Letterpress Print Shop Sale Inventory

Here are the inventory and pricing for items from my letterpress shop. All items are as-is, where-is. Buyer is responsible for all rigging and transport. Click any thumbnail image for a full size photo. New items will be added as they are cataloged.

Are you looking for type casting equipment rather than printing equipment?

 

P1: Chandler & Price 12 x 18 New Style Platen Press, Serial Number D52769

P1

Very clean, well maintained press includes 3 chases, 1 set of very good rollers, 1 set of roller cores; several types of gripper fingers; appropriately sized tympan paper, pressboard and packing; roller rack; pony ink reservoir; counter; Recently restored and rewound 1HP Kimble motor with belt.

$750 SOLD

 

P2: Kelsey 5 x 8 Model U Hand Platen Press

P2

Late model in excellent condition. Includes 2 chases, 1 set or rollers which need to be recovered soon.

$500

 

P3: Kelsey 5 x 8 Excelsior Hand Platen Press

Early model in very good condition. Two roller hooks replaced. Includes 2 chases, 1 set or roller cores.

$500

 

P4: Chandler & Price 10 x 15 Ink Rollers

P4

Two sets of 3 rollers from  New Style Press ; one set good rubber, one set need to be recovered

Make offer.

 

P5: Chandler & Price 10 x 15 Chases

P5

Four chases available, all in excellent shape.

$20 each. TWO AVAILABLE

 

F1: Film Rack/Plate Rack/Drying Rack

F1

Metal top and frame; 10 wooden slatted-bottom drawers; 35″ w x 33″ d x 40″ h; drawers open from both sides. Very solid build.

$75

 

F2: Imposing Table

F2

Homemade wooden cabinet with tool drawer and galley storage; 27″ x 14.25″ metal stone.

$100 SOLD

 

F3: Large Furniture Rack

F3

Storage for furniture 10p through 120p, for 12 x 18 or larger press. Furniture included. Brass numbers. Very solid construction.

$125 SOLD

 

F4: Composing Stand

F4

Newer model slant top with 12  two-thirds sized job cases. Type not included.

SOLD

 

F5: Lead and Slug Cases

F5

Two racks covering 4p through 30p; loaded with material.

SOLD

 

T1: Panameric Hand Miterer

T1

Excellent condition.

$50

 

T2: Rouse Vertical Rotary Miterer

T2

Includes long guides not shown in picture. Very accurate.

$200 SOLD

 

T3: C.B. Nelson Cost Cutter Model C Printer’s Saw

T3

Excellent condition. Includes base cabinet, lamp, extended guide.

Make offer.

 

T4: Morgans & Wilcox 19″ Guillotine Cutter

T4

Repaired. Could use some adjustment. Includes base.

$75 SOLD

 

T5: Copy Press

T5

15.5″ x 20″ Platen

$50 SOLD

 

T6: Slug Cutter, Model ‘V’

T6

Basic tool gets the job done.

SOLD

 

T7: Solvent Plunger Cans

T7

Four different cans. One is NOS.

Make offer.

 

T8: Honeycomb Base, 5″ x 7.5″

T8

Two bases complete bases in new condition. No hooks included.

SOLD

 

Type: Jobbing & Display Fonts

Jobbing Fonts

The vast majority of these fonts are distributed into small cases, but are largely, if not entirely, unused. Font strength (quantity) varies. Sold by the pound.

 

Font Available Sizes Notes
20th Century Bold 12
20th Century Italic 8
20th Century Medium 8, 10, 12, 14, 18, 24
Alternate Gothic 14, 24, 30, 42
American Text, Figs & Points 14 Used foundry type
American Text 24 Used foundry type
Bodoni Bold 8, 10, 12, 14, 18 SOLD
Bodoni Italic 8, 12 SOLD
Bodoni Roman 10, 12 SOLD
Bodoni Ultra 14, 24 SOLD
Century Schoolbook 6, 10 6pt NOS
Cloister Black 12 NOS
Cursive 14
Engravers Roman #1 6
Engravers Roman #2 6, 12, 24
Eurostile 24
Franklin Gothic 8, 10, 12, 18, 24, 36
Franklin Gothic, Caps, Figs, Points 36
Kabel Bold 24
Lydian Bold 12, 24, 36
Modern Roman 8, 10 SOLD
News Gothic 8, 10
News Gothic CAPS 14
Spartan Medium 6
Spectrum 55 12 on 14
Swing Bold 18
Univers 53 30
Univers 55 8
Venus 10 Used foundry type

