Editing Typesetting (section)

===Manual typesetting<span class="anchor" id="Movable type"></span>===
{{Main|Movable type}}

During much of the [[Letterpress printing|letterpress era]], movable type was composed by hand for each [[page (paper)|page]] by workers called [[wikt:compositor|compositors]]. A tray with many dividers, called a case, contained cast metal ''[[Sort (typesetting)|sorts]]'', each with a single letter or symbol, but backwards (so they would print correctly). The compositor assembled these sorts into words, then lines, then pages of text, which were then bound tightly together by a frame, making up a ''form'' or page. If done correctly, all letters were of the same height, and a flat surface of type was created. The form was placed in a press and inked, and then printed (an impression made) on paper.<ref name="Lyons">Lyons, M. (2001). ''Books: A Living History. (pp. 59–61).''</ref> Metal type read backwards, from right to left, and a key skill of the compositor was their ability to read this backwards text.

Before computers were invented, and thus becoming computerized (or digital) typesetting, font sizes were changed by replacing the characters with a different size of type. In letterpress printing, individual letters and punctuation marks were cast on small metal blocks, known as "sorts," and then arranged to form the text for a page. The size of the type was determined by the size of the character on the face of the sort. A compositor would need to physically swap out the sorts for a different size to change the font size.

During typesetting, individual sorts are picked from a type case with the right hand, and set from left to right into a [[composing stick]] held in the left hand, appearing to the typesetter as upside down. As seen in the photo of the composing stick, a lower case 'q' looks like a 'd', a lower case 'b' looks like a 'p', a lower case 'p' looks like a 'b' and a lower case 'd' looks like a 'q'. This is reputed to be the origin of the expression "mind your p's and q's". It might just as easily have been "mind your b's and d's".<ref name="Lyons" />

A forgotten but important part of the process took place after the printing: after cleaning with a solvent the expensive sorts had to be redistributed into the typecase - called ''sorting'' or ''dissing'' - so they would be ready for reuse. Errors in sorting could later produce ''misprints'' if, say, a p was put into the b compartment.

The diagram at right illustrates a cast metal sort: '''a''' face, '''b''' body or shank, '''c''' point size, '''1''' shoulder, '''2''' nick, '''3''' groove, '''4''' foot. [[Wood type|Wooden printing sorts]] were used for centuries in combination with metal type. Not shown, and more the concern of the casterman, is the "set", or width of each sort. Set width, like body size, is measured in points.

In order to extend the working life of type, and to account for the finite sorts in a case of type, copies of forms were cast when anticipating subsequent printings of a text, freeing the costly type for other work. This was particularly prevalent in book and newspaper work where rotary presses required type forms to wrap an impression cylinder rather than set in the bed of a press. In this process, called [[Stereotype (printing)|stereotyping]], the entire form is pressed into a fine matrix such as [[plaster of Paris]] or [[papier mâché]] to create a [[flong]], from which a positive form is cast in [[type metal]].

Advances such as the [[typewriter]] and [[computer]] would push the state of the art even farther ahead. Still, hand composition and [[letterpress]] printing have not fallen completely out of use, and since the introduction of digital typesetting, it has seen a revival as an [[artisanal]] pursuit. However, it is a small niche within the larger typesetting market.