been reélected for another two-year term, on the appli- cation of the union’s rule that ‘‘no member shall be discharged without cause,’’ which up to date has not appeared in his régime. He is forty-two years old, twenty-five of which have been spent in the labor movement, time and other work per- mitting, a record which needs no further indorsement. In manner Mr. Miller is quiet and unassuming; is a compact and convincing writer, attentive to business, and is possessed of more than the usual share of Teutonic conviviality.
POLITICAL ECONOMY.
‘““When we want political economy,” said a trade-unionist recently, ‘‘we can get it in books. We do not want it in our organizations or in our journals.’’ And at another time, on the floor of the union: ‘‘The purpose of a trade union is to get the highest wages for its members.’’ This was stock argu- ment not so many years ago; today the man who utters it writes himself down a back number. The Typographical Journal, Pittsburg Labor Tribune, Lron Molders Journal, Machinists Journal, the railway brotherhoods’ publications and others are filled with such discussion every issue, along- side their craft news and technical features. In fact, the latter has of late years given way to the former to a very great extent. Political economy shows why we do not get the high- est wages, and it points out a better solution than the strike. And one way to “ get it in books”’ is to arouse the workers’ interest by discussing it in every favorable place. It is not enough that we should get high wages for some and nothing for others; employment must be secured for all; and it requires knowledge of political economy to do that. The workers must know who shares their product before they can secure it. If it is the individual passing them a pay envelope on Saturday night who retains a large portion of what they produce, very well, let them strike and boycott. On the other hand, if behind the paymaster can be seen other causes, should they not be shown up everywhere and often? Who, for instance, will deny that the more is shared with the rent-taker the less will go to the workers? Or the more is paid for exchange mediums, transportation or tribute to monopoly of any kind? Let us cease this babbling of ‘abstract questions,’ being out of order. It is the lament of the fat-witted.
Are the interests of labor and capital the same? Yes and no. Capital is the handmaid of labor. Without it labor would be confined to picking fruit off trees, hunting game with stones, digging dirt holes with sticks; yet it is possible to devise a system whereby their interests shall diverge. Such divergence is now to be found, not in the making but in the distribution of the product; so do capital and labor unite to produce, and so
ARTEUS, IWINDEZINID) JPIRUUN| I leis.
do they quarrel over the result. Their interests are at times mutual and again antagonistic. The only way in which harmony could be achieved would be for labor to recognize its disadvan- tage and enter into a certain agreement as to shares with capital, which it is willing to do; but capital rejects the terms, excepting in rare instances. Therefore, we may conclude that harmony is impossible under present circumstances. Notwithstanding that labor is so helpless without capital, its quarrel with the latter over the division of the joint product is a just one. Why? First and foremost, capital without labor can produce nothing. It would, in fact, decay. It does not, as Henry George said, increase with time, like growing wheat or mellowing wine —a suggestion that was ridiculed out of discussion at the time. Second, the capital that labor requires has been unjustly taken from it. This is not to say, as some do, that all wealth has been acquired unfairly and should be now taken by the state, for men can and do accumulate wealth by honest labor, and it is theirs against all comers, except the oppressor, be he armed with bullet or ballot. So soon, however, as such wealth is converted into capital, that is, used to create more wealth under present com- mercial methods, a question arises. Third— mark it—even though labor had no just claim upon existing capital, it is justified in demanding that no special privileges be accorded capital by law whereby it can dictate terms to labor. In other words, labor demands that it be permitted to get the use of capital at its actual value, in an open market, just as capital demands that it be permitted to get the use of labor in the same way. This labor is not permitted to do. That is why labor’s quarrel with capital is just. And let it be noted, it is not labor, as is generally supposed, that establishes restriction upon trade, but capital at the fountain head. Abolish original restriction and the later and lesser will vanish. Thus does labor track the sin back to the door of capital and defy contradiction.