Letterpress Type Foundry Sale Inventory

Here are the inventory and pricing for items from my type foundry. All items are as-is, where-is. Buyer is responsible for all rigging and transport. Click any thumbnail image for a full size photo. New items will be added as they are cataloged.

Are you looking for printing equipment instead of type foundry equipment?

 

C1: English ‘Monotype’ Composition Caster, Serial Number 28345

C1

Late model 16 x 17 English composition caster with Unit shift, Unit adding, Quadding & Centering; Display Attachment, Lead and Rule Attachments, specialist tools. Overhauled Varigear drive motor (3-phase, 220 V, 60Hz) and electric pot (single phase, 220 V). Includes 7/8 pump and piston. Automatic ingot feeder. Lighting attachment. Suitable for casting up to 36 point.

Provenance: Woodside Press Brooklyn NY, who acquired it from Harry McIntosh of Speedspools, Edinburgh, Scotland.

$2,000

 

C2: English ‘Monotype’ Composition Caster, Serial Number 28562

C2

Late model 16 x 17 English composition caster with Unit Shift, Quadding and Centring. Comes with some specialist tools. Varigear drive motor (3-phase, 220 V, 60Hz) and converted to electric pot (single phase, 220 V). Automatic ingot feeder. Lighting attachment.

Provenance: Heritage Printers, Charlotte, North Carolina.

$900.00 SOLD

 

C3: English ‘Monotype’ Composition Caster, Serial Number 26096

C3

A 3-in-1 or ‘combination’ machine with old style gearbox. This machine is capable of casting composition and display, and can also be used to cast lead and rule (with proper attachment, available serparately). It was set up for 12 point composition when taken offline. Needs refurb and bull-gear repair, but complete; Electric pot.. Excellent compliment to C1 or C2 or as a parts machine.
Provenance: Woodside Press, Brooklyn NY, who acquired it from Mouldtype, Preston, UK.

$350.00, negotiable with purchase of C1 or C2.

 

C4: Lanston Monotype Keyboard Serial Number 11335

C4C4A

With 3 keybanks, various keybars, stop bars; justification spools

Provenance: Paul Deunsing, Georgia.

$400.00 SOLD

 

C5: English ‘Monotype’ Composition Caster Serial Number 28024. Parts Machine.

C5

Late model English compo for parts only. Fully disassembled; Nearly all parts except main frame, chassis, motor, pot, and some pneumatic lines.

Free with C1 or C2. SOLD

Provenance: Paul Deunsing.

 

CX: Monotype Parts

Caster Parts

And I mean parts. This photo is just a taste. Buyer(s) of C1, C2, and C3 will have fun with my parts bins.

 

C6: Lanston Monotype Caster Bridge, serial number #7xxxx

Alternative way to cast Lanston composition matrices on an English machine without replacing the centering pin in the English bridge.

$100 SOLD

 

C7: English ‘Monotype’ Constant Height Composition Moulds.

C7

Set of nine moulds, 5 point through 13 point. Very good condition.

$450 for full set. SOLD

 

C8: Lanston Monotype Composition Molds

SOLD

 

C10: English ‘Monotype’ Varigear Drive Motor

C10

Late model unit is excellent condition. Removed from a working machine.

$125

 

C11: Monotype Old Style Gearbox Parts

C11

Complete set of parts for rebuild or repair.

FREE with any caster purchase.

