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Good afternoon. I would like to start with a bit of history since the invention of printing.

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Woodblocks have been used to add either illustrations, drop caps or decorations to books.

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This is a French initial that was cut in route around 1464, and this kind of woodcuts would appear fairly regular in books and.

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This is another one that is a little bit later, 1477 rattled the German wood engraver.

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And all this, all these woodcuts would just be done manually.

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And every one was slightly different type of type found.

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It didn't create anything yet in those days. So it was all based on these kind of initials.

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But patterns that were cutting would have also been used by top farmers to cast metal tight in larger sizes.

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This is metal type, but there was, first of all, a pattern being cut and then led would be poured in.

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And this here is from 1582.

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It's by Mr. Sartorius.

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So you can still see that it was originally a woodcuts they made a dye of it and then a cast led in it, and that could be multiplied several times.

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It can be found in the grounds of the man as well.

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This is also this is to be found in the plant in museum in Antwerp.

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This was this was cut and cast by Mr. from the care around 1565.

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So this is not a good example of first of all, cutting it is about making a matrix of it and then pouring metal in it.

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In 1820, William Kessel on the fourth introduced a novel way of casting larger sizes of type two.

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Metal plates were riveted together in one metal plate.

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The character was cut out and the small rich would be fixed around that character.

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Then they could pour the metal in and let it set.

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And these cast characters would be done fixed to a block of food and to bring it to the type height.

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A few years later, in 1827, Darius Wells from New York invented the lateral rotor.

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And combined with the bond graph that George Leavenworth added in 1834, it became the means to mass produce one type.

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So here we see an image and a new type workshop.

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The lady on the right is finishing off the rooftop with Shellac.

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That gives a protective layer to the roots and that holds the ink better.

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The gentleman on the left, he is working the rotor dependent NAF rotor.

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So he's got a pattern and with a pin he follows the pattern.

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And on the other side, you've got a rotor bit that cuts the way.

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Edwin Allan Well, without having any knowledge of the machine that developed and lever was built, reinvented the combined Pendergraft round in 1836.

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And I've got a photo here of a Swiss built Rotor Pendergraft from 1899.

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And this you can see on the right, you've got the pattern block with the pin that follows the that follows the pattern.

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And on the left you see the router bit ready to cut away in the boot.

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And this method has been in use for many decades.

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A few years later, around 1880, Mr. Hamilton from Wisconsin in the United States tried his luck as well, but he tried to work with vinegar.

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So he tried to compete with all the manufacturers of woodchuck,

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and he cut his characters in vinegar, and that would be glued or fixed to wooden blocks.

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He could reduce his price drastically, and he became the biggest manufacturer of wood type in the United States.

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Other people also try. This is an image of this gives an idea of the size of the Hamilton motor factory in Wisconsin.

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Today, the company still exists. It is the Hamilton type museum, but they still produce time.

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They still hold all the patents and all the machines, and they still sell type as well.

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So it's not this plant anymore.

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The plant has sadly been pulled down. A few years ago, the last bit of it, the chimney was blown up and now they're in a new modern building.

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A lot of people try to look as well. So there was a mr. Cisco.

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He patented in 1887 a machine to diced and would type so he would have metal dye and he would put the root of a block of root under the dye.

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And with high pressure, he would actually cut into the root and the outer parts were removed.

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This is one of his patents. Here's another one here.

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You can clearly see in the five different figures, you've got a block and you cut into it with the metal dye and then you remove the bars.

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The figure four gives actually the metal dye. And if this was not enough,

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manufacturers also experimented with so-called animal type A procedure whereby a

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layer of celluloid was either pressed or fixed with dovetails to a block of fruit.

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So this is an example of animal type and the bottom one is just glued to the woodblock

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and the top one has got a dovetail construction and that helps the celluloid in place.

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The advantage of a celluloid block was that it would take the ink very well.

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It would damage less quick, then the wood type would do.

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On this side of the ocean. European manufacturers like in Paris, Miller Richard in Edinburgh, Adlington in London,

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will produce to Moutai for the capital and foundry vertov in Berlin and the Bolsheviks in Frankfurt to mine produce large quantities of type.

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This is the title page of A Foundry Foundation of Old Boudoir by See.

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And they did metal type nouveau type courses, but they also had a department who would type and type specimens,

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very nice because it had all these little slips stuck into it.

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In the period between 1825 and 1850, American manufacturers copied European styles,

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but soon started developing their own style and not only supplied the home market, but also exported to Europe and South America.

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Manufacturing who type the traditional way.

