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250:, 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;
609:: 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.
136:" 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.
280:
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
266:
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
93:
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
276:
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
204:
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
365:
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
213:
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:
637:
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
1355:
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
271:
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
225:
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
254:
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".
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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.
307:
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
262:
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.
1338:
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.
222:. 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.
102:. 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").
312:
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.
1377:- 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
906:
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
318:
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
54:. 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.
277:
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".
230:
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,
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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.
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1962:
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358:, 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.
61:
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
677:
Garamond
Premier Pro: a contemporary adaptation; modelled on the roman types of Claude Garamond and the italic types of Robert Granjon
139:
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
23:
A punch (left) and the respective matrix produced from it (right). The small letters at the base of the matrix are founders marks.
846:
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Some punchcutters did continue to hold prestige for their artisanal work into the early or mid-twentieth century. These included
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are other substances that expand on freezing), keeping the accurate dimensions of letters. This characteristic is shared by the
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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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65:, 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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Into Print: selected writings on printing history, typography and book production
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An Introduction to Pierre Simon Fournier's Modèles des Caractères de l'Imprimerie
697:. Amsterdam: Special Collections of the University of Amsterdam. pp. 70–86.
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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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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
35:
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1287:
Counterpunch: Making Type in the 16th Century, Designing Typefaces Now
1244:"Punch-cutter Nelly Gable: Steel Magnolia of the Imprimerie Nationale"
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790:"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
38:. Steel punches in the shape of the letter would be used to stamp
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1869:
1720:
1631:
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1499:
190:
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47:
1139:
A to Z. Een autobiografie van P.H. Rädisch, staal-stempelsnijder
952:"Patrix Cutting and Matrix Electroforming: A Survey of the Data"
565:
1986:
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How Bessemer and Caslon came to a total of 61 is not explained.
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194:
151:
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923:
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
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533:
491:"Big brass matrices again: the Enschedé 'Chalcographia' type"
182:
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99:
913:
718:
Mosley, James (1967). "The Early Career of William Caslon".
415:
Carnet de la recherche à la Bibliothèque nationale de France
57:
The initial design for type would be two-dimensional, but a
34:
to cut letter punches in steel as the first stage of making
2185:
2031:
1976:
167:
140:
1019:
889:
Nash, Paul W. (2004). "Hansard's typographical banknote".
1207:
733:
Carter, Harry (1965). "Caslon Punches: An Interim Note".
175:
128:. For example, the negative space inside an uppercase "
976:
Howes, Justin (2000). "Caslon's punches and matrices".
242:
was trained as a goldsmith. In the eighteenth century,
1375:
Gravers & Files—The lost art of type punch cutting
1312:
The apparent work rate of punchcutter and typefounder
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into copper, which were locked into a mould shape to
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844:Mosley, James (2008). "William Caslon the elder".
1238:
1236:
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765:
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625:. Leiden: Koninklijke Brill NV. pp. 316–7.
593:
432:
238:wrote of cutting type since his childhood. Also
234:began as the apprentice to a jeweller, although
754:British type specimens before 1831: a hand-list
675:(2005). "Claude Garamont and his Roman Types".
577:French Renaissance Printing Types: a conspectus
89:demonstrates cutting a punch for a Qu ligature.
1233:
623:The Palaeotypography of the French Renaissance
2337:Intellectual property protection of typefaces
1400:
760:
756:. Oxford Bibliographical Society. p. 69.
683:
508:
1879:
1027:"Monotype matrices and moulds in the making"
865:. Hoboken: Taylor and Francis. p. 138.
695:The Diaspora of Armenian Printing, 1512-2012
218:came from a metalworking background, as did
837:
787:
781:
605:Bulletin of the Printing Historical Society
267:precautions, illustrates this. Punchcutter
1407:
1393:
1171:(1991). "Twentieth-Century Punchcutters".
891:Journal of the Printing Historical Society
775:Journal of the Printing Historical Society
735:Journal of the Printing Historical Society
720:Journal of the Printing Historical Society
602:
2363:Punctuation and other typographic symbols
679:. San Jose: Adobe Systems. pp. 5–13.
465:"Big brass matrices: a mystery resolved?"
1281:
1266:Baines, Phil and Haslam, Andrew (2002).
1190:"My notes on the punchcutter Otto Erler"
620:
571:
288:
80:
72:A counter-punch and a punch for letter A
67:
18:
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1050:
847:Oxford Dictionary of National Biography
50:type was the first step of traditional
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773:(1983). "The Types of Nicholas Kis".
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579:. New Castle, Del.: Oak Knoll Press.
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342:in Paris, Otto Erler in Leipzig and
16:Craft used in traditional typography
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517:"Dabbing, abklatschen, clichage..."
402:
284:
13:
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488:
462:
14:
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1362:
1289:. Princeton Architectural Press.
1213:
447:
350:in Haarlem, who cut the types of
109:(softening) the punch blank, and
2376:
2375:
541:"Ornamented types: a prospectus"
419:Bibliothèque nationale de France
408:
1341:
1332:
1323:
1306:
897:
621:Vervliet, Hendrik D.L. (2008).
