Tag: British Printer

  • Construction of Cylinder Machines

    Construction of Cylinder Machines

    Historical Article

    From the 1897 British Print­er by Mr James Trot­ter

    B.P. read­ers are well aware, there is quite a vari­ety of cylin­der machines upon the mar­ket, and to describe the con­struc­tion of all the dif­fer­ent makes would occu­py more space than would be allowed. At the same time, although there are so many dif­fer­ent makes of machines, the real dif­fer­ence is very small, and as a rule it is mere­ly in such details as a swing­ing cylin­der, geared rollers, auto­mat­ic feed-board, etc., and with a day or two’s expe­ri­ence any machine­man used to one make is able to han­dle anoth­er. The mechan­i­cal motions, as applied to all machin­ery, are of two kinds: the motions which change the char­ac­ter of the action, and those which increase or dimin­ish its force. Print­ers have most to do with the first, for from front to back the print­ing machine is one con­tin­u­al change of motion, and all who wish to be suc­cess­ful print­ers must not only know how to put a forme upon the machine, make it ready, and work off, but must obtain a prac­ti­cal acquain­tance with the work­ing of the dif­fer­ent parts of the machine they may be in charge of. This is gen­er­al­ly admit­ted, and yet how many mem­bers of the fra­ter­ni­ty trou­ble about it? they drop the forme upon the bed, get the right pitch — and some­times the wrong one — lock up, make ready, start the machine, and for the next hour or two are con­tent with watch­ing the colour—or the fore­man, but nev­er fora moment try to ascer­tain the mechan­i­cal move­ments of the dif­fer­ent parts which con­sti­tute the machine under their care.

    The first piece of mechan­i­cal pow­er to be dealt with is the lever used for start­ing the machine. This is one of the sim­plest levers upon the machine, its work being to shift by means of a fork the belt from the loose to the fast pul­ley, and vice ver­sa. In this con­nec­tion it is well to remem­ber that the strain upon a belt dimin­ish­es accord­ing to the speed it runs at, and the fre­quent break­ing of belts is very often caused by run­ning the machine at too low a speed. Anoth­er cause of break­age is the sud­den strik­ing on of the belt to the fast pul­ley, and this may occur should the belt be some­what slack, the down­ward por­tion grip­ping the pul­ley while the loose sec­tion goes up with a jerk, thus — as might be expect­ed — caus­ing it to snap at its weak­est part.

    Next may be noticed the gear­ing nec­es­sary upon all machin­ery where the mechan­i­cal pow­er of one part has to be trans­mit­ted to anoth­er. In this case we have the spur-wheels, which trans­mit their cir­cu­lar motion to the dri­ving-wheels, and turn shafts upon which are the var­i­ous cams and eccentrics. The eccen­tric is an appli­ance for obtain­ing the back­ward and for­ward motion of a crank, and is sim­ply a cir­cle revolv­ing about a point away from its cen­tre; as a rule it is sur­round­ed by a ring or hoop, to which is attached the lever in a line with the cen­tre of the cir­cle, and as the shaft revolves it is thrown back­ward and for­ward. The cam — the action of which is to con­vert the cir­cu­lar motion of the shaft into a rec­i­p­ro­cat­ing motion — is a curved plate, which, by the action of its curved edge, com­mu­ni­cates inter­mit­tent motion to anoth­er part of the machin­ery, its great advan­tage being the extreme accu­ra­cy with which it works.

    Hav­ing viewed the mechan­i­cal pow­er, let us for a moment view the con­struc­tion. Take as a mod­el a quad-crown built by Messrs. John Elliott, Son & Co. Upon look­ing beneath, this machine gives some the impres­sion that var­i­ous parts are miss­ing, but such is not the case; the machine is built strong­ly with­out any elab­o­rate detail, and is so arranged that should any­thing go wrong beneath it can be eas­i­ly got at. This machine has two side frames and four cross frames; the cross frames are bolt­ed and pinned to the side frames, so that if a bolt works loose the pin will pre­vent the stay from shift­ing when the frames are in posi­tion.

    Next come the lon­gi­tu­di­nal stays, which are bolt­ed to the cross stays. Attached to these stays are the racks in which run the rack-wheels. Then the shaft on the left side is placed through the bear­ings in the lon­gi­tu­di­nal stays, and car­ries the left-side dri­ving-wheel, cam for dou­ble ink­ing, duc­tor cam, and cam for auto­mat­ic feed board. Upon the right-side shaft are the right-side dri­ving-wheel, cams from which work the levers for open­ing grip­pers, lift­ing feed board, push­ing back cylin­der against the short stop, and upright lever for brak­ing the cylin­der. Fol­low­ing the process of con­struc­tion, next are put in the rack-wheels, the crank, and the dri­ving-wheels attached to them. Hav­ing got the nec­es­sary gear­ing in below, we come high­er up and fas­ten on the bowl rails to the cross stays, put on the bowls or run­ners, and attach them to the levers work­ing from the shaft of the rack-wheels. The main shaft­ing is next put through its bear­ings, of which there are five; two are cast with the side frames, two with the end stay, and one is bolt­ed to the end stay between the pin­ions. Besides the pin­ions, the main shaft car­ries the fly-wheel and fast and loose pul­leys, with the dri­ving-wheels full in. Then the bed of the machine is put upon the run­ners, the ink­ing slab attached, and impres­sion bear­ers and side racks screwed on. The heav­i­est part of the work — that of putting on the cylin­der — fol­lows. The cylin­der is put on with the bed full in, the loose cog-wheel put in posi­tion upon the end of the cylin­der shaft; the cylin­der brack­ets and brass­es are then put on and bolt­ed to the side frames; these brack­ets also sup­port the fly­ing drum. Next are fas­tened on the roller brack­ets; and mak­ing a move to the back, put on ink brack­ets, ink cylin­der and knife; upon the end of ink cylin­der the catch and con­nect­ing rod are fas­tened to the cam already men­tioned; an appli­ance for actu­at­ing the ink feed­er is worked from the same cam. Turn­ing to the oth­er side of the machine, fix on the brake-wheel to the shaft end of the cylin­der, put on the brake lever, and attach the brake and lever for push­ing the cylin­der against the short stop. All that now remains to be done is to put on the feed board brack­ets, attach the appli­ance for work­ing the points, and place the feed board in posi­tion. This done, the machine is now ready for the putting on of the belt, which will con­vey to the machine the cir­cu­lar motion of the revolv­ing shaft.

    To com­plete the work, the print­er then puts upon the cylin­der the nec­es­sary sheets and cal­i­co cor­re­spond­ing with the depth of beard upon the cylin­der, the larg­er the bet­ter, secur­ing a forme of type. Then it is nec­es­sary to set the bear­ers and adjust the cylin­der, which, after being prop­er­ly set, should not again be altered only under very spe­cial cir­cum­stances. Mak­ing-ready may after­wards be under­tak­en.

  • The Bremner Machine Company

    The Bremner Machine Company

    His­tor­i­cal Arti­cle: An 1897 account of the Brem­n­er Machine Com­pa­ny — mak­ers of let­ter­press machines — in Otley, York­shire

    When writ­ing of mat­ters apper­tain­ing to Otley it is quite ortho­dox to bring in some­thing about — now where’s our scrap-book? here you are — the quaint­ly pic­turesque home of a stur­dy race charm­ing­ly nestling (that is the home, not the race) in an embow­ered nook of the fear­some and wild York­shire hills, the daz­zling rays from the gold­en orb of day shim­mer­ing o’er heather-capped pur­ple mo’or­land on to a cen­tre of hor­rid com­mer­cial­ism so woful­ly at vari­ance with its poet­i­cal envi­ron­ment,” and so on, and so on. Some­thing of the kind is pos­si­ble, first when the cli­mate is in order, and next when Otley’s engi­neers man­age to spare but a moment from the labours of for­tune hunt­ing to give us a nod or maybe a word — the shekels flow­ing in too quick­ly to waste any time. Under such des­per­ate con­di­tions of course the descrip­tive fac­ul­ty is called upon, and one can freely pad” with the beau­ti­ful scenery sort of thing.

    On a late vis­it, how­ev­er, we incau­tious­ly called on a typ­i­cal March day, the real unadul­ter­at­ed arti­cle, a per­fect hur­ri­cane of wind mate­ri­al­ly assist­ing to point out the beau­ties of the val­ley. Not that we would for a moment alarm the print­er intend­ing to take an order to the Otley machine shops, oh dear no, for all and sundry are solemn­ly assured the inhab­i­tants invari­ably set the weath­er in per­fect order for the man who arrives with a fat pock­et­ful of orders.

