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TYPOGRAPHIC TECHNICAL SERIES FOR APPRENTICES—PART VI, NO. 36

COMPOUND WORDS

A STUDY OF THE PRINCIPLES
OF COMPOUNDING, THE COMPONENTS
OF COMPOUNDS, AND THE
USE OF THE HYPHEN

BY

FREDERICK W. HAMILTON, LL. D.

EDUCATIONAL DIRECTOR
UNITED TYPOTHETÆ OF AMERICA.

PUBLISHED BY THE COMMITTEE ON EDUCATION
UNITED TYPOTHETAE OF AMERICA
1918

Copyright, 1918
United Typography Association
Chicago, IL

PREFACE

The subject of compounds is one of the most difficult of the matters relating to correct literary composition. The difficulty arises from the fact that usage, especially in the matter of the presence or absence of the hyphen, is not clearly settled. Progressive tendencies are at work and there is great difference of usage, even among authorities of the first rank, with regard to many compounds in common use.

The topic of compounds is one of the toughest aspects of proper writing. The challenge comes from the fact that usage, particularly concerning the presence or absence of the hyphen, isn’t straightforward. There are evolving trends, and there’s a significant variation in usage, even among top authorities, regarding many commonly used compounds.

An attempt is made to show first the general character of the problems involved. Then follows a discussion of the general principles of compounding. The general rules for the formation of compounds are stated and briefly discussed. The various components of compounds are fully analyzed and tabulated. The best modern usage in the matter of the employment of the hyphen is set forth in a series of rules. The whole is concluded by practical advice to the compositor as to the use of the rules in the actual work of the office.

An attempt is made to show first the general character of the problems involved. Then follows a discussion of the general principles of compounding. The general rules for forming compounds are stated and briefly discussed. The various components of compounds are fully analyzed and listed. The best modern usage regarding the use of the hyphen is outlined in a series of rules. The whole is concluded with practical advice for the compositor on how to apply the rules in the actual work of the office.

		page
Intro		1
Guiding Principles		4
Accent in Combining		5
Compound Formation		6
Parts of Compounds		7
Rules for Using the Hyphen		9
Additional Reading		16
Review Questions		17

[Pg 1]

COMPOUND WORDS

INTRODUCTION

The English language contains a great many words and phrases which are made up of two or more words combined or related in such a way as to form a new verbal phrase having a distinct meaning of its own and differing in meaning from the sum of the component words taken singly. Income and outgo, for example, have quite definite meanings related, it is true, to come and go and to in and out, but sharply differentiated from those words in their ordinary and general signification. We use these compound words and phrases so commonly that we never stop to think how numerous they are, or how frequently new ones are coined. Any living language is constantly growing and developing new forms. New objects have to be named, new sensations expressed, new experiences described.

The English language has a lot of words and phrases that are made up of two or more words combined in a way that creates a new phrase with its own distinct meaning, which is different from simply putting the individual words together. For example, income and outgo have clear meanings that are related to come and go, as well as in and out, but they are distinctly different from those words in their usual meanings. We use these compound words and phrases so often that we rarely stop to consider how many there are or how frequently new ones are created. Any living language is always evolving and developing new forms. New things need names, new feelings need to be expressed, and new experiences need to be described.

Sometimes these words are mere aggregations like automobile, monotype, sidewalk, policeman and the like. Sometimes, indeed very often, they are short cuts. A hatbox is a box for carrying a hat, a red-haired man is a man with red hair. A bookcase is a case to contain books, etc.

Sometimes these words are just combinations like automobile, monotype, sidewalk, policeman, and so on. Sometimes, and quite often, they're shortcuts. A hatbox is a box for carrying a hat, a red-haired man is a man with red hair. A bookcase is a case to hold books, etc.

Sometimes the phrase consists of two or more separate words, such as well known or nicely kept. Sometimes it consists of words joined by a hyphen, such as boarding-house, sleeping-car. Sometimes it consists of a single word formed by amalgamating or running together the components, such as penholder, nevertheless.

Sometimes the phrase is made up of two or more separate words, like well known or nicely kept. Other times, it consists of words connected by a hyphen, such as boarding-house or sleeping-car. It can also be a single word created by combining the parts, like penholder or nevertheless.

In which of these forms shall we write the phrase we speak so easily? How shall we shape the new word we have just coined? Which of these three forms shall we use, and why? Ordinarily we look for the answer to such questions from three sources, historical development, the past of the language; some logical principle of general application; or some recognized standard of authority.[Pg 2] Unfortunately we get little help from either of these sources in this special difficulty.

In which of these forms should we write the phrase we say so easily? How should we shape the new word we've just created? Which of these three forms should we use, and why? Usually, we look for answers to these questions from three sources: historical development, the language's past; a logical principle that generally applies; or a recognized standard of authority.[Pg 2] Unfortunately, we receive little assistance from any of these sources in this particular challenge.

The history of the language is a history of constant change. The Anglo-Saxon tongue was full of compounds, but the hyphen was an unknown device to those who spoke it. The English of Chaucer, the period when our new-born English tongue was differentiated from those which contributed to its composition, is full of compounds, and the compounds were generally written with a hyphen. Shakespeare used many compound words and phrases some of which sound strange, if not uncouth, to modern ears, but used the hyphen much less than Chaucer. In modern times the tendency has been and is to drop the hyphen. The more general progression seems to be (1) two words, (2) two words hyphenated, (3) two words run together into one. Sometimes, however, the hyphen drops, leaving two words separated. That there is constant change, and that the change is progressing consistently in the direction of eliminating the hyphen is fairly clear. This, however, does not help us much. At what stage of the process are we with regard to any given word? Which form of the process is operating in any given case?

The history of the language is a story of constant change. The Anglo-Saxon language was full of compound words, but the hyphen was an unknown tool to those who spoke it. The English of Chaucer, the time when our newly developed English language was set apart from those that influenced it, is full of compounds, which were generally written with a hyphen. Shakespeare used many compound words and phrases, some of which sound odd, if not awkward, to modern ears, but he used the hyphen much less than Chaucer did. In modern times, the trend has been and continues to be to drop the hyphen. The general progression seems to be (1) two separate words, (2) two words hyphenated, (3) two words combined into one. Sometimes, however, the hyphen is dropped, leaving the two words separate. It's clear that there is constant change and that the change is consistently moving toward eliminating the hyphen. However, this doesn't help us much. At what stage of the process are we with any given word? Which form of the process is happening in each case?

There are no laws or principles of universal application on which we may build a consistent system of practice. Certain general principles have been laid down and will be here set forth. While they are helpful to the understanding of the subject they are not sufficiently universal to serve as practical guides in all cases. In any event they need to be supplemented by careful study of the rules for the use of the hyphen, by careful study of the best usage in particular cases, and by thorough knowledge of the style of each particular office, as will be pointed out later. Authorities and usage differ widely, and it is often difficult to say that a particular form is right or wrong.

There are no laws or principles that universally apply to help us create a consistent system of practice. Some general principles have been established and will be presented here. While they aid in understanding the topic, they aren't universal enough to act as practical guides in every situation. In any case, they need to be complemented by a thorough study of hyphen usage, by examining the best practices in specific cases, and by a deep understanding of the style of each particular office, as will be discussed later. Different authorities and usages vary widely, and it can often be challenging to determine whether a specific form is correct or incorrect.

There is no recognized standard authority. The dictionaries do not agree with each other and are not always consistent with themselves. They may always write a certain word in a certain way but they may write another word to all appearance exactly analogous to the first in another[Pg 3] way. For example Worcester has brickwork and brasswork, but wood-work and iron-work. Webster, on the other hand, has woodwork and brick-work.

There is no established standard authority. Dictionaries don't agree with one another and aren’t always consistent within themselves. They might consistently write one word a certain way, but they might spell another word that seems very similar in a completely different way. For example, Worcester lists brickwork and brasswork, but uses wood-work and iron-work. Webster, on the other hand, uses woodwork and brick-work.

The best that the printer can do is to adopt a set of rules or style of his own and stick to it consistently. Here and there a generally accepted change, like the dropping of the hyphen from tomorrow and today will force itself upon him, but for the most part he may stick to his style. Of course, the author, if he has a marked preference, must be permitted to use his own methods of compounding except in magazine publications and the like. In such cases, when the author’s work is to appear in the same volume with that of other writers, the style of the printing office must rule and the individual contributors must bow to it.

The best that the printer can do is adopt a consistent set of rules or style. Occasionally, a widely accepted change, like dropping the hyphen from tomorrow and today, will come into play, but for the most part, he can stick to his style. Of course, if the author has a strong preference, they should be allowed to use their own methods of combining terms, except in magazine publications and similar situations. In these cases, when the author's work is published alongside others, the printing office's style has to take precedence, and individual contributors must comply.

[Pg 4]

GENERAL PRINCIPLES

Three general principles are laid down by Mr. F. Horace Teall which will be found useful, though they must be supplemented in practice by more specific rules which will be given later. They are as follows:

Three general principles set out by Mr. F. Horace Teall will be helpful, though they need to be supplemented in practice with more specific guidelines that will be provided later. They are:

I All words should be separate when used in regular grammatical relations and construction unless they are jointly applied in some arbitrary way.

I All words should be separate when used in normal grammatical relations and constructions unless they are used together in some arbitrary manner.

An iron fence means a fence made of iron. The meaning and construction are normal and the words are not compounded.

An iron fence means a fence made of iron. The meaning and construction are straightforward, and the words are not combined.

An iron-saw means a saw for cutting iron. The meaning is not the same as iron saw which would mean a saw made of iron. The hyphenated compound indicates the special meaning of the words used in this combination.

An iron-saw refers to a saw that cuts iron. This is different from iron saw, which would mean a saw made of iron. The hyphenated compound highlights the specific meaning of the words used in this combination.

Ironwood is a specific name applied to a certain kind of very hard wood. Hence, it becomes a single word compounded but without a hyphen. Either of the other forms would be ambiguous or impossible in meaning.

Ironwood is a specific term used for a type of very hard wood. So, it’s a single word combined without a hyphen. The other forms would be unclear or have no meaning.

II Abnormal associations of words generally indicate unification in sense and hence compounding in form.

II Unusual combinations of words usually signal a connection in meaning and therefore a merging in form.

