Matrices

A Print Devil can be any age

Was 9 year old kid who knew nothin’ about printing.
Walked down a dirt road, stopped at print shop,
sat on doorstep – ‘n watched.
‘Bout ‘hour went by — i asked this guy wearin’ a
‘sorta’ funny lookin’ thing on his head with no top,
had a green visor hangin’ over his eyes. “like those card
dealers in `Vegas wear.”

Need help sweepin’ floors or somthin’?
Answer comes back.
Maybe.
“ `mon in. Grab a sody water – ice cooler over there.
We’ll talk about it.”

Another worker saw me . . . walked over . . .
asked — “don’t ua’ work for Mayor Phil at milk barn?”
Yup. just got done sweepin’ alleys (area behind cows when milked).

Guy with “funny hat” asked sum questions.

Hows ur’ spelling?
We do 10 new words a day.

Get ‘em all correct?
Nope.

Any hunderds?
Yup. One, maybe two.

Someone tole’ me ua’ wash them there glass bottles on
that steam spittin’ spinning brush?
Yup. ‘bout 20 cases (240 bottles) each day [Quart - Pint - 1/2 Pint]

Why ua’ wanna’ work here?
Washin’ bottles, feedin’ cows and collecting eggs - 1 year - tired of that.
Had fun riding Peanuts [pony] rounding up cows - 5 p.m. milking.
dog Shep came with every day.
Cows saw us – started moving to barn.

Does Farmer Phil know ur’ tired of doin’ this?
Yup. He tole’ me to stop by here.

OK. ‘comon. I’ll show ua’ where the broom is –
OK. ‘comon. and don’t get near those printin’ machines.
OK. ‘comon. They sometimes get hungry when ‘ua walk by ‘em.
OK. ‘comon. Sorta’ reach out n’ grab a shirt sleeve. They ain’t fussy.
OK. ‘comon. Like to chew fingers off!
• • • • and life went on . . . at the print shop . . . ‘till we moved
down Menominee river, 60 miles, Marinette, Wi., where
dad obtained new employ.

Pony I rode, Peanuts, herded cows to barn for milking time.
Below: Shetland Pony looks like Peanuts.
Shedding “winter coat.”

Printers don’t talk everyday words like normal 9 year olds speak

No S-I-R R E E E E E E E E . . .
I talked farm words like hay bales, corn cobs, oats, glass milk bottles, halters, reins, tugs, double tree, hitch pin, clevis, horse shoes, ice corks, milk pails, saddle, cinch ring, milk crates along with a spinning brush that spit [200°±] steam inside of bottle.

Printers used words like picas, points, didots, cicero, line rule, leads, coppers, brasses, mutt, nut & thin spaces, slugs, hell box, type notch, reglets, quoins, leaders, galleys, gutters, turtles, quoin key, space bands, vice jaws, hot metal, matrices, distributor box, metal pot, 1st elevator, 2nd elevator, clutch leathers, quadders, distributor box, mixers and on and on.

I was telling mother about all these words and mentioned the word “hell box” which caused her, while pealing potatoes, to turn around and point a knife at me and exclaim “their ain’t no such thing as a hell box!” You better get back to milk bottles, oats and that pony.

Next day my dad stopped at this print shop and did in fact find out there was a “hell box.”

[U never threw a broken part or bent matrix away. Those things went into the hell box. Never know when u’ might need a bent or broken part to get a print press or hot metal linecasting machine or press running again.]

For a kid who knew “gee” and “haa” to get horses to turn left or right and how horse apples got from stalls to the pile in the farm yard, this Print Devil thing was a whole new world!

. . . from Print Devil to ? ? ?

First exposure to graphics and printing was hand setting newspaper headlines for a
North Eastern Wisconsin Newspaper. It was different than sweepin’.

This time I got to assemble “type characters” onto a galley that became column heading in the newspaper. The next day I got to distribute those letters back into the wood box (california job case) so they could be used another time. I’m still called a "printer's devil", just doing different stuff.

What are Leads & Slugs?
All Foundry Type had a NICK on the front edge of each character.
After setting the first line and before inserting any lead (space between lines) the compositor would make a quick check to see that all characters in the line were set correctly. If one character showed up with no nick - it’s time to turn the character around so the nick shows before inserting a “lead” space strip of lead material – thickness of 1, 2, 3 points thick which are precut in many different lengths.
Also used for spacing between lines of type are “slugs” – that are cast in long strips then precut to lengths desired for line spacing. Thickness = 6, 12, 18 & 24 pt. thick.