    Borne by the gen­tle breeze we tra­versed the length of the town devot­ed to print­ing machin­ery, and whilst all hands held on to top ham­per, even­tu­al­ly reached the near out­skirts of this bois­ter­ous cor­ner of the West Rid­ing, and final­ly arrived in full blow” — lit­er­al­ly — at the works of The Brem­n­er Machine Co. Ltd.

    Ver­i­ta­ble house­hold names” in the realms of print­ing, Har­rild,” Watkin­son,” and Brem­n­er” indi­cate a make of machines and appli­ances to be found prob­a­bly through­out British prin­t­er­dom and in very many cen­tres abroad. The busi­ness of man­u­fac­tur­ing the machin­ery and plant var­i­ous­ly known by these dis­tinc­tive appel­la­tions is of no mush­room growth, but is long estab­lished, firm­ly set, and prob­a­bly at the present time even more pro­gres­sive than ever.

    Believ­ing that print­ers gen­er­al­ly would be inter­est­ed in know­ing some­thing con­cern­ing the meth­ods of pro­duc­tion, and inci­den­tal­ly of the man­age­ment respon­si­ble for the class of machines just referred to, we approached the direc­tors, and even­tu­al­ly suc­ceed­ed in pen­e­trat­ing the reserve which right up to the present has absolute­ly for­bid­den this kind of pub­lic­i­ty being giv­en to the firm inter­est­ed. We are thus enabled to give the result of our glean­ings, gained by pok­ing here and there like the Ingolds­by dog in a fair, not to men­tion using the mark of inter­ro­ga­tion until we all but ran out of sorts.

    In com­mon with the major­i­ty of engi­neer­ing estab­lish­ments, The Wharfedale Iron Works, as the Company’s premis­es are called, con­sist of a series of sin­gle-storey struc­tures, com­mu­ni­cat­ing one with anoth­er, only in this instance every­thing is on an exten­sive scale; enor­mous places — what are tech­ni­cal­ly called shells,” for they are scarce­ly rooms — light­ed both from the roof and sides, and with­al sub­stan­tial con­ve­nient struc­tures, house the var­i­ous depart­ments going to make up the many-sided busi­ness under notice.

    The pro­pri­etors of the estab­lish­ment evi­dent­ly intend­ed not only to have room enough for cur­rent require­ments, but to allow for breath­ing space, light to any amount, and exten­sion when­ev­er nec­es­sary, with the result that even in a dis­trict where estab­lish­ments are almost invari­ably sit­u­at­ed away from close­ly pop­u­lat­ed res­i­den­tial cen­tres, and light and air are plen­ti­ful, the var­i­ous premis­es are notice­ably excel­lent­ly light­ed and ven­ti­lat­ed. The avail­able ground for enlarge­ment has also proved so use­ful as to amply jus­ti­fy the wis­dom of the far-see­ing pio­neers who bought a whole orchard and set of fields and dumped down— so to speak — their build­ings in the cen­tre. Such a prospect is cal­cu­lat­ed to turn the employ­er in crowd­ed-out pop­u­lous cen­tres pos­i­tive­ly green with envy. Dis­tinc­tion apart, this is mere­ly men­tioned as indi­cat­ing the favourable con­di­tions under which work is car­ried on — a con­sid­er­a­tion our friends will appre­ci­ate.

    The present busi­ness was found­ed in 1863, and occu­pied premis­es in anoth­er part of Otley. In 1870 a removal was made, the present site being acquired, and the whole of the premis­es spe­cial­ly erect­ed with a view to the pro­duc­tion of print­ing machin­ery of the best class and plen­ty of it. A total area of one and a half acres of what is prac­ti­cal­ly free­hold land was pur­chased, and erec­tion fol­lowed erec­tion until the area of floor­age now actu­al­ly occu­pied amounts to the not incon­sid­er­able total of some 3,000 square yards, whilst so far as such a busi­ness can be main­tained in close com­pass, it is cer­tain­ly remark­ably com­pact, the floors being lit­er­al­ly filled with plant, grouped with the skill only obtained by long expe­ri­ence.

    A Personally Conducted Tour

    Even if it were desir­able it would be impos­si­ble in the space at our dis­pos­al to give full details of this fine estab­lish­ment, so that we must per­force be con­tent with a gen­er­al descrip­tive ref­er­ence to the facil­i­ties it pos­sess­es and which may be of most inter­est to print­ers. After a pre­lim­i­nary chat in the pri­vate office with two of the direc­tors and the sec­re­tary of the com­pa­ny, we armed for a tour con­duct­ed by Mr. Mus­grave, the youngest direc­tor, whose qual­i­fi­ca­tions for his respon­si­ble posi­tion with the com­pa­ny not only include a reg­u­lar appren­tice­ship and a thor­ough­ly prac­ti­cal train­ing at Otley, but a valu­able expe­ri­ence acquired in Amer­i­can estab­lish­ments. This lat­ter infor­ma­tion may inter­est print­ers not­ing the Amer­i­can inva­sion” of new machin­ery into this coun­try.

    Brass Foundry

    Elect­ing to start at the begin­ning of things, the alpha of our progress was there­fore the com­pact Brass Foundry where the brass bear­ings and fit­tings so notice­able in the fin­ished prod­ucts of the firm are pri­mar­i­ly pro­duced. Here is seen the sunk fur­nace with flames at white heat, into the warm embrace of which the earth­en­ware cru­cibles con­tain­ing the con­stituents of the mould are sunk, and around are the acces­so­ry appli­ances for cast­ing and for treat­ing the met­al pre­pared. Leav­ing the brass foundry, a peep at the adja­cent boil­er house shews that a mag­nif­i­cent new boil­er has evi­dent­ly been recent­ly acquired, the whole house with its piled up coal reserves and gen­er­al Sat­ur­day after­noon appear­ance bespeak­ing the care one always appre­ci­ates in this pri­ma­ry source of the mov­ing pow­er of the works.

    The Foundry

    Iron Foundry
    Iron Foundry

    Near by is an entrance to that impor­tant part of the engineer’s estab­lish­ment, The Foundry, a large, roomy, lofty build­ing of con­sid­er­able accom­mo­da­tion, light­ed on three sides. All over the floor­age are dot­ted promis­cu­ous like” mould­ings of many kinds, with numer­ous dou­ble­fold moul­ders” engaged in mak­ing up moulds, or care­ful­ly putting in the last half grain of dust to give a per­fect sur­face to the cast­ing. Only those who have had expe­ri­ence of a typ­i­cal foundry can prop­er­ly appre­ci­ate the charms of the dust to be found every­where. The floor is thick with the dry mould — it shades on the walls, comes in clouds from the rafters at every oppor­tu­ni­ty, coats every tool in the place, and insid­i­ous­ly works its way in and about every­thing and every­body in the place. The scope of the foundry may be under­stood when it is learnt that it occu­pies a floor­age of 5,880 square feet. No less than five pow­er­ful cranes are includ­ed in the com­plete equip­ment, and at var­i­ous posi­tions along the sides are placed the pow­er­ful and tru­ly labour-sav­ing mould­ing machines, the all-impor­tant fur­nace occu­py­ing a posi­tion near the cen­tre of the build­ing, as shewn in the illus­tra­tion. The lofty fur­nace is built into the wall, fed of course from out­side. As we were watch­ing the var­i­ous foundry oper­a­tions, a cast­ing of molten met­al was run off, the rush of air giv­ing quite a pyrotech­nic dis­play, sparks shoot­ing out right across the build­ing and falling in gold­en show­ers on all around. It is not every firm which gives a fire­work dis­play in our hon­our!

    Near the foundry is the well-equipped smiths’ shop, to reach which we pass through the engine-room, where a fine Robey hor­i­zon­tal is at work. The smiths are at work on var­i­ous forg­ings, but espe­cial­ly is to be not­ed the use made of a pow­er­ful steam ham­mer, although here, as with all depart­ments, the adop­tion of mod­ern labour-sav­ing plant and all man­ner of use­ful appli­ances is appar­ent to even the casu­al observ­er.

