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261:, who began his career as a schoolmaster before paying to learn punchcutting while in the Netherlands to print a Hungarian bible. There was apparently a drop in the number of engravers active in seventeenth-century France compared to the sixteenth, probably due to economic reasons and a saturation of the market with high-quality typefaces cut in the previous century;
620:: Part of Jannon's apprenticeship must have been strenuously devoted to punch-cutting and to other metal-working skills he would need for this task...some of the early printers are known to have cut their own punches and some printers are known to have done some punchcutting, but punchcutters were usually independent craftsmen.
147:" is usually very similar, and with the use of a counterpunch, they could be nearly identical. Counterpunches were regularly used in this way to give typefaces a more consistent look. The counterpunch would be struck into the face of the punch. The outer form of the letter is then shaped using files.
291:
Punchcutters did not necessarily conceive the designs they worked on. Indeed, G. Willem Ovink, a Dutch printing executive and historian of printing, noted in 1973 that he was struck by "the absolute lack of creative talent in all the most skilled punchcutters of this century" with regard to creating
277:
Manual punchcutting was a slow process that required expertise. It has been estimated that the work rate of experienced punchcutters was about one letter per day. Some testimony to the London
Society of Arts in May 1818, which was given as part of an inquiry into developing new banknote anti-forgery
104:
The punchcutter begins by transferring the outline of a letter design to one end of a steel bar. The outer shape of the punch could be cut directly, but the internal curves of a small punch were particularly difficult as it was necessary to cut deep enough and straight into the metal. While this can
287:
elaborated that a font of this size "could scarcely be completed in 7 or 8 months; at present there are only 4 or 5 persons in
England who can execute diamond type, owing no doubt to the limited demand for it; and the peculiar style of each of these punch cutters is perfectly well known to persons
215:
Punched matrices were not easy to create for large fonts since it was hard to drive large punches evenly. Alternative methods such as casting type or matrices in sand, plaster or lead were used for these. From the nineteenth century, several new technologies began to appear that displaced manual
376:
was one of the few institutions to continue employing punchcutters into the twenty-first century, to demonstrate the historic technique and to fill out the character set of historic typefaces. Contemporary punchcutter Nelly Gable of the French
Imprimerie Nationale is one of the few female
224:
During the early years of printing, during which the craft and tastes were rapidly evolving, printers often cut or commissioned their own punches. Many early printers entered the trade from metalworking and would therefore have had the skills to cut their own types:
648:
Gagny had his new types engraved by a goldsmith from Tours, Charles
Chiffin…otherwise unknown as a typographer, delivered decent work. colon and period lozenge-shaped - possibly an indication that Chiffin had been influenced by or trained in cutting Gothic
1366:
type foundry was that the shrinkage was small but could accumulate if a letterform was repeatedly regenerated. Stephenson Blake's solution was to squash type slightly in a press or file it down to broaden it before putting it into the electrotype
282:
gave testimony by letter that his work rate for punches was about 12 weeks (72 days not counting
Sundays) to cut a complete set of 61 punches around or less than 1 punch per day, for 4pt "diamond"-size type. His employer, Henry II Caslon of the
236:
The technique of punchcutting is similar to that used in other precision metalworking professions such as cutting dies to make coins, and many punchcutters entered the trade from these fields: for instance sixteenth-century theologian
265:
commented that knowledge of the technique in France degenerated after the sixteenth century to the point that "a man could hardly be found to cut the JJ consonants and UU vowels when the use of them was introduced into France".
337:
adapted the technology to cutting very small matrices and steel punches. This gave very precise results and transferred the place of individual creativity completely away from the engraving stage towards a drawing office.
318:
around engravings of a letterform. This letterform could be in any metal, so engraving increasingly began to be done by cutting a letterform in soft typemetal. This allowed an explosion in variety of typefaces, especially
273:
due to its difficulty and sometimes passed on from father to son. William Caslon was an example of this, according to
Nichols teaching his son his methods privately while locked in a room where nobody could watch them.
1349:
Various names were used for the 'punch' in soft metal carved for an electrotype. "Pattern letter" and "patrix" are common terms. Electrotyping was also used less honourably for piracy of pre-existing types.
233:. As the sale of type evolved into a major, separate trade, punchcutting became a craft principally practiced by the owners or employees of type foundries, or sometimes specialised itinerant craftsmen.