‘bout this time, 1948, let’s see . . . I delivered milk bottles from a horse drawn cart to customers door steps, raised “squab” for sale, sold fresh eggs from my two chickens, learned how to swim in Menominee River (Michigan/Wisconsin border), delivered 98 papers to homes - tossin’ ‘em from my bicycle, made ice cream at a dairy, worked as helper in a Mobil Gas- 2 bay - Station, learned a lot of mechanical stuff about cars, worked at Radio WMAM, Marinette, wi., helped with installation of WMBV -TV, ch. 11, Marinette, Wi. (now in Green Bay, next to Lambeau Field. FOX broadcasting owns station.) and all of a sudden it was 1955. Out the High School door in June and onto one of those iron boats that picked up iron ore in Duluth, Mn. and hauled it to Inland Steel, Indiana. Then back to Duluth for another load. July, Aug. & Sept. E’nuf of that. Back to the Mobil station. . . then into U. S. Navy – Nov. of ‘55. Some of my Navy days consisted of building another TV station on Adak, Alaska, operating a garbage barge for U.S. Navy, converting a Navy Picket boat into a sport fishing boat for Navy dependents in San Diego.

Winnecone Wi. newspaper/print shop, after U.S. Navy, was next stop . . .
other activities will be filled in — later. . . . much later.

‘Bout 1960 I got back to basics of printing at Milwaukee Vocational School.
Linotypes, Intertypes, Ludlows and more.

What’s a point?
What’s set width?
What’s % of ink color reduction?

United States uses a measurement system based on inches, feet, yards etc.
For typesetting, 72 points = 1 inch. 1 point = .01387 thousandths of 1 inch
rounded up to .014 thousandths of 1 inch.

Aril & Arial Narrow typeface used in examples below.

6 pt. type = ..084 thousandths of an inch.

Sample left is 6 pt. type = .084 thousandths of an inch. It’s used in advertisements, usually at the bottom, items that advertisers are required by law to reveal/publish BUT don’t want you to read nor understand. Also used in legal forms requiring signatures and Credit Card Co. rules about the use/payments etc. that You agree to before using the service.
Technology for type composition using computers, 1973 era. allowed composition of text to “squeeze” the set width of characters - by selecting a “Narrow” typeface.

Around 2009, technology offered commands to auto-squeeze
any type face to desired width. Some states have a minimum point size for classified and legal documents type, however, no state has established a minimum set width that this author is aware of.
“squeeze” the set width of characters. to make sure –
/\ /\ /\ /\ /\ /\
you can’t read certain type – 100 % black ink – 60 % = 40 % for black.
If still readable – reduce it another 10% or 20%.

Below line = 7 pt. Arial typeface.
Example of how things work in publishing world - legal forms, magazines and newspapers.
Example of how things work in publishing world - legal forms, magazines and newspapers.
Example - ^ above = 7 pt. Arial Narrow typeface. Publishers (2001) also have another tool
@ their fingertips. The ability to “squeeze” spaces between words.
Most difficult to read where one word stops and the next starts. No - I don’t have that
feature on my internet page.

=================

8 pt. type = .112 thousandths of an inch.

10 pt. type = .140 thousandths of an inch.

12 pt. type = .168 thousandths of an inch.

14 pt. type = .196 thousandths of an inch.

Composing (composition) Stick

Above is Capital Letter “B” Foundry type — See “NICK” on character.

Composition “stick” was designed for persons – “right handers” - therefore held composing stick in left hand. Usually held in left hand allowing right hand to pick type characters from the type drawer (down page) one character at a time. I’ve seen a good typesetter pick two or three characters at a time. Note: in between the word “Art and” is a space, then after the word “and” a word space is being held with the left thumb. Possibly this line will get blank spaces inserted to fill out to upper edge (above thumb) top end of composing stick. Typesetter will then choose a “lead” or “slug” of desired thickness and length and inserts next to the type and spaces. The next line will start next to the adjustable measure guide. (under the Cap letter “A”

Adjustable line length clamp is adjustable to desired length of line required.
Lifting a lever allows movement to longer measure, then re clamping lever down again.

Adjustable Composing Stick

This shows how adjustable guide is operated plus “hand stick” is held.
Note spaces between each word plus a “lead” between the bottom of top line and second
line (typesetter’s thumb). This process continues until “stick” is full. Type will be
transferred onto metal galley tray – typesetter will continue with more typesetting
from type case below. With completion of typesetting accomplished a proof of type
in galley will be created on proof press. (down page) Proof read for errors. Correction
performed right on galley and then type can be placed into square iron frame known
as a “chase” – type will be held in “chase” by block of wood “furniture” then “quoins”
inserted between the furniture and “chase” frame - “keys” will be expanded with
“quoin key” – then chase placed onto platen press.

