The Museum Collection The Museum Collection Other Composing Room The process of typesetting is called composition in the trade. Traditional composition has been called hot metal composition, which in some usage includes hand composition of foundry type since that was also cast once. For much of the history of printing, composition was hand composition of hand-cast type. Only in the 20th century were practical methods of machine setting invented, which leveraged on previous advances in machine casting of type. Hot Metal Composition: Machine Composition Monotype The workhorse for book-work machine typesetting was the Lanston Monotype. It cast individual sorts as needed and assembled them at an assigned width. Once the page was “worked off,” the type could be melted to be cast anew, or it could be distributed into cases for hand composition or correcting of typographic errors matter set in the same face. Composition casters with 160 cases of mats Keyboards Strip casters with 150 border mats Sorts casters with 110 fonts of mats Linotype The original hot-metal composing machine for newspaper operations. In contrast to the Monotype, it cast whole lines at once.

Typographic errors required the resetting and recasting of the entire line, and sometimes adjacent lines if the spacing was changed too much by the correction. Model 1 (“X”) The Second Band Machine Model 5 Linotype mats (300 fonts) Linotype Teletypesetter The Linotype was adapted to remote setting using transmission of wire-service copy with the Teletypesetter papr tape keyboard and printer. Perforator keyboards (4) Teletypesetter high-speed Punch All Purpose Linotype Merganthaler Linotype’s solution to the headline composition problem was the “APL,” a machine which would cast headline lines from hand-composed matrices. It had larger matrices than the largest regular Linotype, and with the Ludlow conversion composing sticks (2+), it could cast from Ludlow matrices. lntertype (3) Intertype was a clone of the Linotype, made to be able to interchange fonts and some parts, made by the Intertype Corporation. Model C 90 magazines in racks, all with mats Linograph (1) Linograph Model 1, with 5 magazines, 12 fonts of mats Ludlow The Ludlow was the main machine for headline composition.

A compositor assembled matrices for one line of headline or display by hand on a “Ludlow composing stick.” Ludlow type is cast type-high like all other type, but it is not cast to the full point-size to that height; to save metal and expedite cooling (and thus cycling), all sizes are cast on a 12-pt slug, with massive cantilevers (far too solid to call kerns) hanging over the top & bottom, which are supported on high spacing slugs. The high spacing slugs were cast on Elrod casters, which could also cast low spaces; an Elrod in good condition could cast one-point leads. Ludlows (2) — with 206 fonts of mats in 20-case racks Ludlow Super-Finishers (2) support tools. Elrods (2) with molds and support tools. Unitype The Unitype foundry-type typesetter set foundry type (harder than the normal hot-metal composing machines could cast on the fly). It requires specially cast foundry type that was notched for machine sorting (not unlike Linotype matrices). 10pt., with font.

General support equipment A well equipped hot-metal composing room had a wide variety of specialized tools (in addition to a general machinery-shop for repairs!). Typographical saws (5) hand lead and slug cutters (12) rotary mitering machines (3) Smelter – multiple pig mold, 8-pig, water cooled single pig molds (16) pi trucks (8) Make-up and Correction Imposition After basic composition, type must be assembled into galleys for first proof and then “imposed” pages and multiple-page forms in preparation for printing. The table upon which the type is organized into one or multi-page forms is called the imposing stone, and often is made of marble. Later industrial models are precision steel. Marble and steel are preferred to ensure flatness and levelness of the surface when a form is prepared for the press. Forms are stored temporarily and long-term tied with page-cord (strong fine waxed string) on a galley in a galley rack. Forms that are going to or from the press for proofs or corrections will be stored in chases that fit the press, which are stored on edge in special racks and (in larger sizes) wheeled about on special “trucks” or dollies.

imposing stones, metal, over galley racks below (4) imposing stone on wooden frame furniture in racks. wood and metal news chases (12) C&P galley press, hand Vandercook model 30-26 4-color process in-line proof press, 26? long 6 tons, with cabinet dryer Vandercook Model 0 Stereotyping For large (or repeated) runs of books or newspapers, neither hot-metal machine-composition type nor hand-composed foundry type is ideal. Having large quantities of type metal in standing forms is expensive inventory; also both kinds of type wear (machine comp wears faster than the harder foundry, but the wear on foundry is capital depreciation). In addition, only one press can print the result of one composition; to have multiple presses running hand comp would require multiple settings (and multiple errors and proofings). The solution to this problem is the stereotype (or in French, the cliché), by which each multi-page form, in a special chase, is cast into a solid thin metal plate, which may be printed either upon patent bases on standard presses or on rotary presses built for stereo plates.

Multiple plates can thus be made from one setting (hence stereo); and once the plates are made, the type can be distributed or melted for reuse. Mats taken from the type form can be expressed to remote sites for casting, allowing coordinated advertising and syndicated copy without resetting. flat mat casting boxes with pots (3) [Image: coarse screen] Goss mat roller top of page ↑ Cold Composition All means of composition not using cast metal type is cold composition. The typewriter was sneeringly called Cold Metal in some times and places (although you now hear it used for hand composers working at the case!) as well as Strike-on Comp; the various Zip-a-Tone/Letraset products have been called Rub-on Comp. In the middle of the Offset revolution, they were the low-end competitors to pulling reproduction proofs from metal type to produce camera ready art. Phototypesetters The primary replacement for Hot Metal were the phototype compositor machines. Here the photographic negative replaces the impress matrix casting new metal. Most were running-text machines as with most hot-metal. Most shops continued to handset headlines at the case or at the Ludlow to pull repro proofs, but the CG Headliner filled the niche of the Ludlow. Berthold AG Kelly C.

20×27½ Web Fed (1) (Roll-feed is called a web of paper.) Goss Sextuple Straight-line curved stereo news press 1922, 62″ web, 22′ cutoff, 3- deck. 30 long, 12′ wide, 12′ tall. 45 tons: with automatic ink system, spare rollers and spare parts (3½ tons), with saddles for thin plate operation. Offset (lithographic) presses (1) The Museum will be interested in donations of Offset equipment. Davidson 10×15 sheet-feed offset-litho press. Engraving Presses Mead “cannonball” steel engraving press King copperplate engraving press 12 w. cylinder, 4′ diam. wheel; DeMain, Kelton, and King copperplate engraving presses, 16 w. cylinder, 5′ diam. wheel. Roto-Gravure Speedy Gravure 6 Web single color, used in bandage packaging. Really small!

