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in oneplace. from themid16thcentury, havebeentogether 700,000 engraveditems,theoldestofwhichdate the 35,000volumesinitshistoriclibraryandsome Imprimerie Nationale’s historiccollections, including Since then,theAtelierduLivre proper aswellthe Nationale’s premises inFlers--Escrebieux, nearDouai. l’Estampe movedoutofParistotheImprimerie Imprimerie Nationale’s AtelierduLivre d’artetde Heir toacenturiesoldtradition,inApril2014the

to bealivingproduction studio. but alsotoensure thattheAteliercontinues and passon,notonlyfortheirheritagevalue Imprimerie Nationale’s strategyistopreserve who possessskillsandknowledgethatthe who workinthisstudioare oftenthelast methods are tobefoundhere. Thepeople in makingbooksbythemosttraditional reason thatallthespecialisttradesinvolved in theworldstilloperation.Itisforthis It isoneoflasttypographicproduction lines of artist’s booksandworksforbibliophiles. metres, specificallydevoted totheproduction The Atelieroccupiesanarea of2,500square – Copperplateengraver/printer – Printer/typographer – Typesetter – Type founder – Punchcutter – Type designer typographic production line: The followingtradesare linksinthis This concentration of skills is, of course, very These expressions of interest and other visible in France, and in other countries too. requests for courses have convinced us of It is for this reason that it attracts the necessity to become a training provider considerable interest in both its heritage and in order to respond to such requests that skills, whose unique nature prompts are all part of the effort to revitalise numerous requests for introductory visits, as a process, whether tours of discovery to learn about our trades this relates to the knowledge and skills THE REQUESTS CONCERNED FALL INTO – SPECIALIST COURSES: and, even more, for training courses. The associated with this technique or to its THREE BROAD CATEGORIES: Imprimerie Nationale is now in a position use. This resurgence of interest is occurring, These courses concern the practical skills and cover the creation of types, to meet these needs and can accommodate oddly, at a time when digital is becoming – VISITS AND INTRODUCTORY TOURS: groups at its new atelier premises, in omnipresent. , type casting, copperplate a space of over 2,500 square metres These courses are for those working in book engraving and printing, supplemented by an educational area. related occupations: curators, librarians, and proof reading. At the archivists and students who have studied Imprimerie Nationale these trades are on courses related to these occupations. served by master craftsmen and artisans These short (one day) courses offer the who are often the last possessors of opportunity to discover the listed heritage these skills and who hand them on. of the Imprimerie Nationale (historic library These courses are primarily designed and cabinet des Poinçons, the room where for designers, artists and typographers the punches are stored), a discovery that in France and abroad. helps to develop an understanding of the techniques employed in making a book.

– WORKSHOPS: In our view, this whole scheme is such as to make the Atelier of the Imprimerie In this arrangement, the Atelier makes its Nationale a reference organisation for tools, knowledge and skills and its technical training courses designed to preserve facilities available to groups of students standards of excellence in knowledge and who work on a project in collaboration with skills that can only be passed on by those their teacher. The project includes an who still possess them today. In the course introduction to the different trades and of 2016 it will be supplemented by a techniques. It takes place over a period of museum space open to the public where the 5 days. These workshops are designed for Imprimerie Nationale collections will be put all schools of graphic arts and applied arts on display through temporary exhibitions. and cater for groups of 10 to 15 students. So in the space of two years the Imprimerie They may also be organised for individuals, Nationale will have created the place of professional artists or amateurs, who would reference for typography, like to make a small edition of their incorporating its history, the Imprimerie creative work. Nationale’s collections and a production workshop based on living and transmissible knowledge and expertise. VISI

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THE ATELIER AND ITS HERITAGE Following the masterpieces produced since its creation (Cabinet du Roi, Description The Atelier possesses 7 exclusive historic de l’Égypte, Histoire naturelle by Buffon, types, from Garamont to Gauthier, as well as Parallèlement by Verlaine illustrated by Oriental type faces created or acquired over Bonnard…), the Atelier continues to produce the centuries, the most famous of which are magnificent works combining beauty of type the , cut by Claude Garamont, with beauty of illustration, by famous artists and the Buis du Régent, Chinese types such as Barcelo, Dorny, Buraglio and Garache engraved on wood from 1715. Hieroglyphs, or young artists and designers, the most cuneiform characters, Hebrew, Aramaic, recent being Fanette Mellier. thirteen styles of Arabic type, Tifinagh, Brahmi, Maya, and so on, more than 60 world scripts, each in several styles and sizes.

