Casting #337 Caslon Old Style 18pt

This is the first time I have cast this particular font, and although it mostly went well, I had one sort that miscast. The problem first showed up on a carbon-paper proof of the type:The ‘st’ ligature seemed to be tilted off its feet so the s was barely visible. A closer look at the type itself revealed the problem:The body of the type was substantially too narrow for the width of the symbol itself, so tightening the form just pressed these beard-to-beard with no clamping of the body itself.

A look at the matrix revealed the source of the problem:

The matrix turned out to be a electro-formed duplicate made from a sample type. The matrix was originally for some letter in 14-point face #88 (Cheltenham Bold Condensed), which had been drilled out to host a new matrix. The width markings on the matrix were still those for the original sort, so I had to experiment a bit to find the correct width for the ‘st’ ligature.

I started by using a micrometer to measure the width including the beard, and did a test cast at that width. The type I measured had already had the beards crushed a bit by the lockup so this was a bit narrow and the new type still had a bit of overhang, so I widened a little more to 10 points, eliminating the overhang.

I then set a sample line, adding coppers and brasses to vary the effective width of the type, to see what width worked best. In this case the goal was to make the space between st and another t look the same as the space between two t’s.

Overinked and annotated proof

The proof revealed that the vertical alignment was a bit low, and that an extra half point of width would look good. I adjusted the vertical alignment and cast more at a width of 10½ points (wedge setting * 10 4) and took another proof.The result looked good so I cast some replacements for the type to include in the font. As a bit of validation, the width I came up with turned out to be exactly the sum of the widths of ‘s’ and ‘t’.

I’ve added an note in the box containing the matrices regarding the special width and alignment for this mat. I’m considering stamping the matrix with the correct width markings (not to mention size and face number), but first I have to decide on a good way of “erasing” the original marking. Just X’ing them out would leave little room for the new markings. Perhaps I could mill a strip off, making the matrices look like the stamped aluminum ones. I could also correct the alignment by milling a bit off the top edge of the matrix.

I was also casting some 18-point in the same face, and found that the uppercase T was casting about 0.009″ too high. This was a factory-produced matrix so I don’t know why the alignment is wrong, but the box now also has a note to adjust the alignment for this letter. This is harder to correct by modifying the matrix because it requires adding metal to the top edge.

Line Length Gauge Collection

I was cleaning up the workshop a bit last week and ran across a small project which had fallen by the wayside.

As part of all the Monotype parts I had collected, there was a random assortment of line length gauges. These are used to set the galley width on the Composition Caster to a specific measure, and to do so more accurately than by eyeballing it off the scale or even using a piece of reglet.

The set I had was very incomplete and also contained several duplicates, so the project I had set myself was to shorten some of the duplicates to fill in some of the missing lengths.

These are not the “official” Point Measure Gauge set (8CT7) that were listed with some of the Monotype tools in the English Spare Parts List. Peering at the photo in this book, it appears that the gauges they provided were in round lengths, and you were expected to stack together the correct ones to form the desired measure. The set appears to contain two 20’s, one 10, one 6, two 4’s, and several smaller ones, likely 2, 1, and ½ pica. Monotype actually produced four such sets, based on the pica standard: 0.166, 0.1667, 0.1776, or 0.1653 inches per pica, with the first being the one used for Lanston Monotype systems.

Measuring the gauges I had implied that they were made to the 0.1667 standard, so they would set the galley about 0.4% wider, or about 1 point on an 18-pica line, relative to how the rest of the caster measures things.

For consistency I chose to stick to this standard even though the 0.166-inch standard might be more appropriate with the Monotype.

The job was a simple matter of milling some metal off the end of some of the gauges, after having marked in felt tip what the desired length was.In retrospect I should have marked them in inches as well as there was one I thought I had completed but I had cut to 3.866″ rather than 3.833″. Fortunately this mistake was the right way and I just had to trim off a bit more metal.

The pieces that needed more than one pica trimmed off were rough-cut short on a bandsaw first. I had thought that a gauge that only needed one pica trimmed off could just be milled, but my mill is only powerful enough to take off 0.020″ (0.5mm) at a pass so I quickly decided that even removing a single pica needed the band-saw treatment to start.

I de-burred and polished up the gauges on my belt sander, and stamped them with their new lengths.The sanding also removed some but not all of the original stamped lengths. The new stamping was deep enough that I decided to forego grinding off the old markings completely, as it would have taken too long and removed too much metal. It turns out my newly stamped numbers were prominent enough that I think I can avoid any confusion.

