Winner - American Graphic Design Award, Graphic Design USA Conveying the authors' love of the letterpress process and product, this book presents the technical, historical, aesthetic and practical information necessary for both students and instructors. The 2nd edition of For the Love of Letterpress includes an updated gallery of contemporary images of letterpress printing, as well as a new chapter of letterpress assignments from the United States, United Kingdom and Europe. Both additions attest to the dynamic and continued relevance of the media. The authors show how contemporary digital processes have expanded the boundaries of traditional letterpress. By writing with passion and experience, they indicate why a 15th century printing technology based upon crafting with one's hands, still has appeal and value to 21st century artists and designers. Whether incorporated into an academic curriculum or used for self-study, For the Love of Letterpress is a must for students who wish to learn letterpress and instructors seeking inspiration and reference.

In the nineteenth and early twentieth centuries, type for newspapers and books was set one letter at a time, and the manufacturers of the metal type used in the printing trade were called typefounders. This prominent yet rarely documented industry was essential to the development of modern American publishing and was particularly prevalent in St. Louis. In Recasting a Craft: St. Louis Typefounders Respond to Industrialization, Robert A. Mullen recognizes the city's significant contributions to typefounding and details how the craft fundamentally changed through mechanization, growth, and the creation of a large conglomerate. Like many trades of the nineteenth and early twentieth centuries that were eventually lost to industrialization, the typefoundries of St. Louis grew from small shops to factories with organized labor. Mullen describes three distinct periods of the industry that emerged in St. Louis's typefounding trade: the early struggles in establishing the industry there, the period of intense competition and creative enterprise, and the proliferation of new companies that appealed to those customers who felt alienated by the monopolizing older companies. Mullen discusses at length the technological, social, and demographic foundations of the immense growth of the trade in the nineteenth century, identifying the changes in typographical design and the demand for it in the new era of advertising. He also profiles the workers, working conditions, and labor issues--such as the failed industry-wide strike of 1903--that emerged as the craft of typefounding entered the industrial age. More than two hundred type designs that originated with the St. Louis firms are listed in an appendix with examples of each face. The volume also contains a list of the catalogs of the St. Louis typefoundries known to exist in the public and academic libraries of the United States.

This book reconsiders the evidence for what we know (or think we know) about early modern performance conditions. This study encourages a new recognition and treatment of certain aspects of the plays as evidence – and demonstrates the significance of the implications of that new information. This book is also an assessment of the competing narratives about the processes involved in early modern performance: about the status of manuscript playbooks, about the parts that players memorized, about the functions of the bookkeeper, about casting, about prompting, and about rehearsal practices. Leslie Thomson investigates the bases for the interdependent beliefs that an early modern player relied only on his part to prepare for a performance, that rehearsal was minimal, and that a bookkeeper compensated for these circumstances by prompting any player who was "out of his part." By focusing on often ignored (or downplayed) requirements and challenges of early modern play texts, Thomson provides evidence for answers that will foster a more nuanced and thorough understanding of original performance practices. That will, in turn, influence how we read, study, and edit the plays. This exploration will be of great interest to theatre and performance researchers, graduate students, teachers of early modern drama at the undergraduate and graduate levels, performers, directors, editors.

The first edition of this dictionary, compiled by F.J.M. Wijnekus and published in 1967, was the result of years of systematic collection and preparation of thousands of terms and expressions which were until then not to be found in any other dictionary. The material was correlated for use in his daily work and, as the reputation of his private collection spread, there was an increasing demand for access to these findings. Until 1967 there was no comprehensive multilingual dictionary on the subject; former publications were incomplete and out of date and lacked clear definition - often leading to disastrous misunderstandings. Furthermore, the subject of printing, paper and ink technology had never been dealt with, in dictionary form, in relation to other aspects of the graphic industry.This new work, prepared by F.J.M. Wijnekus and his son, has been considerably up-dated. Much time has been devoted to checking the material against the most reliable and authoritative sources. The usefulness of the work has been further enhanced by the addition of Spanish and Italian to the original languages of English, French and German.The first edition was received with much enthusiastic praise and this new dictionary will undoubtedly continue to be an invaluable tool for all those working with the printed word in the widest sense. It is a reference work which should be in the hands of all those in any way connected with the printing industry, paper manufacturers, ink manufacturers, printers, bookbinders, publishers, lithographers, lay-out men and graphical research institutes.