1938 Intertype Faces Vtg 30s Matrices Hardcover LETTERPRESS printing

Description: This heavy, slightly oversize book is fantastic--beautiful demos of typefaces and ornaments, and also includes a smaller catalog (see photo) for acme slugs. A must have for anyone operating a letterpress or intertype or linotype. Not sure it is 1938, but definitely the 30s as it contains instructions for putting in orders by telegram. FREE SHIPPING WIKIPEDIA: The Intertype Corporation produced the Intertype, a hot metal typesetting machine closely resembling the Linotype, and using the same matrices as the Linotype. It was founded in New York in 1911 by Hermann Ridder, of Ridder Publications, as the International Typesetting Machine Company, but purchased by a syndicate for $1,650,000 in 1916 and reorganized as the Intertype Corporation.[1] Originally, most of their machines were rebuilt Linotypes. By 1917, however, Intertype was producing three models of its own machine. Most of the original patents for the Linotype had expired and so the basic works of the Intertype were essentially the same, though incorporating at least 51 improvement patents. The standard Intertype could cast type up to thirty points and they also offered a "Composing Stick Attachment" that allowed their caster to be used to cast headlines up to 60 points.[2] Despite initial liquidity problems, Intertype was quite successful in later years, producing mixer machines, high speed machines, and the first photo-type compositor. In 1957, Intertype merged with Harris-Seybold, a manufacturer of presses and paper cutters, to become Harris-Intertype Corporation. After the merger, the Harris-Intertype Fotosetter was introduced. It was the first photo-typesetting machine and was based upon the standard Intertype machine, replacing the brass type matrices with small film negatives and instead of casting, used these to expose photographic paper. Type Development Throughout its history, Intertype machines were typically better built and engineered than Mergenthaler's Linotype, with simpler, more effective mechanisms. However, while both Mergenthaler and Lanston Monotype were known for producing new and innovative type designs, virtually all of Intertype's typefaces were derivatives of, or supplied to them, by the Bauer Type Foundry. The only type designer of note associated with Intertype was Edwin W. Shaar, who pioneered in adapting script faces for machine composition.[3] Intertype Matrices These typefaces were produced by Intertype: Beton (1931–36, Heinrich Jost), matrices cut by Bauer Type FoundryCairoCzarin (c. 1948, Edwin W. Shaar), a knock-off of Rudolf Koch's capitals-only font Offenbach Medium with lower-case letters added by ScharrFolio (1956–63, Baum + Bauer), matrices cut by Bauer Type FoundryFutura was copied by Intertype with additional weights being added in the early 1950s by Edwin W. Shaar and Tommy ThompsonImperial + Italic (1954, Edwin W. Shaar), used by The New York Times since 1967[4]Satellite + Italic + bold (1974, Edwin W. Shaar)Vogue series VogueVogue ObliqueVogue CondensedVogue Extra Condensed (1971, Edwin W. Shaar)Vogue BoldVogue Bold ObliqueVogue Bold Condensed also known as Vogue HeadletterVogue Medium CondensedVogue Bold Extra CondensedVogue Extra Bold + ObliqueVogue Extra Bold Condensed + ObliqueLining Vogue + Bold Intertype Berlin The Berlin branch of Intertype was actually more active in producing new designs than the parent company. The following matrices were produced there: The Linotype machine (/ˈlaɪnətaɪp/ LYNE-ə-type) is a "line casting" machine used in printing which is manufactured and sold by the former Mergenthaler Linotype Company and related companies.[1] It was a hot metal typesetting system that cast lines of metal type for one-time use. Linotype became one of the mainstays for typesetting, especially small-size body text, for newspapers, magazines, and posters from the late 19th century to the 1970s and 1980s,[1] when it was largely replaced by phototypesetting and digital typesetting. The name of the machine comes from producing an entire line of metal type at once, hence a line-o'-type. It was a significant improvement over the previous industry standard of letter-by-letter manual typesetting using a composing stick and shallow subdivided trays, called "cases". The Linotype machine operator enters text on a 90-character keyboard. The machine assembles matrices, or molds for the letter forms, in a line. The assembled line is then cast as a single piece, called a slug, from molten type metal in a process known as hot metal typesetting. The matrices are then returned to the type magazine, to be reused continuously. This allows much faster typesetting and composition than hand composition in which operators place down one pre-cast sort (metal letter, punctuation mark or space) at a time. The machine revolutionized typesetting and with it newspaper publishing, making it possible for a relatively small number of operators to set type for many pages daily. Ottmar Mergenthaler invented the Linotype in 1884 alongside James Ogilvie Clephane, who provided the financial backing for commercialization. HistoryLinotype machines, Anthony Hordern and Sons department store, c. 1935, by AE Foster In 1876, a German clock maker, Ottmar Mergenthaler, who had emigrated to the United States in 1872,[2] was approached by James O. Clephane and his associate Charles T. Moore, who sought a quicker way of publishing legal briefs.