Here’s the entire set, including the ones I didn’t touch, the longest being 48½ picas.

I now see I still have a duplicate 22-pica gauge, so I might shorten that one to 20. The set is still grossly incomplete, especially if half-pica lengths are desired, and I could make more from new ¼×¾″ steel stock but I’m not sure I have enough use for them to warrant the effort.

I also have one other gauge that I’m (mis-)using as a spacer when mounting an English display mould on my caster. This mould’s base is about ¼″ smaller front-to-back than the Lanston moulds, and so a spacer is required for the front mould clamp (89E1 on Lanston casters, Xa48E on English casters, and no, I don’t know which one I actually have) to hold the mould in position. I will probably find some other piece of ¼″ steel to use as this spacer (and stamp on it what it is so it doesn’t go astray), and add the line gauge (probably shortened and re-labelled) to my collection.

Casting Twisted Type

I was recently casting some 14-point Caslon Old Style on my Monotype Composition Caster and I was finding that after casting a long run of some wider letters, the type was coming out with an interesting distortion:The top of the body of the type was twisted and there was a scar on the top corner of the nick side. The damaged area lined up with the upper jaw of the type clamp, so I assume the damage was occurring as the type pusher pushed the type into the type channel and the type clamp snapped shut as the type was pushed out of its jaws. My type clamp jaws were damaged from a previous jam in the caster which probably contributed to this problem.

However, the main cause is the type coming out of the mould too hot. This was using Monotype medium alloy, which has a fairly wide temperature range over which the metal is no longer fluid, but has a pasty consistency and almost no strength. It would seem the metal was still pasty as it was ejected from the type clamp, making it easy to damage. This would also explain why it only happened for the more frequent letters in the font. After casting each letter, there would be a pause while I changed the matrix and possibly adjusted the width, giving some time for the mould to cool off a bit. As a result infrequent letters like Z would not have any problem. But for letters such as D and N which require dozens to be cast the mould would heat up as the casting proceeded, eventually ejecting too-hot type. There was no problem for narrower letters because the rate of metal injection would be lower, leading to less mould heating.

I solved the problem by lowering the pot temperature a bit and making sure I had sufficient cooling water running through the mould. I was already running the caster at the recommended speed for this size so, although slowing the caster down would have helped too, I did not do that.

This was a different problem from the usual bulging sides and/or bleeding feet that normally result from type ejecting too hot.

Making Really Red Paper

I just found these photos from a papermaking session from the summer of 2019 and thought I might post them.

We had recently emptied a mini-keg of red 112 aqueous pigment, and we were left with a dirty keg. We decided to put a batch of pulp into the keg and swish it around to use up the pigment stuck to the sides.

It turned out there was way more pigment than we expected, and we ended up with a batch of really red paper. With that much pigment, getting 100% retention is nearly impossible, so there was red everywhere. The shop looked like a murder scene (and Audrey was “caught red-handed”)!

The paper ended up being a nice saturated Christmas-y red (photos would not do it justice).

We actually used the drain water and vat water to pigment another batch of paper which ended up almost as red.

Now, after several re-uses and rinses, we can finally use the felts without getting some pink staining in the paper.

Lanston Monotype Wedge Substitutions

Based on the data from Alembic Press’s Monotype information, there are a few normal wedges that are interchangeable. So far, this is just theoretical, so I haven’t tried this. And of course, any errors in my source data will reflect as errors here as well (as will confusion on my part).

First, the following are completely equivalent:

S5 S718
S284 S77
S235B S236B

Furthermore, if you have Unit Shift available but are only using 15-row matcases, you can use Unit Shift to find the correct width from the next narrower row position for the following wedges:

Original Wedge Substitute(s)
S5 S77 S176 S284
S27 S5 S718
S29 S135
S34 S135
S77 S176
S119 S5 S77 S176 S284 S718
S150 S5 S27 S119 S718
S166 S22 S176
S176 S22
S266 S77 S176 S284 S301 S303
S283 S5 S77 S176 S266 S284 S718
S284 S176
S297 S595 S604
S298 S294
S299 S22 S176
S300 S294 S298
S302 S459
S303 S301
S314 S316
S320 S298 S300
S459 S297 S595 S604
S521 S22 S176
S606 S108 S604
S614 S200
S718 S77 S176 S284

So, for instance, if the arrangement calls for an S119 wedge, and you want to use S5 instead, when you need to cast from row 5 of the matcase (width 8 units on S119, but 9 units on S5), you instead code for row 4 with Unit Shift engaged. This will move the wedge to position 4 (width 8 units on S5 wedge) but the matcase to row position 5 selecting the correct matrix. I think this will all happen automatically if you are using the CompCat software to drive the caster and tell it you have an S5 wedge installed when you generate the ribbon file. Note that if you ribbon codes for row 15 with Unit Shift selected, the matcase may crash against the left hand side of the bridge (so don’t do that).