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We've seen a few images of how it was done with the photographs, but before that, pentagram for others was created.

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People would cut that by hand. Like I mentioned at the beginning, this is a detail of a fantastic, full of time.

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The characters resemble a wall of bricks and it has got a very fine three dimensional line to it.

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So it's like a3d brick wall typeface.

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This is probably 1890, 1880, 80, 1890 cut in France.

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All some of the characters had been cut twice.

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Obviously, somebody started cutting. It made a mistake to look over and cut again.

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This is some Italian wood type, extremely ornate, beautifully carved.

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So with the arrival of those machines and more precise printing presses, the production of both type really took off.

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Different kinds of foods have been and are still used for the production of food type boxwood.

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For instance, butchers, pear, cherry, linden, acorn and steamed beech are the most common ones,

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and Greenwalt is preferred to obtain this tree trunks are cut into discs slightly higher than the Typekit height.

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These flaps are of root are then stored for up to five years to dry out completely before they can even be treated.

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Here is a picture from the 1960s. This is in the Hamilton Wood type company.

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They had these warehouses full of racks on wheels and somebody would stick them all neatly, turn them regularly around so they would dry evenly.

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Once the slips were dry enough, they would be sent down and treated with brimstone.

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And a couple of layers of shellac before they would go to the department where

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they would cut the bad parts in the wood and blemishes were being removed.

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And then when that was all done, they would go to the guy.

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This was measuring the correct height. The gentleman uses.

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A machine that was built by a vendor cook and he checks to type height.

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The block has to be correct height in order to be printed.

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The operator of the machine uses Petrus to create individual characters.

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These patterns were often cut out of thin plywood and affixed to a thicker wooden base.

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But other materials, such as cardboard and sheet brass, were equally used to create the raised batteries.

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This is one of the potatoes from Stevenson and Blake. They were ten millimetres thick and about a hundred millimetres high and that would be used.

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That would be fixed on the Pendergast machine, carefully followed round around first with a course rotor bit.

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And then final and final and fighter. There was a company in York.

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The most important company in the UK was the little from York.

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They functioned until the 1970s and they made a patent in three millimetres thick metal and these were slightly larger to the 35 millimetres height.

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Here. You can see again a picture taken at Hamilton.

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The gentleman is busy cooking the type.

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He has got to treat a needle.

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He follows very carefully with the tracing needle and a rotating round of it removes the food that was in the United States.

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And this is a picture at the little.

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A few years before they closed down, they actually had a local engineering company to build their PENDERGRAFT machine after their own design.

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So it's one of the machine is still around.

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I've heard that it will move back to Europe in the next months.

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Hopefully they're going to use it again. So once the letters were cast, they had to be finished and they were finished by hand.

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So the rotor bit is, is of course round and doesn't make acute corners.

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So you had a whole department of people sitting there taking all these wooden characters one by one, and with a very sharp chisel,

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cut the acute corners in two characters, removed the last blemishes, blemishes and burrs if there were any.

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That is Hamilton. And here I've got a picture, two pictures, actually, of a north Italian country.

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There were quite a few who type manufacturers in the north of Italy, about five or six.

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And the gentleman at the top, he's cutting the the little planks, the wooden blocks and the one in the bottom.

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He's got a little chick in front of him. He fixes the character in it, and he's got his appearance and his chisels next to it.

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After the Second World War, German manufacturers started to use a kind of a bakelite called petroleum,

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which is a recipe which is obtained from colonisation of phenol and formaldehyde.

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Um. The Barbershop guys writer German found.

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This is a picture of that stuff. They had a brand name they sold it on.

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And then black adult which comes from blackout for both to endure from heart is extremely hard it's beautiful it prints fantastic it's a bit brittle,

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so it sometimes breaks in bits. Manufacturers like Nebbiolo in Italy and Kilo Graff Yoshihiro No KG here and

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each year they also produce a lot of poster type in ornaments and plastics.

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This is a site full of one of these black outdoor types.

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This is a layer to ascend. Which one? So you've got a top layer and bottom.

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And between it, a harder layer. So to see. And this is some plastic type made in the north of Italy.

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The Cut-outs they rooted out at the bottom to save weight and they managed to make them extremely small,

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even like 50 millimetres tape was made in plastic.

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We go a step further. We go to other manufacturing methods since the revival of letterpress printing.

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People have started looking at new ways of making type or printing blocks.

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A whole new generation of letterpress printers doesn't even handle metal or wood type anymore.

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They only print from photo polymer plates. And in the U.S., this technique has been referred to as Mac Letterpress.

