Paul Hayden Duensing

1. Overview

1950-2006. The Private Press and Typefoundry of Paul Hayden Duensing. As a private typefounder and one of the founding members of the American Typecasting Fellowship, Duensing was an important part of the preservation of typefounding and matrix making in the late 20th century. His work is notable for its excellent scholarship.

He cut matrix fonts, some in multiple sizes, for at least 14 typefaces. Several of these were his own designs. He also cut character sets to augment at least 10 series, as well as a number of border and ornamental matrices.

Began in 1950 in Seattle, Washington (very briefly as "The Satyr Press.") Encouraged by Archie J. Little ( Archie Little Typographers).

Taught Monotype casting at the Carnegie Institute of Technology in the 1960s.

Acquired a pantograph engraving machine in 1965, and a Thompson Type-Caster at some point between 1965 and 1976.

Learned to electroform matrices from Andrew Dunker, from whom he "gained a whole new perspective on what constitutes careful workmanship" { "Contemporary Private Types" (in American Proprietary Typefaces ): 174}.

Helped Jim Rimmer, and passed a former Ludlow Typograph [Wiebking-derived] matrix-engraving pantograph on to him. {Source: personal communication from Rimmer's friend Alex Widen, Prop. of the Alden Press.}

Collaborated with Herman Zapf for two decades, starting in 1971. Engraved the matrices for Zapf's Civilité.

Duensing died on November 9, 2006, at the age of 77, from Parkinson's disease. A fine obituary of him by Rich Hopkins, "Paul Duensing Touched Us All," appeared in the American Typecasting Fellowship Newsletter . No. 32 (August, 2008): 16-18. It is a great regret of mine that I came to typecasting too late to have had the opportunity to meet him.

2. Bibliography and Type List

2.1. Works By and/or Printed By Duensing

"PHD" is Paul Hayden Duensing, PPPHD is "The Private Press of Paul Hayden Duensing" (used here for works prior to his acquisition of a pantograph in 1965), and "PPTPHD" is "The Private Press and Typefoundry of Paul Hayden Duensing." "{PHD1967}" indicates that the work was listed in Duensing's bibliography in The Private Press and Typefoundry of Paul Hayden Duensing (1967). "{PHD1976}" indicates that the work was listed in Duensing's bibliography in 25: A Quarter-Century of Triumphs and Disasters... (1976). "{DMM}" indicates a note by me. The list here is organized by date of publication. In those cases where the item is cited from {PHD1967} or {PHD1976}, the notes are by Duensing. If the name "Oldřich" does not look as if it has the correct character for 'ř', then make sure your browser's character encoding is set for "UTF-8".

I should note that while I am fortunate in having a very few of Duensing's publications, I do not have (and have not even seen) most of these works. I'm just copying bibliography. My most recent comprehensive source is {PHD1976}, which of course does not include the last 30 years of his Press (I do not have his 1991 Fourth Decade .)

PHD. A Note on the Satyr Press. Seattle, WA: The Satyr Press, 1950.

"5 1/4 inches. 8 pp. 10 ATF Century Expanded (Franklin Gothic). Paper: Eagle-A Text. Stapled into Ivory Cover. Seattle, 1950 75 copies" {PHD1967} {PHD1976}

PHD. Specimens of Type at the Satyr Press. Seattle, WA: The Satyr Press, 1950.

"5 1/2 x 8 1/2 inches. 8 pp. White bond. Seattle, 1950 20 copies" {PHD1976}

Young, Herb. My Climbing Vine (A Poem). Seattle, WA: [either The Satyr Press or PPPHD]

"5 x 6 1/2 inches. 14pp. 14pt. Monotype Caslon 37E (Libra). Red and black vellum over boards. Seattle, 1950 11 copies" {PHD1967} {PHD1976}

Taylor, Gordon. Winter Buds (Poems). Seattle, WA: PPPHD, 1951.

4 x 5 1/2 inches. 12 pp. Goudy Old Style (Hadriano Stone-cut)[.] Blue-gray and black on white laid text. Blue-gray wrappers. Seattle, 1951 18 copies" {PHD1976}

PHD. Rules of the University of Washington Library Printing Press. Seattle, WA: PPPHD, 1951.

