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Matrices from Gebr. Klingspor for Rudolf Koch’s Koch-Antiqua typeface (the 48-pt size). Photographed at the Schriftgießerei Gerstenberg at the Haus für Industriekultur in Darmstadt – an Außenstelle of the Hessisches Landesmusuem.
Palatino. Eine weitverzweigte Familie mit der sie immer zusammenarbeiten sollten. A specimen for the Palatino typeface family, including all of its extended members available in foundry type and as Linotype matrices. The brochure was probably published around 1960 and has a look to it that makes me think it was probably designed by Hermann Zapf as well.
From the accompanying plaque:
Line by line: the Linotype
The Linotype machine was widely used from the end of the nineteenth century to the 1980s. It assembles complete lines of metal type from individual molds known as matrices.
By pressing a key the operator releases individual character matrices, which fall from a magazine into a conveyor system. They are then assembled to form the desired line, with the words separated by spacebands. The matrix line is then 'justified' to the desired line width, after which the machine casts it with a molten alloy (Dave: of lead with a bit of tin, hence the term "hot lead typesetting" is used to distinguish methods such as the Linotype from later optically based systems). After casting, the complete line of matrices is returned to the magazine.
The "6 c S Quick" high-performance model in our exhibition is operated manually or by paper tape. It is suitable for simple typographical problems such as newsprint. Post-1957 models increased the typesetting rate per hour from 12,000 characters to a maximum of 20,000.
Palatino. Eine weitverzweigte Familie mit der sie immer zusammenarbeiten sollten. A specimen for the Palatino typeface family, including all of its extended members available in foundry type and as Linotype matrices. The brochure was probably published around 1960 and has a look to it that makes me think it was probably designed by Hermann Zapf as well.
This is a story I have thought about writing for a while as I have not read any comments about the size and material of a matrix limiting its operating range.
Making Super Caster adaptors for different types of matrices is interesting in one way as we get to compare the capabilities of the various types of machines that ran them. One variable that may not readily come to mind is the ability of the matrix to withstand heat. For example, older foundry mats were in general quite large and could throw off a lot of heat. Think of the brass or copper body of an old foundry matrix as a radiator of a large car, the more surface area, the better it got rid of heat.
When the heat travels to the edges of a matrix, the gap, however small, is a significant boundary layer to limit the rapid conduction of heat away from the matrix. Reduce the heat conduction, and the matrix itself heats up. This was a critical factor as the old automatic casters were running foundry metal necessitating temperatures in the 700 to 800 degree F range, sometimes double-pumping the mould in an effort to fill the cavity before the type alloy froze, things were hot. By the way, when comparing the performance of a Monotype machine to an old foundry machine, I believe this is one of the major differences that limit Monotype machines (In my opinion, mould design to accommodate automatic jet cutting was the other major difference).
Heat was also a factor in the selection of a suitable matrix material. For example, we have a mould made by the Monotype Corporation that was designed to cast type from brass Ludlow matrices. At the time, the Super Caster pot at Pygment Press had some high-alloy stuff that ran at above 700 degrees. After testing a Ludlow decorative border matrix, it appeared to lose the shape of the image in the mat with sort of a ‘sandpaper’ look. I believe the zinc was being eroded out of the brass alloy, as the melting point of Zinc itself is only around 780 F. I also believe one reason English Monotype plated their brass display mats was to protect them from being broken down by heat but stay with a reasonably cost effective and a very malleable base metal.
The metal alloy for Monotype display mats was apparently 86-88% Copper, 10-12.5% Zinc and 0.9-1.3% Lead (the Lead content makes the metal easier to machine and potentially could also be drawn out by casting temperatures). Was English Monotype the first company to Chrome plate matrices? How was the process accomplished? I imagine the matrix is punched and then a thin flash of Nickel & Chrome is added for protection.
The same Zinc leaching effect would probably happen with Linotype matrices, however I'm not familiar with their exact metal composition. I went so far as to have a Linotype mat Chrome plated a few years ago to experiment with, however, this was not a path I further explored (yes, I worked on a Linotype holder for the Super Caster). I will leave casting individual pieces of type from Linotype matrices to the guys with Thompson type casters and the correct holders for this job.
