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.
Nick Summers instagram account has been step by step documenting the process of moulding and casting type. Inspired by Dafi Kuhne he spent most the last four weeks casting a large fount of 6-line condensed gothic in polyurethane, from a wood type original. He illustrates and descirbes the process in great detail
Designworks undertook a studio project Pepeha.nz – a website to help all New Zealanders introduce themselves in Te Reo Māori. ‘The Pepeha typeface is reminiscent of the land, the culture, the people and generations that have gone before us, both modern and timeless. Limiting the use of straight lines meant we were creating something that felt like each glyph was carved from the land itself. Something natural and formed organically.’
Just van Rossum designed this ultimate Slab Serif capital H, with an ever-expanding number of serifs. Each H has four serifs, each of which becomes an H by sprouting additional serifs. The serifs on those serifs sprout their own serifs, on and on and on up to the thinnest line that the press technology can handle.