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Topic: Punchcutting

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	Punchcutting - Wikipedia, the free encyclopedia
		In traditional typography, punchcutting is the process by which matrices were made in hard metal for type founding in the early days.
		This was accomplished by heat tempering the counterpunch and softening the punch.
		Such a tool solved two issues, one technical and one aesthetic, that arose in punchcutting.
	en.wikipedia.org /wiki/Punchcutting (552 words)

	Emigre Fonts (Site not responding. Last check: 2007-10-10)
		The first task, known as punchcutting, was generally recognized as the most difficult of the four, an employment that called for meticulousness, perseverance, and extraordinary technical control.
		Since the method of letterform sculpture employed in punchcutting was basically subtractive, meaning that soft steel was being taken away from negative areas instead of being added to positive areas, accidentally cutting too deeply could be costly.
		In all, the range of preparatory effort necessary for punchcutting and matrix-making was considerable, and despite the fact that multiple matrices could be struck from a single punch, the harsh reality was that a separate punch had to be created for each character in a font of a given size.
	www.emigre.com /EFoINotF.php (4191 words)

	Caxton Club Victor Hammer, RMH (Site not responding. Last check: 2007-10-10)
		So it was not surprising on that day in May, 1982, when this writer, camera in hand, arrived at the press to find Bob finishing the punches for the numbers 1, 2 and 3 in a 14 pt size.
		The punches were being cut at the request of Carolyn R. Hammer who needed extra numbers for her 1984 book LI PO, and being unable to acquire more sorts from Stempel, had gone to Bob for assistance.
		The punchcutting connection that began in Aurora, New York, continued to produce significant results for the Hammers.
	www.caxtonclub.org /reading/hammer.html (377 words)

	Mosley lecture tomorrow (Site not responding. Last check: 2007-10-10)
		In 1999 he curated an exhibition at Sir John Soane's Museum, London, on the origins of sanserif type, considered a symbol of twentieth-century modernism.
		He has just published a facsimile edition of the first German handbook of wood-engraving, punchcutting and stereotyping, Kurtze Anleitung von Form- und Stahl-Schneiden (1740), and completed a handlist of Italian type specimens to 1860.
		He is currently working on an edition of the unpublished account of punchcutting and typefounding written for the Paris Academy of Sciences by Jacques Jaugeon in 1704.
	www.library.yale.edu /lso/workstation/archives/yulib-l/msg03540.html (376 words)

	Washington University 150th Anniversary
		Born in 1937, Carter is the son of renowned designer Harry Carter and originally trained as a punchcutter at the Ensche type foundry in the Netherlands with the legendary Paul H. Rdisch, one of the craft's true masters.
		(Punchcutting involves transferring letterforms onto the ends of short steel bars that are then used to create the brass molds for casting lead type.) By the early 1960s, however, Carter was heading the typographic program at Crosfield Electronics, the British manufacturing agent for the Lumitype phototypesetting machine.
		From 1965-81, he served as house designer for Mergenthaler Linotype, Brooklyn, the company that had invented linotype nearly 100 years before and, during Carter's tenure, Linofilm.
	150.wustl.edu /news/carter.html (745 words)

	Linotype Fonts: Neuland font (Site not responding. Last check: 2007-10-10)
		Neuland is based on the handwriting of Rudolf Koch (as are all of his typefaces).
		Its simplicity and unusual shapes derive from the difficult and demanding art of punchcutting.
		In fact, it may be the only typeface designed by actually cutting the punches, Koch made no preliminary drawings.
	www.paratype.com /fstore/lfont-300_Neuland.htm (114 words)

	Monotype chronicles
		To showcase Monotype's mechanical engineering prowess, in 1925 at the UK Monotype Works, the full text of the "Lord's Prayer" was cut in a matrix less than a quarter of an inch square, from which hot metal type was cast that was still readable.
		The project started from a 10 inch square drawing and copper outline pattern; a punchcutting machine made a 12 point em square punch from the large pattern.
		A casting matrix was made from the punch, and then type was cast on a Monotype Composition Caster.
	www.letterpress.ch /APINET/MONOTYPE.timeline/1917_25.html (803 words)

