Printmaking is a very old and beautiful art form but it‘s not accessible for a lot of people. The Open Press Project responds to this with a small but fully functional etching press, designed to be lightweight, inexpensive and portable. Learn more and back the project on Kickstarter here
A few weeks back I was scrolling my twitter feed when some striking marbling stopped me in my tracks. The photographs were progress shots from Emily Hancock’s binding process of her latest release a gorgeous letterpress printed edition of Michael Delp’s poetry.
A remarkable photo essay by Christopher Payne who spent 2 years documenting the Times printing plant in Queens “to find the beauty in newsprint and the people who produce it.”
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
“Letterpress printing involved complex, arcane processes; what used to be a commonplace means of communication is now both craft and art. It is celebrated for what makes it different from today’s digital defaults. The way wood and metal type has to be set and printed presents designer, compositor and printer – now often the same person – with limitations that can also be seen as freedoms.”
Many of the first printed books in Europe were decorated with illustrations, initials and borders. Each served a purpose: initials signaled, via their range of sizes, a textual hierarchy, working in much the same way as chapter headings and sub-headings do today. Decorative borders were employed to demarcate or divide books, chapters or sections and, from the last decades of the fifteenth century, were used at the beginning of books as openers or title-pages.
A letterpress specimen of Bifur wood type, designed and printed by Amelia Hugill-Fontanel, Associate Curator of the Cary Graphic Arts Collection at RIT. Amelia’s master’s thesis focused on Deberny et Peignot, the French foundry that originally produced Bifur. The colophon text is printed from vintage Peignot metal type—another classic typeface designed by A.M. Cassandre. This 12" x 19" specimen print is hand-printed in four colors, with five press runs, in a strictly limited edition of 42 copies. And, for the month of March, they are offering the digital versions of P22 Bifur at 50% off!
Drew’s ABCs is a project of passion that Ned and Brenda have been dreaming about accomplishing for the past 5 years. Limited to an edition of 350. In its wonderful pages, the alphabet comes alive. The concept for the book was to expose the richness of diversity within typography and celebrate its differences.