113:. A counterpunch could be used to create this negative space, not just where the space was completely enclosed by the letter, but in any concavity (e.g., above and below the midbar in uppercase "H").
323:
that did not need to be cast so often and for which only a few matrices were needed, and allowed the regeneration (or, often, piracy) of types for which no punches or matrices were available.
1388:- a silent film of punchcutter P. H. Rädisch at Enschedé, one of the last working punchcutters, in 1957, by which time the process was already a niche activity. Narration and commentary by
917:
Report of the
Committee of the Society of Arts (etc.) Together with the Approved Communications and Evidence Upon the Same, Relative to the Mode of Preventing the Forgery of Bank Notes
329:
engraving is a technology where a cutting machine is controlled by hand movements and allows type to be cut from large working drawings. It was initially introduced to printing to cut
65:. The cutting of letter punches was a highly skilled craft requiring much patience and practice. Often the designer of the type would not be personally involved in the cutting.
288:
conversant with letter founding." He estimated that a punchcutter could cut two punches of this size a day although more work would be needed to "get type from the punches".
241:
when commissioning types for his private press in the 1540s, hired
Charles Chiffin, known to have previously practiced as a goldsmith. Among the most famous punchcutters,
304:
A demonstration by punchcutter Nelly Gable. The candle is to transfer soot onto the punch to make a smoke proof, a check of the punch's current impression on paper.
1088:
1973:
962:
551:
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369:, who learned punchcutting from Rädisch while at an internship at Enschedé, has added commentary to a silent film of Rädisch at work in the 1950s.
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suggested that he had actually only engraved the characters needed to print his specimens, with the remaining characters filled in later.
72:
has depth, and the three-dimensional shape of the punch, as well as factors such as the angle and depth to which it was driven into the
688:
Garamond
Premier Pro: a contemporary adaptation; modelled on the roman types of Claude Garamond and the italic types of Robert Granjon
17:
150:
To test the punch, the punchcutter makes an imprint on a piece of paper after coating the punch with soot from an open flame. The
34:
A punch (left) and the respective matrix produced from it (right). The small letters at the base of the matrix are founders marks.
857:
341:
Some punchcutters did continue to hold prestige for their artisanal work into the early or mid-twentieth century. These included
800:
204:
are other substances that expand on freezing), keeping the accurate dimensions of letters. This characteristic is shared by the
105:
be done with cutting tools, a counterpunch, a type of punch used in the cutting of other punches, was often used to create the
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took up the craft from engraving ornamental designs on firearms and bookbinders' tools. A less common background was that of
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76:, would affect the appearance of the type on the page. The angle of the side of the punch was particularly significant.
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in the late eighteenth century, as documented in his specimens, was so rapid that twentieth-century printing historian
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A slight problem with electrotyping of type is that the new form is slightly smaller than the original - according to
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their own designs, although presumably many punchcutters of the past designed and conceived the work they engraved.
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One characteristic of type metal that makes it valuable for this use is that it expands as it cools (
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Ovink, G. Willem (1 January 1980). "Grandeurs and
Miseries of the Punch-Cutter's Craft: a review of
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Of course, the counterpunch had to be harder than the punch itself. This was accomplished by
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could then be created from the punch by using the punch on a softer metal (such as
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189:, flows into the matrix to produce a single piece of type, ready for typesetting.
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Into Print: selected writings on printing history, typography and book production
1008:
842:
An Introduction to Pierre Simon Fournier's Modèles des Caractères de l'Imprimerie
708:. Amsterdam: Special Collections of the University of Amsterdam. pp. 70–86.
362:
246:
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left by the flame acts like ink to create an image on the paper (a smoke proof).
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New technologies displaced manual punchcutting from the mid-nineteenth century.
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Ovink, G. Willem (1973). "Review: Jan van Krimpen, A Letter to Philip Hofer".
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1917:
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625:
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Williamson, Hugh (August 1987). "Jean Jannon of Sedan (series of articles)".
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Dreyfus, John (1994). "Giovanni Mardersteig's work as a Type Designer".
