![]() The 13th edition incorporated the new United States copyright regulations that became law in 1978, and the production and printing sections of the Manual were revised to discuss the phototypesetting technology that had begun to displace lead type as well as the old Linotype and Monotype metal-casting machines-technologies that dated from the end of the nineteenth century. ![]() With the publication of the 13th edition in 1982, A Manual of Style became The Chicago Manual of Style, a change that reflected the title most often used by the book’s audience. This 12th edition (1969) had a first printing of 20,000 copies, which sold out before the publication date even arrived, and went on to achieve total sales of more than 150,000 copies-equaling the sales for the first eleven editions combined. One of the most significant revisions was begun in the 1960s, led by the editorial team of Catharine Seybold (1915–2008) and Bruce Young (1917–2004), who rearranged, expanded, and updated the nearly twenty-year-old 11th edition (1949) and in doing so solidified the Manual’s position as the industry leader on style matters. This hundred-plus-year evolution has taken place under the ongoing stewardship of Chicago’s renowned editorial staff, aided by suggestions and requests from the Manual’s many readers. Now in its 17th edition, The Chicago Manual of Style-with more than a thousand pages in print or more than two thousand hyperlinked paragraphs online-has become the authoritative reference work for authors, editors, proofreaders, indexers, copywriters, designers, and publishers. (See a facsimile of the 1st edition in PDF format.) At 200 pages, the original Manual cost 50 cents, plus 6 cents for postage and handling. ![]() That sheet grew into a pamphlet, and by 1906 the pamphlet had become a book: Manual of Style: Being a compilation of the typographical rules in force at the University of Chicago Press, to which are appended specimens of type in use-otherwise known as the 1st edition of the Manual. ![]() To bring a common set of rules to the process, the staff of the composing room drew up a style sheet, which was then passed on to the rest of the university community.Įven at such an early stage, “the University Press style book and style sheet” was considered important enough to be preserved, along with other items from the Press’s early years, in the cornerstone of the new Press building in 1903. The compositors then passed the proofs to the “brainery”-the proofreaders who corrected typographical errors and edited for stylistic inconsistencies. Professors brought their handwritten manuscripts directly to the compositors, who did their best to decipher them. At that time, the Press had its own composing room with experienced typesetters who were required to set complex scientific material as well as work in such then-exotic fonts as Hebrew and Ethiopic. The history of The Chicago Manual of Style spans more than one hundred years, beginning in 1891 when the University of Chicago Press first opened its doors. Click here for a detailed list of what’s new in the 17th edition.
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