The pattern is now sent to the engraving room. Machines have
superseded the old-fashioned way of cutting punches and originals by
hand, and they have enormously increased the production of new type
faces. Whereas in the old days it took about eighteen months to bring
out a new Roman face, or style of letters, in seven different sizes,
to-day it can be done in about five weeks. The reason is that formerly
only one artist, known as a punch-cutter, could work on a single face,
and he had to cut all the sizes, otherwise there were noticeable
differences in style. By machine methods, where all sizes can be cut
simultaneously, it is only a question of having the requisite number
of engraving machines.

As to the quality of machine work, it is superior to hand work both in
accuracy and uniformity. The artist formerly cut the punches, or
originals, by hand under a magnifying glass, and the excellence of his
work was really marvellous. However, when changing from one size to
another, there were often perceptible variations in the shapes of the
letters, or the sizes were not always evenly graded. By the machine
method the workman uses the long end of a lever, as explained below,
and has therefore a greater chance of doing accurate work. In addition
to this, a rigid pattern forms the shape of the letter, and to it all
sizes must conform.

Another gain the machine has over hand-cutting is its greater range.
When the old-time artist made an unusually small size of type for
Bible use, he did it with great strain on his eyes and nerves. At any
moment his tool might slip and spoil the work. With the machine, on
the other hand, and with no physical strain whatever, experimental
punches have been cut so small as to be legible only with a
microscope--too small, in fact, to print. At present there are two
styles of engraving machines employed,--one cutting the letter in
relief,--called a "punch" if cut in steel, and an "original" if cut in
type metal,--and the other cutting a letter in intaglio,--called a
"matrix." Both machines are constructed on the principle of the lever,
the long arm following the pattern, while the short arm moves either
the work against the cutting tool, or the cutting tool against the
work. The adjustments are such that the operator is enabled to engrave
the letter proportionately more extended or condensed, and lighter or
heavier in face, than the pattern. All these variations are necessary
for the production