Donated many years ago in situ, a Speedy Gravure 6 web press manufactured by the Champlain Gravure Company was moved into the Friends storage site several years ago. A larger gravure cylinder for a decorative border has been recently acquired. Office Duplicators Gammeter Multigraph Multigraph composing machine w/ 11 cases Multigraph type in stand & Multigraph supplies and parts in fitted chest Neostyle mimeograph, 1907 Early Printer's Tools - Letterpress Commons Related Articles Tools, conceived in the mind and made by the hand, become an extension of both. Nothing is more basic to the development of any craft. First known illustration of a printing press: Danse Macabre, printed by Mathias Hus in Lyons, 1499. Note the copy holder (visorum), composing stick, press form, and inking balls. The best sources of information about the earliest printing tools are fifteenth-, sixteenth- and seventeenth-century woodcut and engraved images of the printing operation. The earliest of these is the famous Danse Macabre woodcut published at Lyons in 1499.

The illustration is somewhat sketchy in nature, but it shows clearly enough the composing stick, inking balls, and a copy-holder, called a visorum. On the bench next to the compositor is a press form with a bottom plate, divided into columns of different measures (most likely for a text with notes set to a narrower measure surrounding it in the outside margins.) Printer’s mark of Jodocus Badius Ascensius, 1520. Tools shown are scissors, paste brush, dividers, and a Y-shaped tool that may be for affixing register points to the tympan frame. A much more detailed and realistic picture of the press depicts that of Jodocus Badius Ascensius of Paris, in 1520. Next to the name (Prelum Ascensianum) on the head of the press are four hand tools, neatly tucked into leather cords tacked to the press. Three are clear enough. One is a pair of scissors to cut the frisket or paper gauges. Next to it is a brush, most likely for pasting down the tympan and other tasks well-known to the modern printer.

On the right side of the press is a pair of dividers (later adopted by Plantin for his printer’s mark) used to lay out margins and center type. Another, later press mark of Jodocus Badius Ascensius, 1522, showing the same four tools. Next to these dividers is a Y-shaped tool that appears to have a divided handle and a point. The same tool appears in a cruder woodcut of the same press dated 1522, on the other side of the press. James Moran, in his Printing Presses, writes that it is a bodkin. If so, it is an unusual form of one. The present consensus is that it may be a tool for screwing register points into the tympan frame, but this is not certain. Durer’s Drawing of a Press Sketch of a press by Albrecht Durer, 1511, probably drawn from memory. Tools shown on the cheek of the press are the same Y-shaped tool shown in the Ascensius press marks, and a pair of dividers.

Durer’s sketch of a press, in 1511, although it shows the screw running in the wrong direction, seems to be done from observation. (Durer was the godson of Nuremberg printer and publisher, Anton Koberger, and had a press in his home.) The sketch shows a hammer, dividers, and what appears to be the same Y-shaped tool, all attached to the far side cheek of the press. In the well-known 1628 copperplate engraving published in Haarlem by Peter Scriverius, the scissors, dividers and paste-brush are shown again on the head of the press. In this engraving, called “the first accurate representation of a press,” the mysterious tool of 1520 is not shown. A hammer or mallet is shown hanging from the left cheek of the press, used of course for planing the form and setting the quoins and sidesticks. Sidesticks were strips of wood or metal; when wedged against quoins, they secured one side of a locked-up page. Press in a printing office, in Peter Scriverius, Laure-Craus voor Laurens Coster, Harlem, 1628.

Abraham von Werdt’s representation of a printing office (1639) shows the scissors and hammer on the head, as well as a small pointed implement which may well be a bodkin. Wood engraving by Abraham von Werdt, South German printing office, 1639. Moxon’s Illustrations in 1683 By the time of Joseph Moxon’s Mechanick Exercises on the Whole Art of Printing (1683) we have for the first time detailed, large-scale depictions of the tools of the printer. One of these is the sheep’s foot, a bent piece of iron with a nail-pulling claw at one end and a hammerhead at the other. Moxon states that it is used for nailing and pulling nails from the inking balls. The sheep’s foot, almost unchanged from Moxon, is in the 1881 R. Hoe & Co. printing supply catalogue, and, in fact it can still be found in hardware shops today.

In 1841 Savage wrote that “it is customary to have one for each press, which in a wooden press is suspended by the head from two nails driven into the near cheek of the press, just below the cap. It is a very useful article to the pressman; but is often applied instead of the mallet and shooting stick, to tighten up or to loosen quoins…I do not like to see it used for this purpose.” Another use for the sheep’s foot is to lift up one edge of a form, to check for tightness. The bodkin, mentioned before, is the compositor’s tool for inserting and removing a piece of type from a composing stick or form. It has a short wooden handle with a wide mushroom-like cap, and a long point. It is shown in its classic form in Moxon and almost identically in the 1881 Hoe catalogue. In the nineteenth century American manufacturers devised metal tweezers with a folding bodkin point that could be kept in the compositor’s pocket. Shooting Sticks and Mechanical Quoins Shooting sticks, mentioned above by Savage, were originally a piece of hardwood, such as hickory, with a notch at one end.

This notch was engaged against the end of a quoin or sidestick, and the shooting stick was tapped with the hammer or mallet. This forced one wedge tighter against another to lock up type inside the chase. In later years shooting sticks were made of iron or steel, and remained in use until the development of mechanical, or screw-tightening quoins in the late nineteenth century. Tools pictured in Moxon’s Mechanick Exercises, 1683, and the R. Hoe & Co. catalogue, 1881. Top: sheep’s foot, Moxon (left) Hoe (right.) Galley-and-slice and bodkin (Moxon), bodkin (Hoe), ink slice (Moxon). And shooting stick (Hoe.) The change from wood to metal can be seen in almost every tool and machine of the printer’s trade, from presses to smaller implements. The greater precision and durability of iron and steel were valued, once the industrial processes involved in fabrication made them accessible. This changeover happened for many tools in the first decades of the nineteenth century, coincident with the development of the iron hand press. The composing stick is one tool whose very name indicates its wooden origin.

Setting type requires precision, and metal composing sticks by the time of Moxon were all that he showed; yet an 1910 edition of Southward’s Modern Printing pictures a mahogany stick, with a fixed measure and lined in brass, for use in newspaper work. Martin Speckter’s Disquisition on the Composing Stick is the only book ever written on this essential tool. It was published by The Typophiles in 1971. One tool that changed form for the worse was the old wooden galley-and-slice. A wooden galley had inserted above its base a separate sliding base with a protruding handle. When needed, type on the galley could be easily removed by simply grasping the handle and pulling the upper base out of the galley. In the transition to brass and steel galleys, the slice has been lost. Another, quite different form of slice was used for the distribution of ink. Shaped like a miniature shovel, as Moxon says, it had a short bar extending through the handle to prevent the handle from touching the ink when he tool was put down.

