( | ] | & | æ | œ | k | j | e | thin | ' | £ | 1 | 2 | 3 | 4 | ||
fl | ? | b | c | d | i | s | f | g | 5 | 6 | 7 | |||||
ff | ! | 8 | 9 | 0 | ||||||||||||
fl | ; | l | m | n | h | o | y | p | , | w | en | em | ||||
ffl | : | |||||||||||||||
ffi | hr | v | u | t | thick | a | r | q | — | quads | ||||||
x | z | . | - |
This English lay is that given in Southward: Practical Printing (1882), as an ingenious lay for compositors engaged in work requiring two separate founts, such as advertisements, the first lines of which are usually set up in a size larger type than the rest. In the lower case, on the right are the sorts usually required together, i.e. figures, £, em and en quads, large quads and em rules. On the left are the treble and double letters in one row, and the : ; ? ! in another. The b c i s f g l m u and v are all brought closer under the hand of the compositor without diminishing the usual space for the a e n o r or t. The advantages are said to be so great that a person can compose some thousand letters more per day than from any other case. In the Upper case, the fount for the first line is laid in the small capital side of the case, with divisions being made with reglet in the different boxes for the capital plus lower case j u x y and z. The dipthong boxes are also divided to contain the points and em rules (of which a large quantity are used).
Other empty cases ie with the boxes left blank | Other type layouts ie with characters assigned to boxes | ||
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Quantities in a fount of type | Quantities in a case of type | ||
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