	[No title]
		Ongoing work includes a transcription and annotated translation of a text in Italian and French by the punchcutter and printer Giambattista Bodoni, ‘Notizie intorno a vari incisori di Caratteri e sopra alcune Getterie d'Italia’, written c.
		Use of this work has been made in a paper on ‘Sources for type-founding and punchcutting in Italy’ at a ‘Convegno’ entitled ‘Cento anni di Bibliofilia’, marking the centenary of the publication of La Bibliofilia by Leo S. Olschki, in Florence, 22-24 April 1999.
		Work is underway on a detailed study of the enterprise known as the ‘Description des Arts et Métiers’ (Paris, 1692-1720), with special reference to the unpublished manuscript accounts of typefounding and printing by Jacques Jaugeon and Gilles Filleau des Billettes in Bibliothèque de l'Institut de France, Paris, and the Newberry Library, Chicago.
	www.rdg.ac.uk /AcaDepts/lt/staff/academic/james_m.html (733 words)

	EyeWire (Site not responding. Last check: 2007-10-10)
		ITC Charter was designed to be a highly legible text face for use on both laser writers and high-resolution imagesetters.
		ITC Charter's designer, Matthew Carter, has been involved in type design since the age of 19, when he studied punchcutting with P.H. Radisch at the Ensched Type Foundry.
		After a long association with Linotype, he cofounded Bitstream in 1981, and is currently a partner in Carter and Cone Type, an independent type foundry.
	www.eyewire.com /cgi-bin/WebObjects/View.woa/wa/viewProduct-product=12980.htm (270 words)

	History of Printing
		Kerning (verb): to adjust the spacing between characters in words to improve their appearance.
		Punchcutting: cutting the master image of a typographic letter at its actual size on a blank of steel.
		The blank is used to make a matrix; molten lead flows into a matrix, producing a single piece of type.
	www.printlocal.com /History-of-Printing.htm (1929 words)

	x-height: FontHaus' Online Magazine : Interview with Matthew Carter
		That was the most important technical development in typography since Gutenberg´s invention of variable-width type molds in the 15th century.
		Benton´s punchcutting machine enabled Ottmar Mergenthaler, a German immigrant in Baltimore, to create the Linotype in 1886.
		Instead of setting founder´s type, the Linotype cast a solid line, or slug, of hot-metal type from brass matrices brought into position by means of a keyboard.
	www.fonthaus.com /xheight/matthewcarter.cfm (2116 words)

	Typographie et calligraphie première partie : 1450-1830
		London, 1815.] Vincent Figgins, type specimens, 1801 and 1815, reproduced in facsimile; edited with an introduction and notes by Berthold Wolpe.
		Fleischman, Johann Michael Fleischman on punchcutting, edited by Frans A. Janssen.
		An account by Nelson of his own punchcutting practice, with illustrations.
	ihl.enssib.fr /siteihl.php?page=45&aflng=fr (4612 words)

	resource: typography
		At the time of the industrial revolution, typesetting and printing speeds increased.
		Punchcutting was improved, type could be scaled up or down without losing any of its shape or weight.
		In the middle 1940’s and early 1950’s type could be projected onto photo sensitive paper using photocomposition machines.
	www.dama4.pwp.blueyonder.co.uk /resource/typo/typo.htm (242 words)

	Porchez Typofonderie [Fonts Typefaces] - Gazette
		It is used, until it wears out, to cast thousands of types, relief castings in reverse, which are inked and pressed against paper to make a printed page.
		Process from punchcutting to type (from British Library exhibition)
		The materials have not changed fundamentally: we still find the steel punch, the copper matrix and the leaden type (in fact an alloy of lead, tin, and antimony).
	www.typofonderie.com /gazette/articles/paput (800 words)

