The alloy is first cast into ingots, which are in turn rolled under great pressure in to sheets of the proper thickness. These sheets then have individual blanks punched from them. You can tell which side of the planchet was facing up by the deformation of the metal along the edge as it is sheared from the sheet. This process does not differ much from coin production except that several blanks are not punched at once nor are the edges of the blanks further formed before the blanks are delivered to the press room.

After the planchets have been washed and annealed (softened) they are ready to receive an impression. Even today's large modern presses can not bring up such an intricate high-relief design in a single blow. The results of the first blow leave the medal recognizabe but very mushy. The dies force metal to flow out of the low areas of the design and into the high areas. It also flows out from between the dies at the edge since large medals are typically not struck using a collar.

This movement of metal generates great heat which under the tremendous pressure of the press causes the planchet to work-harden. This work-hardenning makes additional strikes fruitless unless the medal is again annealed. Bronze is annealed by heating it in a furnace and then quickly cooling it by immersing it in water. Interstingly this same process is used to harden the steel dies. After annealing, the medal is carefully aligned between the dies for a second striking.

Annealed once more the medal is struck for the third and in this case final time. The total number of strikes required for any art medal can vary from two to a dozen or more depending on the relief of the design. However, this third strike brings up the full detail leaving a proof-like finish on our subject medal. Also notice that the flange from having been struck without a collar is very prominent at this point. This is evidence of the tremendous amount of metal movement generated by the three strikings. The medal now leaves the press room for the last time - the next stop is the finishing area.

The medal is then mounted on a turning lathe in soft keys that mimic the design where it is machined to the proper diameter removing the flange in the process. On some medals you can see the fine groves left behind by this process. In the next step any edge design or lettering is applied; however, on the finished medal in this process set there is no edge lettering as on the regular bronze. This makes the process set medal distinguishable from a regular issue bronze!

To arrive at this finished stage several steps had to be performed. First, the proof-like surfaces were muted by sandblasting. Second, as like many other Bronze medals an antique finish is applied. This is accomplished by first coating the medal with an antiquing solution designed to darken and highlight the lower elements of the design. Before the solution has a chance to dry the finisher removes it from the high points to adjust the effect. This hand work gives each medal a slightly different look. Finally, a coat of lacquer to protect the bronze from tarnishing is applied completing the medal! Much work and craftsmanship have gone into the medal and it now only requires packaging and home.