A sleeping man is a phrase in which the words are associated normally. The man sleeps.

A sleeping man is a phrase where the words are typically connected. The man is asleep.

A sleeping-car is a phrase in which the words are associated abnormally. The car does not sleep. It is a specially constructed car in which the passengers may sleep comfortably.

A sleeping-car is a term where the words are linked in an unusual way. The car itself doesn’t sleep. It’s a specially designed car where passengers can sleep comfortably.

A king fisher might be a very skilful fisherman. A kingfisher is a kind of bird. Here again we have an abnormal association of words and as the compound word is the name of a specific sort of bird there is no[Pg 5] hyphen. A king-fisher, if it meant anything, would probably mean one who fished for kings, as a pearl-diver is one who dives for pearls.

A king fisher could be a really skilled fisherman. A kingfisher is a type of bird. Here, we see an unusual combination of words, and since the compound word is the name of a specific bird, there's no[Pg 5] hyphen. A king-fisher, if it had any meaning, would likely refer to someone who fished for kings, just like a pearl-diver is someone who dives for pearls.

III Conversely, no expression in the language should ever be changed from two or more words into one (either hyphenated or solid) without change of sense.

III On the other hand, no phrase in the language should ever be altered from two or more words into one (either hyphenated or solid) without changing its meaning.

Saw trimmer is not compounded because there is no change in the commonly accepted sense of either word.

Saw trimmer is not combined because there is no change in the commonly accepted meaning of either word.

Color work is not compounded because the word color, by usage common in English, has the force of an adjective, and the words are used in their accepted sense. In other languages it would be differently expressed, for example, in French it would be oeuvre, or imprimerie en couleur, work, or, printing in color.

Color work is not combined because the word color, as commonly used in English, acts as an adjective, and the words are used in their understood meaning. In other languages, it would be expressed differently; for example, in French it would be oeuvre, or imprimerie en couleur, work, or printing in color.

Presswork is compounded because it has a special and specific meaning. Good or bad presswork is a good or bad result of work done on a press.

Presswork is complicated because it has a particular and precise meaning. Good or bad presswork reflects a good or bad outcome from the work carried out on a press.

Here as everywhere in printing the great purpose is to secure plainness and intelligibility. Print is made to read. Anything which obscures the sense, or makes the passage hard to read is wrong. Anything which clears up the sense and makes the passage easy to read and capable of only one interpretation is right.

Here as everywhere in printing, the main goal is to ensure clarity and understanding. Print is meant to be read. Anything that confuses the meaning or makes the text difficult to read is not acceptable. Anything that clarifies the meaning and makes the text easy to read, allowing for only one interpretation, is correct.

INFLUENCE OF ACCENT IN COMPOUNDING

Some writers lay much stress on the influence of accent in the formation of compounds while others ignore it entirely. Accent undoubtedly has some influence and the theory may be easily and intelligibly expressed. It ought to be understood, but it will not be found an entirely safe guide. Usage has modified the results of compounding in many cases in ways which do not lend themselves to logical explanation and classification.

Some writers place a lot of importance on the role of accent in forming compounds, while others completely disregard it. Accent certainly has some effect, and the theory can be explained clearly and understandably. It should be recognized, but it won't serve as a completely reliable guide. Usage has changed the outcomes of compounding in many instances in ways that don’t always fit neatly into logical explanations and classifications.

The general principle as stated by Mr. Teall is as follows:

The general principle stated by Mr. Teall is:

When each part of the compound is accented, use the hyphen; laughter-loving.

When each part of the compound is emphasized, use the hyphen; laughter-loving.

[Pg 6]When only one part is accented, omit the hyphen; many sided.

[Pg 6]When only one part is emphasized, skip the hyphen; many sided.

When the accent is changed, print the compound solid; broadsword. This follows the general rule of accenting the first syllable in English words.

When the accent shifts, print the compound solid; broadsword. This follows the general rule of emphasizing the first syllable in English words.

RULES FOR THE FORMATION OF COMPOUNDS

I Two nouns used together as a name form a compound noun unless:

I Two nouns used together as a name create a compound noun unless:

(a) The first is used in a descriptive or attributive sense, that is, is really an adjective, or

(a) The first is used in a descriptive or attributive way, meaning it's actually an adjective, or

(b) The two are in apposition.

Various uses of the noun as an adjective, that is, in some qualifying or attributive sense are when the noun conveys the sense of:

Various uses of a noun as an adjective, meaning in some qualifying or attributive way, occur when the noun conveys the sense of:

1. “Made of;” leather belt, steel furniture.

“Made of;” leather belt, steel furniture.

2. “Having the shape, character, or quality of;” diamond pane, iron ration, bull calf.

3. “Pertaining to, suitable for, representing;” office desk, labor union.

3. “Related to, appropriate for, symbolizing;” office desk, labor union.

4. “Characterized by;” motor drive.

4. "Defined by;" motor drive.

5. “Situated in, and the like;” ocean current, city life.

5. “Located in, and similar things;” ocean current, city life.

6. “Supporting or advocating;” union man, Bryan voter.

6. “Supporting or advocating;” union member, Bryan voter.

7. “Existing in or coming from;” Yellowstone geyser, California lemon.

8. “Originated or made by, named for;” Gordon Press, Harvard College.

8. “Created or named after;” Gordon Press, Harvard College.

Placing the two nouns in apposition is much the same as using the first as an adjective.

Placing the two nouns next to each other is basically the same as using the first one as an adjective.

Such compounds are generally written as two words without the hyphen, but see specific rules for use of hyphens.

Such compounds are usually written as two words without a hyphen, but check specific rules for using hyphens.

II Every name apparently composed of a plain noun and a noun of agent or verbal noun, but really conveying[Pg 7] the sense of a phrase with suffix er, or, or ing, should be treated as a compound; roller distribution.

II Every name that seems to be made up of a simple noun and a noun that indicates an agent or a verbal noun, but actually carries[Pg 7] the meaning of a phrase with the suffixes er, or, or ing, should be considered a compound; roller distribution.

III Possessive phrases used as specific names (generally plants) are treated as compounds.

III Phrases that show possession and act as specific names (usually for plants) are considered compounds.

They are hyphenated unless very common, in which case they are closed up; crane’s-bill, ratsbane.

They are hyphenated unless they are very common, in which case they are written as one word; crane’s-bill, ratsbane.

IV Any phrase used as a specific name in an arbitrary application not strictly figurative is written as a compound; blueberry, red-coat, forget-me-not.

IV Any phrase used as a specific name in a general application that's not strictly figurative is written as a compound; blueberry, red-coat, forget-me-not.

V Any pair of words used as one name of which the second is a noun but the first not really an adjective should be written as a compound; foster-brother, down-town, after-consideration.

V Any pair of words used as a single name, where the second is a noun but the first isn't truly an adjective, should be written as a compound; foster-brother, downtown, after consideration.

As elsewhere the use of the hyphen depends largely in the familiarity of the phrase; spoilsport, pickpocket.

As in other places, the use of the hyphen mostly depends on how familiar the phrase is; spoilsport, pickpocket.

VI Any two words other than nouns should be treated as a compound, generally solid, when arbitrarily associated as a name; standpoint, outlook.

VI Any two words that aren't nouns should be considered a compound, usually solid, when they are linked as a name; standpoint, outlook.

VII A name or an adjective made by adding a suffix to a proper name compounded of two words should be treated as a compound with a hyphen; East-Indian, New-Yorker. If the name is not inflected this rule does not apply; East India Company, New York man.

VII A name or an adjective created by adding a suffix to a proper name made up of two words should be treated as a compound with a hyphen; East-Indian, New-Yorker. If the name isn’t transformed this rule doesn’t apply; East India Company, New York man.

VIII Any pair or series of words arbitrarily associated in a joint sense different from their sense when used separately, should be compounded; workman-like, warlike.

VIII Any group of words that are linked together in a way that has a different meaning than when used separately should be combined; workmanlike, warlike.

COMPONENTS OF COMPOUNDS

Compounds having the force of nouns may be made up in several ways.

Compounds that function as nouns can be formed in various ways.

1. Two nouns used in other than their natural signification; claw-hammer.

1. Two nouns used in a way that isn't their usual meaning; claw-hammer.

2. A noun and an adjective used in other than their natural signification; great-uncle, dry-goods.

2. A noun and an adjective used in a way that isn't their usual meaning; great-uncle, dry-goods.

3. A noun and an adverb; touch-down, holder-forth.

3. A noun and an adverb; touchdown, holder-forth.

[Pg 8]4. A noun and an adverb; down-draft, flare-back.

5. A noun and a verb; know-nothing, draw-bar.

6. A noun and a preposition; between-decks.

7. Two adjectives; high-low, wide-awake.

7. Two adjectives: high-low, wide-awake.

8. Two verbs; make-believe.

Two verbs; make-believe.

9. A verb and an adverb; cut-off, break-up.

10. A verb and a preposition; to-do, go-between.

Compounds having the force of adjectives may be made up in several ways.

Compounds that work like adjectives can be created in various ways.

1. A group of words compacted into one idea; never-to-be-forgotten.

1. A collection of words combined into a single idea; never-to-be-forgotten.

2. Two adjectives; white-hot, ashy-blue.

2. Two adjectives: white-hot, ashy-blue.

3. An adjective and a participle or noun and suffix simulating a participle; odd-looking, foreign-born, bow-legged.

3. An adjective and a participle or noun and suffix mimicking a participle; odd-looking, foreign-born, bow-legged.

4. An adjective and a noun; fire-new, type-high.

4. An adjective and a noun; brand-new, top-quality.

5. A noun and a participle (or noun and suffix simulating a participle); hand-printed, peace-making.

5. A noun and a participle (or noun and suffix that acts like a participle); hand-printed, peace-making.

6. An adverb and an adjective used together before a noun; well-bred, long-extended.

7. Two nouns used adjectively before another noun; cotton-seed oil, shoe-sewing machine, Sunday-school teacher.

7. Two nouns used as adjectives before another noun; cottonseed oil, shoe sewing machine, Sunday school teacher.

8. An adjective and a noun used together before a noun; civil-service examination, free-trade literature, fresh-water sailor.