I’ve written and printed left handed since 193?. Been intimidated by – countless teachers who wanted to tie my left hand behind my back – and concentrate using my right hand – however when I started typesetting and there were no composing sticks [below] for left handed typesetting persons . . . it took but a mere two minutes to retrain my thinking about holding the “stick” in left hand and doin’ type pickin’ with right hand. Wasn’t gonna’ walk away from this learning experience. Nooo Si r r r Reee.
To this day I use either hand to complete tasks. Whichever is most handy.

Composition stick held in left hand required
right hand to pick characters from “job case”. [see white drawer below]

Each letter in the headline was an individual character molded from lead, more commonly known as foundry type. The process was called "hand stickin’ type." You set the characters of foundry type, side by side, upside down for the headline in a long metal tray referred to as a stick or type galley. (metal tray made of heavy steel with 1//4” sides on 3 sides – leaving the end of the tray open so type could be slid off of galley tray into a form. If the line of characters were too long for the space intended in the newspaper you would distribute those characters back into the type drawer and go to the next smaller size type face and reset the line again.

After a couple days of this, you got to know which type would fit into a given space.

The makeup person would determine the length of line and typeface that should fit. He would place a white chalk mark on the metal galley where the line should end.

The foundry type (above) came in many different sizes – from 5 pt. (like classifieds ads in newspapers) to 148 pt (like 2” high headlines in newspapers.)

The average size of text in news stories appearing in a newspaper is 8 pt type – 8 pt type.

§ § § § § § § § § §

The next lesson to learn is were all these characters were stored in the below drawer. Capital letters were easy BUT lower case, ligatures, punctuation were a total mess.
(see California Job Case below:)

I never got a real explanation on why they were all mixed up.
I did find out that the “e”, being the most used vowel, required a larger space for storage.

California Job Case Type drawer(below) has 89 separate spaces for storage of characters
   Some spaces for lower case letters were larger — used more often in
   composition.
   Larger type sizes were divided into two drawers — with larger spaces.

When selecting a drawer of type, you always pulled the drawer directly below your selected type drawer 1/2 way out. Then if you had to get to numbers in the top row of your type drawer and pulled the drawer out too far – it would fall to the next drawer – not all the way to the floor, creating one “hell of a mess” – which was called “pied type.” Those who pied a drawer got the [mandatory] opportunity to clean (redistribute) the characters to the correct square storage area within the drawer
On Their OWN Time! [after school hours]

Type (fonts) characters were stored in large drawers called California Job cases. These drawers were 32" wide x 17" deep x 1.5" high which were divided into many different size spaces. Larger spaces for vowels and spacing materials. Smaller spaces for consonants, numbers, ligatures, punctuation and special characters. Most drawers of type had 89 separate spaces. The larger type was divided between 2 drawers. Caps in one drawer and lower case, the other. You would stick all caps required for the headline, close that drawer and select all lower-case to complete the headline. As many as 60 drawers were in a type cabinet.

Above the 2 columns of type drawers are vertical stacks of 1 and 2 pt. leads use as space between lines of hand set type. Many different lengths - from 6 to 24 picas. Above them, the angle storage squares held different brass spaces used for spacing between characters within the words - to justify the lines of type in a composing stick when required

This print devil had to stand on a stack of three CoCa-Cola cases to reach the top 4 drawers.
(That's when a short bottle of Coke cost 5¢.

The cooler for the Coke was a large square tin box w/ folding covers.
¼ chunk of ice was delivered, via horse drawn wagon,
every other day for 10¢.
(Print Devil got elected to empty pail of water from cooler every 2 days)

“Hand set” type is composed up-side-down on a type galley. (picture right)

Place the galley onto a proof press, roll ink on face of characters with brayer (roller), place sheet of paper on type then move (large roller) impression roller across paper.

Large roller in Proof Press picture (below)
Type will read correctly – (upper half of picture - right) > > >

Proof press (left) was invented around 1810

Type shops in the country used them until photo composition
arrived in the 1960’s

Present day hot metal type shops still use them

(believe it or not– hot metal typesetting is alive and well)

The trade is taught at

Linotype University
located in Denmark, Ia.

§ § § § § § § § § §

What the hell is a “HELL BOX” ?

The Hell Box keeps track of lost type and broken parts.

Never know what you’ll find in there!

§ § § § § § § § § §

Cold Beer Here!
Another print devil daily duties was take two empty pails to the corner pub,
(Ye' Olde’ Oak Tavern on square – Marinette, WI.) and have them filled with beer.
A ritual performed each day when the newspaper was "put to bed." (Placed onto the press)

All comp room personnel would locate their mug, gather around this huge flat stone table (below)
where pages were "made up" (imposed/assembled) and partake in “swilling” of beer.