"4 1/2 x 6 1/2 inches. 12pp. 10 ATF Goudy Old Style (Hadriano Stone-Cut, Centaur, Arrighi). Paper: Cream Straw. Binding: two-toned green vellum over boards. Seattle, 1951 20 copies" {PHD1967} {PHD1976}

PHD. The Rôle of Scholarship in the Graphic Arts. Seattle, WA: PPPHD, 1954.

"7 1/4 x 10 inches. 8 pp. 12 point Caslon 337E. Blue paper over boards. Seattle, 1954 50 copies" {PHD1967} {PHD1976}

Earle, John. A Young Gentleman of the University. Seattle, WA: PPPHD, 1954.

"6 x 10 inches. 8 pp. 12 Monotype Garamond (Centaur Caps). Light blue paper over boards. Seattle, 1954 50 copies" {PHD1967} {PHD1976}

Voullime, E. "Some Brief Notes on Johann Pfeyl, Printer of Bamburg." Seattle, WA: PPPHD, 1954.

An extract, presumably translated by PHD, from Die deutschen Drucker des fünfzehnten Jahrhunderts. {DMM}

"6 x 9 inches. 4 pp. Centaur. Red and black on cream text. Seattle, 1954 70 copies" {PHD1976}

Rodenberg, Julius. Trans. PHD. A Dissertation upon Printing Type as the Mirror-Image of Culture. Pittsburg, PA: PPPHD, 1956.

"5 1/2 x 8 1/2 inches. 18 pp. 12 Monotype Baskerville 169 (Bulmer). Paper: Sunray Ingres. Pittsburgh, 1956 25 copies (All but 6 copies destroyed because of an imperfection)" {PHD1967} {PHD1976}

Moxon, Joseph. Of Counting or Casting Off Copy, Being an Essay on Copyfitting . [location?]: [press?], 1959.

Oak Knoll says that this was printed for the 1959 annual meeting of The Typocrafters by Glenn Pagett and Paul Duensing. 16mo, paper wrappers, 12 pages. {DMM}

PHD. Notes on the Making of Type. "Indianapolis, IA: PPPHD, 1960.

"6 x9 inches. 16pp. 14 Centaur. Curtis Utopian (Tweedweave Cover) Sewn, blue wrappers. Text is form Marder, Luse & Co. type catalog, 1893. Wood engravings were redrawn by the printer. Indianapolis, 1960 75 copies" {PHD1967} {PHD1976}

Chambers, E. A Treatise on Printing. Seattle, WA: PPPHD, 1961.

"5 3/4 x 8 3/4 inches. 46 pp. 12 Monotype Goudy Italian Old Style 243. Paper: Curtis Tweedweave, sewn into wrappers. Includes an 8-page specimen showing of Italian Old Style. Seattle, 1961 150 copies" {PHD1967} {PHD1976}

Extracted from Chambers' Cyclopædia: Or an Universal Dictionary of the Arts and Sciences. {DMM]

Ten Poets. Seattle: The Seattle Peace Information Center, 1962.

A bookseller notes: Hand set by Paul Hayden Duensing. 6 x 12 inches. 32 pages, unpaginated. 537 copies. {DMM}

PHD. Concerning the Private Press of Paul Hayden Duensing. Kalamazoo, MI: PPPHD, 1963.

"6 x 9 inches. 12 pp. Menhart Roman and Italic 397. Cream Tweedweave (Dusk blue Tweedweave Cover)[.] Kalamazoo, 1963 10 copies" {PHD1976}

PHD. The Types of Oldřich Menhart. Kalamazoo, MI: PPPHD, 1964.

"Four pamphlets of 4 pp. each, plus 2 broadsides. Various sizes and papers to illustrate four book formats. English Monotype Menhart Roman & Italic. Kalamazoo, 1964 100 copies" {PHD1967} {PHD1976}

PHD. Type: A Specimen Book. Kalamazoo, MI: PPPHD, 1964.

