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RIT Acquires Historic Printing Press

RIT Acquires Historic Printing Press



"Rochester Institute of Technology has acquired a significant piece of printing history.

RIT was the highest bidder at $233,000 on Tuesday for the Kelmscott/Goudy Albion iron hand press No. 6551, which was used by William Morris to print theWorks of Geoffrey Chaucer in 1896.

“The Kelmscott/Goudy Press will have an active life at RIT, not simply as a museum artifact, but as a working press accessible to students, scholars and printers,” says Steven Galbraith, curator of RIT’s Cary Collection, to which the printing press will be added.

The press will arrive on campus in a few weeks. The Cary Collection’s purchase was made possible by the generous support of the family Brooks Bower, a 1974 graduate, RIT trustee and CEO of Papercone Corp., an envelope-manufacturing firm in Louisville, Ky."

Thanks Democrat & Chronicle for the article!

Glow in the Dark Book

Glow in the Dark Book


Croatian designers Bruketa & Žinić have created a book that can only be identified in the dark. When the lights are turned off, words glow on the cover and spine of the annual report for investment company Adris. Copies of the book were displayed at a media festival room, designed by shop-concept studio Brigada, where lights were turned on and off at intervals. Bruketa&Žinić previously designed a book that had to be baked before it could be read - see our earlier story.

Photography is by Domagoj Blažević.


Good ideas glow in the dark by Bruketa Zinic and Brigada 

Good ideas glow in the dark by Bruketa Zinic and Brigada

Good ideas glow in the dark by Bruketa Zinic and Brigada

Good ideas glow in the dark by Bruketa Zinic and Brigada

Good ideas glow in the dark by Bruketa Zinic and Brigada

Good ideas glow in the dark by Bruketa Zinic and Brigada

"We created a room in which, upon entering, the lights fade out and the only things that glow are the annual reports of Adris on shelves and tables."

Good ideas glow in the dark by Bruketa Zinic and Brigada

Credits: Brigada / Damjan Geber (Architect) Bruketa&Žinić OM / Davor Bruketa, Nikola Žinić (Creative Directors), Vesna Đurašin (Production Manager), Ivana Drvar (Account Executive Senior), Radovan Radičević (DTP)

Good ideas glow in the dark by Bruketa Zinic and Brigada

Corridor Press

Corridor Press


Checkout Corridor Press, a collaborative printmaking studio in New York.




"Corridor Press is a collaborative lithography studio workshop, committed to producing original, limited edition lithographs made directly by artists and printed by hand.  The studio also offers collectors direct access to many of the editions produced, some  can be seen  on this site many more are available in  the studio gallery. Because Corridor is dedicated to the artist's vision  and  collaborating, we represent a wide range of artistic styles and prices.   All prints are fully documented with satisfaction guaranteed.   Anyone who is interested is welcome to browse here or make an appointment for printing or to look at prints at the studio. "

 Here is a piece that was produced at Corridor Press


"The Fragrance at Bethany" an original lithograph printed by hand on Rives BFK cream paper: 22" x 30"(H/W). Hand printed from six printing plates with hand painted gold.

A Kidd's Guide to Graphic Design

A Kidd's Guide to Graphic Design


(via Creative Review)

Graphic designer and author Chip Kidd has written an introduction to graphic design for children. The book offers an entertaining and inspiring look at visual communication...

On the front cover of Chip Kidd's new book, Go! A Kidd's Guide to Graphic Design, is a big red sign usually reserved for the word 'stop'. On Kidd's cover though, it says 'go'. As he explains later in the book, Kidd is toying with his readers. “It is meant first to attract your attention, then to make you want to investigate it and figure it out. And I think that's what all book covers should try to do,” he says.

A Kidd's Guide to Graphic Design is aimed at children aged 10 and above and provides an introduction to some of the key concepts in graphics and typography. Witty, engaging and never condescending, it's exactly the kind of introduction to graphic design that I never had - but wish I did – when I was at school.

Kidd's book starts with an explanation of what graphic design is and why it's important. As he explains, “everything that is not made by nature is designed by someone...and it affects us all the time”.  He also provides a potted history of graphic design, stretching from cave paintings in 10,000 BC to the invention of Garamond in 1530, the first user-friendly Apple computer in 1984 and Photoshop in 1989. It isn't an exhaustive list but it references some key design movements and technological developments.

The rest of the book is divided into four chapters - form, typography, content and concept – which outline key design principles. In form, he presents examples of how to create powerful designs using techniques such as cropping and juxtaposing images, layering text and playing with light and dark:

And in a chapter on typography, he introduces readers to kerning, points and picas, and a selection of iconic fonts including Didot, Princetown, Huxley Vertical and of course, Gill Sans and Helvetica. It's a complex subject to relay to a young audience but Kidd pulls it off by toying with type to illustrate his points, encouraging his readers to really think about how typography affects the way we interpret words.