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the counterpunch. Such a tool solved two issues, one technical and one
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42:
1298:
Counterpunch: Making Type in the 16th Century, Designing Typefaces Now
1255:"Punch-cutter Nelly Gable: Steel Magnolia of the Imprimerie Nationale"
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801:"The Transylvanian Phoenix: the Kis-Janson Types in the Digital Era"
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Often the same counterpunch could be used for several letters in a
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from the 1840s is a technology used to form matrices of copper by
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The process of punchcutting was apparently sometimes treated as a
49:. Steel punches in the shape of the letter would be used to stamp
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1880:
1731:
1642:
1574:
1510:
201:
197:
58:
1150:
A to Z. Een autobiografie van P.H. Rädisch, staal-stempelsnijder
963:"Patrix Cutting and Matrix Electroforming: A Survey of the Data"
576:
1997:
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How Bessemer and Caslon came to a total of 61 is not explained.
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737:
205:
162:
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934:
Ovink, G.W. (1 January 1973). "Two Books on Stanley Morison".
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used for posters and headlines. In the 1880s, the typefounder
1840:
1579:
1547:
1395:
544:
502:"Big brass matrices again: the Enschedé 'Chalcographia' type"
193:
174:
110:
924:
729:
Mosley, James (1967). "The Early Career of William Caslon".
426:
Carnet de la recherche à la Bibliothèque nationale de France
68:
The initial design for type would be two-dimensional, but a
45:
to cut letter punches in steel as the first stage of making
2196:
2042:
1987:
178:
151:
1030:
900:
Nash, Paul W. (2004). "Hansard's typographical banknote".
1218:
744:
Carter, Harry (1965). "Caslon Punches: An Interim Note".
186:
139:. For example, the negative space inside an uppercase "
987:
Howes, Justin (2000). "Caslon's punches and matrices".
253:
was trained as a goldsmith. In the eighteenth century,
1386:
Gravers & Files—The lost art of type punch cutting
1323:
The apparent work rate of punchcutter and typefounder
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140:
53:
into copper, which were locked into a mould shape to
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855:Mosley, James (2008). "William Caslon the elder".
1249:
1247:
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636:. Leiden: Koninklijke Brill NV. pp. 316–7.
604:
443:
249:wrote of cutting type since his childhood. Also
245:began as the apprentice to a jeweller, although
765:British type specimens before 1831: a hand-list
686:(2005). "Claude Garamont and his Roman Types".
588:French Renaissance Printing Types: a conspectus
100:demonstrates cutting a punch for a Qu ligature.
1244:
634:The Palaeotypography of the French Renaissance
2348:Intellectual property protection of typefaces
1411:
771:
767:. Oxford Bibliographical Society. p. 69.
694:
519:
1890:
1038:"Monotype matrices and moulds in the making"
876:. Hoboken: Taylor and Francis. p. 138.
706:The Diaspora of Armenian Printing, 1512-2012
229:came from a metalworking background, as did
848:
798:
792:
616:Bulletin of the Printing Historical Society
278:precautions, illustrates this. Punchcutter
1418:
1404:
1182:(1991). "Twentieth-Century Punchcutters".
902:Journal of the Printing Historical Society
786:Journal of the Printing Historical Society
746:Journal of the Printing Historical Society
731:Journal of the Printing Historical Society
613:
2374:Punctuation and other typographic symbols
690:. San Jose: Adobe Systems. pp. 5–13.
476:"Big brass matrices: a mystery resolved?"
1292:
1277:Baines, Phil and Haslam, Andrew (2002).
1201:"My notes on the punchcutter Otto Erler"
631:
582:
299:
91:
83:A counter-punch and a punch for letter A
78:
29:
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1061:
858:Oxford Dictionary of National Biography
61:type was the first step of traditional
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854:
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784:(1983). "The Types of Nicholas Kis".
660:
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590:. New Castle, Del.: Oak Knoll Press.
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1178:
899:
780:
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353:in Paris, Otto Erler in Leipzig and
27:Craft used in traditional typography
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528:"Dabbing, abklatschen, clichage..."
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295:
24:
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473:
25:
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1373:
1300:. Princeton Architectural Press.
1224:
458:
361:in Haarlem, who cut the types of
120:(softening) the punch blank, and
2387:
2386:
552:"Ornamented types: a prospectus"
430:Bibliothèque nationale de France
419:
1352:
1343:
1334:
1317:
908:
632:Vervliet, Hendrik D.L. (2008).
219:
41:is a craft used in traditional
1425:
874:Trade Union and Social History
132:, that arose in punchcutting.
96:A punchcutter working for the
13:
1:
2343:History of Western typography
407:
157:Once the punches are ready a
2190:traditional point-size names
557:. imimprimit. Archived from
7:
1443:Canons of page construction
1100:. p. 5. Archived from
1066:. London: British Library.
