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Arabic Hot Metal: the Origins of the Mechanisation of Arabic Typography
Arabic hot metal: the origins of the mechanisation of Arabic typography Article Accepted Version Nemeth, T. (2018) Arabic hot metal: the origins of the mechanisation of Arabic typography. Philological Encounters, 3 (4). pp. 496-523. ISSN 2451-9197 doi: https://doi.org/10.1163/24519197-12340052 Available at http://centaur.reading.ac.uk/87152/ It is advisable to refer to the publisher’s version if you intend to cite from the work. See Guidance on citing . Published version at: http://dx.doi.org/10.1163/24519197-12340052 To link to this article DOI: http://dx.doi.org/10.1163/24519197-12340052 Publisher: Brill All outputs in CentAUR are protected by Intellectual Property Rights law, including copyright law. Copyright and IPR is retained by the creators or other copyright holders. Terms and conditions for use of this material are defined in the End User Agreement . www.reading.ac.uk/centaur CentAUR Central Archive at the University of Reading Reading’s research outputs online Arabic Hot Metal The origins of the mechanisation of Arabic typography In the 1870s, Ottmar Mergenthaler (1854–1899), a German émigré to the United States, began to investigate and develop machines to facilitate typographic composition and justification – a goal that was pursued with mixed results by inventors for most of the nineteenth century.1 After a prolonged phase of trial and error, by 1886 the first functional machine was put to use at the New York Tribune newspaper, heralding the era of mechanised typesetting.2 The machine Mer- genthaler had developed, and its revolutionary concepts, transformed the practice of typogra- phy. -
Letterpress Terms
Letterpress Terms GENERAL TERMS Type High – The height of type from it’s base to it’s printing surface. .918 of an inch or 15/16th. Letterpress – A traditional way of printing, where a plate with the image standing proud Type High Gauge – Tool for measuring if type of the surface is inked and then impressed is at the correct height. onto the paper. Traditionally, it was not correct to indent the paper but it has now become fashionable to do so. Printing Press - A device that applies pressure that transfers ink form a surface to a medium. They revolutionized mass communication, changed the course of history & today call back to simpler times. Put simply, they are magic. Platen Press– A press with a flat plate which is pressed against a medium (paper) to cause an impression. These have an inking disc up top and a large flywheel on one side. Pied Type – Type which is in a jumbled mess. Proofing Press – A press used to prep a print for production. The bed of this press is parallel to the ground and either a roller moves on top of the bed or the entire bed itself can move. Letterpress Terms SETTING A FORM California Job Case – method of organization of the letters in a case. is a kind of type case: a Form – what you set to print, composed of compartmentalized wooden box used to store letters and or images. movable type used in letterpress printing. It was the most popular and accepted of the job case designs in America. -
Typesetting Techniques
NBS MONOGRAPH 99 Automatic Typographic-Quality Typesetting Techniques: A State-of-the-Art Review U.S. DEPARTMENT OF COMMERCE NATIONAL BUREAU OF STANDARDS —— THE NATIONAL BUREAU OF STANDARDS The National Bureau of Standards ' provides measurement and technical information services essential to the efficiency and effectiveness of the work of the Nation's scientists and engineers. The Bureau serves also as a focal point in the Federal Government for assuring maximum application of the physical and engineering sciences to the advancement of technology in industry- and commerce. To accomplish this mission, the Bureau is organized into three institutes covering broad program areas of research and services: THE INSTITUTE FOR BASIC STANDARDS . provides the central basis within the United States for a complete and consistent system of physical measurements, coordinates that system with the measurement systems of other nations, and furnishes essential services leading to accurate and uniform physical measurements throughout the Nation's scientific community, industry, and commerce. This Institute comprises a series of divisions, each serving a classical subject matter area: —Applied Mathematics—^Electricity—Metrology—Mechanics—-Heat—Atomic Physics Physical Chemistry—Radiation Physics—Laboratory Astrophysics ^—Radio Standards Laboratory,^ which includes Radio Standards Physics and Radio Standards Engineering- Office of Standard Reference Data. THE INSTITUTE FOR MATERIALS RESEARCH . conducts materials research and provides associated materials services including mainly reference materials and data on the properties of materials. Beyond its direct interest to the Nation's scientists and engineers, this Institute yields services which are essential to the advancement of technology in industry and commerce. This Institute is organized primarily by technical fields: —Analytical Chemistry—Metallurgy'—-Reactor Radiations—^Polymers—Inorganic Mate- rials—Cryogenics ^—Materials Evaluation Laboratory—Office of Standard Reference Materials. -