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You've got your Macintosh, you make your design, you get a photo polymer, your plate made a print from the photo polymer plate.

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However, several innovative ways of making prototypes have been and are still being explored.

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The fastest way to make those type is probably to laser cut the characters in thin material and to a fixed them

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to a base a technique similar to the one used by Hamilton when they started selling their furniture type.

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The thin material could be plywood, but also light volume, acrylic or Perspex.

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This is a photograph of a sheet of three.

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Mm. Light. This has been laser cut.

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This is a large, quite a large found of numerals.

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It's a bold photograph. You can see that everything is already marked up to be fixed to the base.

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Here is already a series of the ones that have been affixed with a very strong glue,

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and you leave it under pressure overnight and then you can finish it off.

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Here it is, all neatly finished.

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Three layers of shellac. And that's used a whole lot. And it allows you to print perfectly.

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And you will still have to type effect. The New North Press in London.

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They've successfully 3D printed a very intricate typeface.

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After less successful tests to print the individual character to type height,

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they finally opted for a three millimetres thick layer that was glued to MDF.

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Here is the image of the computer screen.

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It's a lace like typeface. And here you can see it being later printed.

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And fixed to the blocks. One of the students of the funded high school in eight, often in the Netherlands.

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Lucia Lucia Bloomberg. She experimented with a laser engraver and different materials such as MJF, cardboard and acrylics.

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And even in ordinary cardboard you can cut.

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And when you finish it off with a diluted PVA glue and you can print from it, no problem.

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Several workshops in Europe and the U.S. Now you see and see around computer numerical control risers and APC to produce poster type.

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All different materials can be used, but the preferred material seems to be about.

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This is a piece that was made by somebody in the Netherlands.

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He bought a standard router and got a whole bunch of Beirut and started making this type of brought the block with me.

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So afterwards you can have a look at it and you can see he has not finished it because it's still got all the round corners.

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There's no finishing done on this yet. There's no shellac on it and the little strip.

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But two in two characters are the width of a circular saw.

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So we would make these boards and then cut them into individual characters.

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Well, a few years ago, my Scottish nephew, who had Scottish robotic systems,

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announced me that he had just invented £40,000 in a new router drilling machine.

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I immediately saw possibilities in making spare parts for Precious, but also for making Type one Christmas holiday.

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Ross and I spent some time trying out the new software, the machine under different plastics.

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Now this is what the machine looks like. You can feed it any design.

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And on the left, just above the X-Y-Z sign, you see a kind of a drum.

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And it's got about 36 different tools in there.

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And the machine, the drum turns and the machine picks the tool that it need, turns it in and behind the door.

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Behind the window. You put your little block of material, in this case, plastic,

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and you start the machine and it just goes, Oh, and I brought that as well to for you to inspect.

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Here it is on the computer screen. I didn't know the software that well yet.

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So my curves are not excellent. But it was a good it was a good Christmas holiday.

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This is the 3D simulation on the screen. And here it is.

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Behind that glass door, you've got a little block and you can clearly see the outer bit.

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And the material is being cool with cooling liquid.

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It's a fantastic machine. It goes through the speed, you know, it's mind blowing.

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Excellent. These are four different plastics that we tried.

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We wanted to see which one had the best surface, but also which one would be stable enough.

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These are the tests you can see the previous pictures are full colour screen black, white and grey.

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And here I've got a print of it.

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You can clearly see where a marked where there are still problems with the curves and the curves joining the approach.

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Printing results were. Slightly different.

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And after having done some more research, we opted for a different material called Del Rain, which is a thermoplastic polymer.

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This is the Rio. It is much more expensive than ordinary plastics.

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They use it a lot in the medical industry. They make joints with it as well.

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But bacteria can't separate the advantages.

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You can buy it in sheets of 25 millimetres. So you can bring it down a few millimetres to get correct type height and then you can just.

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Mm. It's. There's a piece lying on the table as well.

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It's quite heavy, but it's beautiful material to print with.

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Six months or so after I made my test in Scotland, I spoke to a colleague and friend in Switzerland.

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Duffy Coon was quite well known in the literary world and he had already in his workshop a traditional pentagram for altar machine.

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And I spoke to him about the dowry and he sent me a package and he produced some samples.

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It's maybe difficult to see that on the left, the darkest character is a 19 or not original 1950s character from the Healthcare family,

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and Duffy didn't have two petals, but he uses the original characters as a pattern.

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So in the middle you see a new one, mate, a pair of boots, and on the right he did one in dowry.

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In the 1950s, the German industry norm stipulated that the characters all had to be five millimetres deep in order to print perfectly dead standards.