 

MCx: Composition Matrices

SOLD

 

MDx: Display Matrices

SOLD

 

Monotype Miscellany

Type pushers, etc.
Type pushers, etc.
Vitaflux
Vitaflux
Empty matrix cases
Empty matrix cases
Galley locks
Galley locks
Monotype display parts
Monotype display parts
Monotype centering pins and parts
Monotype centering pins and parts
Monotype parts
Monotype parts
Monotype tools
Monotype tools
Stopbars
Stopbars

SOLD

S5 wedges
S5 wedges

SOLD

Sorts mats and wedges
Sorts mats and wedges
Keybars, keybanks, justification spools
Keybars, keybanks, justification spools

SOLD

Complete composition for Centaur and Arrighi 252, 10pt and 12pt
Complete composition for Centaur and Arrighi 252, 10pt and 12pt

SOLD

Letterpress and Type Casting Items for Sale

The time has come for me to downsize my letterpress shop. I have too much equipment in my tiny shop and not enough space left over to pursue my varied creative interests. I still intend to maintain a print shop, but on a reduced scale.

While I have both printing and typecasting items on offer, this could be a particularly good opportunity for someone within driving distance of Lititz, PA to start or augment a small type foundry—as I’ve done you the favor or collecting high-quality Monotype equipment from all over the place. Or, to put it differently, a local sale would be very convenient for you and for me!

I’ll post inventory and asking prices here. In the meantime, here’s a run down of the key items…

Type foundry equipment.

  • One late-model British Monotype combination casting machine with unit-shift, unit adding, quadding and centring, display attachments, lead and rule attachment. Fully operational machine with electric melting pot and varigear drive from the famous Woodside Press in Brooklyn.
  • One rebuilt, late-model  British Monotype composition casting machine with display attachments. Fully functional machine with electric melting pot and varigear drive from the respected Heritage Printers in Charlotte, NC.
  • One British Monotype composition casting machine with electric pot and heavy gearbox. This unit came from the renown Mouldtype in the UK. Needs some work to be fully operational, but is complete.
  • Complete set of spare parts—enough to maintain the three good machines and still have enough left over to build a new machine from parts (well almost!).
  • Monotype composition keyboard.
  • A wide selection of keybars, stopbars and wedges.
  • All parts necessary to cast type from both Lanston (American) and Britsh monotype matrices (including a spare Lanston bridge, as well as virtually any type of foundry matrices. Several custom parts fabricated by Theo Rehak of the Dale Guild, who learned his craft at ATF.
  • All original Monotype tools: wrenches, spanners, pump piston extractor, microscope, spool winder, gauges. thermometer
  • Five gallons of original Monotype mould oil. (Really! It’s a lifetime supply.)
  • Moderate selection of casting matrices.
  • A few pigs of clean type metal. Couple hundred pounds of pi ready for remelt.
  • A mountain of documentation and manuals from 1916 though the 1980s.
  • 1930s Deckel pantographic engraving machine. Needs some work to be operational. (I was learning how to cut my own matrices, but just don’t have the time for it right now. SOLD.

Print shop equipment:

  • Chandler & Price ‘New Style’ 12 x 18 platen press. Belt-driven with 1 HP Kimble motor. Very clean and well maintained. Includes pony inker, three chases, 1 set of good rollers, spare set of roller cores.
  • Small Imposing table. Home-made but just right for this press.
  • Rouse Vertical Rotary Miterer
  • 19″ Morgans & Wilcox guillotine gutter
  • Kelsey Model U 5 x 8 hand platen press – like new, but rollers need recovering. Two chases.
  • CB Nelson Cost Cutter Model C printer’s saw.
  • Various hand tools of the trade.
  • Several sets of furniture and quoins suitable for small and large presses up to 12 x 18 or larger.
  • Two small manual proof presses
  • Copy press
  • Large variety of type in metal and wood
  • Flat files and ‘film’ cabinets/drying rack.

Monotype Composition Caster Parts

Some of you who attended the ATF conference in Terra Alta, WV a few years ago may remember my presentation on the ‘Monotype’ Disaster. In short, the first caster I acquired was damaged during shipping. I’ve had it in storage ever since, with the intention of using it as a parts machine. In the mean time I obtained three additional casters – two fully functioning and another for parts. The costs of storing these large machines has finally forced my hand and I will be disassembling it and offering caster parts from the original machine. In fact, the damage to the first caster – though mortal – was restricted to a a very specific area. Most of the late-model british composition caster are in pristine condition.