TOUR OF THE ATELIER & THE HERITAGE copper plates, vignettes, lettering tools and wood blocks, a total of almost 700,000 items), the range of The atelier of the Imprimerie Nationale is the only craft trades that make up the and its facility of its kind in the world that encapsulates the techniques. history of the printed book and shows the craft The creation of printing types, punchcutting, type techniques involved; it combines the exceptional casting, manual and mechanical typesetting in Latin heritage of its collections, the earliest of which date and Oriental type, typographic printing and back to the reign of François I (punches, matrices, copperplate engraving and printing, all these trades are still alive at the Imprimerie Nationale.

TYPEFACE DESIGN. The Imprimerie Natio- COPPERPLATE ENGRAVING AND nale’s 7 historic Latin types, Garamont or PRINTING. The different engraving techniques Romain de l’Université, Grandjean or Romain (dry , graver, mezzotint, etching, du Roi, Luce or Type poëtique, Didot aquatint). Printing after inking the plate in millimétrique or Romain de l’Empereur, which only the engraved lines retain the ink. Marcellin-Legrand, Jaugeon and Gauthier, each embodying the mark of a reign or the LITHOGRAPHY. Planographic printing style of an era; Oriental ; process using a porous limestone based on digitisation of historic typefaces; Creation of the principle that the water absorbed by the new typefaces. stone repels the oil-based ink placed on it. TYPOGRAPHICAL PUNCH CUTTING. Cutting COLLOTYPE. Printing process using oil-based a letter, a sign or vignette on the tip of a steel ink by means of bichromatic gelatine on rod, in relief and back to front, using the a glass plate, producing continuous-tone process perfected by Gutenberg. images, faithful to the originals, without any loss of detail. STRIKING MATRICES AND TYPE CASTING. Striking the in copper within which CABINET DES POINÇONS (PUNCH ROOM). the type is cast, formerly in a hand mould An Imprimerie Nationale jewel and a listed and since the 19th century on a mechanical Historic Monument, where some 700,000 casting machine. items are kept, punches, copperplates, wood blocks and MACHINE TYPE SETTING: LINOTYPE AND vignettes, created since the reign of MONOTYPE. Setting and casting machines François I. emblematic of industrial production (19-20th centuries). STUDY OF A FEW EMBLEMATIC BOOKS. Works by Robert Estienne, the Cabinet du LATIN AND ORIENTAL TYPESETTING. Learning Roi, the Voyage of La Pérouse, the Ceremony about the cases of letters and the method of the Coronation of the Emperor Napoléon, of typesetting. Description de l’Égypte, Dictionnaire chinois, français et latin by De Guignes, Oriental TYPOGRAPHIC PRINTING. By inking the type collection, Mission de Phénicie by Ernest matter placed in a form, then by pressure on Renan, Paris sans fin by Giacometti, etc. the paper presented sheet by sheet.

