in its proper place. Because of the pressure at which the type metal is forced into the mold cavity, any gaps in the line will lead to a 'squirt' of hot metal, and any print shop that had a Ludlow will often have spots of type metal on the ceiling or on the wall behind the machine). The machine has a heated crucible for the hot type metal, with a mechanically actuated plunger which operates as part of the injection cycle. The pot on the machine was usually left on overnight during the week, with some flux added to the pot to reduce oxidation. At the end of each week, the plunger assembly had to be disassembled (while hot), removed, and the pump well cleaned using a scraper (as with linecasting machines). After reassembly, heat was removed for the weekend. In the present day, most machines are heated up only for that day's casting, with the heat turned off each night. Ludlow Typograph Co. The Ludlow Typograph Company was the manufacturer of the device. It was founded in 1906 by the machine's inventor, Washington Irving Ludlow, and machinist William A. Reade to manufacture a simpler, cheaper version of the Linotype. This, however, proved impractical, and so an even simpler typecasting system, the typograph described above, was devised. Manufacturing began in Chicago in 1912 and by 1919 Typographs were in service in over 350 printing offices. In 1920 the company bought out the Elrod Slug Casting Co., of Omaha. Competition in large format line-casters came from Mergenthaler Linotype with its APL (All-Purpose Linotype), Lanston Monotype which sold the Italian Nebitype hand-set caster, and Intertype, which offered a "Composing Stick Attachment" that allowed their caster to be used to cast headlines up to 60 points. None of these competing systems achieved much success, however, and the typical job shop of the letterpress era usually had both a line-caster for text, and a Ludlow for casting headlines. Ludlow faces were proprietary and the principal typographer at Ludlow was R. Hunter Middleton, creator of several notable font designs, including Coronet, Stencil, Delphian Open Title, Eusebius, Flair, Radiant, Record Gothic, Stellar, Tempo, Umbra and many others. Other noted designers for Ludlow included Robert Wiebking, Douglas Crawford McMurtrie who served as director of advertising and typography before Middleton, and Hermann Zapf, whose Optima and Palatino were among the last faces cut for Ludlow. Despite the rapid