Chapters on content and concept introduce readers to Louis Sullivan's 'form follows function' theory, highlighting the importance of addressing the question, what are you trying to communicate? before deciding on a final design concept. While Kidd acknowledges that the idea for a concept is often the result of luck or a stroke of genius, he encourages readers to “let the problem itself give you ideas”, citing the inspiration for some of his most striking cover designs:

The book ends with a series of design projects encouraging readers to practice the theory they've learned. In one, he invites children to create their own visual identity, asking “what is your idea of yourself? And what idea of you do you want others to have?” He also suggests starting a graphic design collection and making a font specimen sheet.

Kidd's guide is full of practical advice and examples of his own work and others', including his brilliant Jurassic Park book cover - just one of more than 1000 he's designed during his design career. It's informative without being boring,  simplifies complex themes without patronising readers and most importantly, it shows children that design can, and should, be fun.

Haven Press Studio

Haven Press Studio




Technological advancements and the influx of electronic, digital and automated applications have drastically changed the way we create, view and share art. Mark Herschede, founder and owner of Haven Press Studio in Brooklyn, runs his print shop with an interest in innovation but holds a strong respect for the tradition of a time-honored process.


"This is a print shop where digital meets traditional, and the intention can be focused either way or blurred together."

The impeccable work of Haven Press commissioned by galleries, organizations and individual artists marks just one element of the studio's operations. A one-man show, Herschede plays the role of printer, studio manager, exhibition curator, resident artist and janitor (not to mention caretaker to two adorable shop dogs—Montana and Able). The 2000-square-foot space resembles a modern 1950s letterpress and is outfitted with six pieces of antique machinery found at auctions or passed down by previous owners, along with some modern digital technologies and photographic means. "This is a print shop where digital meets traditional, and the intention can be focused either way or blurred together," says Herschede.

Still, the most remarkable element to Haven Press Studio is that while most print shops specialize in one or a few different print media at the exclusion of others, Herschede offers an expansive variety of processes—screenprinting, etching/intaglio, letterpress from type and polymer plates or cuts, lithography from plates or stones, photopolymer intaglio and traditional relief printing (including computer-controlled routers that provide capabilities to create digitally produced wood blocks at the neighboring studio, kontraptioneering). Plus, everything is expertly produced by the collaborative printer himself. "It's as if Gutenberg found out about inkjet printers and CNC," jokes Herschede about his studio, equipment and work style.


New techniques and innovations related to print provide more efficient ways of doing the same things and allow printers to practice the same traditions in less toxic, more immediate ways. But most importantly, these developments have presented printmakers with choices. Being able to design and manipulate images through computer programs and apply them to the laborious execution of the work is a convenient complement.

"Photoshop and computer-controlled artwork production have made it easier for artists who adopt the digital platform, or even more progressively learned on it, to make their work and view it in multiple ways easily. By using digital means to preview the work and mock it up, the imagination is presented with more alternatives at an earlier stage in the design process," says Herschede. "It's about intuition still, but there is something about an organic process as a final outcome that can breathe life into a digitally created artifact. It adds the touch of a human being to the process—mistakes, mojo, noise or whatever you call it—makes the work into something different."

printmatters_4.jpg printmatters_3.jpg

"I have made a choice to adopt the new while retaining traditional craft sensibilities and roots in analog processes—a balancing act is necessary."

Equipment used to produce chemical stencils, intaglio plates, stamps, woodcuts and other printing surfaces has also added efficiency when realized with digital means. Scientific progress has been another game changer in the print trade. Thankfully, artists now have access to materials that are significantly less harmful to their health and the environment. Chemicals and other hazardous components have become less toxic, or in some cases have been eliminated altogether. While chemicals have become safer their cost and access to them isn't incredibly stable and the future could hold a further decline. Herschede observes, "There has been a great shift in production methods and as demand for physical printed materials diminishes access to chemistry could become the biggest threat to print, similar to what we saw happen with Kodak or Polaroid."


Beyond preparing and executing art, the channels of exposing that work have opened up thanks to the digital platform. Artists can share and even profit from using websites, blogs and other online publications to promote their work. Matrix-style barcodes are popping up within exhibition spaces. They can serve as stand-alone art or as compliments to more traditionally formatted creations. As an artist, Herschede masterfully welcomes these modern ameliorations into his handcrafted realm and appreciates the added value. He ascribes print, especially for art's sake, as what he poetically describes as the "life support—keeping something alive that already technically died."