    Gear Cutting

    A fea­ture of all the best class­es of print­ing machines is the use of cut gear­ing as opposed to cast. Here we find all gear­ing cut — in fact, a spe­cial depart­ment is run­ning reg­u­lar­ly on this very impor­tant work. Before enter­ing upon the fit­ting shops we were shewn into the room thus adapt­ed — a par­tic­u­lar­ly inter­est­ing depart­ment — and were soon keen­ly atten­tive to the work­ing of a series of tru­ly won­der­ful machines. The auto­mat­ic rack-cut­ting machines cut the teeth out of the sol­id; tests amply demon­strat­ing the extreme accu­ra­cy of the work. An auto­mat­ic screw-cut­ting machine pos­i­tive­ly fas­ci­nat­ed us in its almost human han­dling of the met­al. It is odd to see cold met­al grip, gauge, plane, cut, worm, and gen­er­al­ly fin­ish the nec­es­sary work of mak­ing a large screw whol­ly auto­mat­i­cal­ly and with­out any out­side atten­tion. These machines are here referred to as being tan­gi­ble proofs of the care of the firm to have every­thing of val­ue and impor­tance in the way of plant.

    Turning Department

    Enter­ing now upon the sec­tions con­cerned with the fit­ting of the machines and their erec­tion, we first cross the Turn­ing Depart­ment, where an almost unlim­it­ed num­ber of machines of var­i­ous sizes worked by shaft­ing car­ried from over­head, are ranged along the walls and in par­al­lel rows down the stone-paved floor. Here the var­i­ous parts of the com­ing machines are turned” and oth­er­wise pre­pared, as for instance in one sec­tion, fly-wheels, ink-rollers, and brake-wheels, and step­ping amongst them, we find lath­es of many kinds, with shap­ing, slot­ting, and sur­fac­ing machin­ery. It is oppor­tune here to step into the fit­ters’ store-rooms com­mu­ni­cat­ing with the depart­ment we are in. Here is found gen­er­ous accom­mo­da­tion in the form of lofty shelves fur­nished with lock­ers run­ning in par­al­lel alleys, each num­bered, named, and filled with the nut, bolt, or oth­er of the mul­ti­far­i­ous parts going to make up the well-equipped print­ing machine. This is emi­nent­ly busi­ness-like in its arrange­ment, a com­men­da­tion we find our­selves fur­ther endors­ing on not­ing the check sys­tem applied to the giv­ing out of tools, ensur­ing a safe check upon all tools in use. Oth­er store accom­mo­da­tion con­tains the heav­ier parts, and as might be expect­ed in an estab­lish­ment of such dimen­sions, the wood­en mod­els or pat­terns claim con­sid­er­able space, some 2,625 square feet being occu­pied. So great is the work of pro­vid­ing such that a joiner’s shop of large extent is includ­ed on the premis­es.

    The Planing Department

    Large Planing Machine with Portion of Forge
    Large Plan­ing Machine with Por­tion of Forge

    Turn­ing now to The Plan­ing Depart­ment, or rather to the sec­tion where most of the plan­ing machines are grouped, for we seemed to meet enor­mous plan­ing machines in most parts of the works, here is found note­wor­thy evi­dence of the exac­ti­tude obtained in uni­for­mi­ty of sur­face in cast­ings. These machines are the giants of the print­ing machine engi­neer­ing plant, and have a spe­cial attrac­tion of their own. You see the long heavy table slow­ly bear the met­al against the short stub­by plan­ing tool, auto­mat­i­cal­ly stop at the end of its tra­verse, can­ter back, and again take up the slow grind, adjust­ing itself at each action. On some of these plan­ing machines, the shape of which may be gath­ered from one of the cuts, sin­gle sides and rails were being planed, and on oth­ers the whole frame­work of side and end cast­ings bolt­ed togeth­er was being planed as a whole, thus ensur­ing per­fect­ly true sur­faces. Along­side the large planes are machines for bor­ing and milling, and a series of the ver­ti­cal roller-mould bor­ers attract atten­tion.

    Planing Department
    Plan­ing Depart­ment

    A detail noticed here is the par­tic­u­lar care giv­en to the grind­ing of the impres­sion cylin­ders — a fea­ture the print­er can appre­ci­ate.

    Fitting

    Portion of the Fitting Shop
    Por­tion of the Fit­ting Shop

    Com­ing now to the cou­ple of large bays devot­ed to the Fit­ting, we find space allowed on the floor, between rows of bench­es bear­ing machines, for the final putting togeth­er or fit­ting of the print­ing machines, the whole com­mand­ed — as indeed are the rooms gen­er­al­ly — by exten­sive crane pow­er, enabling parts to be eas­i­ly moved into posi­tion.

    When one has already seen the parts of the machines take shape from crude iron and assume a more or less tan­gi­ble form, it becomes dou­bly inter­est­ing to see these parts brought togeth­er and grad­u­al­ly made to form a homo­ge­neous whole in per­fect har­mo­ny the one with the oth­er.

    Most print­ers have seen a machine in pieces, and can thus obtain some idea of the wilder­ness of parts pre­sent­ed by a row of Wharfedales dur­ing process of erec­tion. We were for­tu­nate in see­ing quite a vari­ety of machines being built up prepara­to­ry to fill­ing orders — var­i­ous sizes of let­ter­press cylin­ders, sev­er­al Fleets,” guil­lotines, litho tin-print­ing machines, etc.

    Erection

    Dis­cussing the meth­ods adopt­ed of send­ing machines out, more espe­cial­ly to quar­ters where fit­ters are not sent, we were inter­est­ed in find­ing that besides the usu­al con­sec­u­tive num­ber­ing of parts, blue prints of the machine from var­i­ous points of view and in sep­a­rate parts are also sup­plied. This led to the dis­cov­ery that pho­tog­ra­phy was large­ly in evi­dence on the premis­es, neg­a­tives being reg­u­lar­ly tak­en as machines are erect­ed before send­ing out. If this sys­tem were uni­ver­sal­ly adopt­ed we should hear less of the trou­bles of the print­er­man abroad who has received a machine and has to fit it up as best he may.

    Amongst the chief lines of the Brem­n­er Print­ing Machines may be men­tioned first the Fine Art” cylin­der machine, con­struct­ed for pro­duc­ing high-class cut work at a high speed. The mas­sive foun­da­tion frame is notice­able, and the machine has all the advan­tages of cut gear­ing and the acme of accu­rate plan­ing. A nov­el cylin­dri­cal ink­ing appa­ra­tus, mov­able for access to forme, is one of its most impor­tant fea­tures. Oth­er Wharfedale types —sin­gle and two-colour — made by the firm are all classed as of Brem­n­er” make, amongst the fea­tures of which may be men­tioned the strength of frame, cross rail under cylin­der, three bowl rails in larg­er sizes, dou­ble-dri­ving and tra­verse wheels, an auto­mat­ic cylin­der check stop­ping- feed-board, fly­ers, grip­pers, points, and push-bar at one and the same time. Every­body has of course heard of the Fleet” machines, the New Fleet” being- a devel­op­ment of the deserved­ly pop­u­lar high speed machine. This machine is built for a high rate of speed, 2,500 per hour, close reg­is­ter being guar­an­teed, with slop­ing board and auto­mat­ic side lays, and pos­sess­es a pop­u­lar­i­ty of its own. The Fleet” has all the char­ac­ter­is­tics of the Brem­n­er” as regards strength and fit­ting. Anoth­er impor­tant Brem­n­er” is the chro­mo-lith­o­graph­ic machine, which is in all respects exceed­ing­ly well equipped for best work. In build these machines are mas­sive, very strong, and mount­ed on a cast-iron bed­plate, to which shafts, racks, run­ners, spur wheels, etc., are fit­ted, there­by secur­ing strength and rigid­i­ty, whilst dou­ble-dri­ving wheels, dou­ble-tra­verse wheels, dou­ble-ink­ing motion, and arrange­ment for con­tin­u­ous or inter­mit­tent ink­ing are amongst its fur­ther fea­tures.

    This vari­ety of machines indi­cates that the Brem­n­er Com­pa­ny is not con­fined to a sin­gle spe­cial­ty, but has a some­what wide range of pro­duc­tion. Oth­er direc­tions of the firm’s    indus­try are rep­re­sent­ed by the man­u­fac­ture of a spe­cial line of guil­lotines, paper cut­ters, card cut­ters, rolling machines, press­es, impos­ing sur­faces, and large quan­ti­ties of cast-iron chas­es.