The barkeep traded 2 pails of beer for 2 FREE newspapers —
compliments of the newspaper publisher.

Printers, Typesetters, Proof Readers etc. that were waitin’ for the
Print Devil to return from Ye’ Olde’ Oak Tavern.
The “makeup” flat stone tables are in foreground

1875 Hand Cranked Flat Bed Press

Tramp Printer — Ever hear of them?
How about Drifters?

Read on to learn more

Tramp Printers would traverse the country from East to West Coast and North to South, depending on where the best weather was. One could show up at any newspaper or commercial type shop and request work. It was difficult to find good people who could hand stick type and be a good speller. They were never turned away. Always showed up with no money. Most of the shops had a Chapel Chairman. Like a Union steward today. The worker would converse with the Chair who in turn went to the owner or publisher and cut a deal for the Drifter to work. If the pub/owner refused, then another permanent worker would take a day off and have this worker take his place. The problem with a permanent worker taking a day off, he would visit the other shops in the area and possibly take employ at a different location. Then when the Tramp left town – his former employer would be short of GOOD help. People who could hand stick type were always in demand. Owners would hire a housewife before a male. Women had smaller fingers and could hand stick type faster than most males. However in those days the rules were different for women. If they had children, they stayed at home tending to them.
The tramp drifter wouldn’t stay for long. Maybe a week or so.
The local saloon always had food for them and a place to sleep. The tramp drifters never left town without settling their tabs at the local saloon.
They might be back in 6 months. And be graciously welcomed by the Saloon keepers with
all sleepin’, eatin’, drinkin’ on the house!

Long before Gutenberg's invention entered the scene, Germany was already a center of European book culture. Books were hand-made by monks in monasteries, who toiled for weeks over a single manuscript and were primarily responsible for copying religious documents. Illuminated with gold and beautifully illustrated with colorful drawings and designs, these books remain some of the most important medieval cultural artifacts in Germany.

Guttenberg

and one of his assistants

page still under construction

Forward to 1955 —

This print devil joined the U.S. Navy. Started as a Seaman Apprentice (same as printers devil — do the crappy work) and was whisked away to Adak, Alaska to operate a TV station for the entertainment of troops. (the devil worked at WLUK-TV 11 Marinette, WI. while in high school) Air Force, Marines and Navy plus some dependents were stationed there.. Television, small 12" screens that produce black/white pictures on a glass tube along with speakers that blurt out sound and have more snow on the screen than picture.

Adak is so far out of touch with the real world that map makers created a westward jog in the International Date Line so the last island on the Aleutian Chain, Attu, would be included within the continent of North America. Adak Island is 5 or 6 from the end of the chain.

Wow...
October 2010. Still workin’ with items to place on this page.

Haven’t forgot.

e-mail
batmanpete@gmail.com

Useful Hotmetal Linecasting Matrix Information – 1966 era.

How to Order

The Mergenthaler Linotype Company carries in stock a full supply of matrices to meet the exacting demands of printers throughout the world. Matrices can be supplied for composition in over 900 different languages and dialects.

With the huge number of characters available, it is important that you give careful attention to accuracy of detail in preparing orders. Orders should be typewritten, preferably, and the name of face, triangle number, point size and quantity of matrices clearly indicated. A copy of each order should be retained for reference.

Matrix Order Forms. Always use Linotype order forms, which are supplied in any quantity on request. This way, you can be assured of the best possible service.

Always use the correct order form. They are supplied for Regular Characters, Special Characters, Accents, Typographic Refinements (including one- and two-letter logotypes, pre react italics, two-letter small caps), Fractions, Border Matrices and Matrix Slides, and for all foreign characters. Use one sheet for each face and individual point size.

It will help us serve you better if you indicate the specific model for which the matrices are intended (and the bridge number, if required), the keyboard layout and the particular style of magazine to be used. This is essential information, since matrices for various models differ.

Full Name of Face. The triangle ∆ number and full name of face.
8 ∆34 Corona No. 1 with Italic and Small Caps
8 ∆232 Corona No. 2 with Bold Face No. 2
8 ∆568 Corona with Bold Face No. 2

We frequently receive orders calling merely for "8 point Corona." As shown above, this face (as well as many others) is made in various combinations; in such cases, it is impossible to fill the order correctly without requesting further information.