An Economic Comparison of Hot Metal and Cold Type Composition of Display Advertising
AN ABSTRACT OF THE THESIS OF JULIE LATHAM VINCENTfor the M. S. (Name of student) (Degree) in Industrial Engineering presented on May 29, 1968 (Major) (Date) Title: AN ECONOMIC COMPARISON OF HOT METAL AND COLD TYPE COMPOSITION OF DISPLAY ADVERTISING Abstract approved: Redacted for privacy William Engesser / The objective of this thesis is to examine and compare hot metal and cold type production of display advertising for newspapers. The classical hot metal system uses a lead alloy as its basic build- ing material while modern cold type production uses photographic means. Some advantages of using cold type are the improved qual- ity of the final product, increased versatility in ad composition, possibilities for major labor savings, the lower skills required for the compositor and less production space required for the machinery. Some disadvantages of cold type production are the major investment required for new equipment, higher materials costs, difficulty in producing proofs, labor relations and retraining difficulties, and the durability of the press plates. The data for the hot metal method consisted of a sample of 195 ads.The eight major operations studied were Markup Time, Type Slips Time, Stereotype Time, Typesetting Time, Composing Time, Proof Pulling Time, and Correction Time. Thirty-seven fac- tors, such as the size of the ad and the number of lines of type, were hypothesized to effect the operation times.These operation times and factors were analyzed by multiple linear regression analysis to formulate a mathematical model of the hot metal system.For this cold type system, circumstances prevented making a complete model but data for a sample of 15 ads was collected. -
Introduction to Letterpress Printing
INTRODUCTION TO LETTERPRESS PRINTING Page 1 — Type, spacing, leading, measurements & the composing stick TYPE SPACING SIZES IN A TYPICAL FONT Em En 4-to-the-em 5-to-the-em *3-to-the-em PARTS OF A TYPE DIMENSIONS 1–Face OF TYPE 2–Crossbar 1–Height to paper 3–Serifs 2–Body size COMMON THICKNESSES OF LEADS AND SLUGS 4–Neck or beard 3–Set size 5–Counter 1 point lead 6–Shoulder 7–Pin mark 2 point lead 8–Feet 9–Groove 3 point lead 10–Nick 6 point slug 12 point slug THE COMPOSING STICK THE PRINTers’ Measure 6 points = 1 nonpareil 12 points = 1 pica 6 picas = 1 inch Point Nonpareil Pica To be absolutely accurate, 1 point is .013837 of an inch, and 6 picas are equal to .996264 of an inch. Thus, 72 picas really make 3 points less than 12 inches, The composing stick in the hand. The composing stick should be held this but this difference is much too small to be way, with the thumb holding the type against the side for stability. The right taken into account in all ordinary work. hand is used to place type in the stick while the thumb of the left hand holds the last letter in the line. INTRODUCTION TO LETTERPRESS PRINTING Page 2 — Parts of a Vandercook proofing press, locking up type in the bed of the press MAJOR COMPONENTS OF A CYLINDER PRESS Side guide Gripper Sheet follower or sheet finger Cylinder gear Distribution roller Cylinder bearer Form roller Rack Rail or bed bearer Register bar Bed Lock-up bar LOCK-UP FOR A CYLINDER PRESS THE BASIC CONTROLS ON A VANDERCOOK PRESS Ink power 4 2 1 4 3 4 Engage rollers 5 Print or Trip Paper or Gripper release The lock-up for a cylinder press should involve the longest furniture possible for stability. -
An Informal Look Into the History of Digital Typography
An informal look into the history of digital typography David Walden walden-family.com/texland (Comments to me as [email protected]) October 25, 2016 Introduction The ditto machine at the elementary school at which my mother taught was what first sparked my interest in printing (and it had a swell smell). I became seriously interested in the craft of printing during four summers of college when I worked in or near the printing department of a large Fibreboard company plant that made cardboard packaging for food and drink companies (for example, cereal boxes and milk cartons). The plant had a four-color Miehle offset lithography machine that printed an array of boxes on each approximately 4.5-foot-by-6.5-foot sheet of cardboard; the plant also had big two-color lithograph machines and a couple of smaller letterpress machines. I have retained this interest in printing throughout my life. I didn’t begin to explicitly think about typography itself1,2 until about 20 years ago when I adopted LATEX for drafting and formatting books and papers I write. Then in 2012, I began to think about the history of printing and typography as I prepared a presentation for TUG2012 in Boston.3,4 Since then I have been reading (books, papers, Internet websites) and watching YouTube videos about the history of printing and typography that in time led into the digital era. This companion paper to my TUG2016 presentation sketches some of what I (think I) have learned in the hope that my study and thinking will be useful to someone else who is just starting to dig into this history. -