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Everything, Duffy said to me, Listen, Thomas, if I go in and out of five millimetre deep, it will take me.

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A long time. We can do less deep. You can still print perfectly well from its.

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So for those who are interested, they're there on the table as well.

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I was a few years later, I was sort of a breakfast in Germany and Darmstadt.

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That was in 2015 and I met with Eric Speakman, another important name in letterpress printing in Turkey.

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So both he and I brought our different tests that we had made by various suppliers

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in Europe and the U.S. and this enabled us to compare all these different things.

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And this is not a picture, by the way, from you can see the different materials from Duffy's and on the left.

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So this is left is Duffy right is the original five millimetre one.

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Back to Speaker one In Darmstadt.

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We came to Darmstadt and we spent an Easter weekend there talking about the future of the last tight family in Germany.

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But we also had time to talk about mood type. Now, here on the table, I photographed several things to some time.

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There's some time that was made. The light one on the left, the H two capital H was made by Hamilton in the United States.

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Eric was not too satisfied with how it was finished. The next one was made in North Germany.

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Then there's an original piece of Blackadder type, and this one was made in the south of Germany.

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And behind it you can just see the H2 there, made in Scotland.

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So we looked at all these different things discussed and came to one conclusion.

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Both, you know, there was one place in Europe where you had to get food to admit that was in Romania.

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There's a couple they're husband and wife who started making talk several years

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ago and they use Beechwood and they use a computer and it seems here her.

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And they deliver quality.

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Why Beachwood. Romania has got the largest forests of beech in Europe.

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When you go to IKEA and you buy these little kitchen stools that you stand on and these butcher blocks or wheels, that's all.

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Beechwood. That all comes from Romania. And these guys were able to buy all the cut offs of this factory.

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Everything that the factory didn't need went to the patricians. And the G here on the right is one that was made by Peter Sugar.

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They knew exactly what we wanted, what quality we wanted, and what they had to pay attention to.

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So by the end of 2014,

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I had started looking into the possibilities of getting a contemporary found made either or plastic or printed with a 3D printer.

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I've always admired the work of a Dutch designer called Martin Miller, and I like very much his design of a typeface called Serial.

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So I approached Martin and I said, Martin, I would like to get found made of wood type and I would like to do this area.

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And he immediately supplied me with a file of the typeface and I could send it off to get some samples with.

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And I had a few samples made in the Netherlands by the person who also did the large book.

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But by that time, it. Personal problems and was not paying a lot of attention to what he was delivering.

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He had all the equipment, but his mind was elsewhere. So each supplied me with something that we can see later in print that didn't stand up.

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I also sent something to Romania because I wanted to compare the two.

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And I got this parcel back from Romania. And I was stupefied how well it was cooked, how well it was finished, and how well it printed.

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And I decided to go with these guys in Romania.

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And I also had at that time the opportunity to observe and to check out some good tape made by not a Dutch designer called Mark for laughing.

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And this is some more of the sample from Romania.

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They did a full face and they did an outline. And there, again, it's on the table.

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So it is Mark from marketing that he did something similar. He took the typeface at the top and eroded it in plywood,

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but the plywood that they use is so soft that when he started printing, it immediately started breaking the way.

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And you can see that in the middle. So for me, it was clear, right, to pay a little bit more and then something that would break apart.

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The first time you put it on the press. So, Martin, Mary and myself, we were discussing all these samples and looking at all these different things.

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And he was also curious to see what is his digital type design, which will do a letter press.

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And he asked me a Thomas, can we do a test with my digital type in small on the left on a printing press.

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So I made a file and we got a photo polymer plate made and we printed with that.

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And here you can see Martin bent over the feeding table of the proof press looking at his 12 point type.

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And while we were looking at it and discovered that he had added a brand new typeface called Questa,

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and Questa is a family of typefaces that he designed with another Dutch time designing just both, and especially for the larger formats.

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They made a firmer version, a little bit heavier for each, of course.

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Quest I grounded. So I said to him, Hey, I like that a lot.

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That would be ideal for a bigger view type, rather than taking something that is normally small and large.

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It. I had in my collection.

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Some very nice 19th century German wool type.

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Now this was done on the Pendergraft lounger and the strokes are so thin there, the thickness of a hair.

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And when you put your type together, you can see a sort of an angled body.

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When you put your type together, you can see that he's very fine. He's very fine.

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Strokes. They connect nicely. Well, that is not what I was after.

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After something that fine that would stand up like that. So in the end I dropped Syria and I went instead for the question.

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So I sent a little email to the better schools in Romania.

