Skip to the good stuff!


ISO: Venetian and Florentine Printing Historical Sites

Josef Beery

I will accompany my wife on a trip to Italy this February. We will spend time in Florence, Venice, Vicenza, and do some hiking in the Valley of the Paper Mills on Lake Garda where paper for the Venetian printers was historically made.  [Read more]

ISO: Source of A Beatrice Warde Quote

Via the contact form:

I am a professor of English and scholar of 20th-Century drama, and am currently writing on Tristan Tzara’s typographical “Dance” interpellated into his play  The Gas Heart (1923). In reading Marshall McLuhan’s Understanding Media (1964), I’ve found a potentially useful quotation attributed to Beatrice Warde, which McLuhan cites only as having come from a work called ALPHABET. The quotation—famous and often re-quoted, citing McLuhan, begins: “Do you wonder that I was late for the theatre that night when I tell you I saw two club-footed Egyptian A’s … walking off arm-in-arm with the unmistakable swagger of a music hall comedy team?” I believe Warde’s insights can shed light on Tzara’s work.   [Read more]

2019 APHA Chesapeake Calendar Now Available

Since 2012 the APHA Chesapeake chapter have produced a calendar with pages created by its members! Just $25 and free shipping. Your purchase helps fund chapter programs and events including scholarships. See full pages and here and order here.

Under Pressure / It Ain’t Easy

Nina Schneider

Katherine Ruffin demonstrates printing on an iron hand press in conjunction with the Protest in Print exhibition at the Davis Museum, Wellesley College, November 7, 2017.

Saturday, October 27. “Why the Whole Book Matters: Making Books the Hard Way in 21st Century America,” Katherine Ruffin ✧ “Chasing the Ideal Book,” Carolee Campbell


The standing-room-only crowd of over fifty attendees learned about the bookmaking practices, personal histories, and artistic philosophies of two book artists: Katherine McCanless Ruffin who shares her passion of print and paper with her students at Wellesley College and Carolee Campbell who realizes her vision of the ideal book through thoughtful concept and high craft.  [Read more]

Tour: Route 3 Press & Wapsipinicon Almanac

Isabella Myers

Left, Tim Fay demonstrates the Linotype. Right, a brass Linotype mat. (Isabella Myers)

Friday, October 26  Hosted by Route 3 Press proprietor Tim Fay


Tim Fay welcomed us into his shop in Anamosa, IA where he prints the Wapsipinicon Almanac. He’s been producing this 160-page, letterpress-printed publication featuring essays, fiction, and reviews since 1988. Before we arrived, Fay was working on the 25th and final volume of the  Almanac (published bi-annually in the 1990s). While he plans to continue printing under the Route 3 name, as he’s done since 1977, from here on he’ll focus on smaller projects.  [Read more]

ISO: Hermann Zapf Archives

Via the Contact form:

Student in type design in écal (Swiss), i’m looking for Hermann Zapf ‘s archives: especially high quality drawing/printing specimens/proofs of Melior typeface. Waiting forward to hear from you,


Wishful Beginnings

Rachel Schend

Kathryn Clark at Twin Rocker, circa 1980, she trained many apprentices who spread the craft. (Todd Matus)

Friday, October 26. “The Hand Papermaker’s Database,” Nicole Donnelly ✧ “The Revival of Hand Papermaking in the USA in Late 20th Century,” Peter Thomas ✧ “Order in the Stacks: Organization of a Paper Library,” Virginia Howell

Peter Thomas began the session by describing how the history of hand papermaking in the United States can be divided into to two eras: before 1907, when apprentices were making paper under a master; and after 1907, when individual artists were making paper for their own use. It was in this second era that individuals, such as John Mason and Dard Hunter, began experimenting and then disseminating information, which then led to the revival of interest in handpapermaking and a proliferation of workshops. The students of these classes then dispersed across the country to start their own businesses and teach others the art of papermaking. The revival really was hand-to-hand, passed down through a community of artists.  [Read more]


Adam Bryant

Detail views of the felt hair mark texture of Renaissance paper and a back mark artifact in a Renaissance drawing; such artifacts inform Farnsworth’s investigation of Renaissance paper and his ongoing quest to recreate its exceptional textures for contemporary artists. (Donald Farnsworth)

Saturday, October 27. “Renaissance Paper Texture,” Donald Farnsworth ✧ “Typographical Variants on Wove and Laid Papers in Baskerville’s Virgil,” Cathleen A. Baker

Both presenters gave a lively and engaging account of their extensive research processes and each offered conclusions that highlighted the benefit and difficulties of direct material analysis research.  [Read more]

Ballad of the Adventurers …

Kathryn Rouw

Mhd. Hussain Kagzi getting ready to form a sheet. (Mina Takahashi)

Friday, October 26. “Papermaking by Hand in India,” Radha Pandey ✧ “Daluang Beaten Bark Paper and Contemporary Artists in Indonesia,” Lisa Miles ✧ “Traditional Japanese Kites & their Influence of 21st-Century Kite Makers,” Scott Skinner & Ali Fujino

Radha Pandey discussed papermaking by hand in India and what that process entails, as well as traditional dyeing techniques alongside her own experiments with non-traditional natural dyes. Pandey discussed the history of this kind of paper, and then went on to describe each step in this traditional papermaking process, from the beating of the fiber with large wooden hammers, to the techniques used for pulling sheets, to burnishing the paper on curved wooden boards. Pandey noted that the position the papermaker is in while pulling sheets influences the quality and thickness of the paper, as does the floating action of the mould when in the vat of pulp. Pandey argues that when pulling sheets from the vat, the seated or squatted position of the papermaker is what allows them to consistently make the same thickness of paper throughout an entire run.  [Read more]

Looking for Satellites

Sara Luz Jensen

Lynn Sures Nariokotome Boy, 2017. Colored pencil on handmade kenaf paper, 16″ × 24″. (Lynn Sures )

Saturday, October 27. “The Nexus of Being and Place: Interpreting Human Origins in Handmade Paper,” Lynn Sures ✧ “The Driving Force of the Universe Made Visible,” Heather Peters ✧ “Printmaking with Dirca Bark Paper,” Zachary Hudson and Andrew Zandt

Lynn Sures reported on her work funded by the Smithsonian Artist Research Fellowship into early human and animal origins, beginning with drawings of fossils on her own handmade abaca, flax and hemp paper. After research in museum collections in Washington DC, she traveled to Kenya with her handmade kenaf paper to document archeological sites where early human remains had been found along with evidence of tools and tool making, or “the development of the ‘maker’ in a species that directly preceded ours.” All of these drawings were then reinterpreted in pulp paintings. On the process she says, “These drawings are very literal. I’m trying to understand who I am looking at.”  [Read more]