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Printing History

A Specimen Portfolio of Wood Type in the Cary Collection
A Specimen Portfolio of Wood Type in the Cary Collection
A Specimen Portfolio of Wood Type in the Cary Collection
A Specimen Portfolio of Wood Type in the Cary Collection
A Specimen Portfolio of Wood Type in the Cary Collection
A Specimen Portfolio of Wood Type in the Cary Collection
A Specimen Portfolio of Wood Type in the Cary Collection
A Specimen Portfolio of Wood Type in the Cary Collection
A Specimen Portfolio of Wood Type in the Cary Collection

Wood type in myriad designs—from stark condensed sans serifs to bizarre ornamental scripts—created variety in commercial advertising more than 180 years ago, and continues today to influence modern signs, posters, and billboards. The Melbert B. Cary, Jr. Graphic Arts Collection at RIT maintains an impressive collection of wood type, numbering over 300 fonts. This book showcases over 250 of our best wood type specimens, including many complete fonts and samples from unusual designs.


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Printing History New Series 6

New Series Number 4 (July 2008)


James Mosley, The Materials of Typefounding: A List of Surviving Collections.

Simon Loxley, Frederic Warde, Crosby Giage, and the Watch Hill Press.

 


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Printing History New Series 5

New Series Number 5 (Janaury 2009)


H. George Fletcher, Aldus, UCLA, and Me.

Nile Green, The Development of Arabic-Script Typography in Georgian Britain.

REVIEWS

Christopher Burke, Active Literature: Jan Tschichold and New Typography. [Jerry Kelly]

Alan Bartram, Typeforms: A History. [Alastair Johnston]

Scott E. Casper, Jeffrey D. Groves, Stephen W. Nissenbaum, and Michael Winship, eds., A History of the Book in America (vol. 3)[Paul S. Koda]


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Printing History 50
Edited By David Pankow

Whole Number 50 (Volume 25, No. 2) 2009

Journal of the American Printing History Association, original series


NB: This issue has a numbering error on the cover. It is not Volume 26 no. 2

Helena Wright, The Future of Printing Museums

Richard Flint, A Great Industrial Art: Circus Poster Printing in America

William S. Peterson, Nineteenth-Century Revivals, Typographic and Spiritual

David Pankow, Facing the Unfolded and Visible Book of the Future

 


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Printing History New Series 4

New Series Number 4 (July 2008)


James Mosley, The Materials of Typefounding: A List of Surviving Collections.

Simon Loxley, Frederic Warde, Crosby Giage, and the Watch Hill Press.

 


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$20.00

Printing History New Series 3

New Series Number 3 (January 2008)


Gabe Smedresman, Geofroy Tory's Champ Fleury in the Context of the Renaissance Reconstruction of the Roman Capital Alphabet.

Joan Boudreau, Publishing the U.S. Exploring Expedition: The Fruits of the Glorious Enterprise.

REVIEWS

Scott-Martin Kosofsky, ed. The SP Century: Boston's Society of Printers through One Hundred Years of Change. [Martin Antonetti]

Peter Holliday, Edward Johnston: Master Calligrapher. [Jerry Kelly]


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Printing History New Series 1

New Series Number 1 (January 2007)


Gregory Graalfs, Photography in Reproduction: Its Role in the Settlement of California.

Kitty Maryatt, Experience Gutenberg Project: Printing Beorum II at the Scripps College Press.

REVIEWS

Christopher de Hamel and Joel Silver, Disbound and Dispersed: The Leaf Book Considered. [WP]

Irene Tichenor, No Art without Craft: The Life of Theodore Low DeVinne, Printer. [WP]


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Printing History 48
Edited By David Pankow

Whole Number 48 (Volume 24, No. 2) 2005

Journal of the American Printing History Association, original series


David R. Whitesell, Thomas Jefferson and the Book Arts

Philip J. Weimerskirch, The Beginning of Color Printing in America

David A. Hanson, John Carbutt and the Woodburytype in America

 


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The Printer's Manual: An Illustrated History
The Printer's Manual: An Illustrated History
The Printer's Manual: An Illustrated History
The Printer's Manual: An Illustrated History
The Printer's Manual: An Illustrated History

As printing from movable type was perfected in the fifteenth century, the mysteries of its practice were guarded by a privileged few. The rapid spread of the new art depended on the development of a reliable mechanism for transferring knowledge, and printers naturally adapted the established practices of the medieval craft guilds. In this way, the art of printing was preserved and sustained, often carefully veiled from outsiders, and always the product of years of close study and practice.


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Tempting the Palette
Tempting the Palette
Tempting the Palette
Tempting the Palette

Twenty-five historic color processes are described and illustrated here through informative texts and sumptuous digital color reproductions. Numerous magnified detail illustrations show the tonal characteristics of each process. The majority of the image samples are drawn from the Cary Collection.


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