208:
30:is a craft used in traditional
1414:
863:Trade Union and Social History
121:, that arose in punchcutting.
85:A punchcutter working for the
1:
2332:History of Western typography
396:
146:Once the punches are ready a
2179:traditional point-size names
546:. imimprimit. Archived from
7:
1432:Canons of page construction
1089:. p. 5. Archived from
1055:. London: British Library.
369:
10:
2423:
1369:Punchcutting demonstration
833:. London: Eugrammia Press.
800:(1): 61–76. Archived from
788:Stauffacher, Jack (1985).
381:Bradford Industrial Museum
366:practitioners of the art.
76:
2371:
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2194:
2134:
2017:
1957:
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1708:
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1589:Subscript and superscript
1544:
1535:
1485:
1422:
1351:, the calculation of the
334:, who cut many types for
2347:Vox-ATypI classification
1477:Intentionally blank page
1381:, who was taught by him.
1076:Wardle, Tiffany (2000).
336:Arts and Crafts movement
1155:10.1163/157006980X00149
1124:10.1163/157006973X00237
937:10.1163/157006973X00237
1880:
909:. 1819. pp. 68–9.
752:Mosley, James (1984).
655:"The 'Garamond' Types"
573:Vervliet, Hendrik D.L.
411:"Caractères de Titres"
294:
90:
73:
46:. Cutting punches and
24:
1314:Pierre-Simon Fournier
1216:"Gravers & Files"
1087:University of Reading
1079:The story of Perpetua
861:Musson, A.E. (2013).
292:
252:Pierre-Simon Fournier
240:Christoffel van Dijck
84:
71:
22:
2217:Typographic features
1002:"Printing the Times"
391:Letterpress printing
363:Imprimerie nationale
248:MiklĂłs TĂłtfalusi Kis
87:Imprimerie Nationale
2342:Technical lettering
2241:Typography in other
1982:Hanging punctuation
1268:Type and Typography
804:on 30 December 2017
553:on 22 December 2015
520:Type Foundry (blog)
495:Type Foundry (blog)
469:Type Foundry (blog)
274:Caslon type foundry
2305:Handwriting script
2232:Desktop publishing
2202:Character encoding
2195:Digital typography
1709:Horizontal aspects
1662:Visual distinction
1520:Widows and orphans
1270:. Watson-Guptill.
950:MacMillan, David.
386:Commemorative coin
295:
216:Johannes Gutenberg
91:
74:
25:
2389:
2388:
2136:Typographic units
2054:For position only
1953:
1952:
1805:
1804:
1034:Monotype Recorder
632:978-90-04-16982-1
586:978-1-58456-271-9
452:. pp. 32–40.
450:Letters of Credit
376:Amoretti Brothers
310:display typefaces
305:electrodeposition
2414:
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2378:
2356:Related template
2288:Related articles
2089:Phototypesetting
1943:reverse-contrast
1928:Display typeface
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1862:Blackletter type
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1755:Vertical aspects
1736:Sentence spacing
1546:Typeface anatomy
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409:Vret, Aurélien.
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354:. Type designer
324:Linn Boyd Benton
285:New technologies
269:Anthony Bessemer
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463:Mosley, James.
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448:Tracy, Walter.
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352:Jan van Krimpen
338:fine printers,
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236:Claude Garamond
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98:in or around a
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2277:National Fonts
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2099:Reversing type
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1726:Letter-spacing
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1680:Color printing
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1614:Capitalization
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1452:Page numbering
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1379:Matthew Carter
1372:
1371:by Stan Nelson
1364:
1363:External links
1361:
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1304:
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1301:
1295:
1283:Smeijers, Fred
1279:
1263:
1261:
1260:
1232:
1214:Haley, Allan.
1206:
1180:
1160:
1149:(2): 158–172.
1129:
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356:Matthew Carter
286:
283:
244:William Caslon
232:Robert Granjon
220:Nicolas Jenson
210:
207:
205:punchcutting.
154:) to create a
96:negative space
78:
75:
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2227:BĂ©zier curves
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2212:Rasterization
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2069:Microprinting
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2027:Etaoin shrdlu
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1164:
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1096:on 2006-11-10
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1062:9780712303439
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827:Mosley, Jamea
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691:Lane, John A.