Le cabinet des Poinçons

À la fois théorique et pratique, cette visite accorde une place majeure à l’analyse des poinçons typographiques. Chaque étape sera pratiquée à partir des pièces originales du cabinet des Poinçons. Les livres les plus représentatifs de la bibliothèque hi}orique, composés avec les cara{ères issus des poinçons, seront présentés en parallèle. Des démon}rations à l’Atelier permettront de comprendre le processus complet de la chaîne typographique : la gravure de la fonte des cara{ères au moule à arçon. Les participants pourront s’initier à la gravure de poinçons et découvrir les secrets de la gravure, notamment ceux des accents po}iches. Cette session technique se poursuivra par une visite approfondie de la colle{ion hi}orique qui n’est pas ouverte au public. Les trésors du cabinet des Poinçons seront ainsi dévoilés : les 7 cara{ères exclusifs de l’Imprimerie nationale, poinçons et matrices du corps 4 au corps 120, en Garamont ou Romain de l’Université, Grandjean ou Romain du Roi, Luce ou Type poëtique, Didot millimétrique ou Romain de l’Empereur, Marcellin–Legrand, Jaugeon, Gauthier ; les cuivres de la commission Jaugeon, études pour la création d’un cara{ère mathématiquement parfait ; les vignettes typographiques de Luce ; la colle{ion de cara{ères orientaux, Grecs du Roi de Claude Garamont, hiéroglyphes, arabes d’Avicenne, d’Euclide, des Quatre Évangiles, gravés par Robert Granjon, cunéiforme tibétain, siamois, mandchou, et les remarquables Buis du Régent, cara{ères chinois gravés sur bois à partir de 1715. La visite sera complétée avec la donation de la fonderie Deberny & Peignot, comprenant les célèbres cara{ères Auriol, Naudin, Grasset, Cochin, Peignot, etc. THE CABINET DES POINÇONS (PUNCH This technical session technique will ROOM) continue with an in-depth visit to the historic collection which is not open to the public. This visit deals with both the theoretical The treasures of the Cabinet des Poinçons and the practical aspects of the making of (Punch Room) will thus be unveiled: the punches. Each step will be demonstrated seven exclusive types of the Imprimerie with original items in the Cabinet des nationale, with punches from 4 to120 points, Poinçons (Punch Room). The most in Garamont or Romain de l’Université, representative books from the historic library, Grandjean or Romain du Roi, Luce or Type typeset using types produced by punches will poëtique, Didot millimétrique be presented at the same time. or Romain de l’Empereur, Marcellin-Legrand, Demonstrations in the Atelier will provide Jaugeon and Gauthier; the copperplates of an understanding of the complete process the Jaugeon commission, studies for the of the making of types: punchcutting, striking design of a mathematically perfect type; matrices, justification and , to Luce’s typographical vignettes; the collection casting of type in the hand mould. of Oriental types, Claude Garamont’s Grecs Participants will be able to learn about du Roi, hieroglyphs, Arabic types cut by Ro- punchcutting and discover its secrets of bert Granjon, the “Avicenne” , “Euclide”, the cutting, including the technique of adding “Four Gospels”, Ninivite cuneiform, Aramaic, separate accents. This first part of the visit Syriac, Farsi, Tifinagh, Runic, Nägarï, Tamil, will continue with a visit to the Foundry Tibet, Siamese, Manchu and the remarkable workshop. Buis du Régent, Chinese types engraved on wood from 1715 onwards. The visit will conclude with materials donated by the foundry of Deberny & Peignot, comprising the famous types Auriol, Naudin, Grasset, Cochin, Peignot, etc. FOR MA TIONS 27

& DRAWING

The Imprimerie Nationale designs distinctive for cities and companies; which is how Franck Jalleau came to create an exclusive set of types for the city of Brive-la-Gaillarde, the Brive. A programme of adaptation of typographical resources for digital typesetting has been undertaken, for both Latin types and some Oriental types, such as Grecs du Roi, engraved by Claude Garamont, for an edition of Pindar’s Odes olympiques at the time of the Athens Olympic Games, or Tifinagh, at the request of the Moroccan government.

FROM THE ACT OF WRITING TO THE ACT PROGRAMME OF DRAWING To learn to master the tools of This course is intended for designers or with the aim of developing a sensitive and anyone wishing to increase their knowledge personal formal vocabulary. in the field of typography. It offers a practical Study of the structures and rhythms from introduction to the tools of calligraphy and historic examples, Humanistic script and practice in the act of drawing. Chancery script. To learn the three main structures of our PREREQUISITES alphabetic system: capitals, Roman, italic. To acquire a mastery of the methodologies Design experience and a feeling for art and inherent in drawing letters. design in the history of writing. To learn to identify the constituent elements of a typographical writing. OBJECTIVES All learning will take place through practical To acquire, through the practice of exercises. calligraphy and drawing of letters, a mastery of the formal languages that constitute our TEACHING RESOURCES alphabetic system. Heritage collections of the Cabinet des To acquire the specific vocabulary of the Poinçons (Punch Room) and the Imprimerie world of typography. Nationale library.