    In going; through one of the fit­ting shops we noticed a cou­ple of fine tin-print­ing machines, which on enquiry turned out to be a repeat order for a well-known house. As they stood part­ly erect­ed, the mas­sive build, the direct process” idea, and cer­tain nov­el fea­tures of attach­ments were notice­able.  By the way, print­ers out of this class of work have in all prob­a­bil­i­ty very lit­tle idea of the extent to which tin-print­ing is becom­ing; pop­u­lar. Chro­mo-lith­o­graphed tins are now adopt­ed for all man­ner of trades,and some most excel­lent results are obtained.

    The Management

    It is per­haps an open secret, but the firm offi­cial­ly known as the Brem­n­er” Machine Co., Ltd., is a pri­vate com­pa­ny con­sist­ing prac­ti­cal­ly of the two hous­es so well known in the trade — the Har­rilds and the Watkin­sons. The con­nec­tion between the Brem­n­er Co.. and Messrs. Har­rild & Sons, of the Fleet” Works, Lon­don, is as close now as before the incor­po­ra­tion of the Com­pa­ny, Messrs. Har­rild & Sons being chiefly respon­si­ble for sales of the Brem­n­er” prod­ucts. The Com­pa­ny is con­trolled by the four direc­tors, Mr. Richard Watkin­son, Mr. Hor­ton Har­rild, Mr. Fredk. Har­rild, and Mr. Fredk. W. Mus­grave, with Mr. W. Watkin­son as sec­re­tary. All these gen­tle­men are prac­ti­cal in all sens­es of the word, and it is to their skill and indus­try that the busi­ness under notice owes its impor­tance, growth and pros­per­i­ty.

  • Some Modern Inks

    Some Modern Inks

    Progress in the improve­ment of print­ers’ mate­ri­als is nowa­days so rapid that it is high­ly impor­tant for the print­er to keep in touch with mod­ern devel­op­ments in the basic mate­ri­als of the trade. The main advances in print­ing ink tech­nol­o­gy have been the pro­gres­sive improve­ment of colours, var­nish­es, grind­ing meth­ods, etc.; the intro­duc­tion of out­stand­ing prop­er­ties in com­mon­ly used inks; and the dis­cov­ery of entire­ly new types of inks. These notes are intend­ed to give a few mod­ern lines.

    Blacks

    The aim of the ink mak­er is to pro­duce inks which can be used straight from the tin with­out hav­ing to be doped by the addi­tion of boiled oil, dri­ers or sim­i­lar mate­ri­als. A first-class black should, with­out incor­po­ra­tion of any oth­er mate­r­i­al, pos­sess the fol­low­ing prop­er­ties:

    • High den­si­ty and bril­liance of colour.
    • Suf­fi­cient soft­ness and free­dom from tack to pre­vent pluck­ing and pick­ing of the paper.
    • Rapid dry­ing on the paper but slow dry­ing on the machine, so that the ink remains wet for 24 hours, or prefer­ably 50 hours, on the rollers.
    • Such con­sis­ten­cy and tex­ture that it feeds well with­out hang­ing back in the duct, and does not fill up half-tones.
    • Speed of pen­e­tra­tion so that the print does not set-off, even under the pres­sure of a con­sid­er­able pile of super­im­posed sheets.
    • Quick hard set­ting, enabling back­ing up to be done soon after print­ing.
    • Free­dom from spray, even on high-speed press­es.
    • Applic­a­bil­i­ty to a wide vari­ety of dif­fer­ent papers.

    With regard to the last point, we all know that dif­fer­ent class­es of paper behave dif­fer­ent­ly with the same ink. It is easy to for­mu­late an ink which does not set off on one paper yet sets off marked­ly on anoth­er. Real­iz­ing that the print­er’s choice of paper is often lim­it­ed by prac­ti­cal con­sid­er­a­tions, the ink mak­er so for­mu­lates his stan­dard lines that they are usable on as many dif­fer­ent papers as pos­si­ble.

    The mod­ern intro­duc­tion of high-speed press­es has led to the mak­ing of spe­cial inks for these machines. An ink which has giv­en excel­lent results on a com­par­a­tive­ly slow machine may spray bad­ly when it is tried out on a fast-run­ning one.

    Dur­ing the past year or two, much atten­tion has been paid to improv­ing the set­ting of blacks and pre­vent­ing set-off. There are now obtain­able some new blacks, the phys­i­cal prop­er­ties of which are such that there is a very rapid and firm set on the paper, allow­ing of quick back­ing up, while set-off* is elim­i­nat­ed.

    Non-skinning Bronze Blues

    It is rarely indeed that the ink mak­er puts into his bronze blue inks any dri­ers such as cobalt, man­ganese or lead. This is because the bronze blue pig­ment is itself a pow­er­ful dri­er, and being, of course, present in very high pro­por­tion, caus­es rapid dry­ing and skin­ning.

    Expressed dif­fer­ent­ly, bronze blue, like cobalt, man­ganese and lead dri­ers, is a cat­a­lyst for the reac­tion between lin­seed oil var­nish and oxygen—that is, bronze blue is a sub­stance which increas­es the rate at which the lin­seed oil var­nish, which is present in the ink, com­bines with the oxy­gen in the air to pro­duce a dry film. Cat­a­lysts are used for quick­en­ing up many chem­i­cal process­es.

    When the print­er requires a bronze blue ink which will not skin on the rollers in, say, two days, the ink mak­er is faced with a prob­lem of a dif­fer­ent type from the usu­al prob­lem of dri­ers. It is, of course, impos­si­ble to reduce effec­tive­ly the bronze blue which is at once the pig­ment and the dri­er. Tiie prob­lem is best solved by using a sub­stance, known as a neg­a­tive cat­a­lyst,” which behaves in the oppo­site way to an ordi­nary cat­a­lyst; the neg­a­tive cat­a­lyst reduces the rate at which the ink skins. By using the right neg­a­tive cat­a­lyst in suit­able pro­por­tion (only a very lit­tle is required), it is pos­si­ble to pro­duce a bronze blue of bril­liant lus­tre which will not skin or dry on the rollers even in two days and yet will dry sat­is­fac­to­ri­ly on the paper.

    Coloured News Inks Although coloured news inks are by no means new, it is only in recent times that they have been used to any large extent for adver­tis­ing pur­pos­es. Good qual­i­ty coloured news inks, which work well and do not fill up even on long runs, are now obtain­able at a price suit­ed to news­pa­per work, and it is prob­a­ble that the near future will see a con­sid­er­able increase in the amount of coloured adver­tise­ments.

    Aniline Inks and Syrups

    Ani­line inks are being wide­ly employed nowa­days with good results. These inks con­sist essen­tial­ly of dyes dis­solved in methy­lat­ed spir­it, while oth­er ingre­di­ents are added to impart fast­ness to water, bright­ness, etc., and to pre­vent exces­sive dry­ing on the rollers.

    Ani­line inks are much used in paper bag and sim­i­lar man­u­fac­ture. The dry­ing of the inks is main­ly depen­dent on the rate of absorp­tion and evap­o­ra­tion of the volatile spir­it, and since this is very fast, the print­ed sheet can pass direct­ly from the rub­ber stereo to be processed into the com­plet­ed bag.

    Gen­er­al­ly, a good ani­line ink will be found suit­able for most papers, but there are a few excep­tions. For print­ing on kraft paper, for instance, spe­cial ani­lines are gen­er­al­ly required in order to obtain the max­i­mum bright­ness of colour. Spe­cial sur­faces like tin­foil and cel­lo­phane also require spe­cial inks for best results.

    Where trans­port charges become con­sid­er­able, as is the case with export­ed inks, ani­line syrups may be used instead of ani­line inks. These syrups are so made that when one part of the syrup is mixed with two (some­times three) parts of methy­lat­ed spir­it, the resul­tis an ani­line ink. The stronger syrups (those to be mixed with three parts of spir­it per one part syrup) are so con­cen­trat­ed that, in the case of some (not all) colours, the syrup may be rather too vis­cous and may not imme­di­ate­ly mix with the spir­it. It is, there­fore, rec­om­mend­ed that those syrups, which are con­vert­ible by adding two parts of spir­it to one of syrup, should be used, as these nev­er give trou­ble on mix­ing. These lat­ter syrups are of course cheap­er.

    Spe­cial syrups are obtain­able for use on kraft papers.

