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Diagram of a cast metal sort. a face, b body or shank, c point size, 1 shoulder, 2 nick, 3 groove, 4 foot.
Metal type sorts arranged on a composing stick

In physical typesetting, a sort or type is a block with a typographic character etched on it, used—when lined up with others—to print text.[1] In movable-type printing, the sort or type is cast from a matrix mold and assembled by hand with other sorts bearing additional characters into lines of type to make up a form, from which a page is printed.

Background

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From the invention of movable type until the invention of hot metal typesetting, printed text was, for the most part, created by selecting sorts from a type case and assembling them line by line into a form used to print a page. When the form was no longer needed all of the type had to be sorted back into the correct slots in the type case in a very time-consuming process called "distributing". This sorting process led to the individual pieces being called sorts. It is often claimed to be the root of expressions such as "out of sorts" and "wrong sort", although this connection is disputed.[citation needed]

During the hot metal typesetting era, printing equipment used matrices to cast type as needed during the typesetting process. The popular Linotype cast entire lines of text at once rather than individual sorts, while the less popular competitor Monotype still cast the sorts individually. Later, when phototypesetting replaced hot metal typesetting, sorts disappeared entirely from the mainstream printing process.

See also

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References

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Further reading

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Sort (typesetting)

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In typesetting, particularly in the era of , a sort is an individual piece of metal or wood type bearing a single typographic character, such as a letter, numeral, or mark, with the character raised in relief for inking and impression onto paper. These sorts were selected and arranged by hand by compositors to form words, lines, and pages of text, forming the foundational unit of printing from its in the mid-15th century until the widespread of digital methods in the late . The term "sort" for an individual type character is used in 17th-century printing , such as Joseph Moxon's Mechanick Exercises on the Whole Art of (1683). The use of sorts originated with Johannes Gutenberg's development of around 1440 in , where individual characters were hand-cast from an alloy of lead, antimony, and tin using simple molds, allowing for reusable and interchangeable printing elements that revolutionized book production. Early type founding separated from printing as a distinct in the 17th century, with sorts stored in shallow wooden cases divided into upper (for capitals and less-used characters) and lower (for small letters and frequent sorts) sections, a layout standardized by the 1680s. A complete assortment of sorts of one size and style, including letters, figures, spaces, and , constituted a font, typically containing hundreds of pieces to set multiple pages without depletion; shortages of specific sorts led to the idiomatic expression "out of sorts," meaning irritable or unwell, originating from the of running low on needed characters during composition. Production of sorts evolved from manual hand-molding—using levers to pour molten metal into engraved matrices, as refined by inventors like Archibald Binny in 1811—to mechanized casting machines in the 19th century, beginning with David Bruce's automated caster patented in 1838, which dramatically increased output and uniformity for commercial foundries. Later innovations, such as the Thompson Type Caster (1907, up to 48-point) and Monotype Super Caster (1928, up to 72-point), produced fully finished sorts, supporting larger display type and reducing labor-intensive dressing (filing and grooving). Sorts remained central to hot-metal systems like Linotype (1886) and Monotype (1897), which cast entire lines or individual characters on demand, but their role diminished with the advent of in the 1950s and digital by the 1980s, rendering physical sorts obsolete in modern workflows. Today, sorts persist primarily in letterpress revival among artists and hobbyists, preserving techniques from an era when precise character alignment defined textual clarity and aesthetic harmony.

Definition and Overview

Core Concept

In traditional typesetting, a sort refers to an individual piece of type, typically cast in metal but also including wooden variants, consisting of a small rectangular block with a raised character—such as a letter, numeral, mark, or —on one end, designed for inking and pressing onto paper to reproduce text. These sorts were typically cast from an , with the character in to ensure uniform impression during printing. Sorts function as the fundamental building blocks in systems, where compositors arrange them into lines and pages that can be disassembled and reused after , thereby enabling the efficient of books, pamphlets, and documents. This modularity allowed for rapid replication of text without recarving entire pages, transforming the dissemination of knowledge from labor-intensive manuscript copying to scalable mechanical reproduction. While "sort" denotes a single unit, it differs from "type," the broader term encompassing the entire apparatus or the collective metal characters, and from "font," which describes a complete assortment of sorts sharing the same design style, size, and weight for consistent typographic use. The concept of sorts traces its origins to Gutenberg's mid-15th-century innovations in , where his development of reusable metal characters laid the groundwork for modern printing.