Just a tangent comment, Chrome platers are an interesting bunch of people that work with bikers and custom car restorers and with lots of dangerous chemicals; they might not be exactly familiar with small casting matrices that fall to the bottom of a tank. But if I were to do it now, I would opt for a controlled thickness of Nickel plate and forget the Chrome. Note that as Chrome plating is typically clear, it is the underlining nickel that one sees. Controlling the thickness of plating is critical for controlling casting type-high tolerances, I would be tempted to tell the plating company “give me a thou (0.001”) of Nickel" and see what happens. Nickel plates to a brass or copper base object very well, it gets into every corner, I believe this is called 'throwing power'.
In his book "Practical Typecasting" Theo Rehak says ATF used a layer of Nickel in their production of electro mats, however, I believe this is a layer that becomes the face of the matrix because they are copying a pattern, different from the English Monotype procedure. This Nickel layer is then backed up by Copper. ATF apparently added 0.008" to 0.010" of Nickel, this would be one tough matrix, too bad Lanston Monotype never tried to do this with their electro matrices.
The only complaint I have ever had with English Monotype mats is that one time, the Chrome plating came off in one spot, revealing the Nickel below and ruining the matrix.
In the same argument, the small size of a bronze English Monotype matrix (94-95% Copper, 3-4% tin and 0.8-1.2% Lead) makes it vulnerable to heat; while the more expensive alloy should be more heat-resistant, the small size of the mat does not allow it to throw off the heat as well, so it probably operates at a higher temperature. I have found that casting bronze composition matrix sorts on the Super Caster with foundry metal is hard on the mats. I ran a batch of “@” signs in hard metal with the idea they would get a lot of impressions over the years of use, but I probably won’t do it again. Shown in the picture above is a large 72 pt. Giant Caster matrix, Nickel plated brass, and the smallest Monotype matrix, a 0.2” x 0.2” bronze composition matrix. I understand at one time, English Monotype offered chrome plated composition matrices as an option however I don't think this is very common.
Another discussion could be started concerning European matrices made out of steel, however I have not seen or used them.
This is a long ramble of thoughts that came up when looking at the possibilities and limitations of casting. I’m sure some of the ideas above have faults. As Oliver Wendell Holmes once wrote:
“If there are any anachronisms or other inaccuracies in this story, the reader will please to remember that the narrator’s memory is liable to be at fault, and if the event recorded interests him, will not worry over any little slips or stumbles”.
The first 32 RGB LED matrices, driven by LEDscape and secured together with 11.25" 3D printed brackets. There will be another layer ontop, making it a 512x64 pixel display.
Esta vez os presento una plantilla que podríamos calificar como "legal" (está pintada en la pared exterior de un bar) pero, como está chula, creo que merecen estar en esta galería.
Podéis verlas en la calle Arévalo donde se une al Cantón Pequeño.
Van den Keere matrices in the Platin-Moretus Museum in Antwerp. Based on a Garamond type, but with shorter ascenders and descenders. Seen on the MATD trip through the Low Countries in April 2008.
Otro plantillazo tremendo el que nos brinda nuestro amigo "ERRE".
Está enfrente del Castillo de San Antón
Palatino. Eine weitverzweigte Familie mit der sie immer zusammenarbeiten sollten. A specimen for the Palatino typeface family, including all of its extended members available in foundry type and as Linotype matrices. The brochure was probably published around 1960 and has a look to it that makes me think it was probably designed by Hermann Zapf as well.
Palatino. Eine weitverzweigte Familie mit der sie immer zusammenarbeiten sollten. A specimen for the Palatino typeface family, including all of its extended members available in foundry type and as Linotype matrices. The brochure was probably published around 1960 and has a look to it that makes me think it was probably designed by Hermann Zapf as well.
The Französische Antiqua typeface that Genzsch & Heyse and their E.J. Genzsch subsidiary sold was cast from matrices acquired from Paris. The French name for the original typeface is Série 16, produced at Laurent et Deberny. The original Série 16 punches were cut by Constant Aubert and Auguste Aubert. The site showing Berthe, ABYME’s revival of Série 16 mentions Jan Tschichold’s recommendation of the typeface in Die Neue Typografie:
“To my mind, looking at the modern romans, it is the unpretentious work of the anonymous type-designers that have best served the spirit of their age: Sorbonne, Nordische Antiqua, Französische Antiqua, and so on. These three typefaces and their derivatives are the best designs from the pre-war period. They are easily legible; they are also above all in a technical sense useful and free from personal idiosyncrasies – in the best sense of the word, uninteresting.”