    Letterpress Inks for Non-absorbent Surfaces

    A lit­tle may per­haps be said about let­ter­press print­ing of black and coloured inks on sur­faces such as cel­lo­phane, cel­lu­loid and glas­sine. Inks for these mate­ri­als dry almost entire­ly by oxidation—there is prac­ti­cal­ly no dry­ing by absorp­tion or evap­o­ra­tion. Con­se­quent­ly spe­cial quick-dry­ing var­nish­es are used.

    The print­er should care­ful­ly avoid the intro­duc­tion of any non-dry­ing ingre­di­ents into such inks. For instance, in wash­ing up pre­vi­ous to a run, par­tic­u­lar .care should be tak­en to remove traces of wash-up liq­uid from the rollers and the forme. If the print­ing were done on ordi­nary papers, the pres­ence of a lit­tle non-dry­ing liq­uid would not mat­ter so much— although here, too, there is an ele­ment of dan­ger. On non-absorbent papers, how­ev­er, the dan­ger is con­sid­er­ably increased, because the non-dry­ing liq­uid remains with the ink on the sur­face and may seri­ous­ly ham­per the hard­en­ing of the print.

    Gold and Silver Letterpress and Photogravure Inks

    When the first exper­i­ments were made towards pro­duc­ing metal­lic let­ter­press inks, the main dif­fi­cul­ty was to com­bine the desir­able prop­er­ties of resis­tance to rub­bing, extreme­ly high lus­tre, and non-dry­ing on the machine dur­ing print­ing. A very large amount of work was in fact done on this prob­lem, with the result that excep­tion­al­ly bril­liant inks which do not wipe off, or oth­er­wise mis­be­have, are on the mar­ket.

    More recent­ly, metal­lic pho­togravures have been intro­duced, and the efforts of ink mak­ers’ lab­o­ra­to­ries have result­ed in the avail­abil­i­ty of very bright, firm­ly-adher­ing metal­lic gravures which work well on the machine.

    Overprinting Varnishes

    As is well known, there are two main types of over­print­ing var­nish­es, one con­tain­ing a pro­por­tion of volatile liq­uid such as methy­lat­ed spir­it or tur­pen­tine, and the oth­er com­posed entire­ly of non-volatile ingre­di­ents. Although the for­mer type is excel­lent as far as it goes, it is prob­a­ble that it will be increas­ing­ly dis­placed by the non-volatile var­nish­es. These lat­ter are easy of appli­ca­tion, being print­able in much the same way as ordi­nary let­ter­press inks; they can also be safe­ly used to over­print many colours which would bleed in a methy­lat­ed spir­it var­nish.

    Research has been in the direc­tion of increas­ing the gloss and improv­ing the work­ing qual­i­ties of the over­print­ing var­nish. Some mod­ern prepa­ra­tions are quite soft and eas­i­ly work­able, and yield a hard, smooth film of extreme­ly high gloss, not only when applied to a dry non-absorbent ink lay­er, but also when print­ed direct­ly on to the paper. Coloured over­print­ing var­nish­es are also avail­able.

    Odourless Inks and Varnishes

    For some pur­pos­es, par­tic­u­lar­ly for print­ing on food wrap­pers, it is some­times advis­able to use an ink hav­ing as lit­tle odour as pos­si­ble. Var­nish­es made in the ordi­nary way pos­sess a slight smell which is impart­ed to inks made from them.

    There are two meth­ods of pro­duc­ing an ink which does not pos­sess the smell of ordi­nary var­nish. Either there can be incor­po­rat­ed with the ink a small quan­ti­ty of a per­fume which sat­is­fac­to­ri­ly masks the oth­er smells, or odour­less var­nish­es (made by spe­cial process­es) can be used. Both meth­ods can be com­bined.

    Offset and Litho Inks

    Improve­ments in off­set and litho inks have includ­ed the increas­ing of the water resis­tance and the strength of colour. For—good qual­i­ty off­set work, par­tic­u­lar­ly where in com­pe­ti­tion with pho­togravure process­es, great colour inten­si­ty of the ink is, of course, high­ly desir­able, since the film of ink in the off­set print is so thin.

    One type of mod­ern off­set ink con­tains spe­cial water-insol­u­ble dyestuffs in addi­tion to the usu­al pig­ments, a device which results in great colour strength and quite sat­is­fac­to­ry resis­tance to water.

    Washing Up—Ink Removers

    A vari­ety of good ink removers have been in use for a long time and are well known, but a point of which many are unaware is that there are spe­cial removers for dry ink. A roller or type face which con­tains patch­es of dry ink will require a con­sid­er­able amount of labo­ri­ous scrub­bing with an ordi­nary ink remover before it is clean, but with spe­cial sol­vents or sol­vent mix­tures, it is only nec­es­sary to moist­en the sur­face. After a few min­utes the pow­er­ful action of the sol­vent uproots the dry film. Some­times it may be prefer­able to remove the worst of the dry film with the spe­cial sol­vent and then to fin­ish off with an ordi­nary ink remover. In this way, the clean­ing of dry ink can be done in a tenth of the time usu­al­ly employed. Of course, the sol­vent does not injure the roller or type face in any way.

    With regard to the clean­ing of ordi­nary ani­line inks from the machine, methy­lat­ed spir­it is the stan­dard medi­um for this pur­pose. The best ani­lines do not dry on the rollers too quick­ly, but if the rollers or oth­er parts have been left inky overnight, it may be desir­able to wet the sur­face with a spe­cial ani­line ink remover before fin­ish­ing off the clean­ing with methy­lat­ed spir­it.

