Hi Peter,

As the lucky bastard who acquired Jim Rimmer's typecasting equipment, I'm currently beginning work on two types that I've drawn digitally which will eventually be cut and cast in metal. My process will be somewhat different than the one Jim used, but will make use of all of the machines and tools Jim utilized in the development of a new metal face, with the exception of Ikarus (used for digitizing drawings - I'll be working directly from digitally-drawn outlines).

There are likely more folks out there with the ability to make new metal types than you might think, but many (perhaps most) of them are busy casting type from Monotype/Linotype/Ludlow matrices, rather than cutting new mats for new faces. Micah Courier (at the Dale Guild) is working on cutting new mats, but I think only to replace those that are missing/damaged from the Guild's collection.

One has to consider the precision required for the production of a metal face. On screen, to adjust the fitting of a new type is simply a matter of shoving the side-bearings in Fontlab. Need to make a glyph a bit darker? No problem at all digitally. In metal, though, this would mean cutting a new matrix. You also have depth-of-drive to worry about, to be sure your type will be exactly .918". Then there's kerns to worry about. Let alone the process of making a matrix that will actually fit/work in whatever kind of caster you're working with.

As an opener, I'd recommend you get your hands on Jim's book, Memories from the Cutting Room Floor (which is the trade edition of Jim's limited edition Leaves from the Pie Tree); this book walks step by step through Jim's process.

Then, of course, there's Rich Kegler's nearly-completed documentary on Jim's process, Making Faces: http://makingfacesfilm.blogspot.com/

Beyond all of this, I'd be happy to tell you a bit more about the process I'll be using, but starting with Jim's book and Rich's film is likely your best approach.

Jason,

This is exactly the sort of response I was hoping for; many thanks! How exciting it must be to be in possession of such equipment.

Unfortunately, there is a bit of a time crunch (next Wednesday), and with both the film apparently unreleased and the book financially challenging to acquire, it does appear that my citable options are rather limited. In any event, your input and clear expertise are appreciated, and if this topic holds promise for the academic short-term, I'll certainly be coming to you with questions.

Bad timing indeed - there was screening open to the public in Seattle last Friday and Saturday.

Dan Carr at Golgonooza Press is another who, like Jim (R.I.P.), is comfortable in both metal and digital realms. He has cut both metal and digital fonts. But I don't know that he has ever translated a digital design into metal. I believe he prefers to work directly and let the material suggest the form.

I seem to recall Sumner Stone saying just last week that the late Gerald Giampa actually cut a metal version of his Stone Serif. But maybe that was only a few letters and not a complete font.

Jason -- I wondered what became of Jim's equipment. You lucky dog. I'm glad it all wound up in good, appreciative hands.

@Sii Daniels: Indeed; this is made doubly unfortunate by the fact that I'm a Seattle-area resident who couldn't afford to attend Type Americana! I'll just have to work with what I've got.

@kentlew: This is good news! Thanks for the lead, I'll take a look into it.