[3] By 1884, he conceived the idea of assembling metallic letter molds, called matrices, and casting molten metal into them, all within a single machine.[2] His first attempt proved the idea feasible and a new company was formed. Improving his invention, Mergenthaler further developed his idea of an independent matrix machine. In July, 1886, the first commercially used Linotype was installed in the printing office of the New York Tribune. Here, it was immediately used on the daily paper and a large book. The book, the first ever composed with the new Linotype method, was titled The Tribune Book of Open-Air Sports.[4] Ottmar Mergenthaler Initially, the Mergenthaler Linotype Company was the only company (led by Ottmar Mergenthaler and eventually also James O. Clephane) producing linecasting machines, but in time, other companies would begin manufacturing similar machines. The Intertype Company produced the Intertype, a machine closely resembling the Linotype, using the same matrices as the Linotype, which started production around 1914. Where Mergenthaler prided themselves on intricately formed cast-iron parts on their machine, Intertype machined many of their similar parts from steel and aluminum. Major newspaper publishers retired Linotype and similar "hot metal" typesetting machines during the 1970s and 1980s, replacing them with phototypesetting equipment and later computerized typesetting and page composition systems. As of 2023,[5] the last-known newspaper still using Linotype in the United States is The Saguache Crescent.[6][7] Le Démocrate de l'Aisne [fr] is the last one in Western Europe.[8] OverviewDiagram showing the overall scheme of a Linotype machine The linotype machine consists of four major sections: MagazineKeyboardCasting mechanismDistribution mechanism The operator interacts with the machine via the keyboard, composing lines of text. The other sections are automatic; they start as soon as a line is completely composed. Some Linotype machines included a paper tape reader. This also allowed the text to be typeset to be supplied over a telegraph line (TeleTypeSetter). Perforator operators produced paper tape text at a much higher speed which then was cast by more productive tape-controlled Linotype machines. DesignMatricesThe Linotype matrix Each matrix contains the letter form for a single character of a font of type; i.e., a particular type face in a particular size. The letter forms are engraved into one side of the matrix. For sizes up to 14 points, and in some matrices of size 16 to 24 points, the matrix has two letter forms on it, the normal and auxiliary positions. The normal position has the upright (Roman) form of a given character, and on the auxiliary, the slanted (Italic) form of that character will be used, but this can also be the boldface form or even a different font entirely. The machine operator can select which of the two faces will be cast by operating the auxiliary rail of the assembler, or, when setting entire lines of italics, by using the flap, which is a piece that can be turned under a portion of the first elevator column. This is the origin of the old typesetting terms upper rail for italic and lower rail for Roman characters. These terms have persisted in phototypesetting technology even though the mechanics of the auxiliary rail do not exist there. The character on a Linotype matrix, when viewed, is not inverted as a letter for conventional movable type would be, and the letter is incised below the surface rather than raised above it. This is because the matrix is not used directly to print onto the paper—rather, it is used as part of a mold from which a metal slug will be cast. The slug has its features reversed: therefore, the matrix does not. Magazine sectionAction of the escapement when delivering a matrix. The keyboard has raised the escapement lever 22 to push against the plunger 11. This rotates the verge 8 which pulls down the front pawl 9, releasing the first matrix in the magazine channel. The rotation of the verge also raises rear pawl 8 to hold the second matrix. The magazine section is the part of the machine where the matrices are held when not in use, and released as the operator touches keys on the keyboard. The magazine is a flat box with vertical separators that form "channels", one channel for each character in the font. Most main magazines have 90 channels, but those for larger fonts carried only 72 or even 55 channels. The auxiliary magazines used on some machines typically contained 34 channels or, for a magazine carrying larger fonts, 28 channels. The magazine holds a particular font of type; i.e., a particular type design in a particular size. If a different size or style was needed, the operator would switch to a different magazine. Many models of the Linotype machine could keep several magazines (as many as four) available at a time. In some of these, the operator could shift to a different magazine by raising or lowering the stack of magazines with a crank.