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348:Joh. Enschedé
345:
344:P. H. Rädisch
341:
340:Charles Malin
337:
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332:Edward Prince
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301:Electrotyping
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228:Jean de Gagny
223:
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197:used to cast
196:
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33:
29:
21:
2327:Type foundry
2164:Metric units
2094:Punchcutting
2093:
2079:Movable type
2049:Font catalog
2009:Vertical bar
1746:Word spacing
1716:Figure space
1599:Text figures
1442:Even working
1349:Justin Howes
1343:
1334:
1325:
1318:Harry Carter
1308:
1286:
1267:
1251:. Retrieved
1247:
1223:. Retrieved
1219:
1209:
1197:. Retrieved
1193:
1183:
1172:
1163:
1146:
1142:
1138:
1132:
1115:
1109:
1098:. Retrieved
1091:the original
1078:
1071:
1052:
1046:
1037:
1033:
1021:
1009:. Retrieved
1005:
992:
983:
977:
971:
959:. Retrieved
955:
945:
928:
924:
905:
899:
890:
862:
856:
845:
839:
830:
806:. Retrieved
802:the original
797:
793:
783:
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747:
738:
734:
728:
719:
713:
694:
685:
676:
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622:
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608:
604:
576:
567:
555:. Retrieved
548:the original
535:
523:. Retrieved
519:
510:
498:. Retrieved
494:
484:
472:. Retrieved
468:
458:
449:
422:. Retrieved
414:
404:
360:
329:
314:
299:
296:
279:
265:
260:trade secret
257:
224:
212:
209:Punchcutters
203:
180:
145:
138:
123:
104:
92:
56:
28:Punchcutting
27:
26:
2402:Typesetting
2322:Type design
2317:Style guide
2310:Calligraphy
2300:Handwriting
2114:Type design
2064:Lorem ipsum
2059:Letterpress
2019:Typesetting
1959:Punctuation
1923:Record type
1894:Gaelic type
1882:Schwabacher
1772:Body height
1637:Letter case
1505:Line length
1118:: 239–242.
659:The Fleuron
557:12 December
361:The French
52:typesetting
2396:Categories
2295:Penmanship
2267:East Asian
2109:Type color
2042:monospaced
1999:Interpunct
1992:minus sign
1916:Specialist
1852:Sans-serif
1845:slab serif
1822:Roman type
1777:Cap height
1741:Thin space
1700:Whitespace
1652:Title case
1647:Snake case
1642:Small caps
1627:Camel case
1559:Diacritics
1467:Pull quote
1462:Pagination
1457:Paper size
1416:Typography
1100:2009-03-26
1040:(3). 1956.
771:Lane, John
661:: 131–179.
397:References
316:Pantograph
199:sculptures
160:type metal
36:metal type
32:typography
2407:Engraving
1792:Overshoot
1787:Mean line
1782:Descender
1695:Underline
1537:Character
1515:Runaround
1495:Alignment
1487:Paragraph
1220:Fonts.com
1143:Quaerendo
1116:Quaerendo
961:6 October
925:Quaerendo
525:5 October
500:5 October
474:5 October
424:19 August
320:wood type
119:aesthetic
115:tempering
111:hardening
107:annealing
44:cast type
2381:Category
2260:PT Fonts
2255:Cyrillic
2119:Typeface
2037:computer
1938:fat face
1811:Typeface
1797:x-height
1767:Baseline
1762:Ascender
1622:All caps
1584:Rotation
1579:Ligature
1574:Ink trap
1285:(1997).
893:: 55–70.
829:(1965).
777:: 47–75.
741:: 68–70.
722:: 66–81.
693:(2012).
653:(1926).
575:(2010).
370:See also
172:antimony
158:. Then,
126:typeface
40:matrices
2207:Hinting
2084:Pangram
1902:Insular
1875:Rotunda
1870:Fraktur
1835:Antiqua
1721:Kerning
1690:Oblique
1685:Italics
1632:Initial
1564:Dingbat
1554:Counter
1500:Leading
1225:11 June
1199:11 June
1194:TypeOff
1177:(7–23).
1011:28 July
191:bismuth
187:silicon
132:" and "
77:Process
48:casting
2250:Arabic
2149:Cicero
1987:Hyphen
1972:Bullet
1933:script
1907:Uncial
1840:Didone
1604:Tittle
1447:Margin
1437:Column
1293:
1274:
1174:Matrix
1059:
986:: 1–7.
979:Matrix
869:
808:19 May
701:
638:types.
629:
583:
195:bronze
174:, and
156:matrix
152:copper
63:matrix
2174:Point
2144:Agate
2004:Space
1830:Serif
1731:Pitch
1594:Swash
1569:Glyph
1510:River
1356:bath.
1253:5 May
1094:(PDF)
1083:(PDF)
1030:(PDF)
551:(PDF)
544:(PDF)
183:water
164:alloy
162:, an
100:glyph
59:punch
2272:Thai
2186:Twip
2169:Pica
2124:list
2104:Sort
2032:Font
1977:Dash
1963:List
1675:Bold
1525:runt
1424:Page
1291:ISBN
1272:ISBN
1255:2017
1227:2018
1201:2018
1057:ISBN
1013:2015
963:2017
867:ISBN
810:2017
699:ISBN
627:ISBN
581:ISBN
559:2015
527:2017
502:2017
476:2017
426:2022
189:and
168:lead
148:mold
141:soot
113:and
1151:doi
1141:".
1120:doi
1006:Eye
933:doi
346:at
176:tin
166:of
2398::
2159:En
2154:Em
1246:.
1235:^
1218:.
1192:.
1147:10
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1038:40
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929:3
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134:R
130:P
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