8. An adjective and a noun used together before a noun; civil service exam, free trade writing, freshwater sailor.

9. A verb and a noun; John Lack-land.

Four compounds occur with the force of verbs.

Four compounds function with the strength of verbs.

1. Two verbs; balance-reef.

Two verbs; balance-reef.

2. A verb and a noun; silver-plate, house-break.

3. A verb and an adjective; cold-press, fine-still.

4. A verb and an adverb; cross-examine.

Several combinations are used with the force of adverbs.

Several combinations are used with the power of adverbs.

1. Two adverbs; upright, henceforth.

Two adverbs: *upright*, *from now on*.

2. A noun and an adverb; brain-sickly.

[Pg 9]3. An adjective and an adverb (or compound adjective with suffix, simulating an adverb); stout-heartedly, ill-naturedly.

[Pg 9]3. An adjective and an adverb (or a compound adjective with a suffix that acts like an adverb); stout-heartedly, ill-naturedly.

4. An adjective and a verb; broadcast.

5. Two nouns; piecemeal, half-mast.

6. A noun and an adjective; cost-free, pointblank.

6. A noun and an adjective; cost-free, point-blank.

7. A noun and a preposition; down-stairs, above-board, offhand.

7. A noun and a preposition; downstairs, above board, offhand.

RULES FOR THE USE OF THE HYPHEN

1. Hyphenate nouns formed by the combination of two nouns standing in objective relation to each other, that is, one of whose components is derived from a transitive verb:

1. Hyphenate nouns created by combining two nouns that have an objective relationship to each other, meaning one of the parts comes from a transitive verb:

well-wisher		wood-turning
mind-reader		child-study
office-holder		clay-modeling

When such compounds are in very common use, and especially when they have a specific or technical meaning, they are printed solid;

When these compounds are used frequently, especially when they have a specific or technical meaning, they are printed as one word;

typewriter		stockholder
proofreader		copyholder
lawgiver		dressmaker

2. Hyphenate a combination of a present participle with a noun when the meaning of the combination is different from that of the two words taken separately; boarding-house, sleeping-car, walking-stick.

3. Hyphenate a combination of a present participle with a preposition used absolutely (not governing the following noun); the putting-in or taking-out of a hyphen.

4. As a rule compounds of book, house, will, room, shop, and work should be printed solid when the prefixed noun has one syllable; should be hyphenated when it contains two; should be printed in two separate words when it contains three or more;

4. Generally, combinations of book, house, will, room, shop, and work should be printed as one word when the noun before it has one syllable; should be hyphenated when it has two syllables; and should be written as two separate words when it has three or more syllables;

handbook, notebook, story-book, pocket-book, reference book.

handbook, notebook, storybook, pocket book, reference book.

[Pg 10]clubhouse, storehouse, engine-house, power-house, business-house.

[Pg 10]clubhouse, storehouse, engine room, power plant, business office.

handmill, sawmill, water-mill, paper-mill, chocolate mill.

handmill, sawmill, water mill, paper mill, chocolate mill.

classroom, lecture-room, recitation room.

classroom, lecture hall, study room.

tinshop, tailor-shop, carpenter shop.

tin shop, tailor shop, carpenter shop.

woodwork, metal-work, filigree work.

woodworking, metalworking, filigree.

Unusual combinations such as source-book and wheat-mill are sometimes hyphenated, and the hyphen is sometimes omitted for the sake of the appearance as in school work.

Unusual combinations like source-book and wheat-mill are sometimes hyphenated, and the hyphen is sometimes left out for aesthetic reasons, as in school work.

5. Compounds of maker, dealer, and other words denoting occupation are generally hyphenated; harness-maker, job-printer.

5. Words like maker, dealer, and other terms that indicate a job are usually hyphenated; harness-maker, job-printer.

The tendency is to print these words solid when they come into very common use; dressmaker.

The trend is to print these words as one when they become very common; dressmaker.

6. Hyphenate nouns when combined in an adjectival sense before the name of the same person; the martyr-president Lincoln, the poet-artist Rosetti.

6. Use hyphens for nouns combined in an adjectival way before the name of the same person; the martyr-president Lincoln, the poet-artist Rosetti.

7. Compounds of store are generally hyphenated when the prefix contains one syllable, otherwise not; drug-store, fruit-store (but bookstore), provision store.

7. Compounds of store are usually hyphenated when the prefix has one syllable, otherwise they aren't; drug-store, fruit-store (but bookstore), provision store.

8. Compounds of fellow are hyphenated; fellow-being, play-fellow, but bedfellow.

9. Compounds of father, mother, brother, sister, daughter, parent, and foster should be hyphenated when the word in question forms the first part of the compound; father-love, mother-country, brother-officer, sister-state, daughter-cell, parent-word, foster-brother, but (by exception) fatherland.

9. Compounds of father, mother, brother, sister, daughter, parent, and foster should be hyphenated when the word in question is the first part of the compound; father-love, mother-country, brother-officer, sister-state, daughter-cell, parent-word, foster-brother, but (by exception) fatherland.

10. Hyphenate compounds of great in phrases indicating degrees of descent; great-grandmother, great-great-grandfather.

10. Use hyphens for compounds of great in phrases showing levels of descent; great-grandmother, great-great-grandfather.

11. Hyphenate compounds of life and world; life-history, world-influence, but (by exception) lifetime.

11. Use hyphens for compounds of life and world: life-history, world-influence, but (as an exception) lifetime.

12. Compounds of skin with words of one syllable are printed solid, otherwise as two separate words; calfskin, sheepskin, alligator skin.

12. Words that combine with skin and are one syllable are printed solid, while others are written as two separate words; calfskin, sheepskin, alligator skin.

13. Hyphenate compounds of master; master-builder, master-stroke, but (by exception) masterpiece.

13. Use hyphens for compounds with master; master-builder, master-stroke, but (as an exception) masterpiece.

[Pg 11]14. Hyphenate compounds of god when this word forms the second element; sun-god, war-god, godsend, godson.

[Pg 11]14. Use a hyphen with compounds of god when it’s the second part; sun-god, war-god, godsend, godson.

15. Hyphenate compounds of half and quarter; half-truth, quarter-circle, half-title, but on account of difference in meaning of quarter, quartermaster, headquarters.

15. Use hyphens for compounds with half and quarter; half-truth, quarter-circle, half-title, but because of the difference in meaning of quarter, use quartermaster, headquarters without hyphens.

16. These prefixes

ante-	infra-	re-
anti-	inter-	semi-
bi-	intra-	sub-
co-	pre-	super-
demi-	post-	tri-

are ordinarily joined to the word with which they are used without a hyphen, except when followed by the same letter as that with which they terminate or by w or y;

are usually attached to the word they modify without a hyphen, except when they are followed by the same letter they end with or by w or y;

antechamber		post-temporal
antiseptic		post-graduate
anti-imperialistic		prearrange
biennial		pre-empt
bipartisan		recast
co-equal		re-enter
co-ordinate		semiannual
demigod		subconscious
inframarginal		subtitle
international		superfine
intersperse		tricolor
intramural		co-workers
intra-atomic		co-yield

Exceptions are

Exemptions are

(a) Combinations with proper names or adjectives derived therefrom, and long or unusual compounds;

(a) Combinations with proper names or adjectives that come from them, and long or unusual compound words;

ante-bellum		sister-university
anti-license		post-revolutionary
anti-security		pre-Raphaelite
demi-relievo		re-tammanize

(b) Words in which the omission of the hyphen would alter the sense;

(b) Words where leaving out the hyphen would change the meaning;

re-formation		reformation
[Pg 12]re-cover		recover
re-creation		recreation

17. The negative prefixes un, in, il, im, and a do not take a hyphen except in very rare or artificial combinations; unmanly, invisible, illimitable, impenetrable, asymmetrical.

17. The negative prefixes un, in, il, im, and a don’t use a hyphen, except in very rare or artificial combinations; unmanly, invisible, illimitable, impenetrable, asymmetrical.

The negative prefix non calls for a hyphen except in very common words;

The negative prefix non needs a hyphen unless it's used in very common words;

non-existent		non-combatant
non-interference		nonsense
non-unionist		nonessential

18. The prefixes quasi, extra, supra, ultra, and pan call for a hyphen;

18. The prefixes quasi, extra, supra, ultra, and pan require a hyphen;

quasi-historical		supra-normal
quasi-corporation		ultra-conservative
extra-mural		Pan-Germanism

Ultramontaine, probably because a specific party designation, is always printed solid.

Ultramontaine, likely because it's a specific party label, is always printed in bold.

19. Over and under do not ordinarily call for a hyphen; overemphasize, underfed, but over-careful, over-spiritualistic.

19. Over and under usually don’t need a hyphen; overemphasize, underfed, but over-careful, over-spiritualistic.

20. Combinations having self and by as the first element of the compound call for a hyphen; self-evident, self-respecting, by-law, by-product, but selfhood, selfish, and selfsame.

20. Combinations that start with self and by as the first part of the compound need a hyphen; self-evident, self-respecting, by-law, by-product, but not selfhood, selfish, and selfsame.

21. Combinations of fold are printed as one word if the number contains only one syllable but as two if it contains more than one;

21. Combinations of fold are printed as one word if the number has only one syllable but as two words if it has more than one;

twofold		fifteen fold
tenfold		a hundred fold

22. Adjectives formed by a noun preceding like do not take a hyphen if the noun is a monosyllable, except when ending in l or a proper noun; if the noun contains more than one syllable a hyphen should be used; childlike, warlike, catlike, bell-like, Napoleon-like, but (by exception) Christlike.

22. Adjectives made from a noun followed by like don't need a hyphen if the noun has one syllable, unless it ends in l or is a proper noun; if the noun has more than one syllable, you should use a hyphen; childlike, warlike, catlike, bell-like, Napoleon-like, but (as an exception) Christlike.

23. Vice, elect, ex, general, and lieutenant as parts of titles are connected with the chief noun by a hyphen; vice-consul, ex-president, governor-elect, postmaster-general, lieutenant-colonel.

[Pg 13]24. Today, tonight, and tomorrow are printed without a hyphen.

[Pg 13]24. Today, tonight, and tomorrow are written without a hyphen.

25. In fractional numbers spelled out connect the numerator and denominator by a hyphen. “The day is three-quarters gone,” four and five-eighths, thirty-hundredths, ninety-two thousandths.