Physical Characteristics

A sort in typesetting is a small, precisely engineered block designed for assembly in printing formes, with standard dimensions ensuring uniformity across impressions. In American and British standards, the height from the foot to the face measures exactly 0.918 inches (23.32 mm), allowing consistent alignment when set in a composing stick or chase. The body, or shank, forms the main rectangular prism, with dimensions standardized in height and depth but varying in width, measured in points (1 point ≈ 0.0138 inches), while the face bears the raised character or blank surface, and the feet provide a flat base for stable stacking. The following describes metal sorts, the most common; wooden sorts, used for larger display types, are carved from wood blocks and lack the same metallic precision but share similar organizational principles. Key anatomical features facilitate precise handling and assembly. The , a sloped transition between the face and body, prevents ink buildup and aids smooth insertion into lines without snagging adjacent sorts. Nicks, small indentations on one side of the body, serve as tactile and visual cues for correct orientation, ensuring the face always points upward during composition. Serifs, the short strokes extending from character extremities on the face, contribute to visual stability by guiding eye flow, particularly in serifed typefaces like those derived from early punchcut designs. Sorts vary by function to support text layout and justification. Letter sorts feature individual glyphs or symbols raised on the face for inking and , while space sorts are thin, blank blocks (e.g., en or three-to-em widths) used for to maintain even line lengths. Quads, square spacers matching the em width of the typeface body, provide adjustable blank areas for paragraph indents or line endings, with em quads being the largest standard variant for broader separations. Quality in sorts directly influences print fidelity, with wear resistance determined by the alloy's hardness balance—typically allowing up to 500,000 before noticeable degradation on the face. Imperfect , such as uneven metal flow or inclusions, results in irregular face heights or surfaces, leading to blurred or inconsistent ink transfer and reduced clarity in printed output.

Historical Development

Origins in Movable Type

The invention of sorts in the context of printing is credited to , who around 1440 in , , developed a systematic process using a punch, matrix, and adjustable mold to cast reusable metal type pieces from a lead-tin-antimony . This innovation allowed for the of identical, interchangeable sorts—individual raised characters on rectangular metal bodies—that could be arranged into lines and pages for printing, marking a shift from laboriously hand-copied manuscripts to mechanized reproduction. Gutenberg's system culminated in the production of the , completed in late 1455, recognized as the first major book printed in using movable metal type and demonstrating the scalability of sorts for complex, multi-volume works. Prior to Gutenberg's metal sorts, printing in relied primarily on woodblock techniques, where entire pages were carved in reverse onto wooden blocks for inking and pressing onto paper. In during the (960–1279), woodblock printing flourished for texts like Buddhist sutras. Although woodblock dominated, the also saw early experiments with , such as Bi Sheng's ceramic characters around 1040, which were not widely adopted due to the complexity of Chinese script. In Korea, printers produced woodblock editions of the primarily during the 13th century (1236–1251), following an earlier incomplete attempt in the 11th–12th centuries (1011–1087), involving thousands of massive blocks for comprehensive canons. Metal sorts offered key advantages over these woodblock methods: greater durability, as the types withstood repeated use without warping or wearing as quickly as wood, and enhanced , enabling the rapid casting of thousands of identical pieces to compose varied texts without recarving entire pages. The adoption of sorts spread rapidly across through itinerant printers who carried the technology from to other cities, establishing presses in over 280 locations by 1500 across approximately 20 modern countries, with , , and as leading centers. This dissemination fueled an during the , producing an estimated 15 to 20 million book copies from around 35,000 editions, vastly increasing access to in fields like , , and . Despite these advances, early use of sorts presented significant challenges, including the labor-intensive process of sorting and selecting individual pieces from cases—requiring skilled compositors to handle hundreds of variants like ligatures and abbreviations for precise justification. Printers also needed large inventories of sorts to compose multiple pages simultaneously without delays, as seen in the Gutenberg Bible's production, which demanded about 4 million characters and strained resources in small workshops.

