Correcting
As soon as the proof has been read and given out, the compositor should lay up his forme (unless his matter is on a galley), and unlock it all round, being careful not to leave the quoins too loose, or the matter may be squabbled, or types fall out at the ends of the lines. He should then set up the types required for the corrections in his stick, with a few spaces on a piece of paper, or, what is more handy, in a small tray with partitions in it, similar to the plan annexed.
- Hair.
- Thin.
- Thick.
- Em.
- En.
- Quads.
Taking his bodkin in his right hand, the corrector should place the point of it against the end of the line he wishes to correct, and with the middle finger of his left hand against the other end of the line, raise it altogether, high enough to give him a clear view of the spacing. He can then change the faulty letter, and make the necessary alterations in the spacing, before dropping the line. By this method the type will not be injured, as it so often is when the bodkin is forced into the sides or heads, and regularity in the spacing may be secured, as well as much time saved.
In tables, or any matter in which rules prevent the type being raised as directed, the letters must be drawn out by the bodkin, and great care will be necessary to avoid injuring the types. The point should be stuck into the neck of the letter, between the beard and the face, drawing it just high enough above the other letters to allow of taking hold of it with the forefinger and thumb of the left hand. In this operation as small an angle as possible should be made with the blade of the bodkin, in order that it may not touch any of the surrounding types, as a trifling graze will injure the faces of the letters near it.
Correcting
As soon as the proof has been read and given out, the Compositor should lay up his forme (unless his matter is on a galley), and unlock it all round, being careful not to leave the quoins too loose, or the matter may be squabbled, or types fall out at the ends of the lines. He should then set up the types required for the corrections in his stick, with a few spaces on a piece of paper, or, what is more handy, in a small tray with partitions in it, similar to the plan annexed.
- Hair.
- Thin.
- Thick.
- Em.
- En.
- Quads.
Taking his bodkin in his right hand, the corrector should place the point of it against the end of the line he wishes to correct, and with the middle finger of his left hand against the other end of the line, raise it altogether, high enough to give him a clear view of the spacing. He can then change the faulty letter, and make the necessary alterations in the spacing, before dropping the line. By this method the type will not be injured, as it so often is when the bodkin is forced into the sides or heads, and regularity in the spacing may be secured, as well as much time saved.
In tables, or any matter in which rules prevent the type being raised as directed, the letters must be drawn out by the bodkin, and great care will be necessary to avoid injuring the types. The point should be stuck into the neck of the letter, between the beard and the face, drawing it just high enough above the other letters to allow of taking hold of it with the forefinger and thumb of the left hand. In this operation as small an angle as possible should be made with the blade of the bodkin, in order that it may not touch any of the surrounding types, as a trifling graze will injure the faces of the letters near it.