25. In written fractions, connect the numerator and denominator with a hyphen. “The day is three-quarters gone,” four and five-eighths, thirty-hundredths, ninety-two thousandths.

Do not use the hyphen in an instance as “One half the business is owned by Mr. Jones, one quarter by Mr. Smith, and one eighth each by Mr. Browne and Mr. Robinson.”

Do not use the hyphen in a case like “One half of the business is owned by Mr. Jones, one quarter by Mr. Smith, and one eighth each by Mr. Browne and Mr. Robinson.”

26. Where two or more compound words occur together having one of their components in common, this component is often omitted from all but the last word and the omission indicated by a hyphen;

26. When two or more compound words are used together that share one of their parts, this shared part is often dropped from all but the last word, and the omission is marked with a hyphen;

French-and Spanish-speaking countries, wood-iron-and steel-work, one-two-three-four and five-cent stamps.

French- and Spanish-speaking countries, wood, iron, and steel work, one, two, three, four, and five-cent stamps.

This usage is objected to in some offices as being a Germanized form. It is however, less ambiguous than where the hyphen is omitted and is therefore preferable.

This usage is criticized in some offices for being a Germanized form. However, it is less ambiguous than when the hyphen is left out and is therefore better.

27. Ordinal numbers compounded with nouns take the hyphen in such expressions as second-hand, first-rate, and the like.

27. Ordinal numbers combined with nouns use a hyphen in phrases like second-hand, first-rate, and similar expressions.

28. Numerals of one syllable take a hyphen in compounds with self-explanatory words such as four-footed, one-eyed, and the like.

28. One-syllable numerals use a hyphen in compounds with clear words like four-footed, one-eyed, and similar terms.

29. Numerals compounded with nouns to form an adjective take the hyphen; twelve-inch rule, three-horse team, six-point lead.

29. Numerals combined with nouns to create an adjective use a hyphen; twelve-inch rule, three-horse team, six-point lead.

30. The hyphen is used in compounding a noun in the possessive case with another noun; jew’s-harp, crow’s-nest.

30. The hyphen is used when combining a possessive noun with another noun; jew’s-harp, crow’s-nest.

31. The hyphen is used with most compounds of tree; apple-tree, quince-tree, but not when a particular object, not a tree (vegetable), is meant; whippletree, crosstree.

31. The hyphen is used with most compounds of tree; apple-tree, quince-tree, but not when it refers to a specific object that isn't a tree (plant), like whippletree, crosstree.

32. Use the hyphen in compounding two adjectives generally, especially personal epithets; asked-for opinion, sea-island cotton, dry-plate process, hard-headed, strong-armed, broad-shouldered.

32. Use a hyphen when combining two adjectives, especially for personal descriptors; asked-for opinion, sea-island cotton, dry-plate process, hard-headed, strong-armed, broad-shouldered.

[Pg 14]33. The hyphen is not used in points of the compass unless doubly compounded; northeast, southwest, north-northeast, south-southwest by south.

[Pg 14]33. A hyphen isn't used in compass directions unless they are double-compounded; northeast, southwest, north-northeast, south-southwest by south.

34. Compounds ending with man or woman are run solid; pressman, forewoman.

34. Compounds that end with man or woman are written as one word; pressman, forewoman.

35. Omit the hyphen in such phrases as by and by, by the bye, good morning (except when used adjectively, a good-morning greeting,) attorney at law, coat of arms.

35. Remove the hyphen in phrases like by and by, by the bye, good morning (except when it's used as an adjective, a good-morning greeting), attorney at law, coat of arms.

36. Compounds ending in holder and monger are run solid; bondholder, cheesemonger.

36. Compounds ending in holder and monger are written as one word; bondholder, cheesemonger.

37. Compounds beginning with eye are run solid; eyeglass, eyewitness.

37. Words that start with eye are written as one word; eyeglass, eyewitness.

38. Compounds unless very unusual, beginning with deutero, electro, pseudo, sulpho, thermo, etc., are run solid; electrotype, pseudonym, thermostat.

38. Compounds, unless they are very unusual, that start with deutero, electro, pseudo, sulpho, thermo, etc., are written as one word; electrotype, pseudonym, thermostat.

39. Do not separate

Do not separate.

meanwhile	anywhere	somebody
meantime	anybody	somehow
moreover	anyhow	something
forever	anything	sometime
everywhere	anyway	somewhat
	somewhere

In phrases like in the meantime and forever and ever the words are printed separately.

In phrases like in the meantime and forever and ever, the words are written separately.

Any one and some one are separate words.

Any one and some one are separate words.

40. In compounds of color the hyphen is not used except when a noun is used with an adjective to specify color; reddish-brown, gray-white, lemon-yellow, olive-green, silver-gray.

40. In color compounds, a hyphen is not used unless a noun is paired with an adjective to specify color; reddish-brown, gray-white, lemon-yellow, olive-green, silver-gray.

41. Following is a list of words of everyday occurrence which should be hyphenated, and which do not fall under any of the above classifications.

41. Here’s a list of commonly used words that should be hyphenated, and that don’t fit into any of the categories mentioned above.

after-years	food-stuff	sea-level
bas-relief	guinea-pig	sense-perception
birth-rate	horse-power	son-in-law
blood-relations	loan-word	subject-matter
common-sense	man-of-war	thought-process
cross-examine	object-lesson	title-page
[Pg 15]cross-reference	page-proof	wave-length
cross-section	pay-roll	well-being
death-rate	poor-law	well-nigh
folk-song	post-office	will-power
fountain-head

These rules are the consensus of opinion of a considerable number of good authorities from DeVinne (1901) to Manly and Powell (1913). The great practical difficulty is that authorities differ as to their application. DeVinne uses the dieresis instead of the hyphen in such cases as co-operate or pre-eminent, writing coöperate, preëminent. Many of the rules have exceptions and authorities differ as to the extent of the exceptions. There are many differences in the great number of unclassified compounds. For example, Manly and Powell write coat-of-arms, while Orcutt writes coat of arms. Common usage omits the hyphen from post office except when used as an adjective, e. g., post-office accounts.

These rules reflect the shared views of many respected experts from DeVinne (1901) to Manly and Powell (1913). The main practical challenge is that these experts disagree on how to apply them. DeVinne uses the dieresis instead of the hyphen in cases like co-operate or pre-eminent, writing coöperate and preëminent. Many of the rules have exceptions, and opinions vary on how many exceptions there are. There are numerous differences among the many unclassified compounds. For instance, Manly and Powell write coat-of-arms, while Orcutt writes coat of arms. Common usage generally drops the hyphen from post office, except when it's used as an adjective, e.g., post-office accounts.

A strict adherence to the rules given would probably result, not in bad composition, but in a much greater use of hyphens than would be found on the pages of many recent books from the presses of some of the best publishers. This is due partly to the fact that usage has never been strictly uniform and partly to the constant progressive change noted at the beginning of this study. We are gradually discontinuing the use of the hyphen just as we are diminishing our use of capital letters, punctuation marks, and italics.

A strict follow-through on the given rules would likely lead to a lot more hyphens than you’d find in many recent books published by some of the top publishers. This is partly because usage has never been completely uniform and partly due to the ongoing changes mentioned at the start of this study. We are slowly moving away from using hyphens just as we are reducing our use of capital letters, punctuation marks, and italics.

The compositor should ground himself thoroughly in the principles and rules. He should learn the best usage with regard to special words and phrases. He should master the office style. He should follow copy if the author has distinct and definite ideas which are not absolutely wrong and would not introduce inconsistencies in magazines and the like by violating the office style which is followed in other parts of the same publication. If it is clear that the author knows what he wants, the compositor should follow copy. Questions of correctness and conformity to style belong not to him but to the copy editor and proofreader.

The compositor should fully understand the principles and rules. He should learn the best practices regarding specific words and phrases. He should master the office style. He should follow the author's copy if the author has clear and definite ideas that are reasonably correct and won't create inconsistencies in magazines and similar publications by violating the office style used in other parts of the same publication. If it’s clear that the author knows what they want, the compositor should stick to the copy. Issues of correctness and adherence to style are not his responsibility but belong to the copy editor and proofreader.

[Pg 16]

SUPPLEMENTARY READING

English Compound Words and Phrases. By Francis Horace Teall. Funk & Wagnalls, New York.

The Compounding of English Words, When and Why Joining or Separation is Preferable. By Francis Horace Teall. J. Ireland, New York.

Correct Composition. By Theodore L. De Vinne. The Oswald Publishing Co., New York.

A Manual for Writers. By John Matthews Manly and John Arthur Powell. The University of Chicago Press, Chicago.

The Writer’s Desk Book. By William Dana Orcutt. Frederick A. Stokes Co., New York.

[Pg 17]

QUESTIONS

1. What is meant by a “compound”?

What does "compound" mean?

2. What is the purpose of a compound?

2. What’s the purpose of a compound?

3. In what three forms do compounds appear?

3. What three forms do compounds come in?

4. Where should we expect to find guidance in the choice of these forms?

4. Where can we look for guidance in choosing these forms?

5. Do we so find it, and why?

5. Do we really find it this way, and why?

6. What tendency is observable in usage regarding compounds?

6. What trend can be seen in how compounds are used?

7. What can the printer do?

8. Give Teall’s rules, and show the application of each.

8. Provide Teall’s rules and demonstrate how to apply each one.

9. What is the influence of accent in compounding?

9. How does accent affect compounding?

10. What is the rule about two nouns used together to form a name?

10. What’s the rule for using two nouns together to create a name?

11. What is the rule about names composed of a plain noun and a verbal noun?

11. What's the rule for names made up of a basic noun and a verb form?

12. How are possessive phrases used as specific names treated?

12. How are possessive phrases used as specific names handled?

13. What is the rule about phrases used as specific names?

13. What’s the rule for phrases used as specific names?

14. How do you write a pair of words used as a name when the second word is a noun and the first not really an adjective?

14. How do you write a pair of words used as a name when the second word is a noun and the first isn't exactly an adjective?