380:
10:
2434:
1380:Punchcutting demonstration
844:. London: Eugrammia Press.
811:(1): 61–76. Archived from
799:Stauffacher, Jack (1985).
392:Bradford Industrial Museum
377:practitioners of the art.
87:
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1968:
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1600:Subscript and superscript
1555:
1546:
1496:
1433:
1362:, the calculation of the
345:, who cut many types for
18:Counterpunch (typography)
2358:Vox-ATypI classification
1488:Intentionally blank page
1392:, who was taught by him.
1087:Wardle, Tiffany (2000).
347:Arts and Crafts movement
1166:10.1163/157006980X00149
1135:10.1163/157006973X00237
948:10.1163/157006973X00237
1891:
920:. 1819. pp. 68–9.
763:Mosley, James (1984).
666:"The 'Garamond' Types"
584:Vervliet, Hendrik D.L.
422:"Caractères de Titres"
305:
101:
84:
57:. Cutting punches and
35:
1325:Pierre-Simon Fournier
1227:"Gravers & Files"
1098:University of Reading
1090:The story of Perpetua
872:Musson, A.E. (2013).
303:
263:Pierre-Simon Fournier
251:Christoffel van Dijck
95:
82:
33:
2228:Typographic features
1013:"Printing the Times"
402:Letterpress printing
374:Imprimerie nationale
259:MiklĂłs TĂłtfalusi Kis
98:Imprimerie Nationale
2353:Technical lettering
2252:Typography in other
1993:Hanging punctuation
1279:Type and Typography
815:on 30 December 2017
564:on 22 December 2015
531:Type Foundry (blog)
506:Type Foundry (blog)
480:Type Foundry (blog)
285:Caslon type foundry
2316:Handwriting script
2243:Desktop publishing
2213:Character encoding
2206:Digital typography
1720:Horizontal aspects
1673:Visual distinction
1531:Widows and orphans
1281:. Watson-Guptill.
961:MacMillan, David.
397:Commemorative coin
306:
227:Johannes Gutenberg
102:
85:
36:
2400:
2399:
2147:Typographic units
2065:For position only
1964:
1963:
1816:
1815:
1045:Monotype Recorder
643:978-90-04-16982-1
597:978-1-58456-271-9
463:. pp. 32–40.
461:Letters of Credit
387:Amoretti Brothers
321:display typefaces
316:electrodeposition
16:(Redirected from
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2389:
2367:Related template
2299:Related articles
2100:Phototypesetting
1954:reverse-contrast
1939:Display typeface
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1747:Sentence spacing
1557:Typeface anatomy
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365:. Type designer
335:Linn Boyd Benton
296:New technologies
280:Anthony Bessemer
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474:Mosley, James.
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459:Tracy, Walter.
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363:Jan van Krimpen
349:fine printers,
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247:Claude Garamond
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109:in or around a
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1691:Color printing
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1390:Matthew Carter
1383:
1382:by Stan Nelson
1375:
1374:External links
1372:
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1294:Smeijers, Fred
1290:
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1243:
1225:Haley, Allan.
1217:
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1160:(2): 158–172.
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367:Matthew Carter
297:
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255:William Caslon
243:Robert Granjon
231:Nicolas Jenson
221:
218:
216:punchcutting.
165:) to create a
107:negative space
89:
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1107:on 2006-11-10
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1073:9780712303439
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838:Mosley, Jamea
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702:Lane, John A.
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351:Charles Malin
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239:Jean de Gagny
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208:used to cast
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2338:Type foundry
2175:Metric units
2105:Punchcutting
2104:
2090:Movable type
2060:Font catalog
2020:Vertical bar
1757:Word spacing
1727:Figure space
1610:Text figures
1453:Even working
1360:Justin Howes
1354:
1345:
1336:
1329:Harry Carter
1319:
1297:
1278:
1262:. Retrieved
1258:
1234:. Retrieved
1230:
1220:
1208:. Retrieved
1204:
1194:
1183:
1174:
1157:
1153:
1149:
1143:
1126:
1120:
1109:. Retrieved
1102:the original
1089:
1082:
1063:
1057:
1048:
1044:
1032:
1020:. Retrieved
1016:
1003:
994:
988:
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970:. Retrieved
966:
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939:
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901:
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867:
856:
850:
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817:. Retrieved
813:the original
808:
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566:. Retrieved
559:the original
546:
534:. Retrieved
530:
521:
509:. Retrieved
505:
495:
483:. Retrieved
479:
469:
460:
433:. Retrieved
425:
415:
371:
340:
325:
310:
307:
290:
276:
271:trade secret
268:
235:
223:
220:Punchcutters
214:
191:
156:
149:
134:
115:
103:
67:
39:Punchcutting
38:
37:
2413:Typesetting
2333:Type design
2328:Style guide
2321:Calligraphy
2311:Handwriting
2125:Type design
2075:Lorem ipsum
2070:Letterpress
2030:Typesetting
1970:Punctuation
1934:Record type
1905:Gaelic type
1893:Schwabacher
1783:Body height
1648:Letter case
1516:Line length
1129:: 239–242.
