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.

After another trip to the annealing room the medal is ready to receive the third strike. By now aligning the medal with the dies becomes easier due to the fact it has become self-keying. After the third strike the medal is easily recognizable but much of the detail is lacking. The flange created by not using a collar grows in diameter, reduces in thickness, and becomes more out-of-round with each striking.

Yet another trip to the annealing room and the medal is ready to receive the fourth strike. After this strike most of the facial details are visable and the president's signature is complete. Details still lacking at this point are the end of President Bush's chin and along his left checkbone. 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 four strikings.

Annealed once more the medal is struck for the fifth 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 fifth strike finally brings up the full detail leaving a proof-like finish on our subject medal. The medal now leaves the press room for the last time - the next stop is the finishing area.

The medal is now mounted on a turning lathe where it is machined to the proper diameter. On some medals you can see the fine groves left behind by this process. Next any edge design or lettering required is applied before the proof-like surfaces are muted by sandblasting. The medal is then coated with an antiquing solution designed to darken and highlight the lower elements of the design. The finisher then removes the solution from the high points and adjusts the effect before the solution dries. The solution has been allowed to dry on this example resulting in the very dark color.

After a coat of lacquer to protect the bronze from tarnishing the medal is now complete! Much work and craftsmanship have gone into each medal and it now only requires packaging and home.