Jan Tschichold, The New Typography: A Handbook for Modern Designers [1928] (Berkeley/Los Angeles/London: University of California Press, 1998), p 76.
As an aside, I find it rather funny that none of the typefaces Tschichold named in that passage are anonymous works. We know the designers for each of them.
These Französische Antiqua pages are scanned from E.J. Genzsch’s 1902 catalog. In the 1920s, Genzsch & Heyse reissued their Französische Antiqua under the name Fridericus-Antiqua. Letterform Archive has two Fridericus-Antiqua brochures in its online archive, which you can see here and here.
Linotype offered borders to complement their type faces, and Benedictine in several weights was a hot type in the early 1920s. Some of the ornaments were offered as border slides, or as individual matrices that could be assembled to cast an entire 30 pica long line.
Metal type enthusiasts -- This working INTERTYPE is for SALE (cheap $400).
Need to confirm but I believe this is Intertype Model G4-4sm. Iowa location. Or convince me to take it home. Alternate destination is scrapyard.
Contact me if interested or if you a midwesterner with expertise to share.
--
[info + history]
On April 25, 2019 the Los Angeles Fire Department provided a demonstration of the Unmanned Aerial System (UAS) program for Councilmember Blumenfield and his staff. This event showcased the entire fleet, provided a live stream demo and highlighted the arrival of the newest addition, the DJI Matrice 600. The Matrice 600 was donated via the LAFD Foundation and is the largest drone in the fleet. It is capable of performing an active role within an incident. For example, it can drop rope lines and/or life preservers during a water rescue which could facilitate a quicker rescue.
LAFD Event: 042519
Photo Use Permitted via Creative Commons - Credit: LAFD Photo | Alex Gillman
LAFD Event: 031419
Connect with us: LAFD.ORG | News | Facebook | Instagram | Reddit | Twitter: @LAFD @LAFDtalk
Palatino. Eine weitverzweigte Familie mit der sie immer zusammenarbeiten sollten. A specimen for the Palatino typeface family, including all of its extended members available in foundry type and as Linotype matrices. The brochure was probably published around 1960 and has a look to it that makes me think it was probably designed by Hermann Zapf as well.
On April 25, 2019 the Los Angeles Fire Department provided a demonstration of the Unmanned Aerial System (UAS) program for Councilmember Blumenfield and his staff. This event showcased the entire fleet, provided a live stream demo and highlighted the arrival of the newest addition, the DJI Matrice 600. The Matrice 600 was donated via the LAFD Foundation and is the largest drone in the fleet. It is capable of performing an active role within an incident. For example, it can drop rope lines and/or life preservers during a water rescue which could facilitate a quicker rescue.
LAFD Event: 042519
Photo Use Permitted via Creative Commons - Credit: LAFD Photo | Alex Gillman
LAFD Event: 031419
Connect with us: LAFD.ORG | News | Facebook | Instagram | Reddit | Twitter: @LAFD @LAFDtalk
Using elastic properties of stretchable materials, components are inserted in thread matrices that hold them strongly. Next step would be to find or create a conductive thread matrix version of this stretch garment. It exists in materials research labs [ in sweden (lena berglin) and also in gent (project SWEET) ] but they are not on the market yet :( for instance the beautiful tfcg.elis.ugent.be/projects/stretchable.html
This material opens also the opportunity to think about stapleable electronics that would be inserted between the threads. Smt films could be placed by a specific stapler, and the connections ruggerized with a thermostreching process.
One big advantage of this elastic is also how it facilitates arduino to get out the breadboard ;)
Metal type enthusiasts -- This working INTERTYPE is for SALE (cheap $400).
Need to confirm but I believe this is Intertype Model G4-4sm. Iowa location. Or convince me to take it home. Alternate destination is scrapyard.
Contact me if interested or if you a midwesterner with expertise to share.
--
[info + history]
If you want your statistic students taught, or your donuts eaten, Tealeaf can get it done!