15. How do you treat two words, not nouns, arbitrarily used as a name?

15. How do you handle two words, that aren't nouns, used randomly as a name?

16. How do you treat a compound consisting of a suffix and a compound proper name?

16. How do you handle a compound made up of a suffix and a compound proper name?

17. How do you treat words so associated that their joint sense is different from their separate sense?

17. How do you handle words that are so connected that their combined meaning is different from their individual meanings?

18. How may compounds having the force of nouns be made up?

18. How can compounds that function like nouns be created?

19. How may compounds having the force of adjectives be made up?

19. How can compounds that act like adjectives be created?

20. How may compounds having the force of verbs be made up?

20. How can compounds that function like verbs be created?

[Pg 18]21. How may compounds having the force of adverbs be made up?

[Pg 18]21. How can compounds that function like adverbs be created?

22. How are compound nouns written when one of the components is derived from a transitive verb?

22. How are compound nouns written when one of the parts comes from a transitive verb?

23. How is a compound of a present participle and a noun written?

23. How is a combination of a present participle and a noun written?

24. How is a compound of a present participle and a preposition treated?

24. How is a combination of a present participle and a preposition handled?

25. What is the usage in compounds of book, house, will, room, shop, and work?

25. What is the use of book, house, will, room, shop, and work in compounds?

26. How are compounds of maker and dealer written?

26. How are maker and dealer compounds written?

27. What is done when nouns are combined in a descriptive phrase before a name of a person?

27. What happens when nouns are combined into a descriptive phrase before a person's name?

28. How are compounds of store treated?

28. How are store compounds treated?

29. How are compounds of fellow treated?

29. How are compounds of fellow handled?

30. How are compounds of father, mother, brother, sister, daughter, parent, and foster treated?

30. How are compounds of father, mother, brother, sister, daughter, parent, and foster handled?

31. What compounds of great are hyphenated?

What compounds of great are hyphenated?

32. How are compounds of life and world treated?

32. How are the terms "life" and "world" treated?

33. What is the rule about compounds of skin?

34. How are compounds of master treated?

How are compounds of master treated?

35. What is the rule about compounds of god?

35. What’s the rule about compounds of god?

36. Give fifteen common prefixes and tell how they are used, stating exceptions.

36. List fifteen common prefixes, explain how they're used, and note any exceptions.

37. What are the negative prefixes and how are they used?

37. What are negative prefixes and how are they used?

38. What is the rule about the prefixes quasi, extra, supra, ultra, and pan?

39. What is the rule about over and under?

39. What's the rule about over and under?

40. What is the rule about compounds of self and by?

41. How are compounds of fold treated?

How are fold compounds treated?

42. What is the rule about compounds of a noun followed by like?

42. What’s the rule about noun compounds followed by like?

43. How are titles treated when compounded with vice, elect, ex, general, and lieutenant?

43. How are titles handled when combined with vice, elect, ex, general, and lieutenant?

44. How do you write three familiar compounds denoting time?

44. How do you write three common compounds that indicate time?

45. How should you treat fractional numbers spelled out?

45. How should you write out fractional numbers?

46. What is done when two or more compound words with a common component occur in succession?

46. What happens when two or more compound words with a shared part appear next to each other?

[Pg 19]47. How do you write compounds of ordinal numbers and nouns?

[Pg 19]47. How do you write combinations of ordinal numbers and nouns?

48. What rule is given about numerals of one syllable?

48. What rule is given about one-syllable numerals?

49. What rule is given about numerals compounded with nouns?

49. What rule applies to numerals combined with nouns?

50. How do you treat a compound of two nouns one in the possessive case?

50. How do you handle a compound of two nouns when one is in the possessive case?

51. How are compounds of tree treated?

How are tree compounds treated?

52. What is the rule about compounds of two adjectives?

52. What’s the rule for compounds made up of two adjectives?

53. What is the rule about points of the compass?

53. What’s the rule about compass points?

54. What should you do with compounds ending in man or woman?

55. Give certain common typical phrases which omit the hyphen.

55. Provide some common examples of phrases that do not use a hyphen.

56. How do you treat compounds ending in holder and monger?

56. How do you handle compounds ending in holder and monger?

57. How do you treat compounds beginning with eye?

57. How do you handle compounds that start with eye?

58. What is said of compounds beginning with deutero, electro, pseudo, sulpho, thermo, and the like?

58. What is mentioned about compounds that start with deutero, electro, pseudo, sulpho, thermo, and similar prefixes?

59. Give some common compounds which are always run solid.

59. List some common compounds that are always found in solid form.

60. How are compounds of color treated?

60. How are color compounds handled?

61. Are these rules universally followed?

61. Are these rules followed everywhere?

62. What is the duty of the compositor in these cases, especially when doubtful?

62. What is the compositor's responsibility in these situations, especially when unsure?

In this volume, as in so many in this section, much depends upon practice drills. The memorizing of rules is difficult and is of very little use unless accompanied by a great deal of practice so that the apprentice will become so thoroughly familiar with them that he will apply them at once without conscious thought. He should no more think of the rule when he writes fellow-man, than he thinks of the multiplication table when he says seven times eight are fifty-six. This drill may be given in several ways, by asking the student to explain the use or omission of hyphens in printed matter, by giving written matter purposely incorrect in parts and asking him to set it correctly, or by giving dictations and having the apprentice write out the matter and then set it up. Later, when it will not be too wasteful of time, the apprentice can be given the ordinary run of copy as customers send it in and told to set it in correct form. He will probably find enough errors in it to test his knowledge of compounding and of many other things.

In this book, just like in many others in this section, a lot relies on practice drills. Memorizing rules is tough and isn't very helpful unless it's paired with a lot of practice, so the learner becomes so familiar with them that they apply them instinctively without thinking. They shouldn't even think about the rule when they write fellow-man, just like they don’t think about the multiplication table when they say seven times eight is fifty-six. This practice can be done in several ways, such as asking the student to explain how or why hyphens are used or left out in printed texts, providing text that’s intentionally incorrect and asking them to correct it, or giving dictation and having them write it down and format it. Later, when it’s not too time-consuming, the learner can work with the typical copy customers submit and be instructed to format it correctly. They'll likely find plenty of mistakes to challenge their understanding of compounding and other concepts.

[Pg i]

TYPOGRAPHIC TECHNICAL SERIES
FOR APPRENTICES

The following list of publications, comprising the Typographic Technical Series for Apprentices, has been prepared under the supervision of the Committee on Education of the United Typothetae of America for use in trade classes, in course of printing instruction, and by individuals.

The following list of publications, including the Typography Technical Series for Apprentices, has been created under the guidance of the Committee on Education of the United Typothetae of America for use in trade classes, in printing instruction courses, and by individuals.

Each publication has been compiled by a competent author or group of authors, and carefully edited, the purpose being to provide the printers of the United States—employers, journeymen, and apprentices—with a comprehensive series of handy and inexpensive compendiums of reliable, up-to-date information upon the various branches and specialties of the printing craft, all arranged in orderly fashion for progressive study.

Each publication has been put together by a skilled author or team of authors and thoroughly edited, aiming to provide printers in the United States—employers, workers, and apprentices—with a complete series of practical and affordable guides filled with trustworthy, current information on different areas and specialties of the printing trade, all organized neatly for progressive learning.

The publications of the series are of uniform size, 5 x 8 inches. Their general make-up, in typography, illustrations, etc., has been, as far as practicable, kept in harmony throughout. A brief synopsis of the particular contents and other chief features of each volume will be found under each title in the following list.

The publications in this series are all the same size, 5 x 8 inches. The overall design, including typography, illustrations, and more, has been consistently maintained to ensure harmony across the series. A brief summary of the specific contents and other key features of each volume can be found under each title in the following list.

Each topic is treated in a concise manner, the aim being to embody in each publication as completely as possible all the rudimentary information and essential facts necessary to an understanding of the subject. Care has been taken to make all statements accurate and clear, with the purpose of bringing essential information within the understanding of beginners in the different fields of study. Wherever practicable, simple and well-defined drawings and illustrations have been used to assist in giving additional clearness to the text.

Each topic is covered briefly, aiming to provide all the basic information and key facts needed to understand the subject in each publication. Efforts have been made to ensure all statements are accurate and clear, making essential information accessible to beginners in various fields of study. Whenever possible, clear and straightforward drawings and illustrations have been included to help clarify the text further.

In order that the pamphlets may be of the greatest possible help for use in trade-school classes and for self-instruction, each title is accompanied by a list of Review Questions covering essential items of the subject matter. A short Glossary of technical terms belonging to the subject or department treated is also added to many of the books.

In order to make the pamphlets as helpful as possible for trade school classes and self-study, each title includes a list of Review Questions that cover the key points of the subject matter. A brief Glossary of technical terms related to the subject or department is also included in many of the books.

These are the Official Text-books of the United Typothetae of America.

These are the official textbooks of the United Typothetae of America.

Address all orders and inquiries to Committee on Education, United Typothetae of America, Chicago, Illinois, U. S. A.

Address all orders and inquiries to Committee on Education, United Typothetae of America, Chicago, Illinois, USA.

[Pg ii]

PART I—Types, Tools, Machines, and Materials

1. Type: a Primer of Information

By A. A. Stewart

Relating to the mechanical features of printing types; their sizes, font schemes, etc., with a brief description of their manufacture. 44 pp.; illustrated; 74 review questions; glossary.

Relating to the mechanical aspects of printing types; their sizes, font styles, etc., with a brief overview of how they are made. 44 pp.; illustrated; 74 review questions; glossary.

2. Compositors’ Tools and Materials

By A. A. Stewart

A primer of information about composing sticks, galleys, leads, brass rules, cutting and mitering machines, etc. 47 pp.; illustrated; 50 review questions; glossary.

A beginner's guide to composing sticks, galleys, leads, brass rules, cutting and mitering machines, and more. 47 pages; illustrated; 50 review questions; glossary.

3. Type Cases, Composing Room Furniture

By A. A. Stewart

A primer of information about type cases, work stands, cabinets, case racks, galley racks, standing galleys, etc. 43 pp.; illustrated; 33 review questions; glossary.

A basic guide about type cases, work stands, cabinets, case racks, galley racks, standing galleys, etc. 43 pages; illustrated; 33 review questions; glossary.

4. Imposing Tables and Lock-up Appliances

By A. A. Stewart

Describing the tools and materials used in locking up forms for the press, including some modern utilities for special purposes. 59 pp.; illustrated; 70 review questions; glossary.