    Progress in the improve­ment of print­ers’ mate­ri­als is nowa­days so rapid that it is high­ly impor­tant for the print­er to keep in touch with mod­ern devel­op­ments in the basic mate­ri­als of the trade. The main advances in print­ing ink tech­nol­o­gy have been the pro­gres­sive improve­ment of colours, var­nish­es, grind­ing meth­ods, etc.; the intro­duc­tion of out­stand­ing prop­er­ties in com­mon­ly used inks; and the dis­cov­ery of entire­ly new types of inks. These notes are intend­ed to give a few mod­ern lines,
    Blacks
    The aim of the ink mak­er is to pro­duce inks which can be used straight from the tin with­out hav­ing to be doped by the addi­tion of boiled oil, dri­ers or sim­i­lar mate­ri­als. A first-class black should, with­out incor­po­ra­tion of any oth­er mate­r­i­al, pos­sess the fol­low­ing prop­er­ties:
    High den­si­ty and bril­liance of colour.
    Suf­fi­cient soft­ness and free­dom from tack to pre­vent pluck­ing and pick­ing of the paper.
    Rapid dry­ing on the paper but slow dry­ing on the machine, so that the ink remains wet for 24 hours, or prefer­ably 50 hours, on the rollers.
    Such con­sis­ten­cy and tex­ture that it feeds well with­out hang­ing back in the duct, and does not fill up half-tones.
    Speed of pen­e­tra­tion so that the print does not set-off, even under the pres­sure of a con­sid­er­able pile of super­im­posed sheets.
    Quick hard set­ting, enabling back­ing up to be done soon after print­ing.
    Free­dom from spray, even on high-speed press­es.
    Applic­a­bil­i­ty to a wide vari­ety of dif­fer­ent papers.
    With regard to the last point, we all know that dif­fer­ent class­es of paper behave dif­fer­ent­ly with the same ink. It is easy to for­mu­late an ink which does not set off on one paper yet sets off marked­ly on anoth­er. Real­iz­ing that the print­er’s choice of paper is often lim­it­ed by prac­ti­cal con­sid­er­a­tions, the ink mak­er so for­mu­lates his stan­dard lines that they are usable on as many dif­fer­ent papers as pos­si­ble.
    The mod­ern intro­duc­tion of high-speed press­es has led to the mak­ing of spe­cial inks for these machines. An ink which has giv­en excel­lent results on a com­par­a­tive­ly slow machine may spray bad­ly when it is tried out on a fast-run­ning one.
    Dur­ing the past year or two, much atten­tion has been paid to improv­ing the set­ting of blacks and pre­vent­ing set-off. There are now obtain­able some new blacks, the phys­i­cal prop­er­ties of which are such that there is a very rapid and firm set on the paper, allow­ing of quick back­ing up, while set-off* is elim­i­nat­ed.
    Non-skin­ning Bronze Blues
    It is rarely indeed that the ink mak­er puts into his bronze blue inks any dri­ers such as cobalt, man­ganese or lead. This is because the bronze blue pig­ment is itself a pow­er­ful dri­er, and being, of course, present in very high pro­por­tion, caus­es rapid dry­ing and skin­ning.
    Expressed dif­fer­ent­ly, bronze blue, like cobalt, man­ganese and lead dri­ers, is a cat­a­lyst for the reac­tion between lin­seed oil var­nish and oxygen—that is, bronze blue is a sub­stance which increas­es the rate at which the lin­seed oil var­nish, which is present in the ink, com­bines with the oxy­gen in the air to pro­duce a dry film. Cat­a­lysts are used for quick­en­ing up many chem­i­cal process­es.
    When the print­er requires a bronze blue ink which will not skin on the rollers in, say, two days, the ink mak­er is faced with a prob­lem of a dif­fer­ent type from the usu­al prob­lem of dri­ers. It is, of course, impos­si­ble to reduce effec­tive­ly the bronze blue which is at once the pig­ment and the dri­er. Tiie prob­lem is best solved by using a sub­stance, known as a neg­a­tive cat­a­lyst,” which behaves in the oppo­site way to an ordi­nary cat­a­lyst; the neg­a­tive cat­a­lyst reduces the rate at which the ink skins. By using the right neg­a­tive cat­a­lyst in suit­able pro­por­tion (only a very lit­tle is required), it is pos­si­ble to pro­duce a bronze blue of bril­liant lus­tre which will not skin or dry on the rollers even in two days and yet will dry sat­is­fac­to­ri­ly on the paper.
    Coloured News Inks Although coloured news inks are by no means new, it is only in recent times that they have been used to any large extent for adver­tis­ing pur­pos­es. Good qual­i­ty coloured news inks, which work well and do not fill up even on long runs, are now obtain­able at a price suit­ed to news­pa­per work, and it is prob­a­ble that the near future will see a con­sid­er­able increase in the amount of coloured adver­tise­ments.
    Ani­line Inks and Syrups
    Ani­line inks are being wide­ly employed nowa­days with good results. These inks con­sist essen­tial­ly of dyes dis­solved in methy­lat­ed spir­it, while oth­er ingre­di­ents are added to impart fast­ness to water, bright­ness, etc., and to pre­vent exces­sive dry­ing on the rollers.
    Ani­line inks are much used in paper bag and sim­i­lar man­u­fac­ture. The dry­ing of the inks is main­ly depen­dent on the rate of absorp­tion and evap­o­ra­tion of the volatile spir­it, and since this is very fast, the print­ed sheet can pass direct­ly from the rub­ber stereo to be processed into the com­plet­ed bag.
    Gen­er­al­ly, a good ani­line ink will be found suit­able for most papers, but there are a few excep­tions. For print­ing on kraft paper, for instance, spe­cial ani­lines are gen­er­al­ly required in order to obtain the max­i­mum bright­ness of colour. Spe­cial sur­faces like tin­foil and cel­lo­phane also require spe­cial inks for best results.
    Where trans­port charges become con­sid­er­able, as is the case with export­ed inks, ani­line syrups may be used instead of ani­line inks. These syrups are so made that when one part of the syrup is mixed with two (some­times three) parts of methy­lat­ed spir­it, the result

    This arti­cle from the British Print­er, 1934 and writ­ten by J. D. Cohen, BSc, AIC

  • Type Fount Proportions

    Type Fount Proportions

    This arti­cle is from the British Print­er mag­a­zine of 1961.  The research was con­duct­ed for PATRA: The Print­ing and Allied Trades’ Research Asso­ci­a­tion.

    The pro­por­tions of char­ac­ters mak­ing up a fount of type should be such that by the time one char­ac­ter is exhaust­ed as lit­tle as pos­si­ble of the oth­ers remains in the case. A fur­ther require­ment is that any char­ac­ter in the fount has the same chance of being exhaust­ed first and still leave a near­ly emp­ty case. If this is achieved then the print­er will effect sav­ings in the amount of type stocked in the cas­es and also in the expen­sive reorder­ing of indi­vid­ual char­ac­ters to make up his defi­cien­cies. This arti­cle presents the results of the first sys­tem­at­ic study of type fount pro­por­tions and a new scheme is pro­posed which it is believed will ful­fil the above require­ments, as far as it is prac­ti­ca­ble.

    Such a study may seem a lit­tle belat­ed, but hand-set work still remains an impor­tant part of print­ing. It is esti­mat­ed, for exam­ple, that the fount schemes pro­posed in this arti­cle will effect at least a 10 per cent sav­ing of dead met­al in the case which to the indus­try rep­re­sents many thou­sands of tons of type met­al. Fur­ther­more, as the kind of work which is now hand-set has become some­what sta­bilised the fount pro­por­tions pro­posed should remain effec­tive for many years to come.

    The ori­gin of type fount pro­por­tions, even in recent times, is rather obscure and this seems large­ly because the respon­si­bil­i­ty for sup­ply is con­fined to rel­a­tive­ly few peo­ple. It is cer­tain, how­ev­er, that as ear­ly as the begin­ning of the six­teenth cen­tu­ry some account was being tak­en of the vari­a­tion in usage of the var­i­ous char­ac­ters since the most fre­quent­ly used char­ac­ters were placed at the front of the case. A more pos­i­tive exam­ple is giv­en by Mox­on’s low­er­case, which appeared in 1683, and which has remained vir­tu­al­ly unchanged to this day. The lay of this case is such that the vol­ume of the type com­part­ments is rough­ly pro­por­tion­al to the fre­quen­cy of usage.

    Some of the books on print­ing which were pro­duced in the nine­teenth cen­tu­ry con­tain tables of bills of founts, but unfor­tu­nate­ly they rarely men­tion how these pro­por­tions were deter­mined. It is true that the only sat­is­fac­to­ry way in which to arrive at suit­able pro­por­tions is to count the fre­quen­cy of occur­rence of char­ac­ters in a piece of work that has been hand-set. Pre­sum­ably most of them were deter­mined in this way but with­out a knowl­edge of the nature of the work cho­sen, the valid­i­ty of the results can­not be judged. One of the few records that do exist of a count illus­trates this point. The count, which is attrib­uted to the Caslon Foundry, was made by enu­mer­at­ing the num­ber of let­ters used in set­ting a lengthy debate in the House of Com­mons where it was assumed that the best and most com­pre­hen­sive Eng­lish would be spo­ken’. The valid­i­ty of this count can be ques­tioned on two points, first­ly that the fre­quen­cies of the spo­ken word vary from the writ­ten word and, sec­ond­ly, the sam­ple was not typ­i­cal of the Eng­lish being set at that time.

    It is record­ed that the pro­por­tions of almost every type­founder failed lam­en­ta­bly to give sat­is­fac­tion’. Such fail­ures seem part­ly due to the use of biased sam­ples on which to base the pro­por­tions and part­ly to the fact that, at a time when all the work was hand-set, small vari­a­tions in the style of the work would have a large effect on the char­ac­ters required. The work of Dick­ens, for exam­ple, would quick­ly emp­ty the case of vow­els, where­as Macaulay’s style had a sim­i­lar effect on con­so­nants. No fount pro­por­tion scheme could rea­son­ably be expect­ed to cope with that type of vari­a­tion.

    At the present time the copy that is hand-set from roman and ital­ic types may be broad­ly classed as job­bing work, and it gives rise to rather dif­fer­ent prob­lems than those fac­ing the old type­founder. This change in the char­ac­ter of the work, which was brought about by the wide­spread use of type­set­ting machines, has led type­founders to mod­i­fy the old pro­por­tions by expe­ri­ence’ in order to meet the needs of the cus­tomer’. It might be expect­ed that since most type­founders are cater­ing for the same type of work their expe­ri­ence would have led them to the same pro­por­tions. In fact, for some char­ac­ters there are wide vari­a­tions between the var­i­ous pro­por­tion schemes in use today.

    It should be not­ed at this stage that the present work was not under­tak­en as an aca­d­e­m­ic exer­cise but the need for it was sug­gest­ed by a type­founder. Sub­se­quent enquiries amongst print­ers con­firmed this and their main com­plaint was that cur­rent­ly used pro­por­tions gave rise to short­ages of the most com­mon­ly used char­ac­ters (in par­tic­u­lar, e, r, s and t) while the least used char­ac­ters built-up in the case. The rea­son for this hap­pen­ing will become appar­ent lat­er.