3 1/4 x 8 1/2 inches. 28 pp. Twenty-six type faces, ornaments, initials, signatur [sic; italicized in {PHD1976}] of the Press. Tiara Text. Stapled into die-cut magenta and violet cover. Kalamazoo, 1964 100 copies" {PHD1967} {PHD1976}

Hansard, T. C. Fine Printing. Kalamazoo, MI: PPTPHD, 1965.

5 3/4 x 8 1/4 inches. 22 pp. 12 pt. Baskerville. Ivory Corsican (Beau Brilliant)[.] Text has been excerpted from Hansard's Typographia. Kalamazoo, 1965 100 copies" {PHD1967} {PHD1976}

Nuernberger, P. T. Electrolytic Matrices. Kalamazoo, MI: PPTPHD, 1966.

6 x 9 inches. 24 pp. 12 pt. Baskerville (Trade Gothic Light Italic). Ivory Mohawk Superfine (Tan Teton Reversible). 21 illustrations, done in line by the Printer. Kalamazoo, 1966 100 copies" {PHD1967} {PHD1976}

This book was produced by Paul Hayden Duensing for the annual meeting of The Typocrafters in Pittsburgh, PA, Oct. 1-2 1966. {DMM}

The text of this work is a letter sent by Phil T. Nuernberger (a Chicago typefounder of deep experience, who co-developed the Nuernberger-Rettig Typecasting Machine) Archie J. Little ( Archie Little Typographers, Seattle) dated 1931-05-18. In both {PHD1967} and {PHD1976} Duensing expresses his gratitude to Archie Little for getting him started in printing and type. {DMM}

PHD. The Book of Hours. Kalamazoo, MI: PPTPHD, 1967.

"6 x 9 inches. 4 pp. 24 pt. [Duensing] XVI Century Roman. Ivory Hamilton Victoria Laid. Red & Black. Kalamazoo, 1967 200 copies" {PHD1967} {PHD1976}

Neville, Harry. A Graphic History of Printing. Kalamazoo, MI: PPTPHD, 1967.

"6 x 9 inches. 20 pp. 12 pt Caslon Text. Hamilton Victorian. Wrappers. Kalamazoo, 1967 150 copies." {PHD1967} {PHD1976}

PHD. The Private Press and Typefoundry of Paul Hayden Duensing. Kalamazoo, MI: PPTPHD, 1967.

A brief historical note on the PPTPHD, with a showing of his "experimental 14 point Chancery Italic, No. 13001", XVI Century Roman and various ornaments. November, 1967. 341 copies on Hamilton Victorian. {DMM}

PHD. Type II: A Leisurely Showing of Typefaces and Ornaments. Kalamazoo, MI: PPTPHD, 1968.

"5 1/2 x 8 1/2 inches. About 24 leaves. All faces and ornaments cast at the foundry. White Vicksburg Vellum (Olive Duplex wrappers)[.] September, 1968 225 copies" {PHD1976}

A bookseller's listing describes it as "Printed 8vo folder housing 4 pp prospectus + 18 loose leave pp". Publication location from the same bookseller's listing. {DMM}

Bohadti, Gustav. Type Matrices: Being Chapter IV of Die Buchdruckletter Kalamazoo, MI: PPTPHD, 1968.

"6 x 9 inches. 40 pp. Trade Gothic Light. Lee Photo Text (Olive green wrappers)[.] One new illustration by Gillette Griffin and a bibliography. Kalamazoo, 1968 200 copies" {PHD1976}

Gustav Bohadti's Die Buchdruckletter was published in West Berlin (Ullstein A.G.) in 1954, in German. Duensing elsewhere refers to it as the most comprehensive modern treatise on type making. This is his translation of Chapter 4 of that work. {DMM}

PHD. Shelf-List of Typefounders' Specimen Books: 1968. [location?]: PPTPHD, 1968.