Describing the tools and materials used for locking forms for the press, including some modern utilities for specific purposes. 59 pp.; illustrated; 70 review questions; glossary.

5. Proof Presses

By A. A. Stewart

A primer of information about the customary methods and machines for taking printers’ proofs. 40 pp.; illustrated; 41 review questions; glossary.

A guide to the standard techniques and equipment for taking printers' proofs. 40 pages; illustrated; 41 review questions; glossary.

6. Platen Printing Presses

By Daniel Baker

A primer of information regarding the history and mechanical construction of platen printing presses, from the original hand press to the modern job press, to which is added a chapter on automatic presses of small size. 51 pp.; illustrated; 49 review questions; glossary.

A guide to the history and mechanical design of platen printing presses, from the original hand press to the modern job press, including a chapter on small automatic presses. 51 pages; illustrated; 49 review questions; glossary.

7. Cylinder Printing Presses

By Herbert L. Baker

Being a study of the mechanism and operation of the principal types of cylinder printing machines. 64 pp.; illustrated; 47 review questions; glossary.

Being a study of the mechanism and operation of the main types of cylinder printing machines. 64 pp.; illustrated; 47 review questions; glossary.

8. Mechanical Feeders and Folders

By William E. Spurrier

The history and operation of modern feeding and folding machines; with hints on their care and adjustments. Illustrated; review questions; glossary.

The history and operation of modern feeding and folding machines; with tips on their maintenance and adjustments. Illustrated; review questions; glossary.

9. Power for Machinery in Printing Houses

By Carl F. Scott

A treatise on the methods of applying power to printing presses and allied machinery with particular reference to electric drive. 53 pp.; illustrated; 69 review questions; glossary.

A guide on how to use power with printing presses and related equipment, especially focusing on electric drive. 53 pages; illustrated; 69 review questions; glossary.

10. Paper Cutting Machines

By Niel Gray, Jr.

A primer of information about paper and card trimmers, hand-lever cutters, power cutters, and other automatic machines for cutting paper. 70 pp.; illustrated; 115 review questions; glossary.

A guide to paper and card trimmers, hand-lever cutters, power cutters, and other automatic machines for cutting paper. 70 pages; illustrated; 115 review questions; glossary.

11. Printers’ Rollers

By A. A. Stewart

A primer of information about the composition, manufacture, and care of inking rollers. 46 pp.; illustrated; 61 review questions; glossary.

A guide to the composition, production, and maintenance of inking rollers. 46 pages; illustrated; 61 review questions; glossary.

12. Printing Inks

By Philip Ruxton

Their composition, properties and manufacture (reprinted by permission from Circular No. 53, United States Bureau of Standards); together with some helpful suggestions about the everyday use of printing inks by Philip Ruxton. 80 pp.; 100 review questions; glossary.

Their composition, properties, and production (reprinted by permission from Circular No. 53, United States Bureau of Standards); along with some useful tips on the everyday use of printing inks by Philip Ruxton. 80 pages; 100 review questions; glossary.

[Pg iii]

13. How Paper is Made

By William Bond Wheelwright

A primer of information about the materials and processes of manufacturing paper for printing and writing. 68 pp.; illustrated; 62 review questions; glossary.

A guide that provides information about the materials and processes used in manufacturing paper for printing and writing. 68 pages; illustrated; 62 review questions; glossary.

14. Relief Engravings

By Joseph P. Donovan

Brief history and non-technical description of modern methods of engraving; woodcut, zinc plate, halftone; kind of copy for reproduction; things to remember when ordering engravings. Illustrated; review questions; glossary.

Brief history and non-technical description of modern engraving methods; woodcut, zinc plate, halftone; types of copies for reproduction; things to keep in mind when ordering engravings. Illustrated; review questions; glossary.

15. Electrotyping and Stereotyping

By Harris B. Hatch and A. A. Stewart

A primer of information about the processes of electrotyping and stereotyping. 94 pp.; illustrated; 129 review questions; glossaries.

A basic guide about the processes of electrotyping and stereotyping. 94 pages; illustrated; 129 review questions; glossaries.

PART II—Hand and Machine Composition

16. Typesetting

By A. A. Stewart

A handbook for beginners, giving information about justifying, spacing, correcting, and other matters relating to typesetting. Illustrated; review questions; glossary.

A beginner's guide that provides information on justifying, spacing, correcting, and other aspects of typesetting. Illustrated; includes review questions and a glossary.

17. Printers’ Proofs

By A. A. Stewart

The methods by which they are made, marked, and corrected, with observations on proofreading. Illustrated; review questions; glossary.

The ways they are created, labeled, and fixed, along with tips on proofreading. Illustrated; review questions; glossary.

18. First Steps in Job Composition

By Camille DeVéze

Suggestions for the apprentice compositor in setting his first jobs, especially about the important little things which go to make good display in typography. 63 pp.; examples; 55 review questions; glossary.

Suggestions for the beginner typesetter when starting his first jobs, especially concerning the essential details that contribute to quality typography. 63 pp.; examples; 55 review questions; glossary.

19. General Job Composition

How the job compositor handles business stationery, programs and miscellaneous work. Illustrated; review questions; glossary.

How the job compositor deals with business stationery, programs, and other tasks. Illustrated; review questions; glossary.

20. Book Composition

By J. W. Bothwell

Chapters from DeVinne’s “Modern Methods of Book Composition,” revised and arranged for this series of text-books by J. W. Bothwell of The DeVinne Press, New York. Part I: Composition of pages. Part II: Imposition of pages. 229 pp.; illustrated; 525 review questions; glossary.

Chapters from DeVinne’s “Modern Methods of Book Composition,” revised and arranged for this series of textbooks by J. W. Bothwell of The DeVinne Press, New York. Part I: Page Composition. Part II: Page Imposition. 229 pages; illustrated; 525 review questions; glossary.

21. Tabular Composition

By Robert Seaver

A study of the elementary forms of table composition, with examples of more difficult composition. 36 pp.; examples; 45 review questions.

A study of the basic elements of table composition, with examples of more complex compositions. 36 pages; examples; 45 review questions.

22. Applied Arithmetic

By E. E. Sheldon

Elementary arithmetic applied to problems of the printing trade, calculation of materials, paper weights and sizes, with standard tables and rules for computation, each subject amplified with examples and exercises. 159 pp.

Elementary arithmetic applied to issues in the printing industry, calculating materials, paper weights, and sizes, using standard tables and formulas for computations, with each topic expanded with examples and exercises. 159 pp.

23. Typecasting and Composing Machines

A. W. Finlay, Editor

Section I—The Linotype	By L. A. Hornstein
Section II—The Monotype	By Joseph Hays
Section III—The Intertype	By Henry W. Cozzens
Section IV—Other Typecasting and Typesetting Machines	By Frank H. Smith

A brief history of typesetting machines, with descriptions of their mechanical principles and operations. Illustrated; reviewquestions; glossary.

A short history of typesetting machines, with details on their mechanical principles and how they work. Illustrated; review questions; glossary.

[Pg iv]

PART III—Imposition and Stonework

PART III—*Imposition and Stonework*

24. Locking Forms for the Job Press

By Frank S. Henry

Things the apprentice should know about locking up small forms, and about general work on the stone. Illustrated; review questions; glossary.

Things the apprentice should know about locking up small forms and about general work on the stone. Illustrated; review questions; glossary.

25. Preparing Forms for the Cylinder Press

By Frank S. Henry

Pamphlet and catalog imposition; margins; fold marks, etc. Methods of handling type forms and electrotype forms. Illustrated; review questions; glossary.

Pamphlet and catalog setup; margins; fold marks, etc. Techniques for managing type and electrotype forms. Illustrated; review questions; glossary.

PART IV—Presswork

PART IV—Printing

26. Making Ready on Platen Presses

By T. G. McGrew

The essential parts of a press and their functions; distinctive features of commonly used machines. Preparing the tympan, regulating the impression, underlaying and overlaying, setting gauges, and other details explained. Illustrated; review questions; glossary.

The key components of a press and what they do; unique traits of commonly used machines. Preparing the tympan, adjusting the impression, underlaying and overlaying, setting gauges, and more details explained. Illustrated; review questions; glossary.

27. Cylinder Presswork

By T. G. McGrew

Preparing the press; adjustment of bed and cylinder, form rollers, ink fountain, grippers and delivery systems. Underlaying and overlaying; modern overlay methods. Illustrated; review questions; glossary.

Preparing the press; adjusting the bed and cylinder, form rollers, ink fountain, grippers, and delivery systems. Underlaying and overlaying; modern overlay techniques. Illustrated; review questions; glossary.

28. Pressroom Hints and Helps

By Charles L. Dunton

Describing some practical methods of pressroom work, with directions and useful information relating to a variety of printing-press problems. 87 pp.; 176 review questions.

Describing practical methods for working in the pressroom, along with directions and helpful information about various printing press issues. 87 pp.; 176 review questions.

29. Reproductive Processes of the Graphic Arts

By A. W. Elson

A primer of information about the distinctive features of the relief, the intaglio, and the planographic processes of printing. 84 pp.; illustrated; 100 review questions; glossary.

A guide to the unique aspects of relief, intaglio, and planographic printing processes. 84 pages; illustrated; includes 100 review questions; glossary.

PART V—Pamphlet and Book Binding

30. Pamphlet Binding

By Bancroft L. Goodwin

A primer of information about the various operations employed in binding pamphlets and other work in the bindery. Illustrated; review questions; glossary.

A guide to the different methods used in binding pamphlets and other work in the bindery. Includes illustrations, review questions, and a glossary.

31. Book Binding

By John J. Pleger

Practical information about the usual operations in binding books; folding; gathering, collating, sewing, forwarding, finishing. Case making and cased-in books. Hand work and machine work. Job and blank-book binding. Illustrated; review questions; glossary.

Practical information about the common procedures in bookbinding: folding, gathering, collating, sewing, forwarding, and finishing. Case making and cased-in books. Handwork and machine work. Job and blank-book binding. Illustrated; review questions; glossary.

PART VI—Correct Literary Composition

PART VI—Proper Writing Style

32. Word Study and English Grammar

By F. W. Hamilton

A primer of information about words, their relations, and their uses. 68 pp.; 84 review questions; glossary.