Evolution Through the 19th Century

The introduction of mechanized type casting marked a pivotal shift in sort production during the early , transitioning from labor-intensive handmade methods to automated processes that dramatically boosted output. In 1838, David Bruce Jr. patented the first commercially successful type-casting machine, known as the pivotal caster, which used a hand-operated mechanism to pour molten metal into molds aligned by punches and matrices. This innovation allowed foundries to produce sorts at rates far exceeding manual casting, where a skilled caster might create only a few hundred pieces per day, enabling the machine to achieve thousands per hour in later refinements and supporting the growing demands of the expanding print industry. Standardization of type measurements emerged as a key advancement to facilitate interchangeable sorts across foundries and presses. Pierre-Simon introduced the point system in 1737, defining type sizes as multiples of a "point typographique," approximately 0.375 mm, based on the French Paris inch divided into 72 points. In the late 19th century, this system was refined and adopted in the , where Nelson C. Hawks proposed a version in 1879, leading to the national standard set by the United States Type Founders' Association in 1886, establishing 72 points to the inch (0.013837 inches per point) for consistent sizing in picas and ems. This uniformity reduced errors in composition and enabled scalable production, with examples like pica body defined as 12 points high. The also saw the proliferation of diverse type families, including and decorative sorts, to meet evolving needs such as bold headlines in newspapers and advertisements. British foundry played a leading role, issuing early designs like Doric (reissued from 1816 origins in 1870) and developing originals such as Grotesque No. 6 in 1880 and No. 5 in 1881, which offered clean, legible forms without serifs for modern applications. These innovations expanded beyond traditional roman and italic faces, incorporating condensed and extended variants to support high-volume news and illustrative . Mechanized production and lowered sort costs significantly, fostering widespread and the democratization of print media in the United States. Type prices, for instance, fell from $0.56 per pound for pica in 1866 to $0.32 by 1893, making materials more accessible to smaller printers and publishers. By the , U.S. type output had surged, with 36 active foundries supplying vast quantities to support over 11,000 newspapers and periodicals, contributing to rates rising from about 80% in 1870 to over 90% by 1900 through affordable books, pamphlets, and educational materials. The 1892 merger forming American Type Founders consolidated 23 foundries representing 85% of domestic production, underscoring the scale achieved.

Manufacturing Process

Casting Techniques

The production of sorts in traditional typesetting began with punch cutting, where a punchcutter engraved the of a character onto the end of a piece of annealed using gravers and files, followed by hardening the punch through tempering to withstand repeated use. This punch was then struck into a softer metal block, typically or , to create a matrix—a sunken impression of the character that served as the mold's core. The matrix was filed along its sides and face to ensure precise fit within the casting mold and to restore any distortions from the striking process. In the hand casting method, the matrix was inserted into a adjustable hand mold, often made of or , with the mold's components secured by screws to define the type's body dimensions. The caster held the mold at an angle, typically around 50 degrees from vertical, and poured molten — an of lead, tin, and —from a ladle into the mold's chamber through a small . After a brief cooling period, the type was ejected, and the process repeated for each sort, allowing for the production of 4,000 to 6,000 sorts per day by skilled founders using traditional molds. The transition to machine casting in the late 19th century, exemplified by foot-powered devices like the Thompson Type Caster introduced in , automated much of this labor, enabling casters to produce up to 10,000 sorts per day. These machines used similar matrices but mechanized the pouring and ejection, with the Thompson model capable of 13 to 26 sorts per minute in sizes from 6 to 36 points. in both hand and machine processes focused on achieving uniform type height to the printing plane and proper alignment via nicks on the type body, ensuring compatibility in composition. Common defects included imperfect casts known as slugs—protrusions or excess metal jets from uneven pouring—which were corrected through post-casting dressing: filing away irregularities, rubbing the face for smoothness, and inspecting for alignment. Founders discarded or remelted defective sorts to maintain precision, as even minor variations could disrupt uniformity.

Materials and Durability

Sorts in typesetting were primarily composed of , an blending lead (70-90%), (10-20%), and tin (2-5%) to achieve a balance of low for easy —typically around 240-280°C—and adequate hardness to withstand printing pressures. The lead provided the bulk and fluidity, while enhanced durability by increasing hardness and reducing expansion during solidification, preventing defects in the cast characters; tin further improved castability and sharpness of the relief face. This composition allowed sorts to be produced efficiently via hot-metal processes, with variations in proportions tailored to specific machines like Linotype (84% lead, 12% , 4% tin) or Monotype (72% lead, 19% , 9% tin). Early sorts occasionally employed simpler materials such as pure lead, which offered a lower but lacked sufficient for prolonged use, or for specialized elements like rules and ornaments due to its corrosion resistance and machinability. Over time, the standard shifted toward stereotype metal, a harder variant of with higher content, to support high-volume by forming durable plates from molded compositions rather than individual sorts. This prioritized longevity in industrial settings, where repeated impressions demanded resistance to deformation. Durability challenges arose from mechanical wear during inking, where particles abraded the face, and from press pressures that caused deformation, leading to "battered" sorts with distorted characters that produced imperfect prints. Depending on the alloy's , a single sort could endure 100,000 to 500,000 impressions before requiring replacement, with softer compositions wearing faster in high-pressure runs. To extend , print shops implemented by melting down worn or damaged sorts in a pot or furnace, then recasting them into new type, which conserved resources and minimized waste in an era of resource-intensive production.