If you are in need of Monotype Composition Caster parts, please contact me. I am particularly interested in trading parts for composition and display matrices, as well as wedges, stopbars, keybars and other tools of the typecasting trade.

The Second Monotype Caster Project

My first casting session provided mixed results. On one hand, I am ecstatic that I finally made a solid piece of type in my own shop; but, on the other, that same casting session left me somewhat overwhelmed, in particular because the type that I cast did not match the copy that I typed in my first take at the keyboard.

After a good six hours at the machine I had decent type bodies and the machine was running smoothly, but character output was seemingly random! Wrong characters on this scale must be a product of a mismatch of Monotype keybars, keybanks, or stop bars. Perhaps a combination. One thing is clear from the notes that came with the Times New Roman: the mat case layout has ‘evolved’ over its lifetime!

The type I was hoping to compose and cast was Times New Roman, from English matrices at 0.030 drive for American (Lanston) composition machines. Naturally, I had forgotten about the fact that these were 30 thousandths drive, so I cast with a English Constant Height mould. You know what that means, right? It means type that is 0.898 inches height-to-paper, a full 0.020 inches below the standard of 0.918 inches for American and British types. Oops.

With so many complications, it seems wise to attempt something simpler, in hopes of finding a shorter route to sucess. I’ve decided, for my next project, to simplify considerably and cast display type. The type is 14-point Bold Antique, Lanston Monotype #144, a face drawn for ATF in 1904 by Morris Fuller Benton.1 I wanted to cast 14pt because it is the smallest size of display type and with that fact certain concerns associated with casting larger sizes are alleviated. 18pt and 24pt are probably the easiest for me to handle physically—not at all fiddly like smaller types, and you can still hold several words of the type between your thumb and forefinger—but those sizes are a little more intimidating to cast. Bold Antique, as the name indicates, is a very bold, slab serif face. It lacks most of the subtlety, modulation and fine detail you find in a typeface like Centaur, and for this reason, it should pose fewer problems in casting than would a face with sinewy extremities.

I purchased this particular font of mats from Rich Hopkins or Hill & Dale Press & Typefoundy when visiting as a student and Monotype University 5. The dirty old box has a typed paper label which reads “The Kitsilano Times’. I have yet to identify this former, probably newspaper, publisher.

Each Lanston Monotype display matrix shows four numbers on the front of the mat. These are 1) the Monotype Series Number, which identifies the typeface (in this case, No 144 is Bold Antique); 2) the point size; 3) the normal wedge position; 4) and the special justification wedge position. Together, the positions of the two wedges determine the width of the type body setwise, that is, parallel to the reading direction. The table below shows the wedge positions and resulting character widths for each character of 14pt Bold Antique. When casting display type, it is customary and wise to cast all characters of a given width in sequence, then move on to the next widest character. Not only does this approach ensure consistency and precision, is also provides the most efficient process simply because it incurs the fewest adjustments of the caster.

Bold Antique Series No. 144
Lanston Monotype Machine Company
Line Standard: 0.1532 inches
Abutment Screw Packing Piece must be in place for all sizes in this table
Wedge Settings Width2 Characters
.0075 .0005
4 4 .0623 ‘ ; , . : !
5 4 .0761 l i
6 2 .0865 - t
6 4 .0899 ?
6 6 .0934 j
7 2 .1003 f
7 4 .1038 s I
8 2 .1141 z
8 4 .1176 r e c
9 4 .1314 y v
9 6 .1349 o
9 8 .1383 x q p g d b a
10 4 .1453 u n h S J
10 6 .1487 k
10 8 .1522 0 1 2 3 4 5 6 7 8 9 $
11 2 .1556 Z L
11 4 .1591 C
11 6 .1625 T
11 8 .1660 E F
12 6 .1764 V Q P O G
12 8 .1798 Y B
13 4 .1868 w U N D A
13 6 .1902 X R
13 8 .1937 H
14 2 .1971 K
14 8 .2075 &
15 4 .2144 m
15 8 .2213 M
18 2 .2525 W

Today I continued setting up the Monotype Composition Machine for display casting. I have several sources that detail the procedure of switching a comp caster over to display work…for both British and American machines. My 1916 Lanston edition of Casting Machine Adjustments is the most illustrative and breaks the process down into discrete steps.