    Before the main results are dis­cussed it is essen­tial to realise the main types of vari­a­tion that will affect the type pro­por­tions required to set a piece of job­bing work. There are three of these:

    1. Work-type Vari­a­tion
      Hol­i­day brochures pro­vide a good exam­ple of work-type vari­a­tion since in these a con­sis­tent part of the hand-set work are the names of hotels. Con­se­quent­ly, the fre­quent occur­rence of the word HOTEL’ means that a high­er pro­por­tion of the char­ac­ters H, O, T, E, and L will be required than is nor­mal­ly found. This type of vari­a­tion is inher­ent in the work.
    2. Job Vari­a­tion
      A parish mag­a­zine, for exam­ple, nor­mal­ly con­tains a large num­ber of dis­played adver­tise­ments for the par­tic­u­lar town it serves. The fre­quent occur­rence of the town’s name will again upset the nor­mal pro­por­tions of char­ac­ters. This vari­a­tion is inher­ent in the job, rather than the type of work, as the char­ac­ters most seri­ous­ly affect­ed will vary from town to town, ie from job to job. Fur­ther­more, with this type of vari­a­tion if a num­ber of such jobs are under­tak­en for dif­fer­ent towns then the like­li­hood of upset­ting the nor­mal pro­por­tions is reduced. On the oth­er hand, with work-type vari­a­tion the pro­por­tions become more seri­ous­ly affect­ed as more jobs of the same type are under­tak­en.
    3. Sam­pling Vari­a­tion
      The two types of vari­a­tion denned above will upset any fount pro­por­tion scheme and this fact must be recog­nised by print­ers and catered for by sep­a­rate­ly order­ing more of the char­ac­ters affect­ed. There is, how­ev­er, a third type of vari­a­tion which is always present and must be tak­en into account to the fount pro­por­tion scheme itself, This is called sam­pling’ vari­a­tion and because of its impor­tance it is dis­cussed in detail.

    The foun­da­tion of any type fount scheme is that char­ac­ters occur in fixed pro­por­tions, but the essen­tial point is that the pro­por­tions can only be con­sid­ered as fixed for a large num­ber of char­ac­ters.

    To illus­trate this state­ment, sup­pose that a piece of set­ting con­sists of 100 lines and each line has 50 low­er­case let­ters. If there is no work-type or job vari­a­tion present then about 200 d’s would be used in the set­ting. This is 4 per cent of the low­er­case alpha­bet which is the nor­mal pro­por­tion for d, that is, what is expect­ed to occur in a large sam­ple of char­ac­ters such as the 5000 used in this sup­posed set­ting. If each of the 100 lines is now tak­en sep­a­rate­ly as small sam­ples of 50 char­ac­ters then there will not be 4 per cent, or two d’s in each line. There will be a num­ber of lines that do not con­tain any d’s and it is quite pos­si­ble that one line will con­tain as many as sev­en or eight. This illus­trates sam­pling vari­a­tion and shows that if only small amounts are set then a wide vari­a­tion in usage is expect­ed.

    Refer­ring still to the above exam­ple, if the occur­rence of a d‑and the same can be argued for any char­ac­ter — is a pure­ly ran­dom process then the prob­a­bil­i­ty of obtain­ing 0, 1, 2 etc of them in any of the lines is giv­en by the 1st, 2nd, 3rd … terms of the bino­mi­al expan­sion (0.04+0.96)50. The results of this cal­cu­la­tion are shown graph­i­cal­ly by the full line in Fig­ure 1, where it can be seen that with 100 lines some 13 would be expect­ed to have no d’s, 27 have one d, 27 have two d’s and so on. The dot­ted line in Fig­ure 1 shows the prob­a­bil­i­ties for sam­ples of 25 char­ac­ters, and the curve becomes more dis­tort­ed and shows that the chance of get­ting a wider vari­a­tion from the expect­ed one d increas­es. Con­verse­ly, as the size of the sam­ple is increased, so the curve becomes more sym­met­ri­cal with its peak over the true pro­por­tion and the spread of the curve (the vari­a­tion) get­ting small­er. A fur­ther fact, which is not Illus­trat­ed here, is that a char­ac­ter such as e, which has a high­er pro­por­tion­al occur­rence (13.4 per cent) will have a tow­er per­cent­age vari­a­tion for the same sam­ple size. The val­ue of these cal­cu­la­tions to this study is that for a fount of a giv­en size the num­ber that is like­ly to occur for each be found.

    The cal­cu­la­tions are based, how­ev­er, on the assump­tion that the occur­rence of a char­ac­ter is a ran­dom process that is, its occur­rence is inde­pen­dent of the char­ac­ters pre­vi­ous­ly set. This is clear­ly not the case when it is known that for 58 per cent of the times that d occurs r does so after n or e and that it does not nor­mal­ly fol­low let­ters such as c, h and j. In order to deter­mine how this depen­den­cy would affect the cal­cu­la­tions, a num­ber of tests were car­ried out and it was found that for the present pur­pose of type fount pro­por­tions, the effect would be neg­li­gi­ble. This means that the sta­tis­ti­cal mod­el out­lined above can be used to pre­dict what vari­a­tion is expect­ed to occur under var­i­ous cir­cum­stances and so place type fount pro­por­tions on a more pre­cise basis than has hith­er­to been pos­si­ble.

    As men­tioned ear­li­er, the only way is which it is pos­si­ble to deter­mine the pro­por­tion of char­ac­ters is by count­ing their occur­rence and using this to pre­dict future require­ments. It is impor­tant when mak­ing a count to select sam­ples of work which tru­ly rep­re­sent the type of work being hand-set at the present time and so reduce the num­ber of char­ac­ters to be count­ed to a rea­son­able lev­el.

    To devel­op the new scheme sam­ples of hand-set work were obtained from twen­ty-five ran­dom­ly-select­ed print­ing firms, which includ­ed job­bing print­ers, mag­a­zine print­ers and a provin­cial news­pa­per. In all, 92,000 char­ac­ters (exclud­ing spaces) were count­ed from 350 sep­a­rate jobs. In order that job and work-type vari­a­tions could be exam­ined more close­ly these items of work were regrouped into eighty-eight class­es con­tain­ing jobs of a very sim­i­lar nature and fur­ther regrouped into fif­teen broad class­es of work. These fif­teen work-type groups includ­ed forms, enter­tain­ment hand­bills, and a vari­ety of dis­played adver­tise­ments spe­cif­ic to var­i­ous sub­jects such as motor­ing, office equip­ment, chem­i­cal engi­neer­ing and shop ser­vices. The char­ac­ters were also sub­di­vid­ed into com­po­si­tion and dis­play sizes, the lat­ter being char­ac­ters of 14 pt and above.

    Clear­ly, if an exam­i­na­tion of the var­i­ous items of work showed great dif­fer­ences from one anoth­er, there would be no val­ue in alter­ing the cur­rent­ly used pro­por­tions. It so hap­pened, how­ev­er, that sam­pling vari­a­tion was the vari­a­tion of great­est impor­tance. Oth­er types of vari­a­tion did occur infre­quent­ly as expect­ed: for exam­ple, with low­er­case a, two jobs that were found to show oth­er vari­a­tions were a danc­ing acad­e­my prospec­tus and a bal­let pro­gramme. Some vari­a­tions were not quite so obvi­ous, such as the work-type vari­a­tion shown by low­er­case b which was not found so fre­quent­ly as expect­ed in dis­played adver­tise­ments for shop ser­vices. The gen­er­al remits of this work do show, how­ev­er, that a type fount scheme which would suit most print­ers is entire­ly prac­ti­ca­ble.

    The basis of the new scheme is the sta­tis­ti­cal mod­el pre­vi­ous­ly dis­cussed. Sim­ply inter­pret­ed this means that the less fre­quent­ly used char­ac­ters need to be strength­ened more than the com­mon­ly occult­ing ones and the exact amount of strength­en­ing can be deter­mined math­e­mat­i­cal­ly. The cur­rent­ly used schemes also strength­en the less fre­quent­ly used char­ac­ters but they do so irre­spec­tive of the size of the fount and this pro­duces excess­es of these char­ac­ters. By real­is­ing that when the size of the fount is increased the pro­por­tions should get clos­er to the actu­al pro­por­tions found from the count­ing the scheme pro­posed here will meet require­ments of type fount pro­por­tions out­lined in the intro­duc­tion. An abridged ver­sion of the new founts, togeth­er with the actu­al pro­por­tions found is giv­en in Table I for both low­er­case and cap­i­tals. Table II shows the actu­al pro­por­tions found for fig­ures and points.