Even this quick summary of some of the compositor’s and pressman’s tools will give an idea of the conservative nature of the printing craft, during the 500-year reign of letterpress. Gutenberg would no doubt be bewildered in a modern printing plant; but chances are he would feel very much at home in an amateur’s basement letterpress shop. Contributors The Excelsior Press Museum & School Fundraising Page MISCELLANEOUS ~ SHIPPING NOTES Please note that ALL proceeds of equipment, supplies or printing sold by the Excelsior Press goes to support the continued existance of this museum print shop. Each month, we have to come up with $600 to pay the rent. For the past 22 years, the cost of the rent has come out of my own earnings. But now the shop must support itself in order to survive. We began by selling off some of the spare presses and tools from our collection, but response has been so positive that we are now seeking out other sources of the things you may need. We and hope to become a reliable resource to assist and encourage letterpress printing for this and future generations...

So, Yes, this is our own unabashedly commercial "shameless commerce" part of the website. W E HAVE FINALLY REALIZED that developing and maintainining a collection of old printing presses - and paying the rent month after month for the past 25 years (so far) takes both a lot of time and a fair amount of money. And, since we've got more stuff than we really need, and since the simple fact that you are here viewing this page suggests that you might want or need some of these treasures we've collected over the past 45 years or so, we have some really neat stuff (and maybe some junk) for sale. W e hate to part with any of it, actually, but really, how many midget-sized Hamilton Furniture Racks does one print shop need? We've got some spares. And we need to pay the rent. They're for sale. A nd, we've got furniture - loads of it. "A lifetime supply", is how I describe it. But how many chases do I want to lock up at one time? And how often will I leave furniture in galley forms? A few fonts of furniture is all that we need. So we can sell some to you.

As much as you need. W e've got type. We love type. We can't walk past a font of type without yearning to add it to our composing room. And surfing eBay drives us crazy! Plus people keep bringing us more stuff for the museum, so we're always adding more fonts to our collection. Often we get duplicates - or even faces we just don't use in our style of work. They're for sale, too. T hen there's 138 MORE fonts which we 'rescued' when Hobson Printing finally cleared out their composing room this past winter. I couldn't buy the type - but I insisted that the owner not dump it into that large barrel full of lead going to the scrap dealer. These fonts had to be saved. I made him let me take them and promised that I would sell it for him for twice what the scrap dealer would have paid. (Still not sure what that price really was. when I find out, I'll post it here.) AND, now that Barry's brought down his Linotype, Interype, Ludlow & Colt, we have his spare quoins, furniture, etc.

to add to the collection, and he's kindly agreed that we should sell it to cover expenses - and our newest expense is the $1200 it cost to move the line casters to The Excelsior Press. And quoins! Boy, have we got quoins! enough chatter. Here's the list: but remember - Most of this is used, and is available "Only while supplies last" What do I need in my starter kit? The basic question whose answer will help us decide just what you need is "Do you plan to set type and print using traditional methods, or do you plan to print only from photopolymer plates - or a combination of both?" In either case, you will need ink, tympan paper and gauge pins. For the 5x8 or larger press, you may also find Megill Extension Feed Guides to be very helpful. If you plan to print from photopolymer plates only, an Excelsior Chase-Base would be an asset. It could be used instead of the well-known "BoxCar Base" sold by Boxcar press, and offers certain advantages over it. Either base can be used with anyone's photo polymer plates.

We recommend, btw - deep-etch engravings or photo-polymer plates for best results on a small platen press. If, on the other hand, you wish to pursue the traditional path of setting type and locking up forms of hand-set type with or without wood-mounted metal photo-engravings, you would probably want to add items listed under #starter_kit-typesetting In addition, you would need some reglet and furniture For the Kelsey Excelsior presses, you may not need to purchase quoins and a key, but could use the Chase Lock-up Bars - if your chase is drilled for set-screws on two sides. This was a common feature on most Kelsey presses, and may suffice for your needs as well. (If your chase has the holes, but no set screws, we have them in stock for your here) Once we figure out exactly what you will need, we will put together a packing list and post it online for you to review. Once the order is approved, we will pack it up, generate an invoice which would include a PayPal "Pay Now" button, print a shipping label and get it all ready to ship to you.

It may help to discuss your needs and interest directly, so please do feel free to contact us with any specific questions you may have. And please do also send us your mailing address. We ship using the USPS Flat-Rate boxes, so the rates are pretty standard, and your package would be delivered by your local mail carrier. Please take some time to review the contents of this page and write with any questions you may have about your new press and the supplies you will need to get the most out of it. We do realize that there is a lot to consider on this page, and it can be overwhelming. We are here to help, so do not hesitate to write with any questions you may have. We will respond just as quickly as we can. But. Be forewarned, we work alone, with no helpful staff to process orders and answer email, so we cannot promise service as rapid as we would like - or as most folks expect in this fast-paced world. - Alan What do I need? Many folks find or buy a press by itself without the "ancillary items" they will need to actually use their new press.

To fill this need, we have put together a number of 'starter kits' that will give you everything you need to begin printing. But your needs may vary, so we have broken this down into some categories, with ala carte an option as well. For the common Kelsey presses, for example, we have put together a kit which includes: Basic Photo-Polymer Kit recommended items: Tympan set - for your press ($15-25) - enough for your first 25 jobs Ink Starter Kit - 4 - 1/4 lb. containers red, blue, yellow, black Van Son Rubber Based Ink - mix your own and, to mount your photo polymer plates, we recommend the Excelsior Chase-Base an ink knife - a simple flexible blade putty knife will do Mineral Spirits, or other solvent for cleanup.

(Buy locally) Basic Printer's kit includes: Furniture & Reglet Starter Font for your press ($35-50+9) Tympan set - for your press ($15-25) - enough for your first 25 jobs gauge pins - box of 6 unused/old stock Megill Spring Tongue Gauge Pins ($13) or a box of 3 "used, but usable" Megill "Double-Grip" gauge pins ($28) * Wickersham quoins optional ($4.50 each + $16 for original used key or $9 for new L-shaped key) * Challenge quoin key may be replaced by a 'shooting stick', depending upon availability of used keys * Kits up to 5x8 ship in Medium USPS Flat-rate box for $13.50 - insured. OPTIONAL Press ITEMS - Custom Sizes to fit your chase $38/set * undercut to save chase space Note: Be VERY CAREFUL when using roller bearers. Remember, they are type high. Be sure to check for clearance with your grippers and your gauge pins or they could be crushed!