Triangle Numbers. The triangle mark on a matrix is the identification of the Mergenthaler Linotype Company, and the system of marking matrices is shown on page 4. When uncertain of the correct name of face, you may order matrices according to the numerical marking on the side. The triangle number should always be entered on the matrix order form. Always copy the marking exactly, for example 8∆34. Do not choose a matrix at random or take one from a pi tray to obtain the triangle marking. Select a lower case "n" from the font for which matrices are wanted; if figures are ordered, select a figure 5. The reason for this: reference characters, quads, leaders, special characters and fractions in some fonts bear markings different from the alphabet character.

Accented Characters. The standard accents are shown on page 17 and on our accent order blanks. They are available in a large variety of faces and are priced as indicated on the order blank. Characters not shown can be made to order, at a special price which will be quoted on request. If small cap accents are desired, these should be ordered on the standard accent order blank.

Always check the order blank in the space specified to signify whether low, high or small cap accents are being ordered.

There are two styles of cap accents, low cap and high cap. Low cap are usually supplied to avoid the use of a special mold. In the low cap accent, the character is slightly reduced in height to make room for the diacritical mark; thus, the character with its' accent fits the same space occupied by the normal unaccented cap character.

When low cap accents are not satisfactory, high cap accents can be furnished. The extra space required in adding the accent to a full height cap character makes it necessary to change the aligning point of the mold, so that the accent will cast Hush on the smooth edge of the slug without trimming off. This necessitates casting a given size on a body two points larger than standard up to 14 point, and approximately four points larger than standard on display faces.

High cap accents cannot be cast in display faces larger than 30 point, as a full 36 point body is required for ascending and descending characters. However, where caps only are used-or caps and figures alone-high cap accents may be cast in display faces up to 36 point.

In two-letter display faces, 18 and 24 point, only low cap accents are supplied.

In lining faces, only high cap accents are supplied for the largest 6 and 12 point faces. In all other sizes of lining faces, there is room for the accent above the character without reducing the size of the character.

Fractions. When ordering fractions, always state whether they are to run in the regular channels of the magazine or pi. Unless otherwise specified, they will be furnished to run pi.

Key to Matrix Terms

1. Teeth. Projections on the inside of the triangular opening at the top of the matrix. There are seven of these teeth on either side. The teeth which are left in are called the tooth combination. As the matrix travels along the distributor bar, it is supported by corresponding teeth on the bar. At a predetermined point, the teeth on the bar are cut away. The matrix, being no longer supported, drops through the channel entrance and to its proper place in the magazine. A matrix with all the teeth in is called a "pi" matrix, and passes all the combinations on the distributor bar, falling down the pi chute to the pi stacker.

2. Bar Point Slot. This is a slot projecting downward toward the bottom of the matrix. The object is to make all matrices of the same thickness at this one point. The slot registers with the projecting blade on the distributor box bar to prevent the lifting of two matrices at one time into the distributing screw.

3. Regular Position. This denotes the character in the regular or normal position of a two-letter matrix. Matrices from 4 to 24 point can be supplied with two characters. Above 24 point only one character can be used.

4. Auxiliary Position. This denotes the character in the auxiliary or raised position. Characters on one-letter display matrices, 16 to 60 point, are also in the auxiliary position.

5. Lugs. These are sometimes called "ears." They are made to a certain thickness according to the magazine channel in which the matrix is to run. The lugs are the guiding points of the matrix throughout its travel. The lower lug (on the character side) determines the horizontal alignment of the character in the matrix, for this lug banks against the aligning groove in the mold body.

6. Font Slot. This is a small slot in the bottom of the matrix for use on single distributor machines. In conjunction with the automatic font distinguisher, it prevents wrong fonts from entering the magazine.

7. Bridge Notch. A slightly larger opening than the font slot. It is used in conjunction with the matrix bridge on multiple distributor Linotypes to permit the matrix to distribute to its proper magazine.

8. Bevel Notch. A notch cut in matrices for Models such as 9, 16 and 17, and used to prevent two matrices from being lifted at one time into the distributor screws.

9. Clearance Cut. This is a feature of Linotype matrices. It protects the side walls of matrices as they are assembled.

10. Triangle Number. The triangle is the trade-mark of the Mergenthaler Linotype Company. The number before the triangle indicates the point size of the matrix. The number after the triangle indicates the name of the matrix face. The entire marking should always be given when ordering matrices.

11. Reference Marking. These are characters punched in the reference side of the matrix to enable the operator to read the line of matrices as they are assembled.

12. Face Lines. These are lines cut in the bottom of two-letter matrices (and on the reference side of display matrices) to identify the font. When matrices of a two-letter font are stacked in a sorts tray, the various lines match up and tell at a glance whether a wrong font matrix is present, With display faces, wrong font mat-matrices can be detected in the sorts tray or the assembling elevator, since the face lines are on the reference side of the matrix.