"6 x 9 inches. 16 pp. 9 Baskerville (24 Wilhelm Klingspor Schrift) Vicksburg Vellum (Corsican Duplex Cover)[.] 1968 200 copies" {PHD1976}

PHD. Types of the Private Press and Typefoundry of Paul Hayden Duensing. [location?]: [PPTPHD?], 1969.

"Broadside 31 1/2 x 25 1/2 inches[.] Printed by offset. 1969 300 copies" {PHD1976}

PHD. New Additions to the Collection of Typefounders' Specimen Books. [location?]: PPTPHD, 1970.

"6 x 9 inches. 4 pp. 10 and 18 Consort Light. Lee Photo Text white. 1970 100 copies" {PHD1976}

PHD. Stereo-Trypes: 94 Double Entendres . Kalamazoo, MI: PPTPHD, 1970.

"5 1/2 x 8 1/2 inches[.] 8 pp. Helvetica, Optima, Rustica, Monument. Vicksburg Vellum (Duplex Corsican cover)[.] March, 1970 250 copies" {PHD1976}

Publication location from a bookseller's listing. {DMM}

PHD. A Portfolio of Typographic Paradigms. [loation?]: PPTPHD, 1970.

"8 x 8 1/2 inches[.] About 30 leaves. Wilhelm Klingspor Schrift. Vicksburg Vellum, in wallet. October, 1970 100 copies" {PHD1976}

PHD. Some Types of Note. [location?]: PPTPHD, 1971.

"5 1/2 x 8 1/2 inches[.] 20 pp. Set in all the types cut or designed at the Private Typefoundry. Lee Photo Text, (Reversible Cover rust on white). June, 1971 150 copies" {PHD1976}

PHD. A Bibliography of Type Specimen Books. [location?]: PPTPHD, 1972.

"6 x 9 inches. 56 pp. (8 pp. of illustrations printed by offset) Optima, Open Kapitalen, Ransom Ornaments. Lee Photo Text (blue wrappers)[.] October 1972 150 copies" {PHD1976}

PHD. Cölnisch Current Fraktur. [location?]: PPTPHD, 1973.

"Broadside 31 1/2 x 25 1/2 inches (plus an explanatory hanger) Silkscreen. Corsican cover. October, 1973 90 copies" {PHD1976}

PHD. Ornamenta: Fleurons froma Private Typefoundry. Kalamazoo, MI: PPTPHD, 1974.

"6 x 9 inches[.] 44 pp. Consort Light. Showing all of the ornaments for which the Private Typefoundry holds the matrices. Lee Photo Text white (dark blue Decor Covers) Kalamazoo, 1974 250 copies" {PHD1976}

Langendikj, Peter. Two Dutch Poems. [location?]: PPTPHD, 1974.

Oak Knoll says of this that it is one of 60 copies (small 8vo, paper wrappers, 8 leaves; colophon says 250 copies mistakenly) with two 18th century poems, one referencing Coster. {DMM}

PHD. Buchstabenfreude: The Delight of Letters . Kalamazoo and Toronto: PPTPHD and The Aliquando Press, 1976.

"9 7/8 x 6 inches. 30 leaves plus introduction, dedication and colophon in various type faces and on a variety of papers. Sheets loose in portfolio. A few copies specially bound. ... Kalamazoo and Toronto, 1976 150 copies" {PHD1976}

Sub-sub-title: "A Collection of Quotations from the Work of Rudolf Koch." Trans. by PHD. Portrait of Koch in scraperboard by William Rueter. {DMM]

PHD. 25: A Quarter-Century of Triumphs and Disasters in the Microcosm of the Private Press and Typefoundry of Paul Hayden Duensing . Kalamazoo, MI: 1976.

[from the colophon] 10 point Garamond. Camera work for illustrations by E. H. Mundell, Portage, Indiana. Printed by hand on 80 pound Beckett Text, Laid, India. 250 copies. 40 copies set aside for The Typocrafters' annual meeting, Indianapolis, October 1976.