From Chandler & Price circa 1900 Excelsior "Chase Base" ï¿½- "replace your chase" with a hardwood blocked Cherry or machined Richliteï¿½ Excelsior Chase-Base. Used for printing from deep-etch (K-series) photo-polymer plates. Mounts in your press just like a chase - but does not require that you have a chase, furniture, quoins or a quoin key - AND it gives you the largest image size possible for your small press. See our " Chase-base Hints Page " for more information and helpful hints about using the Excelsior Chase-Base Note: 10/20/2011 We are beginning R&D making Chase-Bases of a more stable material - Richlite - an eco-friendly material used in aircraft as well as counter tops. Richlite is a very hard, durable, yet machinable phenolic resin and wood fibre laminate. This product is stable, abrasion resistant, moisture and chemical resistant. It should make a superior Chase-Base. We will post results of our tests online once they are completed.

Full Kit* includes low-clearance unsmashable gauge pins that will let you position your image anywhere on the base and still do quick makeready and sheet alignment. $68.00 - 108.00 Base Blocks (rectangular milled base) are now available for 3x5, 5x8 & 6x10 Kelsey, 4" squares for printing coasters, and other sizes as available or required. $3/sq inch * Note: May 18, 2012: Due to a supply chain interruption, and a number of other projects in the shop, we had experienced an extended delay in production & shipping until now. We are now back in production. Please check with us regarding current inventory of the Blocked Cherry Wood or Milled and Machined Richlite base you require. It will likely take a while to catch up with delayed orders, so please bear with us and be patient as we manufacture the best Chase-Base that we can. Style A is made from milled blocked Cherry Wood Style B is now made using a Phenolic Resin Laminate which utilizes recycled paper for body.

* prices effective 6/1/2015 * KIT includes pack of 6 flexible gauge pins - a $17 value) ** 5x8 Excelsior Chase Beds vary in width by up to 1/8" see photo below note: although these are an inexpensive alternative a well-known & popular photopolymer base, these are *not* machined metal, nor do they include the alignment grid. But plates mount easily and are easily aligned - AND users report excellent results when using our special flexible gauge pins. You can see one of our bases being used on Michael Hurley's 10x15 C&P on Flickr - ** Old vs New Style Kelsey Excelsior 5x8 Chase Bed Comparison. Note the old style bed in the background. It uses iron wedges - cast into the bed - to hold the chase in place. It is 1/8" tighter than the new style shown in the foreground. The New Style Chase Bed uses pins or set screws to hold the chase at the bottom. It is 1/8" wider than the old style. Be sure to tell us which one you have so that the base we send you fits your press perfectly.

The bed of the Kelsey Excelsior 6x10 Model X is 6-12 points wider and 12 points taller than the bed of the Model Q. Typesetting Starter Kit Even if you do use photo polymer plates or photo-engravings now and again, nothing beats the satisfaction - and convenience - of setting your own hand type, adding a flourish or ornament or nice piece of rule here and there, adjusting the spacing with a 2pt lead here and there - and then printing as we did in the good old days of "hot metal". (Which, of course we still do daily at the Excelsior Press) Besides, when you set your own type, and make up your own forms, you not only carry on the old letterpress tradition - established by Gutenberg when he began casting moveable type around 1450, but you also have the option of getting an idea and putting it to paper within an hour or less in many cases. There's nothing more convenient than setting hand type for short text works. Setting hand type is not as hard as it may seem. We typically teach folks the basics of typesetting and lockup in an hour or so.

You can learn in class, or learn from a book, either way works. For over 100 years, the Kelsey Company taught folks around the world - in quite literally, every far-flung corner of the world - monks on mountain tops, missionaries in the jungle, boys and girls across the USA - to set type with the handy (and still available) little Kelsey Printer's Guide. And, we have recently come upon an until quite recently unopened crate of brand new composing sticks - made in Germany about 50 years ago, but left in a crate that had not been opened in anyone's recent memory... These are economy sticks - not as spiffy as the most popular of all - the Rouse Composing Stick, but they sell for quite a bit less than the Rouse stick and will serve any typesetter quite well. We use them in our shop and find them to be perfectly adequate - sturdy and accurate and easy to use. To set hand type - as every printer should, you will need a few basic items: 1) Type & spaces 4) A type planing block Other good items worth having: 1) Type cases - one for each font.

2) A printer's line gauge - marked off in picas 3) A composing stick holder - keeps it at an angle so nothing falls out of an unjustified line. 4) A lead & slug cutter - to cut leads to custom lengths as needed (tin snips can work in a pinch, too.) 5) Galley Trays - to hold type, leads, slugs, furniture, "live forms" recently, or about to be printed. 6) Rules & borders - to enhance your designs. These come as piece borders (type), lead rule & border or brass rule. 7) (more to add) Of course, you will want some type cases to hold the type, but even if you use a few ice-cube trays to begin with, you can get started doing your own typesetting easily and at relatively little expense. Now if you want to get a bit fancy, we also make a reproduction of ATF's old composing stick holder. Typesetting - hand composition, form makeup, and more.

Other "starter kit" items you may want to purchase at your local hardware: 1) a one-quart can of lacquer thinner (or other suggested solvent) to clean old ink from your rollers 2) a one-quart can of odorless mineral spirits for general cleanup - rollers, type, etc. 3) a small bundle of cloth shop towels (or some old t-shirts) 4) a small putty knife to be used as an ink knife. Be sure the blade is flexible for mixing inks 5) a small adjustable wrench (Pilot) or large blade screwdriver (Kelsey & others) for adjusting the platen pressure 6) a tool for adjusting the paper gripper arms - a flat-tipped screw driver or an allen key, depending upon the gripper screws on your press. 7) an Exacto knife or some razor blades for general cutting while doing press make-ready. SMALL PRESS SCORING KIT New 6/1/2015 The Small Press Scoring Kit will let you score cards for easy folding. It consists of two pieces of .918" steel scoring rule; one piece cut to fit your chase horizontally, a second that will fit vertically.

It also includes 3 strips of "Channel Creasing Matrix" of each length which will serve for 6 jobs. You can also use multiple staggered layers masking tape to create channels manually. I'm working on some illustrations and instructions on how to use this on the small press and will make sure to have that ready by the time you get your kit if you think it's something that you will put to good use. SK5x8 Leads & slugs cut to lengths not shown - accurately to 1 point, - price based upon next larger size shown. (no extra charge) $2.00 minum cutting charge - up to 10 pounds, 10 lengths USPS Flat Rate box - up to 70# of cut leads and slugs mailed within US for $4.50-$13.50.

note: 10# of leads & slugs will fill a 20x70 pica area New, freshly cast 6 & 12 point x 22.5 pica Ludlow Slugs also available (price subject to market fluctuation) View larger photos on Leads & Slugs, cut to standard lengths Tympan Paper Starter Set - 100 sheets mixed packing - enough for 25 printing projects A full set of 25 oiled top (aka "hanger") sheets, 25 oiled undersheets, 25 sheets coated book paper, 25 sheets onionskin for 5x8 & smaller presses: 25 oiled top (aka "hanger") sheets, 25 oiled undersheets, 5 pieces hard red pressboard, 20 sheets coated book paper, 20 sheets onionskin Note: changed 12/2/09 - pressboard no longer available in larger sizes code from Quaker City Type Foundry - call Bill Reiss (610) 942-3637 for a catalog New Type Cast by Sky Shipley - shop online from Skyline Type Foundry New Type - Hard-metal ATF

- quality is cast by Theo Rehak at Dale Guild Type Foundry and can be purchased from The Arm in Brooklyn, NY Training - Consulting/Tutoring, Printing and Print Making Classes at the Excelsior Press Most offerings assume a 3-4 hour "afternoon in the shop" combining any of the subjects or projects listed below with experienced, traditional letterpress printers Alan or Barry for $150.