13. Bevel Cut. An angle cut used on larger matrices to permit proper distribution.

Alignment of Linotype Characters

Linonotype matrix characters are punched on three different alignments as shown in the illustration. These are called regular alignment, auxiliary alignment and high alignment.

The matrices shown in the illustration are from left to right, 4 to 14 point two-letter, 18 to 36 point one-letter, 48 to 60 point one-letter, 18 point two-letter and 24 point two-letter. When casting from the type characters of these matrices, using the appropriate mold, the operator moves the correct alignment flap of the first elevator slide filling piece on the vise cap into position this correctly locates the character with respect to the opening in the mold when the slug is cast.

Note that when casting from the regular position characters, the first elevator slide filling piece (flap) is not used (no flap). When casting from the auxiliary position of 4 to 14 point two-letter matrices and 18 to 36 point one-letter matrices, one flap is used to correctly align the characters with the mold opening. The auxiliary position characters of 4 to 14 point matrices can also be assembled on the duplex rail in the assembling elevator instead of using "one flap", to obtain the correct alignment. When characters in high alignment position are cast (48 to 60 point and auxiliary position characters of 18 and 24 point two-letter matrices), two flaps are used to correctly align the characters.

Relation of Matrices to Molds – Hot Metal Linecasting Machines

The character shown in Diagram No. 3 may be either a regular advertising figure or a character from the regular position of a two-letter display face.

Attention is called to the fact that the distance from the lower lug of the matrix to the constant edge of mold ("A", Diagram 1) represents the regular alignment position. All characters line up at the top of the slug, which is represented in the diagram by the constant edge of the mold ("A").

Diagrams 2, 4 and 5 show the auxiliary position character as it contacts the mold. These may be characters in the auxiliary position of 4 to 14 point two -letter matrices, one-letter display matrices, or special advertising figures. The correct molds, of course, must be used. Note that the auxiliary position character of - display matrices cannot be cast on this type of mold.

The distance between the regular aligning rail ("D", Diagram 1) and the auxiliary aligning rail ("B", Diagram 1 ) is .21875, and this is the thickness of the regular first elevator slide filling piece when one flap is used. When this flap is in position, the lugs of the matrices are pulled up against the auxiliary aligning rail "B" and the character is correctly positioned on the slug.

Referring to Diagram No. 6, notice that the body section of the mold marked "C" is not as wide as the same section on all other molds and is the same as the 45 point mold. Since the auxiliary character of two-letter display faces is located closer to the lug of the matrix to provide room for a full size 24 point character without distortion, it will not cast on any mold except the two -letter mold. Although the auxiliary character of a two -letter display face is in the same relative position on the matrix as a 48, 54 or 60 point character, it cannot be cast on a 45 point mold, as metal would flow into both regular and auxiliary characters.

It should be noted that while the regular and auxiliary position characters of 4 to 14 point two-letter matrices can be mixed in the same line, the regular and auxiliary (high alignment) position characters of 18 and 24 point two-letter display matrices cannot be mixed in the same line and each face must be cast separately.

As the high alignment position of the auxiliary character of the two-letter display matrix is the same as that of 48, 54 and 60 point faces, the same first elevator slide filling piece (two flaps) is used for both conditions. When the auxiliary position of 4-14 point two-letter and 18-42 point one-letter faces is to be cast, one flap is used. When casting from the auxiliary (high alignment) position of 18 and 24 point two-letter and 48-60 point one-letter faces, two flaps are used.

Prior to about 1886, each type founder was a law unto himself in the matter of type standards. Brevier, for example, made by one foundry would not justify with Brevier from another foundry. The pica "em" in use up to that time had been obtained by dividing an inch into six parts, equaling, decimally, .166". When the present point system of the American Type Founders' Association was decided upon in 1886, the fraction was eliminated and standard "pica" em adopted, measuring .166. This standard of measurement is used by the Mergenthaler Linotype Company, and one-twelfth of the pica, .166, equals one point, .01383. One- quarter of a point is the unit used in the manufacture of our matrices on the point-set system.

Didot System. The Didot point measures .01483 of an inch.

The Didot unit is the Cicero, which equals 12 corps, or .178 of _ an inch. The American (Linotype) unit is the pica em, measuring 12 point, or .166 of an inch. The Didot system of measurement is used in France and in most of the countries of continental Europe, and is commonly known as the French system.

Mediaan System. The Mediaan point measures .01374 of an inch, and the Mediaan em or Cicero .1649 of an inch . This point system is used in Belgium. Mediaan height to paper is .934.