    LOWERCASE FOUNTS
    Sort % Found Size of Fount
    a 8.1 10 20 30 40 50 75 100 150
    b 1.3 3 5 7 9 11 16 21 29
    c 3.4 5 10 15 19 24 36 48 67
    d 4.1 6 12 17 22 28 41 56 80
    e 13.4 15 30 46 63 80 119 160 236
    f 1.5 3 5 8 10 12 18 23 33
    g 1.7 3 6 9 11 13 20 26 37
    h 3.3 5 10 15 19 23 34 46 67
    i 6.7 9 18 26 35 43 62 86 125
    j 0.1 2 4 5 6 6 6 6 6
    k 0.7 3 5 6 6 7 10 13 18
    l 4.9 7 14 20 26 32 48 65 93
    m 2.3 4 8 11 14 17 25 34 48
    n 7.7 10 20 29 38 48 71 96 141
    o 8.3 10 20 30 40 50 75 102 151
    p 2.3 4 8 11 14 17 24 34 47
    q 0.2 3 4 5 6 6 6 6 8
    r 7.9 10 20 29 39 49 72 98 146
    s 6.9 9 18 25 34 43 62 86 124
    t 7.7 10 20 29 39 49 71 98 142
    u 3.1 5 10 14 18 22 32 44 62
    v 0.9 3 5 6 7 8 11 15 22
    w 1 3 5 6 8 9 12 17 24
    x 0.2 3 4 5 6 6 6 6 9
    y 2 4 8 10 13 16 22 31 46
    z 0.1 2 3 4 5 6 6 6 6
    ff 0.1 2 3 4 4 6 6 6 6
    fi 0.1 2 3 4 4 6 6 6 6
    fl 0.05 2 3 3 4 5 6 6 6
    ffi 0.05 2 3 3 4 5 6 6 6
    ffl 0 1 2 2 3 5 6 6 6
    CAP FOUNTS
    Sort % Found Size of Fount
    A 7.5 10 20 30 40 50 75 100 150
    B 2 4 7 10 14 17 25 33 46
    C 5 7 14 21 28 35 53 70 104
    D 4.4 7 13 19 26 32 45 65 90
    E 1.1 13 26 38 52 65 98 134 188
    F 2.1 4 8 11 14 17 26 34 44
    G 2.3 4 8 12 16 19 27 36 51
    H 3.3 6 11 15 20 25 37 50 70
    I 5.9 8 16 24 32 40 60 81 117
    J 0.5 3 4 6 7 7 8 11 16
    K 0.7 3 5 7 8 8 11 14 20
    L 5.3 8 15 22 30 37 55 74 109
    M 3.4 6 11 16 21 26 38 50 72
    N 6.9 9 19 28 38 47 69 94 136
    O 6.7 8 18 27 36 45 68 92 132
    P 3.2 5 10 15 20 24 36 48 68
    Q 0.3 3 4 6 6 6 6 7 10
    R 7.3 10 20 29 39 49 72 98 145
    S 8 10 21 31 42 53 79 107 161
    T 7.9 10 21 31 42 53 79 107 161
    U 2.4 4 8 12 16 19 28 37 53
    V 1.1 3 5 7 9 11 16 20 25
    W 2.1 4 8 11 14 17 25 34 44
    X 0.2 3 4 5 6 6 6 6 9
    Y 1.5 3 6 8 12 14 19 26 38
    Z 0.1 3 4 5 6 6 6 6 6
    ACTUAL PROPORTIONS OF FIGURES AND POINTS
    Fig­ures, etc. % Points, etc. %
    1 8.4 . 29
    2 4.6 , 14.5
    3 3.5 : 3.3
    4 2.7 ; 0.2
    5 3.4 3.2
    6 3.2 - 3.9
    7 2.2 ? 0.3
    8 1.8 ! 0.2
    9 3.3 & 1.4
    0 6.4 ( 3.4
    � 1.1 Total 100

    Table I is based on com­po­si­tion sizes but com­par­i­son of these pro­por­tions with those obtained for dis­play sizes showed that there was lit­tle jus­ti­fi­ca­tion for sug­gest­ing sep­a­rate pro­por­tions for the two groups. The main dif­fer­ences found were that cap­i­tals I and L occurred rather more fre­quent­ly in the dis­play sizes.

    The quan­ti­ty of type ordered from a type­founder varies con­sid­er­ably; it may be a five-pound fount for a spe­cial job or it may be suf­fi­cient to fill a case. So that the print­er will get the max­i­mum ben­e­fit from the new founts two pro­por­tion tables have been pre­pared. For orders less than the equiv­a­lent of 160a or I60A, which con­tain few­er than 2,000 char­ac­ters a pre­lim­i­nary fount’ is used which is the weight­ed sys­tem shown in Table I. For orders exceed­ing this quan­ti­ty, and where the effects of sam­pling vari­a­tion become small, the type is sup­plied from a con­tin­u­a­tion fount’ in which the num­ber of char­ac­ters are in direct pro­por­tion to those found from the count­ing. This refine­ment, which has again been devised to give a more uni­form usage from the case, will not com­pli­cate the order­ing of type from the point of view of the print­er.

    Anoth­er aspect stud­ied was the ratio of the num­ber of low­er­case char­ac­ters to the num­ber of cap­i­tals in a com­plete fount. At present a 5lb fount of job­bing type con­tains 2½ lb of low­er­case and 2½ lb of cap­i­tals, fig­ures and points. This weight rela­tion­ship auto­mat­i­cal­ly fix­es the numer­i­cal ratio and those in cur­rent use have about 1.9 low­er­case for every cap­i­tal. It was found, how­ev­er, that a ratio of 1.5 low­er­case to one cap­i­tal would bet­ter suit the major­i­ty of print­ers and to achieve this future founts would have to be made up of 2¼ lb of low­er­case and 2¾ lb of cap­i­tals, fig­ures and points. Oth­er ratios incor­po­rat­ed into the new scheme are that the most suit­able ratio for cap­i­tals to fig­ures and points is 3.8 to 1 and that of points to fig­ures is 1.5 to 1. The lat­ter two ratios do vary con­sid­er­ably with the size of the type and those sug­gest­ed here are again the ones that would suit most print­ers.

    There were many oth­er aspects of this work which had to be dis­cussed and stud­ied but because of their lim­it­ed inter­est they are not men­tioned here. Nev­er­the­less they were impor­tant in order to make the new scheme eas­i­ly work­able for the type­founder and also accept­able to the type user.

    As quite a few firms car­ry out hand-set­ting and cor­rect­ing of machine-set work from the same case it was nec­es­sary to make a fur­ther study in order to deter­mine whether the fount scheme above would be quick­ly upset by such a prac­tice. In oth­er words, are the pro­por­tions obtained for hand-set­ting founts suit­able for cor­rec­tions founts? Eleven main rea­sons for cor­rec­tions were list­ed and while some of these (bat­ters, miss­ing words, wrong fount, etc) would require pro­por­tions almost iden­ti­cal to those found for job­bing work, there were oth­ers which depend­ed on the human ele­ment and machine capa­bil­i­ties. Because of the lat­ter, no pre­cise pro­por­tions are pos­si­ble and the require­ments will vary from firm to firm accord­ing to the abil­i­ty of the oper­a­tors and the type of work being pro­duced. One major require­ment of a cor­rec­tions fount is that it must be of such a size as to with­stand sud­den demands made upon it as are called for by repeat­ed mis-spelling of a word, a dirty matrix, or the replace­ment of one of the alpha­bet in the die-case by a more fre­quent­ly occur­ring sort. If this require­ment is met, then, from counts of the fre­quen­cy of occur­rence of char­ac­ters requir­ing cor­rec­tions the hand-set scheme pro­duced here will prove to be quite sat­is­fac­to­ry under most cir­cum­stances.

    For sug­gest­ing the prob­lem and pro­vid­ing ini­tial evi­dence of its exis­tence, I am grate­ful to Messrs San­type Lim­it­ed. I wish espe­cial­ly to thank their for­mer Man­ag­ing Direc­tor, H. F. W. Cory, for his valu­able help on the prac­ti­cal prob­lems asso­ci­at­ed with the work.

    This arti­cle from the British Print­er mag­a­zine dur­ing 1961