(note: These "afternoons" tend to stretch out. Over 4 hours; please add $35-45/hour if you can afford it.) Most visits begin with a 20-30 minute introduction to the shop and the typecasters, presses, fonts & engravings available to see and/or use. The clock does not start ticking until we get through the introductions... Rate schedule; shop/instructor time ? * Other based upon weight and dimensions & cost of packing materials ** Overseas shipping is available, but it takes time, costs more and can get complicated... We're not very experienced (yet), but we'll do our best. To place an order: First, an apology. This page began simply as a place to list some spare equipment we had for sale. But it has grown quite a bit since then and really should be replaced by a proper shopping cart. We are working on putting together a proper shopping cart to make things easier, but until then, please bear with us. We're doing the best we can with very limited resources. For now, please use our standard contact form , but include in the comments field: your name the press you use and a list of the items you need.

Stock # | Description | price (Hopefully, soon we'll have a form online to make this easier for both of us, but for now, this is the best I can offer.) We will respond by email with a link to your packing list. Once you approve the order, and we have it ready to ship, we will upgrade the packing list to an invoice with a PayPal "Pay Now" button that will transfer our information for your order to Paypal where you can make payment using your own Paypal account or a major credit card. Once payment has been received via PayPal, we will use their easy-label service to print postage and will deliever your box to the post office first thing the next morning. You will receive tracking info via email. Please note in your order if you would rather pay another way and we will try to accomodate your request. We ship orders of 12 oz or less via USPS First Class Mail and generally use USPS Flat Rate boxes for all heavier items. We can make a carton or crate to accomodate anything we sell, but some orders will require special packing and shipping quotes. Thanks, Alan SHIPPING INFO And there's more!

Watch soon for NEW letterpress print shop furniture from Ed Thompson, the last of three generations of Thompsons who have been making fine wood & metal workbenches, cabinets and other tools and furniture for print shops as Thompson Cabinet Company - catalog pages (partial) 10/25/07: We are hoping to soon be able to offer Kelsey Press INK TABLES for sale. 10/26/07: we are also preparing some "just like Kelsey" Excelsior Press "Complete Printing Outfits" which will include type, composing stick, leads & slugs, furniture & reglet, type cases, quoins & keys, tympan packs, gauge pins and the Kelsey Printer's Guide. Watch here for an announcement or add your name to our "I'm interested" waiting list . See how our equipment is prepared for shipping - The Pilot Press Crating and Packing Also - equipment for sale by other people. See if they have what you need Dealers & other resources: Setting Type By Hand - Letterpress Commons Setting Type By Hand Setting type by hand, one sort, or letter, at a time, takes a great deal of patience and practice.

These guidelines will facilitate the hand typesetting process and are important to the longevity of the type. 10 Steps to Perfect Typesetting 1 Count your sorts! Make sure you have enough type in the case before you start. Hold the composing stick properly. Set type by holding the composing stick in your left hand and nestling it in your curled fingers with your thumb over the last piece of type set. Let gravity help keep the type from spilling out. Centuries of experience have proven this is the way to do it. How to hold the composing stick, using the thumb to hold the line in place. Nicks are facing out. Slugs should rattle. Start your composing stick with a lead or a slug just slightly shorter than the length of the line. Make sure it rattles back and forth in the stick just a trifle. If it doesn’t rattle, then trim off a point or so with the slug cutter. Put leading between each line of type. If you’re setting lines that will be separated once they are taken out of the stick, be sure to put at least two leads between each line, that way your type will be contained when you move it. Use em quads. Start and end each line with an em quad.

This is so your form doesn’t fall apart as easily. It will take some planning, as you’ll have to determine your longest line, and then add 2 ems to it. NOTE: this was not trade practice, but a useful technique when new to handling type. Nicks up. Lay the type into the stick with the nick facing up, in the same order as it’s normally read. By doing the above, it will be set properly: upside down but still left-to-right. Spacing material. Use spacing material the same size as the type. If none can be found, it is possible, but not ideal, to use material from the next point size down. If you’re using monotype, there may be special word spacing material provided. Use generic spacing material to fill out the line. Be extremely careful not to mix up the two. Snug lines. It is essential that every line is snug and has an equal amount of tension. Study the combinations of spacing until you understand how to select the various thicknesses to best effect. Most lines can be justified with the spaces in the case. Only use coppers and brasses when thicker spacing material isn’t quite enough.

Don’t put several coppers or brasses right next to one another; they make the line too springy. If you need to use more than one copper and one brass in a line you can probably justify that line by rearranging the cast metal spaces. Get it right and lock-up later will be a snap! Also, when centering or filling out a line of type, put the smaller spacing material on the inside. This will help when correcting and distributing the type. When fine tuning the line tension (justifying the line), do not force thin spaces, but instead remove your final quad, add these smaller pieces and replace the quad. This will keep the thin spaces from getting bent. A line is perfectly justified when the last type just slides into place. Not too loose, nor too tight — but just right. Take the time to master this skill as you begin, and you will save much trouble later. Watch out for type that is off its feet. As you begin to justify the line, make sure the types aren’t leaning just a little. This will create problems in justification, so be aware. Use the same composing stick for the duration of the project. Each one varies slightly. It’s very important that all your lines are exactly the same length!

If you are using a stick with a continuous slide setting, set your stick using a row of 12 point em quads set to the length of your line plus one brass space. Make a note of which type case you’re setting from! Be very patient. Typesetting Tips Work standing, with your type case set on the slant-top Gravity works in your favor this way, plus it allows you to have a place to prop both your copy (text) and your case layout cheat-sheet. Sitting puts your neck at risk. Proper stance for typesetting Start with your longest line of type Even though it might not be your first line of type, begin your typesetting with your longest line of type, so that you know what pica length your lines will need to be in order to accommodate that line and the em-quads that need to “book end” it. Rounding up to the nearest length of furniture will make your lock up easier. Tricky characters—mind your p’s and q’s! Reading type both upside-down and backwards is not easy.