RESTORATION OF A READING PROGRAMME This course is designed for designers and Learning to observe and analyse the forms typesetters wishing to extend their of types of the 16th or 17th centuries. knowledge in the field of type design. It Study of the typographic colour with a view offers a specific approach from methods of to recreating the essential character of the typographic design to training original type. in the specialist software. Study of the legibility and visibility factors in the body of the text. PREREQUISITES Study of the methodologies specific to the development of a typographical set. Practical experience of designing letters and Learning to master digitisation software: using computer tools. vectorisation, development and organisation of a character set. OBJECTIVES To benefit, through the practice of TEACHING RESOURCES typographic design, from a mastery of the Heritage collections of the Cabinet des formal challenges inherent in the constraints Poinçons (Punch Room) and the Imprimerie and demands that the production of Nationale library. a reading font requires.

Cutting punches

Since Gutenberg’s invention has been manufactured in three stages: cutting a punch, striking a matrix and, in this matrix, casting typographic characters made from a an of lead, and . The punch is a steel bar. On its tip the punch cutter draws and cuts the letter, sign or vignette in relief and in reverse. When the punchcutter is satisfied that the work is as good as it can be, the punch is hardened and is then ready for striking the matrix. The Cabinet des Poinçons is one of the last PROGRAMME permanent refuges of the knowledge and Stages in the making of a punch: skill of typographic punchcutting. This the making of a “smoke proof”, drawing the practical course, with Nelly Gable, punch outline, the use of the file at the vice and cutter and maître d’art, includes working the peg, chasing and pricking with a chisel, with steel by producing a punch with tools using gauges and smoke proofs to check like gravers and files, as the illustrious cutters weights, hardening and tempering the of the Imprimerie Nationale have done. punch, etc. The letter to be cut will be chosen from the Latin or Oriental collection of the Cabinet des Striking the matrix in copper. Poinçons or will be the trainee’s own design.

Private courses in typographic punchcuting, of one or several months, estimate on request, admission after interview.

CASTING TYPE

Once the punch has been hardened by heat treatment, it is cold sunk under pressure into a block of copper. After this operation, called “striking the INTRODUCTION TO HAND MOULD CASTING matrix”, it is justified then cast, formerly, in a hand Familiarisation with the atelier and the mould, but since the 19th century in a mechanical Cabinet des Poinçons. casting machine. Introduction to hand type casting, preceded by a history of type casting and a presentation of the different systems of type production over the centuries. Manual casting, mechanical casting, mechanical typesetting.

Demonstration and practical type casting in different types of moulds.

Giving the type the correct height to paper. Printing on the proof press.

INTRODUCTION TO MONOTYPE Production of a text with the Monotype, preceded by a history of type casting and a Monotype is a typesetting system presentation of the different systems of comprising two elements, the keyboard type production over the centuries. Manual used to enter the text and record it on a strip casting, mechanical casting, mechanical of perforated paper and the caster that typesetting. automatically produces text in justified types, ready to print on the press. Selection of a text, font, size and justification. Familiarisation with the atelier and the Inputting the text on a Monotype keyboard Cabinet des Poinçons. on to a perforated strip. Casting the type composed. Printing on the proof press.

Teaching resources: Cabinet des Poinçons heritage collections.

SETTING TYPE The assembly of type by the compositor, letter by letter, in the compositing . The lines are put together and placed in a which is then locked on press. The compositors use the 7 Latin types exclusive to the Imprimerie Nationale. Monotype is a typesetting system comprising two elements, the keyboard used to enter the text and record it on a strip of perforated paper and the caster that automatically produces text in separate lead type, ready to print on the press. OBJECTIVES PRACTICAL To learn about manual and mechanical Manual method of typesetting: typesetting and to set a four- text in justification of the compositor, galleys, one of the Imprimerie Nationale’s exclusive proofreading marks and imposition. types. MANUAL TYPESETTING: PROGRAMME manual typesetting a 4 page notebook, Familiarisation with the atelier and learning production of proofs, corrections and about the different skills used there, from imposition on a typographic press for punchcutting to copperplate engraving. printing. Visit to the Cabinet des Poinçons. Typographic cases. MECHANICAL TYPESETTING: Typesetting tools and equipment. typesetting a text on a monotype keyboard Proofreading marks. and mechanical typesetting. Blocks. Familiarisation with the foundry workshop. PRINTING: Monotype and Linotype casting machines. Mechanical typesetting. setting-imposing a four-page text by and mechanically, and printing it, assembly of the text.

