Fri, Oct. 25. | Visitors grabbed pencils and linocutters and returned to the world of relief printing in Lynette Spencer’s “Building Bridges” letterpress workshop. Hosted by BookLab, the University of Maryland’s one-year-old book arts and letterpress space, participants engaged in a four-hour intensive class designing and printing graphic two-color postcards reflecting on the APHA conference’s theme of social diversity and inclusion. [Read more]
Sat., Oct. 26 | Moderated by Katherine Ruffin, the presenters were: Miriam Intrator, “Collecting the Diversity of American Historical and Contemporary Printing: A Librarian’s Perspective” ❉ Dianne L. Roman, “Early Nineteenth Century Boston Weekly Provides Diverse Employment for Women, Supporting an All-Female Communication Circuit” ❉ Jamie Mahoney, “Incarcerated Authors, Activist Poets, Student Designers, Led by Women Printers: Publications of the Bowe House Press are Truly Created by Many Hands” [Read more]
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]
From the Contact form:
Lead found in vintage books’ ink: Should I be concerned? [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]
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]
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]
From the Contact form:
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
From the contact form:
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?