Here are a few characters that tend to trick the eye, shown as how they look when in your composing stick and as printed: Begin/end each line with an em quad—keep thin word spacing on the inside The em quads act as “book ends” for your type, and help to hold up the lines as you move them around. The quads also allow some neat typographical features, such as ‘hanging’ punctuation where the commas and hyphens appear slightly in the margin, leaving a very evenly justified column. When you are filling out a line with spacing material, arrange it with the thickest wordspacing at the ends. Use word spacing efficiently As you are setting your line of type and finish the last word of the line, you’ll need to fill out the rest of your line with word spacing material. It’ll take some trial and error to find the right combination of wordspacing to make the line snug, but once you do, examine your work. Is there anywhere that perhaps you can replace two smaller pieces of spacing material with one piece that equals that same thickness? For example, two en-spaces could be replaced with one em-quad; two coppers can be replaced with one brass.

The more efficient you are with your word spacing, the less springy your line will be. Springy lines tend to cause lock-up problems. If you can’t find the proper spacing material in the rack, check like-sized type cases. Letterspace capital letters When setting type in all capital letters, letterspacing will almost always be needed in order for the type to look visually correct and optically evenly spaced. This is because some letters are not as wide as others, and they need extra spacing material around them to appear to be evenly spaced with the other letters. Use caution when using tweezers on type Tweezers are very liable to slip and scratch the face of your type. It’s best to remove a few pieces of type together by hand than to dig one small piece out with the tweezers. In the past typesetters used a bodkin to safely lift sorts from a page of type. This sharp, awl-like tool can easily be made from a heavy sewing needle and a wine cork. Old catalogues advertised bodkin tweezers, a combination of the two tools. Every typesetter ought to have a bodkin. Mind the nicks Double check to make sure the nicks in your type have the same pattern.

If not, you may be setting type that has been mis-distributed in the wrong case. Spacing Material Spacing material is lower than type high. It includes the space between lines (leads and slugs), between words (word spacing), and the space that allows the lines to fit their line length in the composing stick (quads, coppers & brasses). Leads and slugs are thin strips of lead which separate lines of type. (Hence the term “leading.”) Leads are usually two points thick, but often can be found in one- and three- point thicknesses. Slugs are either six or twelve points thick. Leads and slugs are usually found pre-cut to pica and half-pica lengths. Other spacing material is used to provide the blank space at the ends of paragraphs, between words, and for indentations. They are based on the em, which is the square of the type body of any size of type. For example, a 12-point em quad is 12 points square. En quads are half of an em quad. A three-to-the-em space is one third the size of an em quad. Four four-em spaces make one em quad, and so on.

Generally, you would use a 3/em or a 4/em space between words, unless, as is the case with some monotype, there is special word spacing which is cast in proportion to the set width of the type. It’s very important not to mix the special word spacing material in these type cases with the standard spacing material in the rack. Coppers and brasses are used to fill in the line to adequate tightness when larger spacing material is too big. Coppers are 1/2 point thick, and brasses are 1 point thick. Both should be used sparingly since most lines can be justified without them, and using more than two in a line can make it ‘springy,’ even when they are not bent. Letter spacing is the exception to this general guideline. Type Terms When studying this illustration, it is interesting to note the anthropomorphic nomenclature attributed to many parts of a piece of type. A term not labeled on this diagram is the kern, the part of the face which extends over the side of the type body and rests on the shoulder of the type next to it, or on a special, high piece of spacing material. Kerns are often found on the letters f and j, among others.

The pin mark was an indentation originally made by a feature of the mold used on the earliest type casting machines. With improved casters the indentation wasn’t functionally needed, but the mark was sometimes kept to identify the foundry that made the letters. type nomenclature, (from “Printing Types, . . .”, D.B.Updike) One point is about 1/72 of an inch. (.0138″) A pica is 12 points. (.1660″) Type high = .918” Storing a Form Once you have 3-4 lines of set type in your composing stick, you need to move it to a galley before continuing with your next line. You might have room for another line or two, but some composing sticks have acquired with age a tendency to slightly bow out towards the top, making your lines slightly longer. Even a difference as small as 1 point in size can cause problems when it comes time to lock up your form on press. For this reason it is important that all your lines are of the same pica length and snugness and are not excessively tight.

Removing Type from the Composing Stick It is best to do this at a slant top surface, as gravity is in your favor, but you can also do it on a flat surface. Both get easier with practice. Set the galley down and set the composing stick on top of it. Remember to place leading after your last line. Unlock the knee of the composing stick. Be careful not to mix the knee of your stick up with that of another stick. Gripping and squeezing the lines of type with your fingers (thumb and index pinch the top and bottom of the form, middle fingers press on sides), gently slide the type out of the composing stick and onto the galley, down to an end corner so that it is supported by the galley on 2 sides. In traditional trade practice, the knee was never unlocked in the midst of a project. When the stick was full and type snug yet not overly tight, the composed matter was moved, using the thumbs to press the lines of type from the stick and into the space between the second fingers of each hand as shown below. The thumbs and fingers will safely grip the lines of type (as previously described) and the matter is then placed against the head and side of the sloping galley.

Practice this maneuver with a single line of larger type until it can be done smoothly. This skill can be quickly acquired and is worth learning. You are now ready to tie up your type. How to move a form: thumb and forefinger squeeze top and bottom, middle fingers squeeze sides of form. Slide the type on the stone. If you absolutely must lift the type, do so vertically, as shown. Tying Up a Type Form When lines of type are moved from the composing stick to the galley, precautions must be taken to prevent the type from falling over. String or page cord is wrapped around the type form 4 or 5 times and then the loose end is tucked behind the wrapped string, both to keep the binding tight and to ensure easy release when untying the form. Do not tie a knot. The string is left around the form which is kept on a galley until it is ready to be locked up for printing. At this point, you are ready to pull a proof of a galley of type using a galley proofing press. Type ready to be tied up, in the corner of a galley. Resources Polk, Ralph W. The Practice of Printing.

Peoria, IL: The Manual Arts Press, 1926, 1937, 1945. References 1. A step-by-step list of typesetting tips was written by Barbara Tentenbaum, and later edited by letterpress printing instructors Jules Remedios Faye and Jenny Wilkson for use at the School of Visual Concepts, Seattle ↩ Contributors Trademark Class 16: Paper Goods | Nolo.com Trademark Class 16: Paper Goods Choose Class 16 if you are registering a trademark for paper, cardboard, books, and similar products Class 16 includes paper, cardboard and goods made from these materials. Class 16 is one of 45 classes used by the U.S. Patent and Trademark Office (USPTO) when grouping products or services. Examples of trademarks in Class 16 include: TEACHING TREE (bookmarks and computer paper), THE WASHINGTON TIMES (newspapers), LOYALTYONE (marketing newsletter), GRUNGEPAPER (Synthetic paper).

