The American Printer: A Manual of Typography: Containing practical directions for managing all departments of a printing office, as well as complete instructions for apprentices; with several useful tables, numerous schemes for imposing forms in every variety, hints to authors, etc.MacKellar, Thomas
History
The American Printer: A Manual of Typography: Containing practical directions for managing all departments of a printing office, as well as complete instructions for apprentices; with several useful tables, numerous schemes for imposing forms in every variety, hints to authors, etc.
MacKellar, Thomas
Graphic design (Typography); Printing -- United States -- Handbooks, manuals, etc.; Printing industry -- United States
Here are specimens of our new slotted brass corners, so handsome and
useful to the skilled printer. See how accurately the slotted pieces
fit in one another, so that you cannot detect the joint. Are they not
effective? Our brass is carefully rolled by the best manufacturers in the
country, and is sent to us in strips or in sheets. That wicked-looking
shears yonder cuts up the thinner brass with as much unction as
Commissioner Yeh’s executioner slices off heads: the thick brass goes
under a circular steam-saw.
[Illustration: STEREOTYPE BLOCK.]
Now, sir, while we are up here, we will peep into the printers’
furnishing-room. Isn’t this a beautiful stereotype-block? Doesn’t
it do your eyes good to look at such perfect workmanship? And these
brass galleys, and mahogany galleys and composing sticks, are they not
admirable? Our effort in this department, as in all others, is to do our
work well. All our miscellaneous wood-work is done here,—stands, racks,
drawers, stereotype and packing boxes, &c. Some curious work has been
designed and executed for the Smithsonian Institution, as well as brass
ciphering-frames for the blind.
Ah, we forgot to show you our large-type room. On our way to the
electrotype department, we will glance in it. The types you see here
cool too slowly to be cast in a machine, so we continue to pour them.
Look over the drawers, and see the multitude of patterns. Some men fancy
one style, and some another. So we try to meet all tastes. Feel how
solid the type is. You can’t squeeze the life out of that type on a
power-press. No, indeed. It is made for wear.
Now, Mr. Typograph, we enter the grimed and murky electrotype-room.
Electrotyping, you are aware, is simply stereotyping in copper. Its
advantages over stereotyping are, sharpness of outline in plates from
wood-cuts, and great durability. Plates for books of large circulation
are always electrotyped, as well as cuts, engravings, binders’ stamps,
&c. The thing to be electrotyped, after being carefully and almost
imperceptibly glazed with plumbago, is laid upon a press, and a prepared
mould is placed over it, and an exact impression taken. This is well
dusted with plumbago, and then deposited in the electric bath. Nature
immediately takes up her part of the work, and a brilliant coating of
copper is deposited upon the mould. When sufficiently thick, it is taken
out of the battery, and, as you may notice, presents on the wrong side
the appearance of a printed sheet of copper. This sheet is then filled
up on the back to the requisite degree of thickness, and fastened to a
block, ready to be used with type on a common printing-press. Plumbago,
you remark, does not improve the countenances of the operatives? True;
but a little soap and water, vigorously applied, proves the title of
these intelligent workmen to rank among white folk.
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