It is sometimes necessary to dry the letter at the fire after distributing. In this case, the type should not be used until it is perfectly cold, as very pernicious effects arise from the antimony in the composition of which the type is made. The noxious vapour which arises is sufficient warning of the effects. The compositor ought always to avoid it as a pestilence which will affect his respiration and his sinews, inducing lung-complaints, and causing paralysis of the hand or contraction of the fingers. Where it can be conveniently managed, it is better to distribute at night, or before meals, so that the letter may dry without artificial heat.
COMPOSING.
When copy is put into the hands of the compositor, he should receive directions respecting the width and length of the page; whether it is to be leaded, and with white lines between the breaks; and whether any particular method is to be followed in the punctuation and in the adoption of capitals. These instructions being given, the compositor will make his measure to the number of ems directed, which is done by laying them flatwise in the composing-stick, and then screwing it up sufficiently tight to prevent the slide from moving. He then fits a composing-rule to the measure, and, his case being supplied with letter, he commences his work.
The left hand, which contains the composing-stick, should always follow the right, which takes up the letters. If the left be kept stationary, considerable time is lost in bringing each letter to the stick, because the right hand has, consequently, to traverse a much greater space than is necessary. The eye should always precede the hand, constantly seeking for the next letter while the fingers are picking up one just selected. Each letter should be taken up by the upper end. This method will effectually prevent any false motion, and preclude the necessity of turning the letter when in the hand. If possible, a sentence of the copy should be taken at one time, and, while putting in the point and quadrate at the end of the sentence, the eye may revert to the copy for the next. It is to dexterity in these particulars that compositors are indebted for swiftness. The time thus gained is very considerable, while all appearance of bustle or fatigue is avoided. By taking a sentence into the memory at one time, the connection of the subject is preserved, and the punctuation rendered less difficult.
Those who are careful in distribution find the advantage of it in composition. Foul or slovenly workmanship is disgraceful. To avoid this, a compositor should accustom himself to glance over each line as he justifies it, and correct any error as he proceeds, which he may do with little impediment to his progress.
SPACING.
Uniformity in spacing is, unquestionably, a most important part of a compositor’s occupation; this requires both care and judgment, and, therefore, cannot be too strongly impressed upon the mind of the beginner. Close spacing is as unworkmanlike as wide spacing, and neither ought to be permitted except in very narrow measures; and, frequently, even then with care it might partly be prevented. What is commonly called the thick space is the proper separator between words; though this rule cannot always be adhered to in narrow measures when large type is used. It is not sufficient merely to have a line here and there uniformly spaced: a careful compositor will give every page that uniformity of appearance which is a chief excellency. The beginner should remember that it is better to do little, and do that little well, than to put together a great number of letters without any regard to accuracy and uniformity.
Where a line is evenly spaced, and yet requires justification, the additional space should be put between those words in the line where it will be least observable: viz. a d and an h, being tall, perpendicular letters, will admit an increase of space between them, but not more than a middle and thin space to a thick-spaced line; and an additional space may be placed after a kerned letter, the beak of which may bear upon the top of an ascending letter,—as the f followed by h, &c.
The same rule should be observed where it is necessary to reduce the spacing of a line, less space being required after a sloping letter than after a perpendicular one. The comma requires only a thick space, but the other points should have a hair space before and an en quadrate after them, except the full-point, which should have an em quadrate, as terminating a sentence. Should it be necessary to reduce the spacing generally, the spaces after the points must be altered in the same proportion. Spaces are cast to such regular gradations that the compositor can urge no reasonable excuse either for bad justification or improper spacing.