You would choose Class 16 if you were registering any of these types of goods: Paper, cardboard and goods made from these materials, not included in other classes; printed matter; bookbinding material; photographs; stationery; adhesives for stationery or household purposes; artists' materials; paint brushes; typewriters and office requisites (except furniture); instructional and teaching material (except apparatus); plastic materials for packaging (not included in other classes); printers' type; printing blocks. For a complete listing of all goods in Class 16, see below. You would NOT use Class 16 if you were registering: hand tools for artists (for example, spatulas, sculptors' chisels) ( Class 8 - Hand Tools ). Related (Coordinated) Classes If you are not sure whether you should register in Class 16, you might also consider the following “coordinated” classes: Class 9 - Computers and Scientific Devices , Class 35 - Advertising and Business Services , Class 41 - Education and Entertainment Services , Class 42 - Science and Technology Services .

A coordinated class is one that is related to another class, usually because the USPTO has determined that applicants filing within Class 16 often file in the coordinated classes, too. Why use the class system? Trademark registration is based on a class system. For each class of goods or services that you register, you must pay a separate registration fee. So if you apply for a trademark for posters ( Class 16 ) and shirts ( Class 25 ), you must pay two fees. You must indicate the correct class at the time you are registering a trademark. If you list the incorrect class, you must start the application process over. Your registrations are restricted to those classes that encompass the goods or services you are already offering (as shown by the specimens you submit) or that you plan to offer (if you are registering on an intent-to-use basis). You may also need information about the class number in order to narrow a search of the USPTO’s trademark database. Specimens for Class 16 If the mark is used in commerce, you must furnish a specimen of the mark as consumers see it. The specimen must show the mark as used on or in connection with the goods in commerce.

A trademark specimen should be a label, tag, or container for the goods, or a display associated with the goods. A photocopy or other reproduction of a specimen of the mark as actually used on or in connection with the goods is acceptable. In most cases, where the trademark is applied to the goods or the containers for the goods in Class 16 by means of labels, a label is an acceptable specimen. Shipping or mailing labels may be accepted if they are affixed to the goods or to the containers for the goods and if proper trademark usage is shown. They are not acceptable if the mark as shown is merely used as a trade name and not as a trademark. An example of this is the use of the term solely as a return address. Stamping a trademark on the goods, on the container, or on tags or labels attached to the goods or containers, is a proper method of trademark affixation. The trademark may be imprinted in the body of the goods, as with metal stamping; it may be applied by a rubber stamp; or it may be inked on by using a stencil or template. When a trademark is used in this manner, photographs or facsimiles showing the actual stamping or stenciling are acceptable as specimens.

The terminology “applied to the containers for the goods” means applied to any type of commercial packaging that is normal for the particular goods as they move in trade. Thus, a showing of the trademark on the normal commercial package for the particular Class 16 goods is an acceptable specimen. For example, gasoline pumps are normal containers or “packaging” for gasoline.

A specimen showing use of the trademark on a vehicle in which the goods are marketed to the relevant purchasers may constitute use of the mark on a container for the goods, if this is the normal mode of use of a mark for the particular goods For More Information on Trademarks and Federal Registration See Nolo’s Trademark Center or consider Nolo’s Online Trademark Application Complete Listing of All Goods in Class 16 Based on Taxonomy Works of art and figurines of paper and cardboard, and architects' models, aquarelles/watercolors [paintings]/watercolors [paintings], architects' models, chromolithographs [chromos]/chromos, engravings, etchings, figurines [statuettes] of papier mâché, lithographic works of art, lithographs, oleographs, paintings [pictures], framed or unframed, photo-engravings, pictures, portraits. Decoration and art materials and media, canvas for painting, chalk for lithography, charcoal pencils, compasses for drawing, drawing materials, drawing instruments, drawing pads, drawing boards, drawing T-squares, drawing squares, drawing pens, drawing sets, engraving plates, etching needles.

French curves, graining combs, hand-rests for painters, house painters' rollers, lithographic stones, marking pens [stationery], modelling clay, modelling wax, not for dental purposes, modelling materials, modelling paste, apparatus for mounting photographs, paint trays, paintbrushes, painters' brushes, pantographs [drawing instruments], papier mâché, pastels [crayons], photograph stands, plastics for modelling, drawing rulers, square rulers, stencil plates, stencils, tracing paper, tracing cloth, vignetting apparatus, waxed paper, xuan paper for Chinese painting and calligraphy. Arts, crafts and modelling equipment, artists' watercolor [watercolor] saucers/watercolor [watercolor] saucers for artists/artists' watercolor saucers/artists' watercolor saucers, erasing shields, moulds for modelling clays [artists' materials]/molds for modelling clays [artists' materials], painters' easels, palettes for painters, tracing needles for drawing purposes. Filtering materials of paper, filter paper, filtering materials [paper].

Bags and articles for packaging, wrapping and storage of paper, cardboard or plastics, absorbent sheets of paper or plastic for foodstuff packaging, conical paper bags, bags [envelopes, pouches] of paper or plastics, for packaging, bags for microwave cooking, bottle wrappers of cardboard or paper, bottle envelopes of cardboard or paper, boxes of cardboard or paper, plastic bubble packs for wrapping or packaging, cardboard tubes, covers [stationery]/wrappers [stationery], cream containers of paper, garbage bags of paper or of plastics, hat boxes of cardboard, humidity control sheets of paper or plastic for foodstuff packaging, packaging material made of starches, paper ribbons, paper bows, plastic film for wrapping, plastic cling film, extensible, for palletization, sheets of reclaimed cellulose for wrapping, viscose sheets for wrapping, wrapping paper/packing paper.

Stationery and educational supplies, adhesive tape dispensers [office requisites], blotters, bookends, bookmarkers, cabinets for stationery [office requisites], cases for stamps [seals], chalk holders, chart pointers, non-electronic, clipboards, clips for offices/staples for offices, copying paper [stationery], correcting tapes [office requisites], document files [stationery], document holders [stationery], drawing pins/thumbtacks, elastic bands for offices, envelopes [stationery], files [office requisites], finger-stalls [office requisites], folders for papers/jackets for papers, folders [stationery], holders for stamps [seals], index cards [stationery], indexes, inking sheets for duplicators, inking sheets for document reproducing machines, inking ribbons for computer printers, labels, not of textile, ledgers [books], letter trays, loose-leaf binders, manifolds [stationery], marking chalk, moisteners [office requisites], moisteners for gummed surfaces [office requisites], note books, obliterating stamps/composing sticks, office requisites, except furniture, pads [stationery], paper clasps, paper knives [cutters] [office requisites]/

paper cutters [office requisites]/paper knives [office requisites], paper-clips, paperweights, pen clips, pen wipers, postcards, school supplies [stationery], sealing wax, sealing stamps, sealing wafers, sealing compounds for stationery purposes, seals [stamps], shields [paper seals], stamp stands, stamps [seals], stands for pens and pencils, stationery, steatite [tailor's chalk], stencil cases, stencils [stationery], tags for index cards, tailors' chalk, transparencies [stationery], trays for sorting and counting money, wood pulp board [stationery], wristbands for the retention of writing instruments, writing pads/writing tablets, writing cases [sets], writing materials, writing cases [stationery], writing or drawing books.