Tealeaf ( twitter.com/tealeafraccoon )
The Französische Antiqua typeface that Genzsch & Heyse and their E.J. Genzsch subsidiary sold was cast from matrices acquired from Paris. The French name for the original typeface is Série 16, produced at Laurent et Deberny. The original Série 16 punches were cut by Constant Aubert and Auguste Aubert. The site showing Berthe, ABYME’s revival of Série 16 mentions Jan Tschichold’s recommendation of the typeface in Die Neue Typografie:
“To my mind, looking at the modern romans, it is the unpretentious work of the anonymous type-designers that have best served the spirit of their age: Sorbonne, Nordische Antiqua, Französische Antiqua, and so on. These three typefaces and their derivatives are the best designs from the pre-war period. They are easily legible; they are also above all in a technical sense useful and free from personal idiosyncrasies – in the best sense of the word, uninteresting.”
Jan Tschichold, The New Typography: A Handbook for Modern Designers [1928] (Berkeley/Los Angeles/London: University of California Press, 1998), p 76.
As an aside, I find it rather funny that none of the typefaces Tschichold named in that passage are anonymous works. We know the designers for each of them.
These Französische Antiqua pages are scanned from E.J. Genzsch’s 1902 catalog. In the 1920s, Genzsch & Heyse reissued their Französische Antiqua under the name Fridericus-Antiqua. Letterform Archive has two Fridericus-Antiqua brochures in its online archive, which you can see here and here.
The Französische Antiqua typeface that Genzsch & Heyse and their E.J. Genzsch subsidiary sold was cast from matrices acquired from Paris. The French name for the original typeface is Série 16, produced at Laurent et Deberny. The original Série 16 punches were cut by Constant Aubert and Auguste Aubert. The site showing Berthe, ABYME’s revival of Série 16 mentions Jan Tschichold’s recommendation of the typeface in Die Neue Typografie:
“To my mind, looking at the modern romans, it is the unpretentious work of the anonymous type-designers that have best served the spirit of their age: Sorbonne, Nordische Antiqua, Französische Antiqua, and so on. These three typefaces and their derivatives are the best designs from the pre-war period. They are easily legible; they are also above all in a technical sense useful and free from personal idiosyncrasies – in the best sense of the word, uninteresting.”
Jan Tschichold, The New Typography: A Handbook for Modern Designers [1928] (Berkeley/Los Angeles/London: University of California Press, 1998), p 76.
As an aside, I find it rather funny that none of the typefaces Tschichold named in that passage are anonymous works. We know the designers for each of them.
These Französische Antiqua pages are scanned from E.J. Genzsch’s 1902 catalog. In the 1920s, Genzsch & Heyse reissued their Französische Antiqua under the name Fridericus-Antiqua. Letterform Archive has two Fridericus-Antiqua brochures in its online archive, which you can see here and here.
The Französische Antiqua typeface that Genzsch & Heyse and their E.J. Genzsch subsidiary sold was cast from matrices acquired from Paris. The French name for the original typeface is Série 16, produced at Laurent et Deberny. The original Série 16 punches were cut by Constant Aubert and Auguste Aubert. The site showing Berthe, ABYME’s revival of Série 16 mentions Jan Tschichold’s recommendation of the typeface in Die Neue Typografie:
“To my mind, looking at the modern romans, it is the unpretentious work of the anonymous type-designers that have best served the spirit of their age: Sorbonne, Nordische Antiqua, Französische Antiqua, and so on. These three typefaces and their derivatives are the best designs from the pre-war period. They are easily legible; they are also above all in a technical sense useful and free from personal idiosyncrasies – in the best sense of the word, uninteresting.”
Jan Tschichold, The New Typography: A Handbook for Modern Designers [1928] (Berkeley/Los Angeles/London: University of California Press, 1998), p 76.
As an aside, I find it rather funny that none of the typefaces Tschichold named in that passage are anonymous works. We know the designers for each of them.
These Französische Antiqua pages are scanned from E.J. Genzsch’s 1902 catalog. In the 1920s, Genzsch & Heyse reissued their Französische Antiqua under the name Fridericus-Antiqua. Letterform Archive has two Fridericus-Antiqua brochures in its online archive, which you can see here and here.
Palatino. Eine weitverzweigte Familie mit der sie immer zusammenarbeiten sollten. A specimen for the Palatino typeface family, including all of its extended members available in foundry type and as Linotype matrices. The brochure was probably published around 1960 and has a look to it that makes me think it was probably designed by Hermann Zapf as well.