A guide to understanding words, their relationships, and how they are used. 68 pages; 84 review questions; glossary.

33. Punctuation

By F. W. Hamilton

A primer of information about the marks of punctuation and their use, both grammatically and typographically. 56 pp.; 59 review questions; glossary.

A basic guide to punctuation marks and how to use them, both in grammar and typography. 56 pages; 59 review questions; glossary.

[Pg v]

34. Capitals

By F. W. Hamilton

A primer of information about capitalization, with some practical typographic hints as to the use of capitals. 48 pp.; 92 review questions; glossary.

A guide on capitalization, including practical tips on how to use capital letters. 48 pages; 92 review questions; glossary.

35. Division of Words

By F. W. Hamilton

Rules for the division of words at the ends of lines, with remarks on spelling, syllabication and pronunciation. 42 pp.; 70 review questions.

Rules for breaking words at the ends of lines, along with notes on spelling, syllabication, and pronunciation. 42 pages; 70 review questions.

36. Compound Words

By F. W. Hamilton

A study of the principles of compounding, the components of compounds, and the use of the hyphen. 34 pp.; 62 review questions.

37. Abbreviations and Signs

By F. W. Hamilton

A primer of information about abbreviations and signs, with classified lists of those in most common use. 58 pp.; 32 review questions.

A guide to information about abbreviations and symbols, featuring categorized lists of the most commonly used ones. 58 pages; 32 review questions.

38. The Uses of Italic

By F. W. Hamilton

A primer of information about the history and uses of italic letters. 31 pp.; 37 review questions.

A guide to the history and uses of italic letters. 31 pages; 37 review questions.

39. Proofreading

By Arnold Levitas

The technical phases of the proofreader’s work; reading, marking, revising, etc.; methods of handling proofs and copy. Illustrated by examples. 59 pp.; 69 review questions; glossary.

The technical stages of a proofreader’s work—reading, marking, revising, etc.—and how to manage proofs and copy. Illustrated with examples. 59 pages; 69 review questions; glossary.

40. Preparation of Printers’ Copy

By F. W. Hamilton

Suggestions for authors, editors, and all who are engaged in preparing copy for the composing room. 36 pp.; 67 review questions.

Suggestions for writers, editors, and everyone involved in preparing material for the composing room. 36 pages; 67 review questions.

41. Printers’ Manual of Style

A reference compilation of approved rules, usages, and suggestions relating to uniformity in punctuation, capitalization, abbreviations, numerals, and kindred features of composition.

A collection of approved rules, practices, and tips concerning consistency in punctuation, capitalization, abbreviations, numbers, and similar aspects of writing.

42. The Printer’s Dictionary

By A. A. Stewart

A handbook of definitions and miscellaneous information about various processes of printing, alphabetically arranged. Technical terms explained. Illustrated.

A guide filled with definitions and various information about different printing processes, organized alphabetically. Technical terms are explained. Illustrated.

PART VII—Design, Color, and Lettering

PART VII—*Design, Color, and Lettering*

43. Applied Design for Printers

By Harry L. Gage

A handbook of the principles of arrangement, with brief comment on the periods of design which have most influenced printing. Treats of harmony, balance, proportion, and rhythm; motion; symmetry and variety; ornament, esthetic and symbolic. 37 illustrations; 46 review questions; glossary; bibliography.

A guide to the principles of arrangement, with brief comments on the design periods that have significantly impacted printing. It covers harmony, balance, proportion, and rhythm; motion; symmetry and variety; ornamentation, both aesthetic and symbolic. 37 illustrations; 46 review questions; glossary; bibliography.

44. Elements of Typographic Design

By Harry L. Gage

Applications of the principles of decorative design. Building material of typography: paper, types, ink, decorations and illustrations. Handling of shapes. Design of complete book, treating each part. Design of commercial forms and single units. Illustrations; review questions, glossary; bibliography.

Applications of decorative design principles. Typography materials: paper, fonts, ink, decorations, and illustrations. Working with shapes. Designing a complete book, addressing each section. Designing commercial forms and individual pieces. Illustrations; review questions, glossary; bibliography.

[Pg vi]

45. Rudiments of Color in Printing

By Harry L. Gage

Use of color: for decoration of black and white, for broad poster effect, in combinations of two, three, or more printings with process engravings. Scientific nature of color, physical and chemical. Terms in which color may be discussed: hue, value, intensity. Diagrams in color, scales and combinations. Color theory of process engraving. Experiments with color. Illustrations in full color, and on various papers. Review questions; glossary; bibliography.

Use of color: for decorating black and white, for a bold poster impact, in combinations of two, three, or more prints with process engravings. The scientific nature of color, both physical and chemical. Terms for discussing color: hue, value, intensity. Color diagrams, scales, and combinations. Color theory in process engraving. Experiments with color. Full-color illustrations on various papers. Review questions; glossary; bibliography.

46. Lettering in Typography

By Harry L. Gage

Printer’s use of lettering: adaptability and decorative effect. Development of historic writing and lettering and its influence on type design. Classification of general forms in lettering. Application of design to lettering. Drawing for reproduction. Fully illustrated; review questions; glossary; bibliography.

Printer’s use of lettering: flexibility and aesthetic appeal. Evolution of historical writing and lettering and its impact on type design. Categorization of basic forms in lettering. Application of design principles to lettering. Illustration for reproduction. Includes fully illustrated content; review questions; glossary; references.

47. Typographic Design in Advertising

By Harry L. Gage

The printer’s function in advertising. Precepts upon which advertising is based. Printer’s analysis of his copy. Emphasis, legibility, attention, color. Method of studying advertising typography. Illustrations; review questions; glossary; bibliography.

The role of the printer in advertising. Principles that support advertising. Printer’s examination of their text. Emphasis, readability, focus, color. Approach to analyzing advertising typography. Illustrations; review questions; glossary; bibliography.

48. Making Dummies and Layouts

By Harry L. Gage

A layout: the architectural plan. A dummy: the imitation of a proposed final effect. Use of dummy in sales work. Use of layout. Function of layout man. Binding schemes for dummies. Dummy envelopes. Illustrations; review questions; glossary; bibliography.

A layout: the design plan. A dummy: a representation of a suggested final look. Using dummies in sales work. Using layouts. The role of the layout designer. Binding designs for dummies. Dummy envelopes. Illustrations; review questions; glossary; bibliography.

PART VIII—History of Printing

49. Books Before Typography

By F. W. Hamilton

A primer of information about the invention of the alphabet and the history of bookmaking up to the invention of movable types. 62 pp.; illustrated; 64 review questions.

A basic guide about the creation of the alphabet and the history of book production leading up to the invention of movable type. 62 pp.; illustrated; 64 review questions.

50. The Invention of Typography

By F. W. Hamilton

A brief sketch of the invention of printing and how it came about. 64 pp.; 62 review questions.

A quick overview of the invention of printing and how it happened. 64 pp.; 62 review questions.

51. History of Printing—Part I

By F. W. Hamilton

A primer of information about the beginnings of printing, the development of the book, the development of printers’ materials, and the work of the great pioneers. 63 pp.; 55 review questions.

A basic overview of the origins of printing, the evolution of books, the progress of printing materials, and the contributions of key pioneers. 63 pp.; 55 review questions.

52. History of Printing—Part II

By F. W. Hamilton

A brief sketch of the economic conditions of the printing industry from 1450 to 1789, including government regulations, censorship, internal conditions and industrial relations. 94 pp.; 128 review questions.

A brief overview of the economic conditions of the printing industry from 1450 to 1789, including government regulations, censorship, internal conditions, and industrial relations. 94 pages; 128 review questions.

53. Printing in England

By F. W. Hamilton

A short history of printing in England from Caxton to the present time. 89 pp.; 65 review questions.

A brief history of printing in England from Caxton to now. 89 pages; 65 review questions.

54. Printing in America

By F. W. Hamilton

A brief sketch of the development of the newspaper, and some notes on publishers who have especially contributed to printing. 98 pp.; 84 review questions.

A quick overview of how newspapers developed, along with some notes on publishers who have significantly contributed to printing. 98 pages; 84 review questions.

55. Type and Presses in America

By F. W. Hamilton

A brief historical sketch of the development of type casting and press building in the United States. 52 pp.; 61 review questions.

A short history of how type casting and press building evolved in the United States. 52 pp.; 61 review questions.

[Pg vii]

PART IX—Cost Finding and Accounting

PART IX—Cost Analysis and Accounting

56. Elements of Cost in Printing

By Henry P. Porter

The Standard Cost-Finding Forms and their uses. What they should show. How to utilize the information they give. Review questions. Glossary.

The Standard Cost-Finding Forms and how to use them. What they should display. How to make the most of the information they provide. Review questions. Glossary.

57. Use of a Cost System

By Henry P. Porter

The Standard Cost-Finding Forms and their uses. What they should show. How to utilize the information they give. Review questions. Glossary.

The Standard Cost-Finding Forms and their applications. What they should display. How to use the information they provide. Review questions. Glossary.

58. The Printer as a Merchant

By Henry P. Porter

The selection and purchase of materials and supplies for printing. The relation of the cost of raw material and the selling price of the finished product. Review questions. Glossary.

The selection and purchase of materials and supplies for printing. The relationship between the cost of raw materials and the selling price of the finished product. Review questions. Glossary.

59. Fundamental Principles of Estimating

By Henry P. Porter

The estimator and his work; forms to use; general rules for estimating. Review questions. Glossary.

The estimator and his work; forms to use; general guidelines for estimating. Review questions. Glossary.

60. Estimating and Selling

By Henry P. Porter

An insight into the methods used in making estimates, and their relation to selling. Review questions. Glossary.

An overview of the techniques used for making estimates and how they relate to sales. Review questions. Glossary.

61. Accounting for Printers

By Henry P. Porter

A brief outline of an accounting system for printers; necessary books and accessory records. Review questions. Glossary.

A quick overview of an accounting system for printers, including required books and additional records. Review questions. Glossary.

PART X—Miscellaneous

62. Health, Sanitation, and Safety

By Henry P. Porter

Hygiene in the printing trade; a study of conditions old and new; practical suggestions for improvement; protective appliances and rules for safety.