670:The Fleuron
568:12 December
372:The French
63:typesetting
2407:Categories
2306:Penmanship
2278:East Asian
2120:Type color
2053:monospaced
2010:Interpunct
2003:minus sign
1927:Specialist
1863:Sans-serif
1856:slab serif
1833:Roman type
1788:Cap height
1752:Thin space
1711:Whitespace
1663:Title case
1658:Snake case
1653:Small caps
1638:Camel case
1570:Diacritics
1478:Pull quote
1473:Pagination
1468:Paper size
1427:Typography
1111:2009-03-26
1051:(3). 1956.
782:Lane, John
672:: 131–179.
408:References
327:Pantograph
210:sculptures
171:type metal
47:metal type
43:typography
2418:Engraving
1803:Overshoot
1798:Mean line
1793:Descender
1706:Underline
1548:Character
1526:Runaround
1506:Alignment
1498:Paragraph
1231:Fonts.com
1154:Quaerendo
1127:Quaerendo
972:6 October
936:Quaerendo
536:5 October
511:5 October
485:5 October
435:19 August
331:wood type
130:aesthetic
126:tempering
122:hardening
118:annealing
55:cast type
2392:Category
2271:PT Fonts
2266:Cyrillic
2130:Typeface
2048:computer
1949:fat face
1822:Typeface
1808:x-height
1778:Baseline
1773:Ascender
1633:All caps
1595:Rotation
1590:Ligature
1585:Ink trap
1296:(1997).
904:: 55–70.
840:(1965).
788:: 47–75.
752:: 68–70.
733:: 66–81.
704:(2012).
664:(1926).
586:(2010).
381:See also
183:antimony
169:. Then,
137:typeface
51:matrices
2218:Hinting
2095:Pangram
1913:Insular
1886:Rotunda
1881:Fraktur
1846:Antiqua
1732:Kerning
1701:Oblique
1696:Italics
1643:Initial
1575:Dingbat
1565:Counter
1511:Leading
1236:11 June
1210:11 June
1205:TypeOff
1188:(7–23).
1022:28 July
202:bismuth
198:silicon
143:" and "
88:Process
59:casting
2261:Arabic
2160:Cicero
1998:Hyphen
1983:Bullet
1944:script
1918:Uncial
1851:Didone
1615:Tittle
1458:Margin
1448:Column
1304:
1285:
1185:Matrix
1070:
997:: 1–7.
990:Matrix
880:
819:19 May
712:
649:types.
640:
594:
206:bronze
185:, and
167:matrix
163:copper
74:matrix
2185:Point
2155:Agate
2015:Space
1841:Serif
1742:Pitch
1605:Swash
1580:Glyph
1521:River
1367:bath.
1264:5 May
1105:(PDF)
1094:(PDF)
1041:(PDF)
562:(PDF)
555:(PDF)
194:water
175:alloy
173:, an
111:glyph
70:punch
2283:Thai
2197:Twip
2180:Pica
2135:list
2115:Sort
2043:Font
1988:Dash
1974:List
1686:Bold
1536:runt
1435:Page
1302:ISBN
1283:ISBN
1266:2017
1238:2018
1212:2018
1068:ISBN
1024:2015
974:2017
878:ISBN
821:2017
710:ISBN
638:ISBN
592:ISBN
570:2015
538:2017
513:2017
487:2017
437:2022
200:and
179:lead
159:mold
152:soot
124:and
1162:doi
1152:".
1131:doi
1017:Eye
944:doi
357:at
187:tin
177:of
2409::
2170:En
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145:R
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
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