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I said, Would you at all be able to do something like that, this fine.

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And they said to me, Listen, send us the file and we'll do a test.

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But they advised me to rotate to a shallower depth to avoid any problems with the world collapsing under the pressure.

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So this is the file that I send them. The little yellow blocks behind it indicate how they had to cut the individual pieces of Wu-Tang.

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And for The Descendants, I had to have a different size.

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So most of the characters were cut to 12 line 12 because 12 sit on the continent and everything that descends below the line was cut on 16.

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So you can easily combine it. They got to file.

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They got back to me. This is an image of the German tendency.

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This is everything in Germany. It's like even the size of the type of cases.

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Everything is standardised. Deutsch changed, you know?

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So. Here we are in Romania.

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These are the plastic boxes in which to keep the pieces of beach.

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And what they do is they put these boxes, they put a couple of racks with olive oil in it, and they close them.

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And that penetrates slowly but steadily in the boot.

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So the fibre becomes very nice and. Impregnated with oil.

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These are the ingredients that they used to finish. So you can see extra virgin olive oil is being used.

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Lots of it. They've got PUMAs powder, they've got shellac, they diluted in alcohol,

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they filled it with an old, old fashioned coffee filter, and they treat the roots like that.

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Before and after smoking. You can see what it does.

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It makes it darker. And here we are.

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Under the rotor. You can see they do the same thing as the guys in the Netherlands did.

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They cut a whole series of characters. They worked out.

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They've got they've created a computer program that works out how cost effectively.

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They can combine characters and they measure all the piece of wood that they've got in stock and they work out,

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okay, we can put that, that and that on it before even starting one.

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It's a close up. And as you can see now, they improve their technique because we had such fine strokes in this character.

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Normally when you root or something,

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the root a bit goes straight down and here they got a different route a bit and they gave it a little bit of a slope.

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So even the finest lines have got a stronger base, which is really nice.

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That's. That's my found that I ordered from them.

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That is, I'll give you an indication of price.

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This is about €900 worth of wood type.

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It's not cheap, but. It's extremely beautiful.

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A few weeks after I had sent my files, a box arrived from Romania and I thought, This is my phone.

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I've got it. My plan was to print a specimen sheet for the participants of a type symposium in Antwerp in the Plant Museum.

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However, when unpacked, several characters were missing. And I had to print my tape specimen.

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So I went ahead and. We will see some more close ups, actually.

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I put the tape on the press. I made a nice composition on my largest proof press, but some characters were missing, so I thought, Right, what to do?

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This is the capital. Q From the typeface. And then low and behold it came, a box came and I could finish my print just in time and many people saw it.

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So I got some reactions from different people all over the world.

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Somebody wanted even somebody wanted to write a book.

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Somebody else went to somebody wanted to be the. Q And yeah.

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And people saw it as elegant and sexy, but, you know.

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That is the designer who replaced.

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There were more than 10,000 likes on Facebook and I realised that it was going to be quite a successful project and.

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That had to start printing with it. So the first workshop that I organised with the new type was with the designer.

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He's standing third from the left and he's holding to be or not to be.

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That's the question. This is in my workshop in the centre of Amsterdam.

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And we were we spent the weekend working together, working out letter spacing and all that.

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This is done with it as well. The Q behind it is the italic hue.

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I had that cut in Perspex stuck to a piece of plywood and it's about that high and that's cool.

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And it resembles a little bit like a question mark and the little asterix that I cut out there, I put it in there.

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After having delivered the Christa Grounder to me, the alien tutor Petrushka from Romania contacted me again and asked if they could if

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they would be allowed to add it to the growing catalogue of available typefaces.

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I couldn't give them that permission, but I put them in touch with the designers and both parties came to an agreement.

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The designers will receive their rights when they sell the typeface in Romania.

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It's already being sold to different letterpress prints in Europe.

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I know of someone in Scotland who's ordered the full font. People in Sweden and other countries have already followed.

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So it is slowly but steadily becoming a success.

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Moral type. All along the quest a project I kept a lot of press world informed on the progress on Facebook.

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This led automatically to an exchange of information, questions and, of course, answers.

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I received visitors from all over the world in a workshop in the centre of Amsterdam and was happy to show the type and discuss with them.

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Among those visitors were Electra, Scott Richie and Andrea Fandetti from Slap in Rome.

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We had previously met during the annual press workers meeting in Milan.

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Over the years, Andrea and Elettra have been able to bring a large collection of Italian talk together,

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and they had become interested in the manufacturing process itself.