Practical Usage

Type Composition

Type composition, also known as hand-setting, involves the manual assembly of individual metal sorts into lines of text, which are then organized into pages for . This labor-intensive process requires precision and familiarity with tools such as the , a handheld adjustable metal tray used to hold and measure lines of type. The compositor typically holds the stick in the left hand for right-handed workers, setting lines left-to-right, inserting sorts face-away from the compositor and nick-up to ensure proper orientation when printed. The workflow begins with the compositor selecting sorts from a , often memorizing layouts like the , which organizes lowercase letters, capitals, figures, and punctuation in 89 compartments for rapid access without visual searching. Sorts are picked one by one with the right hand, rotated to face away from the compositor, and slid into the starting from the left end of the , set to a specific measure (e.g., pica ems) using an adjustable slide. As the line fills, thin spaces (such as 3-to-em or 4-to-em) or quads (quadrats, including em quads for indents) are inserted between words to justify the line, ensuring even spacing so the final sort fits snugly without force; excessive spacing is avoided to prevent loose composition. Once a line is complete—typically 18-30 ems long for body text, depending on the format and type size—it is checked for alignment, with any off-feet sorts corrected using tweezers or a bodkin. After setting 3-4 lines in the stick, the compositor transfers them to a , a shallow metal tray, by sliding the lines off the stick face-down into the galley, starting from the bottom and stacking upward. Lines are secured temporarily with or furniture (wooden spacers), then the galley is proofed on a small proof press to produce a slip proof for review. For full pages, multiple galleys are imposed on a flat imposing stone—a large slab—arranged in the correct sequence (e.g., folio for signatures), surrounded by furniture, and locked into a chase (an iron frame) using expanding tightened with a quoin key to hold everything firmly without damaging the sorts. Skilled compositors, through years of practice, achieve speeds of 1,000-2,000 ems (roughly equivalent to characters) per hour, relying on muscle memory for case navigation and upside-down reading of composed lines. Errors during composition can result in "pi" or "pied" type, where sorts become jumbled and disordered, often from dropping a line or galley, requiring careful redistribution back to the case to avoid mixing fonts. Proofreading occurs at multiple stages: initial slip proofs from the or are compared to the , with corrections marked using standard proofreaders' symbols; overlay methods, such as placing a corrected proof over the original with , help verify changes without disassembling the type. Final page proofs from the locked chase ensure alignment and legibility before printing, minimizing costly resets.

Storage and Organization

In hand composition, type cases were compartmentalized wooden trays designed to optimize access during typesetting, consisting of an upper case and a lower case positioned at different heights for ergonomic . The lower case typically featured 54 uneven compartments, arranged according to the of letter usage in English text—a reflected in the mnemonic "," where the most common letters such as 'e', 't', and 'a' occupied the largest and most central bins closest to the compositor's right hand, while rarer letters like 'j', 'q', and 'z' were relegated to smaller edge compartments. This layout, derived from empirical analysis of printed matter, minimized movement and fatigue, with the 'e' bin often the widest to accommodate high demand. The upper case, by contrast, had 98 equal-sized compartments arranged alphabetically for capitals, figures, and , as these were used less frequently and required less by . After printing, the used sorts were redistributed back into their cases through a labor-intensive process known as "distributing" or "dissing," which reversed the composition workflow to maintain order and prevent loss. After printing, the type is removed from the composing stone by slackening the and disassembling the chase, then lines are picked out using fingers or a to identify each sort by feel and dropping it precisely into the corresponding compartment from a short height to avoid damage. This task demanded speed and accuracy, as improper sorting could lead to mix-ups in future compositions, and it complemented the setting process by ensuring the case remained fully stocked for ongoing work. Type foundries managed inventory by supplying complete sets called "fonts," which included sufficient quantities of all characters for a given project, such as several pounds to tens of pounds depending on the project to support multiple pages without depletion. Shortages of specific sorts, particularly high-frequency letters, could halt production entirely, resulting in the printer being "out of sorts" and requiring urgent orders from the to replenish the deficient characters. For specialized needs, job cases with irregular, multi-sized compartments were employed in varied commercial printing to accommodate diverse characters and ornaments efficiently in a single tray, whereas double cases—pairing an upper and lower case side-by-side or stacked—were standard for book work, allowing two compositors to access the full simultaneously without interference.