[9] Such machines would not allow mixing fonts within a single line. Others, such as the Models 25 and 26 allowed arbitrary mixing of text from two magazines within the same line, and the Model 9 extended this capability to mixing from up to four magazines within a single line. Escapement In a linotype machine, the term escapements refers to the mechanisms at the bottom of the magazine that release matrices one at a time as keys are pressed on the keyboard. There is an escapement for each channel in the magazine. Maintenance and lubricationMatrix transposition To keep the matrices circulating smoothly throughout the machine, it is necessary that oil not be allowed anywhere near the matrix path. Oil in the matrix's path (due to careless maintenance or over-lubrication of nearby parts) can combine with dust, forming a gummy substance that is eventually deposited in the magazine by the matrices. This can cause the matrix to be released from the magazine slower than its usual speed, and usually results in a letter or two arriving out of sequence in the assembler — a "matrix transposition". When these machines were in heavy use, it was not uncommon for an operator to set type at the rate of over 4,000 ems per hour. The fastest operators could exceed 10,000 ems per hour (approximately 10 to 30 words per minute in today's units), hence careful lubrication and regular cleaning were essential to keep these machines operating at full potential. Keyboard and composing sectionDiagram of the assembler mechanism, showing how the matrices go from the magazine and are put into place in line being formed (in a machine ca. 1904) In the composing section, the operator enters the text for a line on the keyboard. Each keystroke releases a matrix from the magazine mounted above the keyboard. The matrix travels through channels to the assembler where the matrices are lined up side by side in the order they were released. When a space is needed, the operator touches the spaceband lever just to the left of the keyboard. This releases a spaceband from the spaceband box. Spacebands are stored separately from the matrices because they are too big to fit in the magazine. Once enough text has been entered for the line, the operator depresses the casting lever mounted on the front right corner of the keyboard. This lifts the completed line in the assembler up between two fingers in the "delivery channel", simultaneously tripping the catch holding it in position. The spring-operated delivery channel then transports the line into the casting section of the machine, and engages the clutch that drives the casting section and the subsequent transfer into the distribution section. The operator is now finished with the line; the remaining processing is automatic. While the line is being cast, the operator can continue entering text for the next line. KeyboardLinotype keyboard; an after-market Star Quadder attachment (selectively off, flush-right, -center or -left) is to its immediate right The keyboard has 90 keys. The usual arrangement is that black keys on the left were for small letters, white keys on the right were for capital letters, and blue keys in the center for numbers, punctuation marks, spaces, small caps and other items.[10] There is no shift key of the kind found on typewriters. The arrangement of letters corresponds roughly to letter frequency, with the most frequently used letters on the left. The first two columns of keys are: e, t, a, o, i, n; and s, h, r, d, l, u. A Linotype operator would often deal with a typing error by running his fingers down these two columns, thus filling out the line with the nonsense words etaoin shrdlu, in what is known as a "run down". It is often quicker to cast a bad slug than to hand-correct the line within the assembler. The slug with the run down is removed once it has been cast, or by the proofreader. The linotype keyboard has the same alphabet arrangement given twice, once for lower-case letters, the keys in black, on the left side of the keyboard, and once for upper-case letters, the keys in white, located on the right side of the keyboard. The blue keys in the middle are punctuation, digits, small capital letters and fixed-width spaces. In proper keyboard operation, an experienced operator's left hand operates only the spaceband key and the left column of keys. The operator's right hand strokes the remaining keys on the entire keyboard. The keys of the keyboard are connected by vertical pushrods to the escapements.[11] When a key is pressed, the corresponding escapement is actuated, which releases a matrix from the magazine. With one exception, each key corresponds directly to a channel in the standard (90 channel) magazine. The one exception is the lower-case letter e: that letter is used so often that the 90 channel magazine actually has 91 channels, with two channels (the leftmost two) both used for the letter e. Similarly, the 72 channel magazine actually has 73 channels, with the leftmost two being used for lower-case e. Alternate lines release matrices alternately from the two e channels in the magazine.[12] On machines that support multiple magazines, there is a shifting mechanism that controls which magazine is currently connected to the keyboard. In most machines, this is done by raising or lowering the stack of magazines.[13] Spaceband boxComposed line with matrices and spacebands. In justified text, the spaces are not fixed width; they expand to make all lines equal in width. In linotype machines this is done by spacebands. A spaceband consists of two wedges, one similar in size and shap

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