Left: Charles White’s “My God is a Rock,” linocut. Right: David C. Driskell’s “Accent of Autumn.” 2016—a textured serigraphone with Dorit Yaron explaining.
Fri., Oct. 25 | On this afternoon, an intimate group of APHA members gathered at the front of the David C. Driskell Center for the Study of the Visual Arts and Culture of African Americans and the African Diaspora, for an introduction to the center, its mission, and a tour of the current exhibition. [Read more]
The American Printing History Association (APHA) is currently accepting applications for the 2020 Mark Samuels Lasner Fellowship in Printing History for the study of printing history. An award of up to $2,000 is available for research in any area of the history of printing, including all the arts and technologies relevant to printing, the book arts, and letter forms. [Read more]
Mathias Tusiime with some of his woodcuts on his handmade paper. (Casey Smith)
Sat., Oct. 26 | Casey Smith presented on his month-long trip to Kampala, Uganda as part of a cultural immersion program for artists through apexart. He explored the city and prestigious Makerere University in particular, where he learned about their printmaking techniques using hand-registered woodcuts on MDF. As Smith showed photos of the woodcuts (both blocks and prints), he pointed out that they typically depict domestic life or political subject matter. [Read more]
Pressure print form, wood type. and resulting print from workshop. (Photos: Melanie Leung)
Sun., Oct. 27 | Pyramid Atlantic is located in the Gateway Arts District in Hyattsville, Maryland. It occupies a space that has had several previous uses, including a church, arcade and duckpin bowling alley.
Our tour began on the ground floor. There is a small shop as you enter, which then transitions into an open floor plan, divided into the following studio spaces: letterpress, bindery, and printmaking. Down the hall, there are tables for classes and separate rooms for papermaking, screen printing, a darkroom, as well as separate office-type studios for artists. The second floor also has offices and a small library, though the majority of the space is used as a gallery for artists to exhibit their work. You can also see some elements of the building’s history preserved here in some of the architectural elements of the space. [Read more]
We are pleased to announce that members of both the Chesapeake and Northern California chapters of APHA have produced beautiful 2020 calendars for sale via the links above. [Read more]
I am writing about the earliest days of the Providence (R.I.) Journal, which at that time—the late 1820s—used a “Ramage printing press.” I’d like to describe in great detail what that must have been like: what it looked like, how it worked, what smells were emitted, what the job assignments might have been for the various employees in a small printing shop. Thanks, Dan Barry
I have heard that back in the 1930s that printers would charge more money when a book required the occasional use of Italic type when needed. I myself do not see logic in that. Do you have any insight?
At the University of Maryland, College Park College Park, Maryland | October 25 to 27, 2019
Registration has officially opened for “One Press, Many Hands: Diversity in the History of American Printing.”
All information regarding the conference including the schedule, registration, and travel details can be found here. Registration can be accessed here.
All are welcome; you need not be a current APHA member to attend this year’s conference. Please encourage any friends or colleagues who might be interested to come. The registration fee is $150.
I am working on a play and have a question for a scene set in 1937: a reporter is writing a story in manuscript and hands it to his editor. He’s working on a manual typewriter. But what does the paper look like? Is it 8×11 or legal sized? Is it newsprint or something else? Or did it vary enough from paper to paper that it doesn’t matter? If you can refer me to a source—much appreciated!
