Skip to the good stuff!

Posts

Conference Registration is Open

Sara T. Sauers

Registration is open! The American Printing History Association’s 42nd annual conference will be held jointly with the Center for Historic American Visual Culture at the American Antiquarian Society in Worcester, Massachusetts, October 6–7, 2017, with a post-conference event on October 8 at the Museum of Printing in Haverhill, Massachusetts. 

Please join us amidst a colorful New England autumn at the institution founded in 1812 by Revolutionary War patriot and printer Isaiah Thomas for exploration of the production, distribution, reception, and survival of printed words and images in America to 1900. 

Full Conference information here.

Call for Proposals 2017

Sara T. Sauers

The American Printing History Association (APHA) and the Center for Historic American Visual Culture (CHAViC) at the American Antiquarian Society (AAS) welcome proposals for their joint conference2017confheader

APHA and CHAViC invite proposals that explore the production, distribution, reception, and survival of printed words and images in America to 1900. In an era in which the process of design had not been separated from production, the purpose of the conference is to explore the inter-relation between composition, design, and printing processes. PDF  [Read more]

Conference Registration is Open

Sara T. Sauers

Depicting Alchemical Process Claudio de Domenico Celentano (Neapolitan, fl. early 17th cen) Gouache on paper  [Book of alchemical formulas] (Naples, 1606), pp. 6-7 950053.123 http://hdl.handle.net/10020/950053b22

APHA’s 41st Annual Conference, The Black Art and Printers’ Devils: The Magic, Mysticism, and Wonders of Printing History is now open for registration. The Huntington Library’s new Steven S. Koblik Education and Visitor Center in San Marino, California, will be the main venue. Our Southern California wizards have put together what promises to be a spellbinding program: a keynote featuring the book-collecting sleight-of-hand artist Ricky Jay, enchanting tours, a wonder-full book fair, and captivating presentations that explore printing history through the lens of magic, mysticism, secrecy, spiritualism, animism and alchemy Please join us!

Printing as Pragmatic Choice

Sara T. Sauers

dun-emer-press-1904

Printing room at Dun Emer Press ca. 1904. (Courtesy Trinity College)

 

Kathleen Walkup: “Pulling the Devil by the Tail: Elizabeth Corbet Yeats’ Cuala Press”  ¶ Richard Mathews: “Frederic Goudy and the American Hands-on Hand Press Tradition”

3 pm saturday, october 24 ⋅ track 1

Kathy Walkup began by showing an iconic photograph in the history of printing. Taken in Ireland at the Dun Emer Press in 1903, it shows Elizabeth Corbet “Lolly” Yeats, dressed in a full-length smock, at work at an Albion hand press. Two other similarly dressed women share the print shop, one preparing ink and the other sitting at a table in the foreground, checking proofs. Walkup pointed out that while this image is often seen as an example of genteel ladies keeping themselves occupied with a “suitable” art, this interpretation is far from the truth. Elizabeth Yeats was no hobby printer. She and her siblings W.B., Jack, and Susan Mary “Lily” Yeats, were called upon to support themselves and their father, the Irish painter John Butler Yeats, who failed to provide for his family adequately with his portrait painting.  [Read more]

Conference Registration is Open

Sara T. Sauers

APHA’s 40th Annual Conference, Printing on the Handpress & Beyond, hosted by the RIT Cary Graphic Arts Collection is now open for registration. Workshops, tours, demonstrations, lectures, famous printing presses, excursions in Rochester and Upstate New York, a vendor fair, and great camaraderie all await you! Printing on the Handpress & Beyond will examine and show you the creative ways these earliest printing machines are employed today by printers, artists, scholars, and educators. Program information and registration are now available

Paper in Artists’ Books I: The Long & Short Views

Sara T. Sauers

 
10.18.2014. Session I, Panel 3. “The Secret of the Art: Ten Short Stories,” presented by Sandra Liddell Reese ¶ “Beyond Substrate: Handmade Paper as Environment for Letterpress Printing,” presented by Leslie Smith.
 
hortusgatefold2

Spread from Hortus Conclusus a bilingual artist’s book by Leslie Smith.

This panel featured two book artists intent on having paper play a role in enhancing the meaning of their printed work. [Read more]

Conference Registration is Open

Sara T. Sauers

PoP-logo-color

Paper on the Press, APHA’s Joint Annual 2014 Conference with the Friends of Dard Hunter is now accepting registration. Paper on the Press has something for you! From hand-made to machine-made to digital, from industry to education to the arts, we hope you will join us in examining the historical and contemporary ties that connect paper and press. Presentations, demonstrations, exhibitions, excursions, camaraderie, San Francisco, and Oakland all await you. Program information and registration are now available.

2014 Conference Update

Sara T. Sauers

PoP-logo-color

A roster of speakers guaranteed to promote lively discussion among colleagues both old and new has been assembled for APHA’s 2014 Annual Conference, Paper on the Press. This year the conference will be held jointly with hand papermaking group The Friends of Dard Hunter  [Read more]

Sarah Lowengard on Why Color? On the Uses, (Misuses) and Meanings of Color in Printing

Sara T. Sauers

gautier

Detail from Gautier (d’Agoty) and Duverney “Muscles of the head” from Myologie complete en couleur et grandeur naturelle(Paris, 1746). Wikimedia

Why color? For keynote speaker Sarah Lowengard, whose research hangs at the intersection of scientific theories and technological processes in eighteenth century Europe, the answer is in its multiple meanings. Color is both concept and process, and is therefore a significant framework for looking at that modernizing culture’s art, materials, and technology of making. In a similar vein, Lowenberg posited an overarching question about aesthetics, technology, and science: How do we make something beautiful, but lasting? [Read more]

Russell Maret on Painting with Polymer: Priming, Shading and Layering in Digital Letterpress

Sara T. Sauers

Seven color letterpress ruler from Russell Maret's forthcoming book, <em>Interstices &amp; Intersections</em>.

Seven color letterpress ruler from Maret’s forthcoming book, Interstices & Intersections.

Russell Maret makes letterpress prints that originate from his paintings, which he uses as sketches. His prints maintain a painted look—those subtle transitions in color and shading—through a painstaking process of scanning, drawing separations, preparing negatives and plates, mixing inks, and printing layer upon layer of carefully chosen and expertly registered hues. Maret shared his techniques, developed particularly since 2008 it would seem, when someone said about his muted color map in Mediaeval in Padua, “Nice book, Russell, but use more colors.” [Read more]