Interest exists because the issuance of money is monopolized by the Government, and its basis is confined to two products instead of many. Gold and silver are limited in amount, hard to get, can be and are cornered and juggled to suit. Even if they were not monopolized they could never answer, for the volume of money would be limited to their bulk. At some time the business demand must exceed this. That demand should be checked by nothing, but left entirely free to increase or decrease according to exchange needs. Reformers generally sympathize with the proposed increase of the money basis by the addition of more silver, for the reason that it would increase the money volume, facilitate exchange and decrease interest. Quite a number of them, however, do not regard it as an ultimate, because of the limit as stated. Certain sources have for some time been advocating the issuance of notes upon the commercial value of silver, be it 20 to 1 or what it may. The mine-owners, so far as the writer knows, have paid no attention to this feature, evidently for the reason that they expect the Government to give to silver an artificial value and then trust to juck to attain it commercially. It is the doubt on this latter point, as everybody knows, which so far has made the attempt a failure. But could there be any doubt of a note issued upon the commercial value of silver, especially as that value must steadily increase, as silver would be brought into use? And why should not notes be issued upon other products as well, real estate, for instance, up to a safe proportion of its value? There is no good reason; none but that of the mine-owners, to wit: limiting the basis of money to a few products gives it an artificial, or legal, value and compels interest as well. If money were issued upon all products of a nonperishable nature, properly insured and guaranteed, just as bank notes are now loaned upon mortgages (at a discount), it would at once dispel the scarcity of money and make interest impossible. Unlike fiat money, its value would not depend upon its volume, political upheavals, rebellions or wars, but upon its base entirely, just as our present money does. Such a plan would solve the monopoly of capital, which so much annoys the state socialist. For if the farmer by mortgage could get money at its cost of production
TaN ®, WING ZAIN[ID) IPIRILIN| Theil ge0
(less than one-half per cent) with which to buy seed or move his crops, he could pay higher wages to the farm hand; if lot- owners needing houses could in a similar way secure money with which to build, they could employ and pay higher wages to the carpenter and mason. So could the employing printer do likewise. They not only could, but would, for the reason that an immense drag on business would be wiped out and a demand for labor would exist. Why? Let us take one instance.
A, a printer, owns a lot, but is without money to build. If he, under present circumstances, borrows, his interest, taxes, repairs, insurance, and other items will amount to as much as he now pays for rent. (There is a relationship between rent and interest which keeps them at par. No sooner are rentals higher than interest than capital will divert to building, and thus decrease rents to interest rates by increasing houses). If A can borrow without interest he will, of course, build without delay. This would create a demand for B, builder. A demand of the kind means good wages. But of what benefit, some will ask, is it for A to so save interest charges, if he must pay the saving to B in increased wages? The answer is: the prosper- ity of A and B is interdependent. The builder then employed and at good wages will denvand the product of A, the printer, so that the latter is also given steadier employment and better wages. The interest which formerly went to C, an idler, is now distributed between A and B, and, best of all, they have secured tools and materials with which to labor. C also must become a producer and add to the general stock. It may be said that C employed labor in building mansions, or for his own extray- agances, as did the Hon. Mr. Willey in that book of his. Rea- son cannot uphold such a course. The greatest advantage, however, is not that interest has been abolished, but that cap- ital has been freed to labor. The above illustration only shows a gradual first step. The fact that industry had so advanced would impart a general impetus, which would extend employ- ment and production. So that even he without property could find ready security, as now does the farmer who mortgages prospective crops notwithstanding the farm is already mort- gaged. This general revival would naturally make a demand for land, and possibly increase its value or rental, although the increase of buildings would tend to decrease rent. Yet, in time, with the increase of population, it would seem possible for landowners to demand all the traffic would bear. That is why some of us are of opinion the land and money questions are equally important, although the financial school does not seem to think so.
A reader asks: ‘‘ Why do you not answer the slurs cast on labor’s officials and upon the labor movement ?’’? Mud-slinging carries with it its own answer, and ‘‘a man convinced against his will is of the same opinion still.’ So why waste good space? Who believes with the Detroit /vee Press that ‘‘hon- est, industrious, well-intentioned workingmen”’ can be led by the nose by ‘‘misguided, ignorant, vicious or overreaching leaders?’’ None but those who desire to believe it.
EQUALIZATION OF WAGES.