Hygiene in the printing industry; an examination of past and present conditions; practical tips for enhancement; safety equipment and guidelines for protection.

63. Topical Index

By F. W. Hamilton

A book of reference covering the topics treated in the Typographic Technical Series, alphabetically arranged.

A reference book that covers the topics discussed in the Typographic Technical Series, organized in alphabetical order.

64. Courses of Study

By F. W. Hamilton

A guidebook for teachers, with outlines and suggestions for classroom and shop work.

A guidebook for teachers, with outlines and ideas for classroom and workshop activities.

[Pg viii]

ACKNOWLEDGMENT

This series of Typographic Text-books is the result of the splendid co-operation of a large number of firms and individuals engaged in the printing business and its allied industries in the United States of America.

This series of Typographic Text-books is the outcome of the amazing collaboration among many companies and individuals involved in the printing industry and related fields in the United States.

The Committee on Education of the United Typothetae of America, under whose auspices the books have been prepared and published, acknowledges its indebtedness for the generous assistance rendered by the many authors, printers, and others identified with this work.

The Education Committee of the United Typothetae of America, which facilitated the preparation and publication of the books, recognizes its gratitude for the generous support provided by the many authors, printers, and others involved in this effort.

While due acknowledgment is made on the title and copyright pages of those contributing to each book, the Committee nevertheless felt that a group list of co-operating firms would be of interest.

While proper acknowledgment is given on the title and copyright pages of those who contributed to each book, the Committee still believed that a list of cooperating companies would be of interest.

The following list is not complete, as it includes only those who have co-operated in the production of a portion of the volumes, constituting the first printing. As soon as the entire list of books comprising the Typographic Technical Series has been completed (which the Committee hopes will be at an early date), the full list will be printed in each volume.

The following list is not complete, as it includes only those who have contributed to the production of part of the volumes that make up the first printing. Once the full list of books in the Typographic Technical Series is finalized (which the Committee hopes will be soon), the complete list will be printed in each volume.

The Committee also desires to acknowledge its indebtedness to the many subscribers to this Series who have patiently awaited its publication.

The Committee also wants to thank all the subscribers to this Series who have patiently waited for its publication.

Committee on Education,
United Typothetae of America.
Henry P. Porter, Chairman,
E. Lawrence Fell,
A. M. Glossbrenner,
J. Clyde Oswald,
Toby Rubovits.

Frederick W. Hamilton, Education Director.

Education Committee
United Typothetae of America.
Henry P. Porter, Chair,
E. Lawrence Fell,
A. M. Glossbrenner,
J. Clyde Oswald,
Toby Rubovits.

Frederick W. Hamilton, Education Director.

[Pg ix]

CONTRIBUTORS

For Composition and Electrotypes

Isaac H. Blanchard Company, New York, N. Y.
S. H. Burbank & Co., Philadelphia, Pa.
J. S. Cushing & Co., Norwood, Mass.
The DeVinne Press, New York, N. Y.
R. R. Donnelley & Sons Co., Chicago, Ill.
Geo. H. Ellis Co., Boston, Mass.
Evans-Winter-Hebb, Detroit, Mich.
Franklin Printing Company, Philadelphia, Pa.
Gage Printing Co., Ltd., Battle Creek, Mich.
F. H. Gilson Company, Boston, Mass.
Stephen Greene & Co., Philadelphia, Pa.
William Green, New York, N. Y.
W. F. Hall Printing Co., Chicago, Ill.
Frank D. Jacobs Co., Philadelphia, Pa.
Wilson H. Lee Co., New Haven, Conn.
J. B. Lippincott Co., Philadelphia, Pa.
MacCalla & Co. Inc., Philadelphia, Pa.
The Patteson Press, New York.
The Plimpton Press, Norwood, Mass.
Poole Bros., Chicago, Ill.
Remington Printing Co., Providence, R. I.
Edward Stern & Co., Philadelphia, Pa.
The Stone Printing & Mfg. Co., Roanoke, Va.
State Journal Company, Lincoln, Neb.
The University Press, Cambridge, Mass.

Isaac H. Blanchard Co., New York, NY.
S. H. Burbank & Co., Philadelphia, PA.
J.S. Cushing & Co., Norwood, MA.
The DeVinne Press, New York, NY.
R. R. Donnelley & Sons Co., Chicago, IL.
Geo. H. Ellis Company, Boston, MA.
Evans Winter Hebb, Detroit, MI.
Franklin Print Co., Philadelphia, PA.
Gage Printing Co., Ltd., Battle Creek, MI.
F. H. Gilson Co., Boston, MA.
Stephen Greene & Co., Philadelphia, PA.
Will Green, New York, NY.
W.F. Hall Printing Co., Chicago, IL.
Frank D. Jacobs Co., Philadelphia, PA.
Wilson H. Lee Company, New Haven, CT.
J.B. Lippincott Company, Philadelphia, PA.
MacCalla & Co. Inc., Philadelphia, PA.
The Patteson Press, New York.
Plimpton Press, Norwood, MA.
Poole Brothers., Chicago, IL.
Remington Printing Company, Providence, RI.
Edward Stern & Co., Philadelphia, PA.
The Stone Printing & Mfg. Co., Roanoke, VA.
State Journal Co., Lincoln, NE.
The Uni Press, Cambridge, MA.

For Composition

**For Writing**

Boston Typothetae School of Printing, Boston, Mass.
William F. Fell Co., Philadelphia, Pa.
The Kalkhoff Company, New York, N. Y.
Oxford-Print, Boston, Mass.
Toby Rubovits, Chicago, Ill.

Boston Typothetae School of Printing, Boston, MA.
William F. Fell Company, Philadelphia, PA.
Kalkhoff, New York, NY.
Oxford Print, Boston, MA.
Toby Rubovits, Chicago, IL.

Electrotypers

Electrotypers

Blomgren Brothers Co., Chicago, Ill.
Flower Steel Electrotyping Co., New York, N. Y.
C. J. Peters & Son Co., Boston, Mass.
Royal Electrotype Co., Philadelphia, Pa.
H. C. Whitcomb & Co., Boston, Mass.

Blomgren Brothers Company, Chicago, IL.
Flower Steel Electrotyping Company, New York, NY.
C. J. Peters & Son Co., Boston, MA.
Royal Electrotype Company, Philadelphia, PA.
H. C. Whitcomb & Co., Boston, MA.

[Pg x]For Engravings

[Pg x]For Illustrations

American Type Founders Co., Boston, Mass.
C. B. Cottrell & Sons Co., Westerly, R. I.
Golding Manufacturing Co., Franklin, Mass.
Harvard University, Cambridge, Mass.
Inland Printer Co., Chicago, Ill.
Lanston Monotype Machine Company, Philadelphia, Pa.
Mergenthaler Linotype Company, New York, N. Y.
Geo. H. Morrill Co., Norwood, Mass.
Oswald Publishing Co., New York, N. Y.
The Printing Art, Cambridge, Mass.
B. D. Rising Paper Company, Housatonic, Mass.
The Vandercook Press, Chicago, Ill.

American Type Founders Company, Boston, MA.
C. B. Cottrell & Sons Co., Westerly, RI.
Golding Manufacturing Company, Franklin, MA.
Harvard, Cambridge, MA.
Inland Printer Company, Chicago, IL.
Lanston Monotype Co., Philadelphia, PA.
Mergenthaler Linotype Co., New York, NY.
Geo. H. Morrill Co., Norwood, MA.
Oswald Publishing Co., New York, NY.
The Art of Printing, Cambridge, MA.
B. D. Rising Paper Co., Housatonic, MA.
The Vandercook Press, Chicago, IL.

For Book Paper

For Book Printing

American Writing Paper Co., Holyoke, Mass.
Bryant Paper Co., Kalamazoo, Mich.
The Miami Paper Co., West Carrollton, Ohio.
Oxford Paper Company, New York, N. Y.
West Virginia Pulp & Paper Co., Mechanicville, N. Y.

American Writing Paper Co., Holyoke, MA.
Bryant Paper Company, Kalamazoo, MI.
The Miami Paper Company, West Carrollton, OH.
Oxford Paper Co., New York, NY.
West Virginia Pulp & Paper Co., Mechanicville, NY.

For Book Cloth

For Book Cover Material

Interlaken Mills, Providence, R. I.

Interlaken Mills, Providence, RI.

Transcriber’s Notes:

According to the text on page 13, one example for rule 25 and one example for rule 26 appear to be incorrect. These have been left as presented in the original text.

According to the text on page 13, one example for rule 25 and one example for rule 26 seem to be incorrect. These have been left as they are in the original text.

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TYPOGRAPHIC TECHNICAL SERIES FOR APPRENTICES—PART VI, NO. 36

COMPOUND WORDS

A STUDY OF THE PRINCIPLES OF COMPOUNDING, THE COMPONENTS OF COMPOUNDS, AND THE USE OF THE HYPHEN

BY

FREDERICK W. HAMILTON, LL. D.

EDUCATIONAL DIRECTOR UNITED TYPOTHETÆ OF AMERICA.

PUBLISHED BY THE COMMITTEE ON EDUCATION UNITED TYPOTHETAE OF AMERICA 1918

Copyright, 1918 United Typography Association Chicago, IL

PREFACE

CONTENTS

COMPOUND WORDS

INTRODUCTION

GENERAL PRINCIPLES

INFLUENCE OF ACCENT IN COMPOUNDING

RULES FOR THE FORMATION OF COMPOUNDS

COMPONENTS OF COMPOUNDS

RULES FOR THE USE OF THE HYPHEN

SUPPLEMENTARY READING

QUESTIONS

TYPOGRAPHIC TECHNICAL SERIESFOR APPRENTICES

ACKNOWLEDGMENT

CONTRIBUTORS

A STUDY OF THE PRINCIPLES
OF COMPOUNDING, THE COMPONENTS
OF COMPOUNDS, AND THE
USE OF THE HYPHEN

EDUCATIONAL DIRECTOR
UNITED TYPOTHETÆ OF AMERICA.

PUBLISHED BY THE COMMITTEE ON EDUCATION
UNITED TYPOTHETAE OF AMERICA
1918

Copyright, 1918
United Typography Association
Chicago, IL

TYPOGRAPHIC TECHNICAL SERIES
FOR APPRENTICES