Finally, again using Unit Shift, you can also adjust (lengthen) the front drawbar so that the rows in the matrix case get their regular width when Unit Shift is selected for the cast, and without Unit Shift selected, you get the width from the next larger row. Note, though, that if your ribbon codes for row 1 with no Unit Shift, the matcase may crash against the right side of the bridge (again, so don’t do that).

Original Wedge Substitute(s)
S5 S27 S119 S124
S22 S176
S77 S5 S119 S124 S718
S119 S124
S200 S541 S614
S266 S283
S284 S5 S119 S124 S718
S294 S298
S297 S459
S300 S320
S301 S266 S303
S303 S266
S316 S314
S426 S283
S431 S22
S459 S302
S604 S297 S459 S595
S606 S299
S660 S606
S718 S27 S119 S124
S721 S301

This is the reverse of the first effect; To get this when using CompCat you must make up a 16-row MCA with the first row empty and the remaining rows shifted down one from their normal positions, and you must have the individual mats coded with their proper widths as if using the original wedge and a 15-row matcase.

Making a Vandercook 320 carriage stop

As part of getting a Vandercook 320 proof press into working condition, I had to make a carriage stop/bumper block. One of the original ones was missing from the press. Another of the stops was held on with only one screw, the other having snapped off.

I have posted a video of making this on YouTube.

Since installing the carriage stops, I have also adjusted the timing of the impression drum. On this press this can be done by rolling the carriage completely off one end of the press, having removed the stops and arranged for something to catch the carriage, which weighs perhaps 2-300 lbs (100-150kg), and rolling it back on engaging the drum gear in a new position.

I chose to use the other method available: I removed the two pins that the print drum bearing plates pivot on when shifting from trip to print position. This allowed me to use a piece of wood as a lever to raise the drum to clear the gear racks and lower it down again at a new position.

I adjusted it so the leading edge of the drum, where the gripper bar is, lines up with the headbar on the press bed as it rolls over that area. I was a bit surprised to find that the parked position of the drum has the gripper edge straight up (at “12 o’clock”) as the angled feedboard design of this press made me expect the parked position to be similarly angled.

The next job is to re-install the inking mechanism on the carriage, and also the inkplate and headbar on the press bed.

Wallet-sized Ontario COVID Vaccination Certificate (fixed)

I recently posted on how to make a wallet-sized version of the Ontario COVID vaccination certificate, but my original post contained incorrect code and so did not produce valid QR codes.

This has now been fixed and the original post now contains the correct code to do the work.

Shame on me for posting improperly-tested code.

Wallet-sized Ontario COVID Vaccination Certificate

The province of Ontario is now issuing COVID vaccinations certificates with QR codes on them, which you can carry with you to obtain admission to various public gathering places. You can also show the certificate on your phone, but having it on paper is useful in various circumstances:

  • You don’t own a phone
  • You don’t have your phone with you
  • The phone’s battery is dead
  • Pulling out a wallet card along with your photo ID is faster than pulling up the certificate on your phone and pulling out photo ID anyway

Unfortunately, none of the sharp minds at our provincial government have realized that if someone wants to carry around a paper certificate, it would be much easier if it were wallet-sized rather than a full letter-size sheet of paper. Not to mention that the QR code is placed point blank on a fold in the paper, likely making the code unreadable, for pretty much any normal way of folding the paper.

I have made a wallet-sized version (3.56×2.24″ or 9.05×5.69cm) of my certificate. The front contains all the information of the original certificate except the QR code, with piles of white space removed, and the QR code is on the back. The actual text on the front is half the size of the original text and is still easily readable, and the QR code is about the same size as it would appear on the screen of a phone. All that is missing is the “page 1 of 2” annotation and, of course, page 2 which contains no useful information whatsoever.

Since we have 3 in our family, I decided to automate the slicing and dicing operation that generates the front and back images. I am using an image-processing tool called ImageMagick to do this, along with the following script that contains all the slicing operations.