This is the first time I’ve converted a caster from comp to display. Having completed the process, I am left wondering how difficult it will be to switch it back. While most of the adjustments are very simple 3, adjustments to the pump where a bit trickier for me. I didn’t take notes on previous positions of a few parts, and now that they’ve been adjusted, I cannot precisely reverse those adjustments.

Cast a blank matrix in the 15-8 position. Or maybe 16-8. A wide type…consistent and fairly solid, but with a little flash around the head. I attributed this to matrix wear, but now also believe that the metal was been too hot…720°+, if my auxiliary thermometer is properly calibrated (and it is indeed suspect).

The very first type bodies looked fairly good, well-formed and solid, but they got worse as time passed, first showing small blisters on the sides near the foot. The machine was splashing a good bit and a significant build-up of solidified type metal was forming on the underside of the mould stand. I reviewed the adjustments to pump as described in Casting Machine Adjustments and the later British The Monotype Casting Machine. While fiddling with the pump adjustments I realized that I still do not have a solid understanding of the mechanics of the Monotype pump, particularly when it comes to casting display type.

I put the cap ‘E’ mat in the holder and set the wedges to 11-8, which should result in a type measuring 0.1660 inches, setwise. After a few characters emerged with an overhang on both sides, it was obvious that I had set the wedges incorrectly. Was the gauge reading to be taken on the left edge or the right edge of the transfer wedge operating rod guide? Hmmm.

When I was sure that I has re-set the wedges correctly, I started the machine a cast a few short lines. I could see from the way the characters leaned in the type channel that there was still an overhang on the type. Indeed there was—but this time the overhang was only on one side and there appeared to be enough room on the body to accomodate the entire face and beard of the type. Good news.

From my experience at Monotype University as well as the numerous books I poured over in the last few years I’ve learned a little something about aligning the face of type to the type body. It turns out: I need a serious review! Though I managed to align the type using only the centering pin adjustments, the whole time I felt there was something else I should have adjusted first. More on that later.

Looking at this cap ‘E’ it was clear that the body was now too wide; the actual width 0.1854 inches, not 0.1660 that the 11-8 wedge setting should provide. Could I have set the wedges incorrectly again? As yet, I have not answered this question. In my next trip out to the foundry, I hope to resolve the 0.0194 inch difference in the set width. Something simple.

One final measurement gives some idea of the age and wear of both the type mould and the matrices with which I am casting. The height of the type, or height-to-paper, is a mere 0.9165+/-0.0005! Nominally “type-high” is 0.918 inches. More precisely, the standard is 0.9186 inches4.

References

1. McGrew, Mac. American Metal Typefaces of the Twentieth Century, 2ed., pp 44, 1993, Oak Knoll, New Castle DE.
2. Widths derived from “Display type wedge positioning” in ‘Monotype’ Composition Caster Manual, Volume 2, Part 37, Table 37.4, 1970, The National Committee of Monotype Users’ Associations with The Monotype Corporation Limited, London.
3 e.g. swinging the display gag block into position so that the centering pin lever picks up the transfer wedge shifter up on every cycle of the machine…only type is cast…no spaces.
4From the glossary entry for “height-to-paper” in The Monotype System, Lanston Monotype Machine Company, 1916 Philadelphia.

New Life in the Typefoundry

I’ve made time lately to work on setting up the typefoundry. Quite a lot has happened since the ‘Monotype’ caster from Heritage Letterpress made its way here—though most of the big changes have taken place just since May of this year.

First, I acquired two more ‘Monotype’ casters from former foundry at Woodside Press in Brooklyn NY. One machine—a late model composition machine in very nice shape—is equipped with many of the later attachments including unit shift, unit adding, quadding and centering, plus a display attachment and a lead and rule attachment (all the things Theo Rehak would tell me to throw away!). The second machine is an old-style display caster with the big gear box; it came originally from Mouldtype in the UK.