Bridge Notching

Linotype Mixer Machines with Fixed Bridge
On these machines, the upper distributor box is fitted with a fixed bridge which can be changed when necessary. The matrix is lifted into the distributor screws and rides on the distributor box rails to the bridge. If the matrix is notched to correspond to the bridge projections, it will drop over the bridge projections so that the matrix teeth will not engage the distributor bar teeth. Then, after crossing the bridge, it falls through a chute to the lower distributor box which feeds the upper magazine.

If the matrix is supported by any bridge projections, it will maintain its alignment with the teeth of the upper distributor bar and be carried to the lower magazine. Thus any font whose bridge notches do not match the bridge projections, also any unnotched matrices, will run in the lower magazine.

On Linotype mixer Models 29, 30, 35 and 36 using the fixed type of bridge, the standard bridge cutting of matrices consists of one notch between notches 2 to 7 inclusive. However, notches of double width, such as 3-4 or 4-5, etc., will be supplied if specifically ordered. For Models 25 and 26, matrices usually carry three notches to match bridges. However, matrices for Models 25 and 26 can also be supplied with one or two notches to match a bridge having one or two projections.

When matrices are bridge notched for Linotype mixer machines having a fixed bridge, only the matrices running in the upper main magazine of Models 25 and 26 (with two distributor boxes), and the first and third main magazines of Models 29, 30, 35 and 36 need be notched. Matrices for the lower magazine of a pair do not require bridge notches.

Author Note: From experience with ACE Elektron Mixers it is best NOT to use the #1 mixer notch. You want to keep as much “brass” next to the reference side tow of the matrix. If mat is damaged, you need that material to bend or swedge the toe back into position.

Matrices for the upper auxiliary magazine of Model 26 (with two distributor boxes), and No. 1 and No. 3 auxiliary magazines of Models 30 and 36 are cut with notches 2 to 7 inclusive to drop on any bridge which might be used. Matrices for lower auxiliary magazines of a pair do not require bridge notches.

Models Having a Movable Bridge
The separation of matrices in such Models is controlled by a single bridge projection which is positioned by an indicator dial. Since only two adjacent magazines can be in operating position at one time, it is merely necessary to position the single bridge projection to correspond to a notch in the matrices in the upper position, which does not appear in the matrices in the lower position. The matrices from the upper magazine will then drop on the bridge and pass to the upper magazine while the matrices from the lower magazine will ride across the bridge and pass to the lower .magazine.

The location and size of the bridge notches for matrices to run in these models, is the same as for those used on Models having the fixed bridge. Only one notch is used for separation.

Matrix Bridges
When ordering the fixed type of matrix bridge, specify the model and serial number of the Linotype mixer machine and give the number of the projection required; i.e., matrix bridge for Model 25 No. -- with bridge projections 2-4-5, or matrix bridge for Model 35 No. -- with bridge notch projection 3.

Matrices used on a Model 9 mixer Linotype must have a bevel notch in addition to bridge notches for separating ,fonts for the various magazines. The bridge notches are in a different location than those in matrices for Models 25,26,29,30,35 and 36 .. When ordering bridges for the Model 9, be sure to mention the model in addition to specifying the bridge projections desired.

Bridge Notch and Font Slot Locations
The facsimile diagrams shown may be used as gauges to identify the bridge notch or font slot in matrices which are to run in the Models 25, 26, 29, 30, 35 and 36. Please note that bridge notches 1 and 8 are only to take care of outstanding matrices with such notches. The standard bridge notching for Models 25,26, .29, .30, 35 and '36 comprise notches between 2 and 7 inclusive.

The font slot numbers for various point sizes are as follows:

Font Slot Number

Point Sizes

1 .. 5, 11, 22, 34

2 .. 6 1/2, 10, 13, 20, 26, 30, 38, 60

3 .. 4, 7 1/2, 7 3/4, 8, 8 1/2, 16, 27, 32

4 .. 4 3/4, 6 3/4, 7, 11 1/2, 14, 21, 28, 42

5 .. 6, 10 1/2, 12, 24, 48

6 .. 5 1/2, 9, 18, 36, 54

Tooth Combination Chart for 90 Channel Magazine —
Fortunately both Linotype and Intertype agreed upon this scheme!

I ntertype Corporation was started about 15 years after the Linotype was up and running. All Intertype resources were expended in creating a better linecasting machine and therefore chose to use the same magazine channels for their magazines that held the matrixes. By that time Linotype Company had a large library of cut matrixes

The font identification was on the side of the matrix.

see above - item #10
Key to Matrix Terms

The Linotype Company used a triangle between the font size and number that denoted the different fonts.