History of the Linotype Company, by Frank Romano
58 TUGboat, Volume 36 (2015), No. 1 Book review: History of the created an enormous number of typefaces, pioneered Linotype Company teletypesetting (again of huge importance for the newspaper business), experimented with phototype- Boris Veytsman setting and contributed to digital composition. The Frank Romano, History of the Linotype Company. experience of its engineers with precision mechanical RIT Press, 2014. 480 pp. Softcover, US$39.99. devices allowed the company to venture into other ISBN 978-1-933360-60-7. areas, including the production of bombsights and other armaments (especially during the wars). Frank Romano, now an Emeritus Professor with RIT, worked at Linotype for eight years. He has written a brilliant book about the company | not a dry list of milestones, but rather a work of love and appreciation. The book includes, in excerpts or in full, rare or previously unpublished documents, such as the autobiography of Ottmar Mergenthaler, man- uscripts, letters, earning reports, court filings, news- paper articles, brochures, author's own interviews, and many others. The book is lavishly illustrated, with hundreds of reproductions of samples, advertise- ments, photographs, books and other materials that Linotype published over 127 years of its existence. Few inventions changed the cultural and political landscape as profoundly as those involving cheap and quick copying of words. Gutenberg's movable type made books available to multitudes of people with enormous consequences for civilization. However, manual composition was still too slow and expensive to mass-produce cheap newspapers. The invention of hot-metal typesetting by Ottmar Mergenthaler and his contemporaries made printing much faster and cheaper. -
Printing It Was Our Middle Name
CHAPTER 2 Printing It Was Our Middle Name 38 or most of GPO’s first 15 decades printing In the early 20th century technological innovation was front and center. GPO was the offspring again shifted from a process in which letters in F of the Industrial Revolution, which moved raised relief (type) transferred ink directly to paper, printing with moveable type from a large-scale to a process in which impressions are transferred, handcraft to a fully industrial manufacturing process. on the basis of chemical properties, first to a From its first day GPO was a power shop, no wood or rubber roller and then to paper. Offset lithography iron hand presses here, but a battery of large bed- opened the way for longer runs, the introduction of and-platen presses, run by an elaborate system of multi-color printing, and eventually today’s digital belts and pulleys driven by a 40-horsepower steam printing. engine. Electricity superseded steam power in the 1880s. In its first three decades GPO grew from 23 Although GPO was not always the first to adapt presses to more than 100, a number which would these huge technological shifts, owing to its double in the next 30 years. tremendous size and the huge investments at any given moment in existing technology and skills, At the turn of the 20th century, typesetting, which once these shifts took place the “Big Shop” grew had previously been entirely done by hand, was and diversified accordingly. revolutionized by the invention of machines that cast metal type on demand. The new process not For this book, all the allied processes of printing, only saved time in the assembling of words, lines including composing, platemaking, proofreading, and pages, but eliminated the laborious task of presswork, and photoengraving, are grouped “distributing” type (returning it to cases for re-use). -
The Crabgrass Press Philip L. Metzger
THE CRABGRASS PRESS OF PHILIP L. METZGER Department of Special Collections KENNETH SPENCER RESEARCH LIBRARY University of Kansas Lawrence, Kansas 1987 This small tribute to the memory of Philip L. Metzger and his Crabgrass Press is issued on the occasion of the opening of an exhibition drawn from the Crabgrass Press Collection presented to the Kenneth Spencer Research Library in June 1987 by Louise A. Metzger and Philip A. Metzger. "The decision to set up my printery was not the result of conscious planning; it snuck up on me when I wasn't looking. For several years I had been boring friends with talk about buying a printing press. Finally it got too much for one of them in the printing business who confronted me one day with an ancient and honorable but still beautiful Old Style C & P 7 x 11 treadle press and told me to put up or shut up. So I put up. Once I got the press home there was no stopping me. Lead and slug cutter, a mitre, a folding machine, a 24-inch paper cutter, a stapling machine, over 100 fonts of type, slews of ornaments and fleurons, mountains of paper, oceans of ink, and two California type cabinets soon followed/' So began the Crabgrass Press of Philip L. Metzger in the late 1950s as recounted in Bill Haywood's It's a Small World in 1960. Growing up in Chicago, Phil had always had an eye for fine printing and longed to own a printing press, but the realization of such a dream was beyond his family's limited means. -
Item['#File']->Filename