These two new type casters arrived to a cramped shop, but there would have been no room at all had I not moved out the wrecked Duensing machine, which despite its potential as a display caster will become a source for very fine parts,…at least for now. The first part to come off was the electric pot. I put it on the comp from Heritage in exchange for it’s gas-fired pot. I’m a very glad not to have to deal with gas in this small shop.

With just enough space created and the new machines roughly in position, I turned my attention back to the electricity and the self-contained water cooling system I started building last year.

Photos and more of the story will come shortly…

The electrician came by to wire the motor of one of the new monotype machines and both of the electric pots. He and his assistant also connected two original Monotype work lamps that bolt onto the rear of the machine. Very illuminating…and very authentic looking!

I now have a working version the self-contained water cooling system—I guess you’d call it a prototype. While it is a loose tangle of hoses and copper tubing, the thing does work, that is to say, it moves a controlled flow of water through the caster and type mould. I have not yet tested it in a sustained casting session in order to demonstrate it’s cooling effectiveness. Once proven, I will hopefully find the time to build a compact structure to allow mobility and easy access to the main valves.

Typecount

function show_form($errors = ‘A’) {if ($_POST[‘_submit_check’]) {$defaults = $_POST;}
if ($errors) {$error_text = ‘

  • ‘;$error_text .= implode(‘
  • ‘, $errors);$error_text .= ‘

‘;}
else {$error_text = ”;}
include ‘form.html';}
notextile. function validate_form() {$errors = array();
if (strlen($_POST[‘textsource’]) == 0) {
$errors[] = ‘Please enter some text for character counting!';
}
if (strlen($_POST[‘textsource’]) > 64000) {
$errors[] = ‘Your text file is too large!';
}
return $errors;
}

function print_range($list,&$array) {

// print a table of characters from $low to $high. If the character is a key of $array, then its corresponding value is printed
// By reference, the array has all matched key=>value pairs removed

print “

\n”;// loop thought the supplied range
// alternate: foreach (range($low,$high) as $glyph) …
foreach ( $list as $glyph) {

// print “

“;
print “

\n”;
}

print “

“;
print “
“;// print the character

print $glyph;
print “

“;
print ord($glyph);
print “
“;// if character exists print it and the number of occurances, then remove from array

if (array_key_exists($glyph, $array)) {
print $array[$glyph];
unset($array[$glyph]);
} else {
print “-”;
}

print “

\n”;

}

function process_form() {

//This function is the core of funtionality
//Probably could be separated into smaller functions

//global $charlist;
$textsource = $_POST[‘textsource’];
$textsourcecopy = $textsource;

//
// BEGIN Count and remove ligatures
//

// Set up arrays

$base_ligs = array(‘ff’,‘fi’,‘fl’,‘ffi’,‘ffl’,‘ct’,‘st’,‘ae’,‘oe’);
$chosen_ligs = array();

//get ligs selected from the checkboxes, avoid grabbing other form properties

foreach ($_POST as $key => $value) {
if (in_array($key,$base_ligs)) {
$chosen_ligs[] = $value;
}
}

// Convert ligs typed by user into an array, then add all ligs together
$typed_ligs = explode(” “,$_POST[‘userLigatures’]);
$all_ligs = array_merge($chosen_ligs, $typed_ligs);

// sort the chosen ligatures by length
// create a new associative array where (key = ‘ligature’) and (value = length of ‘ligature’), then sort it
$user_ligs = array();
foreach ($all_ligs as $lig) {
$user_ligs[$lig] = strlen($lig);
}
arsort($user_ligs);

// Count and remove the ligatures

foreach ($user_ligs as $testlig => $length) {
// count occurances, then remove each occurance
$charlist[$testlig] = substr_count($textsource,$testlig);
$textsource = str_replace($testlig,”“,$textsource);
}

// Count and remove all remaining characters

while (strlen($textsource) > 0) {
// Grab one char from start of source
$testchar = $textsource{0};
// count occurances, then remove each occurance
$charlist[$testchar] = substr_count($textsource,$testchar);
$textsource = str_replace($testchar,”“,$textsource);

