Tsukiji Type: Preserving the culture of type for the future, focusing on the beauty of uneven surfaces
Manufacturing
Creating things
Craftsman's Landscape
This issue's location
[Job Title] Type Foundry Craftsman
[Craftsman's Name] Tsukiji Type Foundry, Daimatsu First Line
[Location] Minami Ward, Yokohama
Carefully, thoroughly, and with heartfelt intention.
This section introduces manufacturing sites that utilize handcrafted techniques.
This time, we'll be looking at letterpress printing, which once supported Japan's printing culture.
Introducing the world of [something]. Even in today's increasingly digitized world...
To "Tsukiji Typefaces," which have garnered support from many customers.
In a well-worn wooden shelf known as the "Type Room," more than 250,000 types of metal typefaces, including kanji, hiragana, and the alphabet, are lined up. This is Tsukiji Type Foundry, established in 1919 (Taisho 18). The loud noise coming from the back of the shop is from the typecasting machine. The raw metal ingots, melted in a furnace reaching 350-400 degrees Celsius, flow into a concave matrix pre-set in the casting machine, and are cooled with tap water as they emerge as convex typefaces. Mr. Omatsu, now 73, has worked here as a typecasting craftsman since he was 19. Occasionally, he slides his glasses down and peers through a magnifying glass to inspect the newly cast typefaces. This meticulous and high-quality work, which has continued for more than 50 years, continues to convey the charm of letterpress printing to us today.
Just a short walk from Yoshinocho Station on the Yokohama Municipal Subway Blue Line, you'll find Tsukiji Type Factory along the Nakamura River, which branches off from the Ooka River. Upon opening the door, you're greeted by the loud clatter of machinery and a distinctive smell of burning oil. The source of this noise and smell is the row of type-casting machines lined up at the back of the room, where craftsman Omatsu constantly watches over their movements.
This time, we had the opportunity to speak with Kiichi Hirako, the fifth-generation owner of Tsukiji Type Foundry, who has taken over the tradition of type casting and letterpress printing.
"There's something my late father said that I'll never forget: 'The typeface in old newspapers is easier on the eyes than the typeface in today's newspapers. That's because the subtle differences in color intensity on the printed surface, caused by the raised and recessed areas of the typefaces created by letterpress printing, give the eyes a rest.' I now strongly feel the truth of those words myself. So, in today's society where digital printing is advancing, I feel it's my mission to deliberately deliver the skills of artisans who create 'weighty' letterpress typefaces to the world as an undeniable authentic product," says Hirako.
Guided by Mr. Hirako, we were shown various "tools" and "techniques" related to letterpress printing that have survived for a long time and are still alive today.
This is the so-called "matrix cabinet," which houses the "matrices" that are essential for making typefaces. When you open the drawers, rows of brass matrices are lined up inside. Tsukiji Type Factory reportedly stores matrices for over 250,000 types of characters, but now that there are no longer any craftsmen who make these matrices, the ones stored here are extremely valuable "treasures."
This "mother-type safe" also contains a valuable brass matrix.
The mechanism involves pouring molten metal ingots into this concave section, which then creates the raised typefaces.
Next, they showed us what's known as the "typesetting room," which is packed with typefaces made by the foundry craftsman, Mr. Omatsu.
Why are the shelves tilted? When asked, Mr. Hirako explained, "The reason the shelves containing the type are tilted is as a measure against earthquakes. They are designed to be very balanced, so the type is less likely to fall out during an earthquake, and this, along with other traditions, has been passed down through generations." Apparently, the way type is arranged varies from printing company to printing company, but here at "Tsukiji Type Foundry," the type is arranged in the same order as in an encyclopedia.
This is a type shelf containing the smallest typefaces available at "Tsukiji Type Factory," specifically 4-point type. Unfortunately, the work of setting these types of typefaces has disappeared.
Next, we were given a tour of the workshop of Mr. Omatsu, the craftsman who operates the typecasting machine.
The metal ingots used to make typefaces are composed of 83% lead, with the remainder consisting of 15% antimony and 2% tin.
In a typecasting machine, the furnace is heated to 350-400 degrees Celsius, melting the aforementioned metal ingot into a liquid state.
The liquid metal is what's accumulated in the center.
Standing beside the casting machine, from which stifling heat was rising, Mr. Omatsu continued his work for a long time, carefully watching over the furnace.
A rod is placed into a furnace containing molten metal, and the specific gravity and other characteristics of the material are checked for any "feel" they have.
The metal, melted in the furnace, is then poured into a concave mold.
The metal, which flows into the concave matrix, is cooled with tap water (pictured above) and transformed into convex type.
The meticulous work continues with checking the finished, tiny typefaces using a magnifying glass. These tiny typefaces are unusable if they fall to the floor, as even a slight scratch can ruin their beauty.
Because of the risk of steam explosions due to contact with water, the Fire Service Act stipulates that exhaust ducts must be installed above casting machines.
Next, Mr. Hirako explained the basics of letterpress printing. First, he selected typefaces in the "type room" according to the prepared manuscript and placed them in the "typesetting box." After that, he adjusted the spacing between the characters and placed them in a metal frame called a "chase" to create the printing plate, which is quite difficult. It requires not only manual skill but also the craftsmanship of a "considerable eye," such as the exquisite use of space between characters and lines.
Finally, the "chase" is attached to a roller-equipped printing press, ink and paper are loaded, and printing is completed.
Tsukiji Type Foundry also sells "type holders" developed to make beautiful letterpress typefaces more accessible and usable for a variety of purposes. "We want people to experience the joy of setting typefaces and printing with this 'small tool'," says Hirako.
As an aside, I had always thought that the charm of letterpress printing lay in the deep, embossed texture (even on the back) that seemed to be imprinted on the paper, but I was told, "It has long been said that letterpress printers who press too hard are no good. The real skill lies in how to create beautiful texture on the surface without it bleeding through to the back and altering the appearance of the paper on the other side." I was treated to a lot of fascinating insights.
Whenever I receive a letterpress-printed business card for work, I can't help but pick it up and gaze at it. Today, I finally understood why. It may just be a business card, but it's more than just a business card; within that small, square piece of paper that fits in the palm of your hand, the craftsmanship and passion of artisans that have been passed down through generations are inscribed. Not only for business cards, but how about incorporating letterpress printing into your New Year's cards this time of year? A New Year's card that will make the person who picks it up admire the beauty of the letters and want to gently touch it with their fingers...