COPPERPLATE ENGRAVING

Copperplate engraving consists of engraving lines on a metal plate with the aid of a tool (direct cutting) or an acid (etching with acid). The cuts are filled with ink and the surface of the plate is wiped. The print OBJECTIVES is obtained by placing a sheet of damp paper on To acquire the basics necessary to produce the plate and then passing it through a press under an engraving. strong pressure. PROGRAMME Familiarisation with the atelier and learning about the different skills used there.

Presentation of the different engraving techniques in copperplate engraving. Etching two plates from a model, line engraving and aquatint.

The different results achieved by the participants with the help of the instructor. Printing.

Possibility of continuing the training with other techniques and based on participants’ own work.

Teaching resources Aubert press, Delattre press.

INTRODUCTION TO TYPOGRAPHIC PROOFREADING Proofreading is still done in the most simple way, with a pen and a proof on paper. In the traditional typographic production process the proofreader is involved at every stage: first and second galley prints, make-up, ready for printing, checking print ready after imposition, final proof before printing. Note that what we are talking about here is the job at the printing works (i.e. where books are manufactured), which is distinct from the job of press proofreaders. PROGRAMME Practical exercise: proofreading a short text: Learning or revision of proofreading – identification of misprints, marks. Brief history of an occupation – detailed reading of the form or in-depth (have proofreaders disappeared or intellectual reading, metamorphosed today?) – qualities required for the job of proofreader (patience, effort of simplification and A few of the most frequent writing problems: consistency from the beginning to end of a Use of capitals (frequency, , etc.); text, etc.), Use and spacing of marks; – freedom or reserve in relation to the author Presentation of bibliographies and references; of a manuscript… Common spelling mistakes, etc. Reading advice: Presentation and Response to the particular concerns of the examination of specialist books on listeners. typographical rules and/or grammar

Linguistic recommendations (French and IT, anglicisms, automatisms of language etc.)

Technical supplement (depending on the time available): examples of the specific job of the proofreader at the Atelier du Livre as a function of traditional techniques (monitoring the condition of the lead at each reading stage, placement of text on a press sheet, problems, search for a “typographic grey” as a result of pleasing spacing in each line and each , etc.). WORK SHOPS 59 Bespoke workshops can be arranged on request, reign of François I, and see some historic books staffed by teachers from schools of art or the graphic typeset using the type exclusive to the Imprimerie arts. About fifteen students, divided into groups, nationale; masterpieces of world publishing like the spend a week at the Imprimerie Nationale, and, in Description de l’Égypte or the Dictionnaire chinois, collaboration with the artisans and master craftsmen français & latin. working there, will be able to learn about each skill Students will be able to immerse themselves in the in the traditional graphic production chain, skills that atelier, handle the IN’s historic type characters, Latin have long survived, the drawing and design of letters, and Oriental, cast new type, compose in lead type, punchcutting, striking of matrices, type impose, draw from the cases and packets of type casting, Latin and Oriental typesetting, manual and characters, assemble them in whatever way they feel mechanical printing (Monotype), typographic printing inspired, create in complete freedom, invent their and copperplate engraving. Students also have the own language, and so on; and give rise to opportunity to visit the Cabinet des Poinçons and the original, romantic, fantasy or futuristic projects that only one of its kind in the world, its collection will be printed on a typographic press. An experience of punches, matrices, wood blocks, copper plates, between the traditional and the modern, between vignettes and lettering tools, a total of almost the real and the imaginary, a return to printing’s roots 700,000 items, the oldest of which date from the essential for any course relating to the art of the written word and the world of forms.

The Atelier is also open to artists or amateurs who would like to make small editions using the resources and expertise of the Atelier (typesetting and printing, proofing, illustrations engraved on copperplate engraving, on wood block or lino cut) in collaboration with the craftsmen who work there. This one week workshop assumes that participants will arrive with a text already written and illustrations already created.