	Download Kis Classico Bold - Linotype.com (Site not responding. Last check: 2007-10-10)
		Kis Classico is named after the Hungarian monk Miklós Kis who traveled to Amsterdam at the end of the seventeenth century to learn the art of printing.
		Amsterdam was a center of printing and punchcutting, and Kis cut his own type there in about 1685.
		For centuries, Kis's type was wrongly attributed to Anton Janson, a Dutch punchcutter who worked in Leipzig in the seventeenth century.
	www.linotype.com /14435/kisclassicobold-font.html?CMP=OTR8MTIyMQ== (908 words)

	RBS Typography Course Offerings
		Topics will include: the development of Roman and italic; from Old Style to Transitional to Modern (Italian, French, Dutch, and English developments); display types; the coming of machine composition and the historic revivals; typeface nomenclature; and techniques for dating pre-1885 hand-set typefaces and for naming post-1885 machine-set typefaces.
		Students will see demonstrations of punchcutting and typefounding on a hand type mold.
		In laboratory sessions, they will set type by hand, proof their work, and print on a reproduction wood common press.
	www.virginia.edu /oldbooks/bulletin/typo.html (514 words)

	Find in a Library: From punch to printing type [the art & craft of hand punchcutting and typecasting]
		From punch to printing type [the art & craft of hand punchcutting and typecasting]
		To find this item in a library, enter a postal code, state, province, or country in the field above.
		WorldCat is provided by OCLC Online Computer Library Center, Inc. on behalf of its member libraries.
	worldcatlibraries.org /wcpa/ow/49633896c37394dba19afeb4da09e526.html (101 words)

	[No title] (Site not responding. Last check: 2007-10-10)
		This not only introduced a huge labor savings in typesetting, (again, on the order of the 85% reduction in printing time), but also rendered obsolete the huge masses of metal type created by the previously existing type foundries.
		While typesetting and printing speeds increased phenomenally, so did the speed of punchcutting.
		In 1885, Linn Boyd Benton (then of Benton, Waldo & Company, Milwaukee) invented a pantographic device that automated the previously painstaking process of creating punches.
	www.bigredboots.com /graphicdesignhistory.doc (2249 words)

	AIGA - Matthew Carter
		Carter's life has the contours of a manifest destiny toward typography.
		His father, Harry Carter, was a respected typographer and authority on the history of type-founding and punchcutting techniques.
		At the age of 20, fresh out of school, Matthew spent a year learning to cut punches by hand through an internship program at the famous Enschedé printing house in Haarlem.
	www.aiga.org /content.cfm?contentalias=matthewcarter (1579 words)

	ATypI : Programme
		The technique and aesthetics of making letterforms using the traditional craft of typographic punchcutting will be shown in a brief slide talk followed by a demonstration.
		A limited, hands-on exploration of basic techniques will be possible for a few enthusiasts following the presentation.
		Note: this event commences during the lunch break
	www.atypi.org /30_past_conferences/09_Vancouver/40_timetables/view_presentation_html?presentid=70 (51 words)

	\| Baskerville \| Typophile (Site not responding. Last check: 2007-10-10)
		Baskerville’s roman is fairly round and open, with a vertical stress but relatively low contrast.
		Baskerville’s type (which he probably helped design, but which was cut for him by others at a time when punchcutting could never be mere transcription) was highly successful only for a short time—though the glow lasted longer in France.
		By the early 19th century the modern face had superseded it, and when the reaction against the modern occurred in the late 19th century, it was to earlier “old face” types that people returned.
	www.typophile.com /wiki/Baskerville (765 words)

	Kingfisher Fonts + Typefaces: Kingfisher Font + Kingfisher Typeface UK
		The theory is that character irregularities will, when the type is set, give the text a lively pattern, nothing startling, but with just enough interest to entice the eye.
		Perhaps, today the irregularities of punchcutting, once lost to industrialization, could be reintroduced in an attempt to reinvigorate the reading experience.
		This idea was developed through the design of Kingfisher.
	typography.net /type/kingfisher.htm (443 words)