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They were lucky enough. To be able to spend a month in the U.S. where they had hands on experience at Hamilton Woodside I completely

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museum and to refresh Wisconsin that was last year that it travelled all through the month of July.

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They learned everything about that manufacturing during the week spent in the

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workshops and we're happy to share some of the photographs that they took.

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So we'll show you some pictures of this was taken that the slip when they were in deficit

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and these are some of the Hamilton has got the largest collection of petrels in the world.

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Dave Hamilton not only produced a lot of new typefaces themselves,

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but every time another manufacturer closed down or went bust, they bought all the patterns.

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So it's basically it's the history of American who type sits in Wisconsin.

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00:37:24,950 --> 00:37:32,720
So they've got all these little draws full of wood patterns and all the wood patterns have good indications on them for the people who manufacture.

330
00:37:33,020 --> 00:37:37,550
They're all numbered and they bring them out to make you type.

331
00:37:38,390 --> 00:37:43,580
You can see these are also routers, these patterns, but they're unfinished.

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I know. No lacquer, no financial, no nothing. This is the pattern and the results.

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00:37:54,180 --> 00:37:58,140
So more patterns lying on the worktop. You can see the amount of drawers behind them.

334
00:38:00,470 --> 00:38:03,530
This is a very coarse pattern. This is quite.

335
00:38:04,540 --> 00:38:11,290
Reason pattern. This was made for a manufacturer of garments, a brand of.

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00:38:13,150 --> 00:38:17,139
Garments and they wondered who type to print a poster with.

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00:38:17,140 --> 00:38:23,140
And this is a pattern. You can see it's cut in plywood and that's just been stapled to a thicker block of plywood.

338
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That's the router. We've seen this router already in the picture from the 1960s and it's still the same router.

339
00:38:33,370 --> 00:38:37,389
It's still going strong. It's quite easy to maintain.

340
00:38:37,390 --> 00:38:40,930
It's basically a couple of metal arms that move around.

341
00:38:41,020 --> 00:38:47,230
As long as you keep it oiled and it will function. It's sitting on a heavy metal slab and.

342
00:38:49,850 --> 00:38:57,440
You can see on the right, the large pattern on the left, a smaller character, because with the panel graphs, you can enlarge or reduce.

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00:39:01,010 --> 00:39:05,540
That's the hands of Andre was cutting.

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His own type. Andre again.

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With the April of George and the Patriot in the foreground.

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And you can see how small they can go on the left. There's a jack there and a clamp, the little block in there.

347
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And you go. Here's just a pattern with the indication.

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They're out of steam from above. So this gives you a very good idea of how the how works.

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Order out a bit seated on the right in the box. So they start with the pin, followed nicely the trail and they go smaller as well as well more.

350
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And that is a letter I was. Finishing a large s from Slap.

351
00:40:05,500 --> 00:40:16,900
Close up of the pin that follows the pattern. We go over to Slovenia.

352
00:40:22,380 --> 00:40:23,550
Purple Rain is also.

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Another of the participants of the letterpress works in Milan is Marco Bridge from Tipo studio Tipperary, Sunset and Luciano in Slovenia.

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Margo got somehow or the other involved with a research program on invasive and alien plant and tree species in Slovenia,

355
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which was co-funded by the urban innovative action. And they realised that some of these invasive trees were actually box elder maple

356
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and sugar maple species that American manufactures often used for the wood type.

357
00:40:59,730 --> 00:41:08,640
European manufactures often use cherry or pear. But finding tree trunks like China nowadays proves to be a problem because.

358
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Fruit trees are nowadays low. In the old days, they grew high and people would climb on a letter to pick the fruit.

359
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Nowadays, they're low.

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00:41:19,160 --> 00:41:27,400
They've got a machine that runs between the trees and they shake the fruit off so the trunks never get bigger than, say, ten, 15 centimetres.

361
00:41:27,410 --> 00:41:32,540
So if you want to make big food type. Impossible.

362
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Now you can make nice and small without, but you don't get that nice slap of 30 centimetre anymore.

363
00:41:41,190 --> 00:41:47,310
One of the partners in this project, the Department of Science of the Bio Technical Faculty of Louisiana,

364
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helped him make a selection of suitable butcher. Basically they cut down all these American trees in Slovenia because they're invasive.

365
00:41:58,220 --> 00:42:03,630
So Markle was told, Come around with your car and you can get a couple of trees.

366
00:42:03,980 --> 00:42:07,950
So up here he goes, a trailer behind his car and.

367
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Loaded up. Free root. He cut an inch slaps.

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And here you can see.