It shows the following Duensing faces and ornaments:

• XVI Century Roman (24 pt)
• Jessen Initials (24 pt)
• Monument (design by Oldřich Menhart) (24 pt)
• Quadrata (12, 36 pt)
• Rustica (12, 18, 24 pt)

• Numerals Designed by William Reuter to augment Van Krimpen's Open Kapitalen (28 pt)
• Alternate Characters to Augment [foundry?] Poster Ionic No. 2 (36 pt)
• Alternate Characters to Augment Wilhelm Klingspor Schrift

• Martini Border
• Ornaments, Designed by Will Bradley for ATF
• 12 pt ornament to complete ATF Italian Band series
• Ornament to augment ATF Midget Tailpiece No. 14
• Ornament to augment Klingspor No. 17200
• Ornament to augment Klingspor Open Leaf No. 19011
• Ornament to augment [Klingspor?] 30 pt. Spring Border No. 19108a
• Ornament, Stencil-Style Flowers and Cornerpiece
• Ornaments, Zlata Lipa Series (after designs by Oldřich Menhart)

PHD. "Private Type Faces - Part 1." Fine Print. Vol. 4, No. 2 (April, 1978): 46-48.

An overview of private press typemaking in the "possibilities and design" stages. {DMM}

Reprinted in Fine Print on Type (SF: Fine Print / Bedford Arts, 1989.)

PHD. "Private Type Faces - Part 2." Fine Print. Vol. 4, No. 3 (July, 1978): 86-90.

This gives a good, brief, illustrated overview of matrix engraving, punchcutting, and matrix electroforming from existing types, though it skips a bit on cutting patrices for matrix electroforming. {DMM}

Reprinted in Fine Print on Type (SF: Fine Print / Bedford Arts, 1989.)

PHD. Proposed Draft for A Syllabus of Typographic Taxonomy. Vicksburg, MI: PPTPHD, 1980.

This booklet was presented at the second biennial American Typecasting Fellowship conference (called the "Second National Conference on Hot-Metal Typecasting and Design") held at Larchmont, NY, June 29 to July 2, 1980.

Although brief, this is one of the most important works on typefounding in the 20th century. Its title, while delightfully clever, is slightly inscrutable. The first part, "Proposed Draft for", suggests that this is a preliminary version of a work to be completed. I do not believe that any further development of this work was published. A "syllabus" is a plan or outline for a course of study; that is exactly what this is. "Typographic Taxonomy" signifies, I think, a complete and hierarchical overview of the entire field of making metal type. What this document is, therefore, is a nearly complete outline of all of the aspects of making type. (Its subtitle says as much: "Being a preliminary outline of all facets appertaining to the Art and Craft of the Founding of Metal Types as practiced until the time of the recent technological Revolution [that is, the computer - DMM] in the Graphic Arts Field." What makes this document especially important is the fact that he covers all aspects of type-making, even ones that have been ignored or denigrated (but which were in fact very important historically and which may well have significant advantages for amateur tyepfounders in the future - e.g., the pantographic engraving of patrices for electroforming matrices, which was a major method for producing type in the 19th century and the major method by which matrices for display type were produced in the 20th century in America).

With the kind support of Ginger Duensing, I have scanned my copy of this document and reprinted it online. Here on my own website, it is at: Duensing's Syllabus... (external URL: http://www.CircuitousRoot.com/artifice/letters/press/typemaking/literature/general/index.html#duensing-syllabus-1980 ) The same scan is also online at The Internet Archive at http://www.archive.org/details/DuensingSyllabusTypographicTaxonomy1980. {DMM}

PHD. "Hiero-Rhode Italic." Fine Print. [not sure of volume and number] (July, 1980).

Reprinted in Fine Print on Type (SF: Fine Print / Bedford Arts, 1989.)

PHD. "Diotima of Gudrun Zapf-Von Hesse." Fine Print. [not sure of the volume and number] (October, 1980).

Reprinted in Fine Print on Type (SF: Fine Print / Bedford Arts, 1989.)

Proceedings of the Master Printers, of Basel Against Johann Pistorius Typefounder Before the Lower Council of that City during June, 1698 . Vicksburg, MI: PPTPHD, 1982.

