Our Insect Friends and Foes and Spiders [Piece of Type Set]

Washington DC: The National Geographic Society, 1935. Presumed First Production item. Ephemera. Very good. This is an item of type set of the title of this National Geographic Society book. Typesetting is the composition of text by means of arranging physical types or the digital equivalents. Stored letters and other symbols (called sorts in mechanical systems and glyphs in digital systems) are retrieved and ordered according to a language's orthography for visual display. Typesetting requires the prior process of designing a font (which is widely but erroneously confused with and substituted for typeface). One significant effect of typesetting was that authorship of works could be spotted more easily, making it difficult for copiers who have not gained permission. This would be an exceptional addition to an exhibit or collectible display on the National Geographic Society, printing, and/or technology. The time and effort required to manually compose the text led to several efforts in the 19th century to produce mechanical typesetting. Most of the successful systems involved the in-house casting of the type to be used, hence are termed "hot metal" typesetting. The Linotype machine, invented in 1884, used a keyboard to assemble the casting matrices, and cast an entire line of type at a time (hence its name). In the Monotype System, a keyboard was used to punch a paper tape, which was then fed to control a casting machine. The Ludlow Typograph involved hand-set matrices, but otherwise used hot metal. By the early 20th century, the various systems were nearly universal in large newspapers and publishing houses. In printing and typography, hot metal typesetting (also called mechanical typesetting, hot lead typesetting, hot metal, and hot type) refers to technologies for typesetting text in letterpress printing. This method injects molten type metal into a mold that has the shape of one or more glyphs. The resulting sorts and slugs are later used to press ink onto paper. Two different approaches to mechanising typesetting were independently developed in the late 19th century. One, known as the Monotype composition caster system, produced texts with the aid of perforated paper-ribbons, all characters are cast separate. These machines could produce texts also in "large-composition" up to 24 point. The Super-caster, another machine produced by Monotype, was similar in function to the Thompson, Bath, pivotal and others casters but designed to produce single type (including even larger sizes) for hand setting. The other approach was to cast complete lines as one slug, usually comprising a whole line of text.

The key feature of the Linotype is the use of molds which circulate through the machine in its various stages of operation. One type is a space band (a special two-part sliding wedge) and the other is a letter matrix made of brass. The matrices are stored in one or more magazines on top of the machine (providing the operator with a choice of fonts; these can also be exchanged with other extra magazines as desired) while the space bands are stored in a box closer to the keyboard. Once a key is pressed, the matrix passes through what is known as the ‘assembler front', down past a rotating fiber reinforced wheel (known as the star wheel) and into the ‘assembling elevator' which serves the same purpose as the hand compositor's stick. When the space band key near the keyboard is pressed, one of the space bands drops out of the box and almost directly into the assembling elevator. The assembling elevator (or more commonly just the ‘assembler') is adjustable for different lengths of line (in picas). Once the line approaches its correct length, the operator is made aware of this by a bell or other indicator. If the line is ‘loose' or too short, there is too much ‘white space' for the space band wedges to fill out the line, and the matrices could possibly turn sidewise or fail to seal against each other as the machine prepares for the casting operation. If the line is ‘tight' or too long, the elevator carrying the matrices and space bands will not seat properly in front of the mold slot. Both the Linotype and Intertype machines have two important safeties that act during the casting operation—the ‘pump stop', which comes into play on loose lines, and the ‘vise automatic', which comes into play on tight lines. Both scenarios, if not stopped by these safety features, usually result in a "squirt" of molten type metal, encasing the matrices and the elevator in metal in the process. Not only is it time-consuming to clean up after a squirt, a tight line usually has not come down far enough to mate with the slots on the mold face, resulting in damage to the matrices. Therefore, it is considered very poor form for an operator (or the machinist who cared for the machine) to permit this to happen. When the line is assembled to the correct length, the operator presses down on a lever which raises the assembling elevator up into the delivery channel and starts the automatic casting cycle. The delivery channel transfers the matrices out of the assembler and into the first elevator. The first elevator then descends to a position in front of the mold, and if the elevator has not descended fully by the time the machine starts the process of aligning the matrices (most often caused by a ‘tight' line), the first of the two safeties—the vise automatic—brings the machine to a full stop before the supporting lugs on the matrices are crushed by the mold. Once the matrices are in proper position, two actions take place in sequence: the matrices are aligned vertically and face-wise while a bar rises from below to force the movable sleeves on the space bands upwards to cause them to fill out the line to the exact width of the mold. If the justification bar has made a full cycle and the line is still not fully justified, the second safety—the pump stop—prevents the plunger in the metal pot from going down. The space bands were an important feature of this machine, providing automatic justification of each line by equally adjusting the white space between each word. Since the type used was proportional and not fixed in width, solving this justification problem mechanically was very important. Some later models had a feature that permitted the lines to be cast with the alignment to either left, right or centered. Operators running earlier models would use special ‘blank' matrices (in 4 sizes) to manually create the proper amount of whitespace beyond the space bands' range.