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These are some of the slabs that he cut and he realised after having cut them in slabs that you had to cut the slabs in half again,

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otherwise they would dry and it would kill them. So the trick was that he learned it when he went to visit the Hamilton people.

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They told him, Cut your slabs, chopped them immediately in half.

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Leave those half to dry. You don't get close to. You have to, of course, test for humidity.

373
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So there is. And he had to wait a few years. Sadly enough, very little information exists about new tech manufacturing.

374
00:43:00,930 --> 00:43:05,640
So he was also able to travel to the United States and he visited several people.

375
00:43:06,090 --> 00:43:10,020
He visited virtually one type in Rochester. More would type in Columbus.

376
00:43:10,440 --> 00:43:18,400
And you already mentioned Hamilton. By studying the specimens dare and talking to the few remaining people that still make them trip.

377
00:43:18,590 --> 00:43:22,970
He was able to push on with this project. But he needed a lot of equipment.

378
00:43:23,090 --> 00:43:31,700
He needed a block. Lefler, a machine to make the block exactly the same height throughout a machine like that weighs over 500 kilos.

379
00:43:32,090 --> 00:43:37,820
He also needed a circular latch, so to be able to cut it to typographical dimensions.

380
00:43:39,710 --> 00:43:43,160
And it took him some time, but he found the machines.

381
00:43:44,740 --> 00:43:50,410
Here in the foreground with that little white thing sitting on top of it is the lasso.

382
00:43:51,040 --> 00:43:54,339
And in the background, under the arch sits this enormous block.

383
00:43:54,340 --> 00:44:02,780
Lefler. Often these machines were discarded in the 1970s and eighties, and they ended up somewhere in the back of a garage and.

384
00:44:04,840 --> 00:44:07,930
The only thing that he was still didn't have was the graph router.

385
00:44:08,650 --> 00:44:14,950
And after another search for almost a year, he found a German built machine.

386
00:44:16,410 --> 00:44:19,440
An enormous machine built by a German company decal.

387
00:44:20,130 --> 00:44:28,900
These machines were also used in the industry to engrave little nameplates and plates that dude affixed to machines.

388
00:44:28,970 --> 00:44:34,020
You know, these plastic plates to join the door with you, with your name in it or your house number?

389
00:44:34,410 --> 00:44:39,420
They used bunting for all this, actually. And these machines are similar to what the manufacturers used.

390
00:44:40,290 --> 00:44:44,600
So we picked up one of those machines. And.

391
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He. Markle has promised to pass on his knowledge and all the stuff that he experience, all the problems that he experienced.

392
00:44:57,040 --> 00:45:06,550
So he's making it into a kind of a program so everybody gets involved and he gets also his students because he teaches in our school involved in this.

393
00:45:07,270 --> 00:45:12,250
So the start of making here here we see the his is Pendergraft, an elder.

394
00:45:12,280 --> 00:45:22,030
He has to invent basically everything for it. And he's made very interesting jigs using plywood again, and his patterns are made in Perspex.

395
00:45:22,570 --> 00:45:26,560
So he gets his students as well to design new contemporary typefaces.

396
00:45:26,950 --> 00:45:34,210
Then the laser of these typefaces in Perspex affix them to a woodblock and use that as a pattern to make a series of Vuitton.

397
00:45:39,430 --> 00:45:44,980
He's now so successful that he's considering making it commercially available, his type.

398
00:45:46,030 --> 00:45:50,230
But he is also aware of the fact that in order to be.

399
00:45:51,850 --> 00:45:56,830
Competitive with the manufactures of sea and sea around us that he has to lower its price.

400
00:45:57,310 --> 00:46:03,630
This is, of course, much more work than doing a sincere doubter, insincere after you put your block of material down.

401
00:46:04,090 --> 00:46:12,100
You push the button and the machine goes. And here you have to follow it three, four, sometimes five times, depending on the size of your type.

402
00:46:16,680 --> 00:46:24,000
You can see on the right he's following the Perspex pattern, and on the left he cuts a series of lowercase A's.

403
00:46:29,460 --> 00:46:36,980
So he'd been in the States. He had gone to the church and would type. Which and this is not a picture of his pattern.

404
00:46:37,350 --> 00:46:41,790
This is a. Uh, a character.

405
00:46:41,820 --> 00:46:45,750
It's a typeface that one of the students signed it. It's got all the accents for.

406
00:46:47,030 --> 00:46:50,180
The Eastern European languages as well.

407
00:46:51,180 --> 00:46:55,130
You'll see a small laser printout. He's got some ligatures.

408
00:46:55,640 --> 00:47:00,290
Question mark. Everything that you need for modern day typesetting.