Writing and stamping implements, balls for ball-point pens, fountain pens, ink sticks, ink, ink stones [ink reservoirs], inking pads, inkstands, inkwells, nibs, nibs of gold, pen cases/boxes for pens, pencil leads, pencil holders, pencil lead holders, pencils, penholders, pens [office requisites], slate pencils, stamp pads, steel pens, writing instruments, writing chalk, writing brushes. Correcting and erasing implements, correcting fluids [office requisites], correcting ink [heliography], erasing products, rubber erasers, scrapers [erasers] for offices, writing board erasers.

Office machines, address plates for addressing machines, addressing machines, credit card imprinters, non-electric, document laminators for office use, duplicators, envelope sealing machines, for offices, franking machines for office use/postage meters for office use, hand labelling appliances, mimeograph apparatus and machines, numbering apparatus, office perforators, paper shredders for office use, pencil sharpening machines, electric or non-electric, pencil sharpeners, electric or non-electric, punches [office requisites], rollers for typewriters, sealing machines for offices, spools for inking ribbons, stapling presses [office requisites], typewriter ribbons, typewriter keys, typewriters, electric or non-electric.

Printing and bookbinding equipment, binding strips [bookbinding], bookbinding material, bookbinding apparatus and machines [office equipment], bookbindings, cloth for bookbinding/bookbinding cloth, composing frames [printing], cords for bookbinding/bookbinding cords, electrotypes, fabrics for bookbinding, galley racks [printing], hectographs, Indian inks, inking ribbons, numbers [type], printers' blankets, not of textile, printers' reglets, printing type, printing blocks, printing sets, portable [office requisites], steel letters, type [numerals and letters]/letters [type]. Educational equipment, arithmetical tables/calculating tables, biological samples for use in microscopy [teaching materials], blackboards, histological sections for teaching purposes, paint boxes [articles for use in school], rosaries/chaplets, teaching materials [except apparatus], terrestrial globes, writing slates. Photo albums and collectors' albums, albums/scrapbooks.

Adhesives for stationary or household purposes, adhesive bands for stationery or household purposes, adhesive tapes for stationery or household purposes, adhesives [glues] for stationery or household purposes, glue for stationery or household purposes/pastes for stationery or household purposes, gluten [glue] for stationery or household purposes, gummed tape [stationery], gummed cloth for stationery purposes, gums [adhesives] for stationery or household purposes, isinglass for stationery or household purposes, self-adhesive tapes for stationery or household purposes, starch paste [adhesive] for stationery or household purposes.

Printed matter, address stamps, almanacs, announcement cards [stationery], atlases, blueprints/plans, calendars, cards/charts, catalogues, cigar bands, comic books, diagrams, embroidery designs [patterns], flyers, forms, printed, geographical maps, graphic prints, graphic reproductions, graphic representations, greeting cards, handwriting specimens for copying, holders for checkbooks [cheque books], magazines [periodicals], musical greeting cards, newsletters, newspapers, pamphlets, passport holders, patterns for dressmaking, patterns for making clothes, periodicals, photographs [printed], postage stamps, posters, printed matter, printed timetables, printed publications, prints [engravings], prospectuses, stickers [stationery], tickets, tracing patterns, trading cards other than for games, transfers [decalcomanias]/decalcomanias, Books, booklets, books, manuals [handbooks]/handbooks [manuals], song books.

Paper and cardboard, advertisement boards of paper or cardboard, carbon paper, cardboard, cardboard articles, electrocardiograph paper, luminous paper, paper, paper sheets [stationery], paper for recording machines, paper tapes and cards for the recordal of computer programmes, parchment paper, perforated cards for Jacquard looms, paper for radiograms, signboards of paper or cardboard, silver paper, wood pulp paper, writing paper. Industrial paper and cardboard, Money holders, money clips. Disposable paper products. , bibs of paper, coasters of paper, drawer liners of paper, perfumed or not, face towels of paper, paper coffee filters, flags of paper, flower-pot covers of paper/covers of paper for flower pots, handkerchiefs of paper, mats for beer glasses, napkins of paper for removing make-up/tissues of paper for removing make-up, placards of paper or cardboard, place mats of paper, table linen of paper, table napkins of paper, tablecloths of paper, tablemats of paper, toilet paper/hygienic paper, towels of paper.

Colonial Printing Tools | The Pen and The Pad How to Make a Binder Spine The first printing press in the American colonies was in the Massachusetts Bay Colony in 1638, says historian William Reese. Printing technology changed little from the mid-17th century until after the American Revolution. Wood-framed screw presses were used to publish newspapers, handbills and pamphlets such as Thomas Paine's influential work, "Common Sense," that radicalized the Colonial Americans. Fonts and Paper Printers used paper laboriously made by hand from cotton and linen rags. The fonts they nearly exclusively used were created by English engraver and tool maker, William Caslon. Caslon's fonts are most associated with Colonial-era American printing, according to the Walden Font Company. Typesetting Type blocks were constructed of wood. Each had a raised letter on it. These were kept in a compartmental box. The compositor selected the blocks and formed words and sentences by placing the letters onto a composing stick, an iron rule that would keep the letters from shifting. These lines were placed into wooden cases, called galleys. When the galleys contained enough lines to make a full page, they were locked into a page-sized iron frame called a chase.

Inking The chase was moved to the stone bed of the printing press. A worker, called the beater, used his tools to apply the ink. These were two ink balls he used to cover the chase with ink. The balls were stuffed with wool and covered with leather, and had long wooden handles. The beater spread a mixture of lampblack, black pigment and carbon, mixed with varnish over the type. The paper was placed in a cushioned frame. This was pulled down onto the chase. Pressing The next tool used in the process was the press itself. The screw and the platen came into play. They were operated by the pressman. He pulled the levered handle to lower a heavy plate, called the platen. This was where the ink on the chase met the paper with 200 pounds of pressure. The printed sheet was left to dry and another was set. References

Question: In which trade are composing frames and composing sticks used?
Answer: PRINTING