John Boardley tells of a 15th century best seller ‘a tale of illicit love and adulterous passions’ the latest article on ilovetypography.com which is sure to please all the book and print historians. “This a woodcut from the only illustrated printed edition of the fifteenth century. Printed by Pacini around 1500. Only four copies survive: three in Italy and one in the United States, held at the Metropolitan Museum of Art in New York.”

Posted
AuthorNicole Phillips
CategoriesBOOKS, HISTORY

For a century, from the 1870s to 1970s, typesetters were routinely paid to set type that was discarded. This “bogus copy” has to due with unions and managers, keeping a decent wage, preserving jobs, and ultimately the end of the era of metal type. Learn about the last man at the New York Times who had a job for life as an outcome of “bogus.”

Posted
AuthorNicole Phillips

The 1800s were a time of massive transformation in printing. The 1700s saw printing move from cottage to larger scale, but many factories held back industrial operations. Those changed dramatically right around 1800 and proceeded through the end of the century. In this article Glenn Fleishman focuses on an overlooked aspect: paper molds used to duplicate entire pages of type and images, often for newspapers, that were cast as metal plates. These remained in use until the 1980s in American newspapers!

Posted
AuthorNicole Phillips
CategoriesHISTORY, PRINT

The baseline is one of the foundations of legibility, allowing letters to be read in a flowing fashion along a horizontal line our minds construct. So how did type foundries keep a consistent baseline? They did not. At least for most of the first four and a half centuries of printing before industrial scale had fully set in and before standardization became keenly important as an element of efficiency and productivity. Read this fascinating article from Glenn Fleishman for more.

Posted
AuthorNicole Phillips

A practical treatise on the production of books in nineteenth century London. The book guides the novice from manuscript to distribution, demonstrating the interconnectedness of the people and processes involved. A facsimile of the 1892 edition alongside new texts by Esther McManus and Samantha Whetton. Available in-person or online londonbookarts.org/shop

Posted
AuthorNicole Phillips

Quentin Schmerber’s Esad talk on Baskerville in France (and his changing relationship with English typefaces) released as a video capture, its honest, insightful (nerdy!) and delightful - check it out and after the jump note the links on the right to other speakers from the event.