The Intertype Company used 3 dots between the font size and font number. The three dots were displayed in a format of a triangle. Just didn’t have the triangle lines because Mergenthaler Linotype had a patent on the triangle.

The most popular page in the book when Cuneo Press got ACE Elektron Mixing Machines.

Note smudges of thumb and finger print marks on the page at left.

We got the camera department to create a 12” x 16” picture of this page which we framed and hung on the wall by the combination cutting, ear and toe trimming machine.

We cut special combinations on new matrices that were ordered as “pi” characters. (All 7 teeth on the matrix)

Linotype Midwest Supply depot, 531 Plymouth Court, Chicago, Illinois - Earl Porter was in charge of the matrix dept. When we got the ACE Mixer Elektron machines he suggested that we look into the purchase of the below described machine. It made the process of getting the right matrices to run into the right channels a smooth transition. The Linotype Company had never seen special magazine layouts as complex as what we designed at Wisconsin Cuneo. They felt their company created a monster that might haunt them for the rest of their existence.

Cuneo comment: “we were using capabilities of the machine designed and sold to Cuneo.

Mergenthaler’s Chicago Office wasn’t equipped to cut the amount of matrices that Wis. Cuneo Press ordered. We took Earl’s advise in the purchase of a matrix cutting machine. We test cut one “mat”. Ears, toes, combination. If it fell in correct channel – voila.
http://www.gochipmunk.com/html/linoiv.html link to matrix cutting machine.

We eliminated possibility of combinations, ear and toe alignment cutting errors. We actually align (place) the ear and toe to a specific position on edge or center of matrices. Some larger mats were very close together when resting in their respective magazine channels. At this time, 1967-68 era. a pi character would cost Wis. Cuneo anywhere from $.50 cents to $1.35. The pi magazine contained 6 matrices in each channel.. A magazine with pi characters cost between $400.00 to $500.00 - not including the cost of the magazine. At the time, Helvetica, was most popular typeface.

Note: Did anyone in the business have a machine that cut ears, toes and teeth combinations? I believe it was made in Switzerland and sold for about $375.00 in the U.S. The base, about 1 foot square, contained it’s own drive motor. Any pictures or info? Let me know. It was like a key cutting machine. Clamp a matrix (that had a cut combination) in one side and matrix to be cut to run in a channel (pi combination present) in the other clamp. Don’t remember the name of Company. It was painted blue. jer. jermerrill@sbcglobal.net

Second Note . . . . . . . . September 26, 2006 — Attended the Linotype University IV, Denmark, Ia. Found one in the Working VanderCook Museum on campus. Click link: Linotype University - Denmark, Ia.

Pock Marks on NEW Helvetica Matrices - 1966 — Ever hear of it? — Read on.

Wisconsin Cuneo Press purchased many combinations of Helvetica type and magazines that year. About the third day using some of these new type faces the machinist department was hearing rumbles from the other end of the building. (3 blocks long - from the repro dept.)

“You guys over there are sending us cold (pitted) type faces. Something wrong with the heat on those machines?”(That was usually the cause of a “cold type face.”)

Three of us machinists started tracking this down. ( When I was hired in 1964 we instituted using galley slugs that denoted what Model 29 - TTS machine # the type was from and what manual machine # corrected galleys)

Didn’t seem to have any problems with telephone directory type that came from the TTS machines. We’d run that stuff 3 hours every afternoon from 5 - 8 p.m. for daily phone directory addenda updates throughout the state of Wisconsin. (Green Bay, Appleton, Milwaukee and Madison) Bell Gothic which was a sans-seriff face. No problem with the face on those slugs.

A day later we’re now zeroing in on Helvetica type faces.

The pock marks didn’t show up on galley proofs for the proof room reading. However when the type got to the re-pro press dept. it showed up.

Herb Ramstack, 2nd shift foreman, got the idea of taking a linen tester, (reticle used for checking screen dots) and started looking down into the punched character face of the mat. Guess what he found?

After the mat was factory punched it was sent to the milling dept. to complete the cutting of teeth, ears, toes and any notching. It was discovered back in Brooklyn N.Y. that some of the little shavings or chips of brass, while still hot, had fallen into the punched character and sorta welded themselves into the face of the character.

Mergenthaler claimed it was caused by a plugged vacuum hose on one of their milling machines. They replaced all 14 fonts Wis. Cuneo had purchased. And also paid 3 of us machinists to come in on Saturday and Sunday to contrast the new matrices before they were put in-service.

You could take a sewing pin needle and flick them off, however, it still left a little mark on the face of the character.

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