}
//
// END Count and remove ligatures
//

print <<

HTMLBLOCK;

//
// BEGIN Sort and print results
//

// Gather & print basic facts about text
$totalchars = strlen($textsourcecopy);
$totalwords = str_word_count($textsourcecopy);
$avgword = round($totalchars / $totalwords);
print ‘Total number of characters: ‘.$totalchars.’
‘;
print ‘Total number of words: ‘.$totalwords.’
‘;
print ‘Average word is ‘.$avgword.’ characters.’;

// Sort the characters, which are array keys, remember?
ksort($charlist);

$lowercase = range(‘a’,‘z’);
$uppercase = range(‘A’,‘Z’);
//$userlig = selections via interface
$points = explode(” “,”. , : ; – ‘ \” ! ? & * < > ( ) [ ] { } $ # @ % / | \\”);
$figures = explode(” “,“0 1 2 3 4 5 6 7 8 9 0”);

print_range($uppercase,$charlist);
print_range($lowercase,$charlist); // All lowercase printed and removed
print_range($points,$charlist);
print_range($figures,$charlist);

// Print all remaining glyphs
print “

\n”;
foreach ($charlist as $glyph => $count) {
print “

“;
}
print “

“;
print $glyph;
print “
“;
print ord($glyph);
print “
“;
print $count;
print “

“;

}
//
// Begin main logic
//
if ($_POST[’_submit_check’]) {
// Form was submitted, time to validate
if ($form_errors = validate_form()) {
// There are errors, redisplay from with error messages
show_form($form_errors);
}
else {
// No errors, go ahead and process it
process_form();
}
}
else {
// Form was not submitted, time to print it
show_form();
}

//
//
// END main logic
//

Typecount: an aid to the letterpress printer

Have you ever wanted to typeset and print a passage of text in a particular face, but knew you had only a limited quantity of the type? Or, have you wondered if a single 12A 25a font would be enough type to finish composing a small job? Just curious how much type it would take to print The Gettysburg Address? For the seasoned printer, the answers to these questions may be a matter of ‘horse sense’, but for students of lettepress printing like me, a little help is in order. I created Typecount to address this simple need. It is a rudimentary application written in php.

What Typecount does

Typecount counts the characters in a passage of text; but, of course, anyone can do that with a run-of-the-mill word processing application. What is unique about Typecount is that it can count characters as if they were individual pieces of metal printing type. At your discretion, typecount will consider ligatures, dipthongs, quaint characters, or any other characters that you designate as a single piece of type.

If you are printing an old style type, say Caslon with quaints, check the boxes for ct and st and Typecount will count them as psingle pieces of type. Only after it has counted these quaint ligatures will it go on to tally up the remaining c’s and s’s and t’s.

Typecount will also consider any string of characters that you designate in the “Additional Combinations” textbox. For example, I have an ample supple of Qu ligatures in my case of 14-point Monotype Garamond 156, so I would include it in my query.

Try Typecount, the character and ligature counter for letterpress

Support for the long-s is coming soon!

12/23/07 I recently learned that some visitors are receiving errors when they attempt to use Typecount. I haven’t updated it a good bit, so I will try to work on it soon. – Ian Schaefer.

Letterpress on the Web

Now that my website has been re-invigorated—if not beautified—I want to diversify and focus a bit in hopes of better leveraging my interests and skills. ‘Diversify and focus’ sounds somewhat contradictory, but the idea is to develop a few websites that address specific aspects of letterpress printing. By creating targeted content, each site should rank high for specific, related search terms, thereby generating highly qualified, but probably fairly light traffic. Each could become a platform for a community, for services, and for targeted advertising. Creating interest, building traffic and participation will, in turn, help to further develop the content. And so on.

The letterpress printing community already has a small number options on the Web, like Briar Press, LetPress, PPLetterpress, and the recently launched Typecasting Mailing List.

My new letterpress adventure begins with this site about letterpress type. Not much there yet, but it will grow.