409
00:47:10,130 --> 00:47:13,880
Virgin who died on one of his trips to the states he also visited.

410
00:47:13,880 --> 00:47:21,170
Fortune looked like Fortune would type was started by the late Bill Jones and his wife, Jeri McCormick.

411
00:47:22,250 --> 00:47:28,340
They were able years ago to acquire the Pendergraft route and the patterns that had been used by the American group type.

412
00:47:29,900 --> 00:47:35,240
Manufacturing company in 2009 and had started manufacturing type in 2010.

413
00:47:36,830 --> 00:47:42,740
The American roots are patterns include those from Acme Wood type, allied root type as well.

414
00:47:44,800 --> 00:47:53,530
And as AGW turned out to be the result of the British Stevenson and Blick products, some of these British patents were also included in the sale.

415
00:47:56,500 --> 00:48:02,950
The funding graph that is being used by America by Virgin type dates back to the 1950s and was custom

416
00:48:02,950 --> 00:48:13,659
built to mildew Woodside to type out its first code cut into billets or slabs of one inch one sizes,

417
00:48:13,660 --> 00:48:17,440
then send it to other sites, milled and finished with three coats of shellac.

418
00:48:18,190 --> 00:48:20,410
The next step is to cut these blanks.

419
00:48:21,550 --> 00:48:31,480
They use a Hammond collider trim or so the Hammond glider trimmer is on a circular saw that you would find in every print shop in the world.

420
00:48:32,360 --> 00:48:38,170
And because when you want to cut metal, type down or let slugs down, you use this machine.

421
00:48:41,630 --> 00:48:44,690
So searching who types? This is the workspace.

422
00:48:46,150 --> 00:48:52,780
Here. They've got these blanks ready. They cut them in different sizes for different type heights and different sizes.

423
00:48:57,060 --> 00:49:00,630
Nicely finished. Sea. Small. Medium, large.

424
00:49:02,400 --> 00:49:07,200
And they use patterns as well they could.

425
00:49:07,410 --> 00:49:12,660
They use the patterns slightly larger to what they do. They always go from large pattern to a smaller type.

426
00:49:14,770 --> 00:49:17,889
So you also have to know a little bit about what role to take.

427
00:49:17,890 --> 00:49:23,920
And often it is by years of experience that you know exactly when to do this kind of type on that project when they do that.

428
00:49:23,920 --> 00:49:30,880
And then Robert Bill, who had no previous experience in making you type and I had nobody around who could show me

429
00:49:30,970 --> 00:49:36,160
how to do this was in the process of discovering all the final nuances of manufacturing.

430
00:49:36,160 --> 00:49:46,870
Who type when you fell ill? Sadly enough, he passed away in 2012 with but before his death he was able to pass on everything,

431
00:49:46,870 --> 00:49:54,550
all his knowledge that he already had to his wife and his assistant and Jerry took over after his death.

432
00:49:55,600 --> 00:49:59,540
They were based in Rochester and they offer Victorian and contemporary design

433
00:49:59,540 --> 00:50:03,730
and they work with contemporary designers as well for new modern typefaces.

434
00:50:04,840 --> 00:50:09,820
So they've got brand new, exciting typefaces that have never been available in world before.

435
00:50:11,070 --> 00:50:15,240
And they work closely together with the P22 type foundry.

436
00:50:15,240 --> 00:50:21,150
The P22 type foundry is a digital type foundry, so these guys sell typefaces for the computer.

437
00:50:25,490 --> 00:50:31,380
Here. You can see on this picture, you can clearly see the small tools that they used to finish off to type.

438
00:50:31,400 --> 00:50:35,530
See there again, they've got a Jake the Clampett. And then they.

439
00:50:37,500 --> 00:50:40,780
Clean it. Before sending it off.

440
00:50:40,780 --> 00:50:43,360
They make what they call a carbon proof.

441
00:50:44,050 --> 00:50:50,320
You put a tape down on the back of the press, you put a piece of carbon paper, old fashioned cardboard paper, with the ink right up.

442
00:50:51,230 --> 00:50:55,250
We put a blank sheet of paper on it, pull it through the press, and you get an impression.

443
00:50:55,250 --> 00:51:02,180
And that allows you to check your type before sending it off and the customer will receive virgin muted.

444
00:51:02,210 --> 00:51:09,220
There's no ink on the type. Thank you very much.

445
00:51:09,760 --> 00:51:13,210
This was my little story about would I have been allowed?

446
00:51:13,720 --> 00:51:14,110
Thank you.