SI 633 Winter 2009 Technical terms, The Coming of the Book, chapter 2: punch, die, intaglio, casting vs. die stamping, matrix/matrices, mold, a sort, a custom, linotype, monotype, galley, lead, forme, bed, platen, frisket, tympan: HUH? Three basic types of printing: From below surface of paper (or other material to be printed upon): •intaglio : Image cut or etched into a plate (usually metal, usually copper); plate then inked and pressed to paper From a flat plane: •lithograph : Image marked on a flat surface (stone [Grk lithos], metal) with some areas treated with oil or fat to repel ink. Developed in Germany around 1798 by Alois Senefelder. From raised type pieces: • letterpress : Image formed by assemblage of many individual movable pieces Four different types of press (in order of chronological development): •platen press: paper is pressed by a flat surface onto a block of metal type (the “forme”) cf. Gutenberg-era wine press technology •rubber press: a rubber blade moves over the paper to press it against inked surface •cylinder press: a cylinder presses the paper to the inked surface by rolling over the sheet •rotary press: paper is pulled in a continuous roll through two cylinders touching each other (cf. old movies containing scenes of newspapers being printed) Creating type: •punch: the beginning of creating a letter of type. Hard metal engraved with the RAISED form of a letter. Requires painstaking detail work done by practiced metalsmith. •matrix: the INDENTED image of the letter formed by the punch striking this piece, of necessity softer metal than that of the punch; the face of the type that will be pressed to the paper. -
Tirtk; RE.FURTRESUME ED 034 091 ISDOCUMENT COPYRIGHTED? YES 0 NON CH ACC
DEPARTMENT OF HEALTH, EDUCATION, AND WELFARE OE FORM 6000, 2/69 OFFICE OF EDUCATION ERIC ACC. NO. tirtk; RE.FURTRESUME ED 034 091 ISDOCUMENT COPYRIGHTED? YES 0 NON CH ACC. NO, P.A.PUBL. DATE ISSUE ERICREPRODUCTION RELEASE? YES 0 NOU AA 000 4 5 1 64 67 RIEAPR70 LEVELOF AVAILABILITY 0 AUTHOR 110 1110 Schanck, Susan; Carey, Marion TITLE Teacher's Guide to the MATCHBox Press. The MATCH Box Project;Prototype Edition. SOURCE CODEINSTITUTION (SOURCE) MGG14325 SP, AG. CODESPONSORING AGENCY RMQ66004 EDRS PRICE CONTRACT NO. GRANT NO, 0.50;4.00 OEC-4-16-019 REPORT NO. BUREAU NO. BR-5-0710 AVAILABILITY JOURNAL CITATION DESCRIPTIVE NOTE 78p.; Appendix to Kresse, FrederickH.; Materials and Activities for Teachers and Children: AProject to Developand Evaluate Multi-Media Kits for Elementary Schools DESCRIPTORS ii *Multimedia Instruction; *Activity Learning;DiscoveryLearning; Elementary Grades; *Printing; Books; StudentProjects; *TeachingGuides IDENTIFIERS *Materials and Activities for Teachersand Children; MATCH Boxes ABSTRACT With the MATCH Box Press, children(grades 5-6) can printa limited edition of a book. With the teacheras publisher to oversee and assist, they write and edit the manuscript; design,print, and illustrate the book. The teacher's guide provides instructions forall the various phases of theprocess, which is designed to take about threeweeks. A. production handbook is provided foruse by the children. It provides instructions and illustrationsof some of the common problems and their solutions. Supplements include an inventory of the material in the kit,a bibliography, and a short history of the MATCHBox Project. (JY) . GPO 1170-390 arg mu the cialaigliiiaj / KIM PIZ 41-4800 5 *Vela 5 `i r' o tc) THE MATCHBOX PROJECT Materials and Activitiesfor Teachers and CHildren 1.I U.S. -
Slug User Manual
Slug User Manual Version 6.0 Terathon Soware LLC Lincoln, California Slug User Manual Version 6.0 Copyright © 2017–2021, by Terathon Soware LLC All rights reserved. No part of this publication may be reproduced, stored in an information retrieval system, transmitted, or utilized in any form, electronic or mechanical, including photocopying, scanning, digitizing, or recording, without the prior permission of the copyright owner. Published by Terathon Soware LLC terathon.com Contents Contents ................................................................................................................................................ 3 Slug Library Overview ........................................................................................................................ 9 Typography .......................................................................................................................................... 11 2.1. Glyphs ....................................................................................................................................... 11 2.2. Metrics ..................................................................................................................................... 12 2.3. Kerning .................................................................................................................................... 14 2.4. Combining Marks .................................................................................................................... 15 2.5. Sequence Replacement ...........................................................................................................