A bookseller listing notes 8vo (222x144mm), [14] pp. Printed in red and black. {DMM}

"The American Typecasting Fellowship." Vicksburg, MI: PPTPHD, 1986.

Broadside, 14 x 23 inches. Keepsake of the 5th biennial American Typecasting Fellowship Conference, Indianapolis, 1986. Illus. with a screen print from Tabart & Co. Book of Trades (ca. 1804). {DMM; biblio info from Oak Knoll}

Irregularities in the Customs Shed. Vicksburg, MI: PPTPHD, 1984.

A chapbook printed for the 1984 ATF conference and also the 1984 Typocrafters meeting. It reprints a petition to the US Congress claiming that type imported for Miller and Richard was assessed too high a duty and asking for a refund. It is an item of business history more than of typemaking.

PHD. "Metal Type: Whither 10 Years Hence?" Fine Print. Vol. 11, No. 1 (January 1985): 20-22.

Reprinted in Fine Print on Type (SF: Fine Print / Bedford Arts, 1989.)

PHD. "A New Civilité." Fine Print. Vol. 11, No. 1 (January, 1985): 35-41.

Discusses his experiences in cutting matrices for Zapf's new Civilité 1971 (project start) through circa 1972-1973 (trial cuttings) to 1983-1984 (recutting finished). {DMM}

Reprinted in Fine Print on Type (SF: Fine Print / Bedford Arts, 1989.)

PHD. "The Punchcutter in the Tower of Babel" Fine Print. Vol. 12, No. 1 (January, 1986): 6-10.

Reprinted in Fine Print on Type (SF: Fine Print / Bedford Arts, 1989.)

PHD. "Oldřich Menhart." Fine Print. [not sure of volume and number] (January, 1987).

Reprinted in Fine Print on Type (SF: Fine Print / Bedford Arts, 1989.)

PHD. Matlas. [location?]: PPTPHD, 1998. Digital edition by Rich Hopkins in 2008.

Duensing's Matlas is the essential compendium of matrix technical information for the typecaster. Rich Hopkins has prepared a digital edition of Duensing's original 1998 book, adding to it a photographic survey of display matrices which appeared originally in the American Typecasting Fellowship Newsletter No. 32 (which, sadly but appropriately, was the same number in which Hopkins' obituary of Duensing appeared). Rich has kindly given his permission to reprint it online, at: Matlas (external URL: http://www.CircuitousRoot.com/artifice/letters/press/noncomptype/literature/practices/index.html#duensing-matlas-1988-hopkins-2008 )

PHD. "Twentieth-century Contributions to the Jensonian Model." Fine Print. Vol. 16, No. 2 (Summer 1990): 69-71.

PHD. Fourth Decade: 40 Years of a Private Press . Vicksburg, MI: PPTPHD, 1991.

100 copies, on Louvaine Supreme and sewn in wrappers (from a bookseller's listing) {DMM}

PHD. "Speech Given to Typocrafters '95 by Paul Hayden Duensing, October 13, 1995."

A good overall survey of the state of typefounding at that date. I don't know that this was ever officially published; somehow a typescript has made it to the Univ. of Wisconsin, Madison, art library.

A Demon Machine, Eats Paper and Lays Type . [location?]: PPTPHD, 1996.

Small 4to, self paper wrappers, 4 pp. Reprints an 1897 newspaper account of the introduction of the Monotype. Printed for the 1996 American Typecasting Fellowship Conference in Charlotte, NC. {DMM; biblio info from Oak Knoll}

PHD. "Contemporary Private Types." in David Pankow, ed. American Proprietary Typefaces. [location?]: American Printing History Association, 1998.