	ReCreations
		For detailed descriptions and images of these moulds please refer to specific pages on this site.
		Other type founding, punchcutting, and printing tools are also available.
		All of these items are based upon authentic sources.
	www.geocities.com /rsn_website/home.html (344 words)

	Amazon.com: Anatomy of a Typeface: Books: Alexander S. Lawson (Site not responding. Last check: 2007-10-10)
		That motivates discussions of typefaces that were created to solve specific problems of paper, ink, and press, as well as esthetics.
		Historical information about punchcutting technology and modern type creation tools also explains the changing business relationships between font designers, distributors, and users.
		Knowledge of history may help the reader in speccing type appropriate to some printing task, but there's very little here that would help in setting up a page of text.
	www.amazon.com /exec/obidos/tg/detail/-/087923332X?v=glance (1113 words)

	NLAE: John Tranter
		Kis took religious orders and became a teacher, and eventually decided to visit Holland and study typography, as those skills were needed in Hungary.
		He turned out to be very gifted at punchcutting, the shaping of metal type, and became so famous in his own time that Cosimo de Medici, the Grand Duke of Tuscany, offered him a position at his court.
		Kis declined the offer, and returned to Hungary in 1690, determined to spend the rest of his life designing and printing bibles.
	home.vicnet.net.au /~abr/Oct97/tranter.html (2147 words)

	Fred Smeijers (Site not responding. Last check: 2007-10-10)
		Fred Smeijers (the designer of Renard) is a Dutch graphic and typographic designer, who specializes in typographic research and development for product manufacturers.
		His theories on punchcutting and type design are expounded in his book: Counterpunch: making type in the sixteenth century, designing typefaces now, London, Hyphen Press, 1996.
		His other typedesigns include FF Quadraat and FF Quadraat Sans released by FontShop.
	www.teff.nl /ontwerpers/fred_smeijers.html (62 words)

	Yale Bulletin and Calendar - Current Issue
		In 1999 he curated an exhibition at Sir John Soane's Museum in London on the origins of sanserif type, considered a symbol of 20th-century modernism.
		He has just published a facsimile edition of the first German handbook of wood-engraving, punchcutting and stereotyping, and completed a
		He is currently working on an edition of the unpublished account of punchcutting and typefounding written by Jacques Jaugeon in 1704.
	www.yale.edu /opa/v28.n25/visiting.html (3033 words)

	Typeface Web Site: Font 22 Historical References (Site not responding. Last check: 2007-10-10)
		In 1935, he became very interested in calligraphy after seeing a exhibition of Rudolf Koch's work in Nuremberg.
		After Zapf's apprenticeship, he began working at Paul Koch's workshop in Nuremberg learning printing, punchcutting, and related skills.
		He also met master punchcutter August Rosenberger at this time.
	msp.sfsu.edu /instructors/rsellers/spring_1998/f22b.html (146 words)

	A Brief History of Type
		Another key development of the nineteenth century was the introduction by Edwin Starr in 1845 of an electroplating process for duplicating type.
		This made it extremely easy for one foundry to copy the typefaces of another, resulting in a dramatic increase in font "piracy." While typesetting and printing speeds increased phenomenally, so did the speed of punchcutting.
		In 1885, Linn Boyd Benton (then of Benton, Waldo and Company, Milwaukee) invented a pantographic device that automated the previously painstaking process of creating punches.
	homepages.unl.ac.uk /~mcbridec/it265/typhis.htm (5726 words)

	How Type Was Set, In Black & White \| Typographica
		I spent seven years in that business during the early photo days and have a lasting interest.
		Make sure you get a copy of Dan Carr’s punchcutting video: http://www.thtfct.com/specialops/golgo/
		Please refrain from off-topic banter and personal attacks.
	typographi.com /000412.php (380 words)

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