Decline and Modern Relevance

Shift to Mechanical and Digital Printing

The transition from hand-set sorts to mechanical typesetting began with the invention of the by Ottmar Mergenthaler in 1886, which automated the process by casting entire lines of type from brass matrices arranged by a keyboard operator, eliminating the need for assembling individual sorts. This innovation addressed the labor-intensive nature of manual composition, where compositors painstakingly placed sorts one by one into a . Shortly thereafter, Tolbert Lanston developed the , patented in 1887 and commercially viable by 1897, which produced individual sorts from a keyboard-driven using perforated paper tapes to control matrix alignment and casting, offering greater flexibility for corrections compared to Linotype's fixed slugs. By the early , these machines saw rapid adoption in the newspaper industry, transforming production workflows and dramatically reducing reliance on manual sort handling in major printing shops. For instance, the became one of the first to implement Linotype in , and within decades, it became the standard for body text in periodicals and advertisements, supplanting hand composition for high-volume work. Economic incentives drove this shift, as Linotype operators could achieve speeds of at least 6,000 ens per hour, compared to 2,000 ens per hour for a really fast hand compositor, yielding substantial cost savings in labor and time for large-scale printing. The next major advancement came in the with , which replaced hot-metal casting with photographic processes using film negatives of characters exposed onto light-sensitive material to produce galleys. Systems like the French Lumitype, introduced commercially in the mid-1950s, projected characters from negative fonts through lenses onto film or photosensitive paper, further accelerating production and allowing for easier font variations without physical type storage. This technology marked a pivotal decline in mechanical sort usage, as it eliminated the need for metal handling altogether. By the 1980s, software on personal computers rendered hot-metal and photomechanical methods largely obsolete, enabling direct digital composition and layout without sorts or matrices. The affordability and precision of tools like Adobe PostScript revolutionized the field, leading to the closure of many traditional composing rooms and the surplus of vintage sorts, many of which were recycled as lead stocks diminished.

Revival in Artisan Practices

The revival of sorts in has gained momentum since the 1990s, fueled by a growing appreciation for tactile craftsmanship amid the dominance of . This renaissance was notably propelled by figures like , whose promotion of letterpress wedding invitations in her publications highlighted the technique's elegant impressions and bespoke quality, inspiring a wave of hobbyists and small-scale producers. By the early , online platforms such as democratized access, enabling artisan sellers to market custom prints, , and art derived from vintage sorts, transforming a niche craft into a viable creative outlet for thousands of independent studios. Iconic studios like Hatch Show Print exemplify this resurgence, maintaining operations as a working letterpress shop since 1879 and leveraging their extensive archive of vintage wooden and metal sorts to produce contemporary posters and designs, often in collaboration with cultural institutions like the Country Music Hall of Fame. These efforts preserve historical techniques while adapting them for modern clients, such as custom event graphics and limited-edition merchandise. Artisans source sorts primarily from defunct print shops, estate sales, and specialized auctions, where surplus materials from the pre-digital era become available as legacy equipment is dispersed. Organizations like the American Printing History Association play a crucial role in preservation, fostering the study and maintenance of type collections through publications, conferences, and grants that document and safeguard printing artifacts for educational and artistic use. Contemporary practices often blend traditional hand-setting with digital tools, where designers use software like to plan layouts and generate polymer plates, but opt for manual composition of sorts to achieve the distinctive debossed texture and imperfections that digital methods cannot replicate. This hybrid approach allows for precise customization in items like invitations and broadsides, emphasizing the sensory appeal of letterpress in an era of flat-screen outputs. Educational programs, such as those at the Center for the Book, further sustain the craft through hands-on workshops and certificate courses that teach type composition and proofing on cylinder presses, attracting students eager to explore its historical and artistic dimensions. In cultural contexts, sorts symbolize a counterpoint to digital uniformity, representing enduring human skill and material authenticity; they feature prominently in museum exhibits, such as the Museum of Modern Art's "Typography and the Poster," which showcases letterpress works from its collection to illustrate typographic evolution and artistic innovation.

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