The Typothetz in appointing a committee to confer with the International Typographical Union is to be commended. Although said committee may not have power to agree to any progressive action, it can report back and recommend, and in the interest of the craft it is to be hoped some such action will be taken. Evidently a point at issue will be the difference in wages in different localities. There appears to be a belief extant that wages should be equalized; but it will require something greater than the united efforts of the typographical organizations to regulate this. There are many reasons, arti- ficial and otherwise, for such irregularity. Why are wages in New York lower than in Texas, and in Maine lower than both? Galveston pays $20 per week, New York City $18. Living expenses are about the same in both, a difference in some items being offset by others. The wage difference may,
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perhaps, be accredited to perfection in organization, yet Gal- veston union felt impelled a few years ago to voluntarily reduce its machine scale on newspapers, showing that organization is not the only factor in the case. May not climatic conditions have something to do with it? A great part of the year Gal- veston is possessed with a dampness, owing to its being about three feet above the sea-level. Printers do not linger there when out of work. In the summer its magnificent beach on the Gulf of Mexico, unsurpassed on the continent, is the south- westerner’s Mecca. Both of these would tend to increase wages above the normal were there no other causes — one by making labor scarcer than usual, and particularly at times; the other by making an unusual demand for labor. Just how the printers’ organization, without a special dispensation, can change the situation is not clear. In Denver wages are $20 and nine hours. Higher than Chicago. Why? Until the deca- dence of silver Denver was an exceptionally prosperous com- munity. Itis yet the smartest and brightest city in the West. Colorado was a place of exploration and discovery, infested by the pioneer, go-ahead element. Capital flowed into it. Its splendid churches now will compare with any city of the East. If mechanics could not get work at their trades, there were many avenues open in the fertile hills and mountains. The miners made good wages, and upon them rested the balance. It was during these days that Denver printers made their scale, which was much higher than it is now. ‘The first printers that went to the place carried a charter of the International Typo- graphical Union over the prairie lashed to a buckboard, and many of the employing printers there today are honorary mem- bers of the union. As it is now, silver is the issue; the trade unions are strong on the subject, and hence are well supported by the community. Here, again, we have exceptional local ~ causes that are beyond the control of outsiders. We go back to Maine and find that one can live for one-half the expense it requires in the places mentioned. In other words, it costs less to produce the same amount in Maine than it does in New York. If it costs less, how can it. get the same? Before a mechanic in New York can earn $3 for his day’s labor, he must pay higher for everything he consumes than he who gets but $2 in Maine. Is the typothetz a unit on this question? Do Bos- ton employers want to raise wages to the New York standard, or do they want New York’s decreased to Boston’s? Is it not a fact that if all printing demanded the New York rate, some of it at least would seek other methods? We have known of circulars, bill-heads, etc., to be run off a typewriter by the hundred. As a matter of fact, the question of wages should be entirely one of labor cost, and any attempt to apply to it geographical considerations must fail. This is not to say, of course, that efforts should not be put forth to get in all places proportionate union wages.
NOTES. Huco MILLER will represent the Typographia at Syracuse.
PRESSMEN’S Union No. 3, Chicago, has levied a 25-cent assessment for the nine-hour day.
THE strike of the machinists employed by R. Hoe & Co. seems to have been settled satisfactorily to all parties.
TorrEY WARDNER, Boston ZJyvaveler, refuses to join the Publishers’ Association. Reliable information says that a New York employer is threatened with loss of work unless he joins the typothetee, but of course the officers of that body do not countenance such boycotting methods.
THE page from the diary of the printer-farmer in last issue shows that men will work if only given half a chance. There may be a ‘“‘Weary Waggles’’ here and there, but a general charge of that kind has been proven a libel against the unem- ployed, and this farming venture is further corroboration of it.
A STATEMENT having been made that Boston employers were not living up to the nine-hour agreement, Secretary Davis, of the union, writes: ‘‘So far as I know, the nine hours
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or fifty-four per week is in force in every office of any impor- tance in the city. In fact, I cannot think of one where any of our members are employed which is not on the nine or fifty- four basis.’’
PRINTING FOR ADVERTISERS. BY MUSGROVE,
This department is intended to give criticism of kinds of printed matter the object of which is to create publicity for the users. Good original ideas will be reproduced; sometimes ‘‘ horrible examples.’’ Samples should be sent care of The Inland Printer, and should not be rolled, but mailed flat.
I am glad to note one thing this year —that printers are advertising just as consistently during the summer months as during the other seasons of the year. The printer who adver- tises ad/ the year around is the printer who gets the business all the year around. It is a mistake to look at seasons in the printing business. It is a mistake because printing has no sea- son. It is always needed by the business world. You can often get orders in the very dullest portion of the summer months by a little judicious credit arrangements. Suppose a good customer wants sixty or ninety days in the summer; if his work does not mean a large extra expense to you, give him the extension. The average business man does not like to contract bills when business is dull. If you extend him cour- tesy, however, and say, ‘‘Let me do it now, and pay next Sep- tember, business is good then,’’ ten chances "to one he will say, ‘‘Go ahead.”’ Be careful to whom you extend credit, and mark your bills to him plainly ninety or sixty days, and “Extra”? after it. When the time comes around to be paid, collect sharp on time. I think you will get a good deal of fall ‘work in midsummer that way, and then!when fall comes around you will not have to eat up all your profits on your business by doing night work or hiring extra hands. Another thing, while I am speaking of the matter, try to make your rates so you can give two per cent off for cash ten days, or three per cent for ten days, two per cent for thirty days— and be careful to make them give you the cash on time tf they take off the discount. Send back the check, however, if you do not accept the payment as made. Do not keep the check and then say you will not allow the discount. If your customer, however, is trying to ‘‘soldier’’ on you, keep the check and close your account with him.
BELFAST PRINTING COMPANY, Belfast, Maine. — Do not write poetry for your calendars.
PorpotsE TIntT-BLock Company, Indianapolis, Indiana.— No paid ads. go in this department. Address the business management.
Homer L. Knicut, Seneca Falls.—Your little blotter is quite good