He gives a definition of a "typefounder" or "typefoundry" which is in greater accord with accepted ideas on the subject than my own. He then covers Stan Nelson, Dan Carr ( Golgonooza), Jim Rimmer, Michael Bixler (as a designer; matrices engraved in Japan), and his own work. He discusses and/or illustrates the following faces which he designed and/or made:

• Sans Descender Italics
• Jessen Initials (alternative Jessen capitals)
• Rustica
• Quadrata I
• Quadrata II
• Chancery Italic
• XVI Century Roman
• Monument
• Unciala
• Belgian
• Octavian Capitals
• Arabic Numbers for Van Krimpen's Open Kapitalen
• Swash Characters for Blado Italic
• Long Descenders for Trajanus Italic
• Long Descenders for Trajanus Roman
• Long Descenders and Ascenders for Consort Light Italic
• Long Descenders and Ascenders for Consort Light Roman
• Alternate Characters for Samson
• Alternate Characters for Wallau
• "Englishized" alternate forms for unspecific Fraktur faces
• Bulmer Titling Highlight
• Janson Open

Mahr, Karl. Trans. PHD. Printing Types: Their Birth in the Typfoundry Depicted in Woodcut and Verse . Athens, GA and Terra Alta, WV: PPTPHD and The Hill and Dale Private Press and Typefoundry, 2000.

Richard L. Hopkins discusses the history of this volume in his obituary, "Paul Duensing Touched Us All," in the American Typecasting Fellowship Newsletter . No. 32 (August, 2008): 16-18. This volume was issued originally by the Bauer Type Foundry "over 50 years ago" (Karl Mahr lived from 1890 to 1946). Duensing translated Mahr's text. It was to have been published by an academic press, but that did not happen. Instead, Richard L. Hopkins ( The Hill and Dale Private Press and Typefoundry) and Duensing reworked the volume and published it in 2000. 11 3/4 x 17 1/2 inches. Hand-set in Wilhelm Klingspor Schrift.

This is a magnificent volume. Woodcuts by Mahr of The Hand Punch-Cutter, The Matrix Engraver [horizontal pantograph], The Machine Punch-Cutter [vertical pantograph], The [matrix] Justifier, The Handcaster, The Machine-Caster, The Height-Grinder, The Finisher, and The Divider [fonting]. If this volume isn't enough to make you want to become a typefounder, then you do not have typefounding in you.

Weighty Matters for Monotype Movers [location?]: PPTPHD, 2000.

A chapbook printed for the ATF 2000 conference; it gives specifications (from an unidentified source) with weights and dimensions for various Monotype casting machines.

2.2. Works Referring to Duensing or Showing His Types

The order here is alphabetical, not chronological.

Anon. Hic Litterarum Formae Quadrata Est Meus. A Hasty Preview of Quadrata, a Third and Fourth Century Manuscript Hand Cast at the Private Press & Typefoundry of Paul Hayden Duensing . [location?]: Bird In Hand Press, n.d.

A bookseller's listing notes: 5 1/2 x 3 1/4 12mo sheet, linoleum cut illustration, printed both sides. {DMM}

Hopkins, Richard L. "Paul Duensing Touched Us All." American Typecasting Fellowship Newsletter . No. 32 (August, 2008): 16-18.

An illustrated obituary and brief overview of Duensing's contributions to amateur typecasting.

Hopkins, Richard L. "Studying the Bulmer Design," American Typecasting Fellowship Newsletter, No. 34 (May, 2010): 18

Relates Duensing's experiences with matrices for XVI Century Roman that he had electroformed in Japan in the 1970s.

McCune, Donovan James. Whether 'twill Be, what Moses & what the Prophets Said. An Example of the Exquisite Fraktur Produced by Paul Hayden Duensing in his Private Foundry . Vallejo, CA: The Beagle Press, 1969.

A bookseller's listing says: 4to broadside, printed in red and black. {DMM}

2.3. Types Designed and/or Cut by Duensing

The organization here is alphabetical by name, not chronological. A terminus ante quem, such as "by 1976," simply means that this is the earliest date for which I have a source attesting the type; it is not otherwise a reliable indicator of the date of the type. A good terminus post quem for Duensing's types might be 1965, the date at which he acquired his first pantograph (I have as yet found no indication that he was cutting punches or patrices by hand before that point).

2.3.1. Typefaces Proper

2.3.2. Augmentations of Typefaces

2.3.3. Borders and Ornaments

2.4. Non-Duensing Types Cast by Duensing

[TO DO]