 -units PixelsPerInch
 ( +clone
  -crop 1419x1419+536+1828
  -threshold 50%
  -resize 2425x2425
  -gravity center -extent 4274x2688
  -density 1200x1200
  -write back.png
 )
 -delete 1
 -gravity NorthWest
 ( +clone -crop +0+6270 -repage +0+6120 ) -flatten
 ( +clone -crop +0+5875 -repage +0+5800 ) -flatten
 ( +clone -crop +0+5500 -repage +0+4625 ) -flatten
 ( +clone -crop +0+4200 -repage +0+4075 ) -flatten
 ( +clone -crop +0+3680 -repage +0+3630 ) -flatten
 ( +clone -crop +0+3580 -repage +0+3530 ) -flatten
 ( +clone -crop +0+3380 -repage +0+1540 ) -flatten
 ( +clone -crop +0+660 -repage +0+575 ) -flatten
 ( +clone -crop +0+430 -repage +0+345 ) -flatten
 ( +clone -crop +0+288 -repage +0+0 ) -flatten
 ( +clone -crop +4785+0 -repage +4660+0 ) -flatten
 ( +clone -crop +460+0 -repage +335+0 ) -flatten
 ( +clone -crop +288+0 -repage +0+0 ) -flatten
 -crop 4274x2688+0+0 +repage -density 1200x1200
 -write front.png

I’m not claiming this is the most efficient script to do this; in particular, cutting out all the slices and flattening them all at once would likely be faster than doing a cut-and-flatten for each strip to slice away.

To make a wallet card, the steps are as follows:

  1. Download and install ImageMagick
  2. Save the above script to a file
  3. Open the PDF certificate file in a PDF viewer.
  4. Extract/export the first page of the certificate as a 600×600DPI image file, which should be 5100×6600 pixels since the page size is 8½×11″. Use an uncompressed, non-lossy image format like PNG.
  5. In a command/shell window, run the command:
    magick imageFile -script scriptFile
    

    where magick is the name of the command installed with ImageMagick, imageFile is the name of the image saved in step 4, and scriptfile is the name of the script file saved in step 2.

  6. The script will create files front.png and back.png in your current folder.
  7. Print these back-to-back on heavy paper, cut out, and laminate if desired. You have to make sure the program you use to print the image files prints at 100% zoom, and that the two images actually end up back-to-back. I found that specifying that the image should be centered, and running the same sheet through the printer twice (once for each image), flipped over the second time, worked well. You could also print on separate sheets and glue them back-to-back.
  8. For more certificates, repeat steps 3-7.

That leaves a bunch of details for you to figure out, like how you export an image from your PDF viewer, making sure the ‘magick’ command is in your command search path, figuring how this all maps to a Unix or Mac system (I was using Windows), doing this all in a separate new folder to make cleaning up easy, etc…

Update!

This original script I posted here didn’t work in general because the directives in the script were made to work only for 97×97 codes (what I found in my own certificate) but not all the QR codes are 97×97 bits. I have found that my daughter’s code is 93×93, and although my wife’s is 97×97 my phone’s QR code reader couldn’t scan it at all. The latter was an unrelated problem having to do with the resize operation I was using trying to do smoothing as it worked, leading to some pixels in the resize code being wrong.

But the script as posted above now works on 3 out of 3 certificates that it has been tested on.

Another press spotted in a movie

Last night I was watching Terry Gilliam’s 1995 movie 12 Monkeys and in one scene I noticed one of my presses in the background. Well, of course not actually my press, but the same model.

During the first scene inside the revolutionaries’ shop, in the background you can see a Challenge MA-15 (or perhaps a similar model) proof press, with its factory speckle-green paint job. I think it would have been a long slog using that to print their propaganda leaflets! Perhaps in the story background the location had been a print shop that closed down before this group decided to use it, and some of the printing equipment was still there, particularly the “obsolete” letterpress stuff that the print shop would not have been able to sell off.

Howard Iron Works (Virtual) Print Expo 2021

After skipping a year due to COVID-19, the Howard Iron Works Print Expo returns this year in virtual form.

They will have events and workshops live-streamed on the weekend of October 1st and 2nd, all hosted at the Howard Iron Works Printing Museum in Oakville, Ontario.

The events include:

  • A museum tour each day, hosted by Nick Howard
  • A letterpress workshop, hosted by Joe Borges
  • A bookbinding workshop, hosted by Stuart Hill
  • A relief printing workshop, hosted by Marvyn Rivett
  • A stone lithography workshop, hosted by Otis Tamasauskas & George Walker
  • A live-streamed interview between Roxana Spicer, Jeff Winch, and George Walker, regarding their upcoming film The Woodwriter, The Wordless Art of George A. Walker.

Everything is free but you must reserve your spot for each live stream.

For more details and to book your spot(s), please visit the museum’s website.

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