As a printer, Herschede has the ability to look beyond the sentimentality of a waning tradition to find a level of comfort in technology, while catering to the current demand for goods that are locally produced with little waste. "Essentially print has evolved—we can all either accept it and adopt it, or move on without it," he says. "I have made a choice to adopt the new while retaining traditional craft sensibilities and roots in analog processes—a balancing act is necessary."

printmatters_7.jpgHaven Press Studio also offers artists the opportunity to produce their own work by renting time at the studio. In this sense, Herschede exudes the spirit of a patient artistic mentor, offering his guidance and expertise only as much or as little as the fellow printer desires. He values the importance of accessibility and collaboration, stressing the importance of freedom in the studio. "Instructors hand down the skills and tools, but further learning through mistakes and experimentation is necessary," he says. "If process or purpose is convoluted, or conversely too simplistic, then genuine interest can not flourish—you have to create interest by providing insight and strip it of any pretension. The approach can not be overzealous as it just creates intimidation." Clearly Herschede possesses not only the strategy of a 15th-century printer but the heart and soul of one as well.

Thanks Cool Hunting for the article!

Stukenborg Press

Stukenborg Press


Check out this video featuring Detroit based printer, Bryan Baker.

Stukenborg Press is both Bryan Christopher Baker's art studio, and an educational production facility. It is a letterpress printshop that editions fine art prints, and custom ephemera for a boundlessly wide range of clients. It is staged with enough equipment for all of the art and job printing to be running, while always also having a couple presses open for individuals to come in and learn how to print while realizing their own personal projects.

For more information you can check out his website. Thanks Printeresting!


Printshop at Virginia Commonwealth University Qatar

Printshop at Virginia Commonwealth University Qatar


Printeresting recently posted a photo tour of the Virginia Commonwealth University Qatar Printshop. Check out the photos below for the tour. "The school has been offering various applied arts degrees for about a decade, but the Painting and Printmaking Department is a relative newbie. In addition to the usual etching presses and silkscreen vacuum tables, the shop  has a lot of digital fabrication options as well: a vinyl cutter, large-format digital printers, various laser-cutters and easy access to a 3D printer." IMG_0002Vast and open lobby spaces.




IMG_0006The big screenprint posters on the wall are by the Dutch artist Harmen Liemburg. You might also recognize some classic American woodcut by Sean Starwars.



IMG_0008A seriously large exposure unit.

exposure-unit (small)Zach provided this GIF of the monster in action.



IMG_0011A woodcut by Israa Hashmi, a Pakanstani student in her senior year.

IMG_0012The etching/litho shop.

IMG_0013Beautiful light in here.



IMG_0015Graphically-augmented roller cabinet.


Designer, Erik Spiekermann Talks Print

Designer, Erik Spiekermann Talks Print


Check out this interview with German designer Erik Spiekermann. Thanks Behance!

"With eight floors dividing the space instead of walls and an entire floor dedicated to his small printing press, the building is atypical and not just for German standards. See the pictures of this design and typographic haven by Max Zerrahn and read the entire interview on FontFont news."

 "I have a small proofing press, a Korrex Nürnberg 38 by 55 cm. It prints letterpress from wood or lead type, woodcuts, polymer plates or anything higher than its surroundings. I have lots of metal and wood type, from 8 point Akzidenz Grotesk to 33 line wood type, plus all the other stuff needed to set type. And also two table-top platen presses which in German we call Boston-Pressen."

At Home With Erik

"Can you recall how your interest for paper, type and the smell of (ink) color – the aphrodisiacs of printing – first came into being? Yes. When I was around seven or eight, we had a neighbour who was a printer. I remember him showing me a piece of white paper. Then he showed me a printing form – ­ some columns of type and all the furniture around it – which looked very complicated and messy to me: a lot of metal and ink. Then he took a proof from that form onto the white paper, and like magic it showed only a few precise black marks, while the paper was still clean and white. Those marks were letters that I could read and the whole process was a miracle to me. That is when I fell for type and printing. Now I come back to that original technology of putting marks on paper: letterpress printing."

At Home With Erik

"You had a printing workshop back in the seventies but unfortunately it caught fire. It must have been absolutely devastating … Now looking back with healed wounds: do you think there was something positive about it? After my workshop, presses and type burnt down, I had only pencil and paper left, plus my brain and experience with type – all the tools a graphic designer needed at the time. I was forced into a career that I had no formal training for. And still don’t. But in a situation like that it didn’t matter. I just sketched type for other people to set and became knowledgable about photosetting and type design. Two years after the fire in 1977, I designed my first typeface for Berthold, LoType." 



Wisconsin's Hamilton Wood Type Museum

Wisconsin's Hamilton Wood Type Museum


sign "Late October 2012, the board of the Hamilton Wood Type, the largest vintage wood-type repository and museum in the United States, was notified they had six months to pack up and move out of 35,000 square-feet space—with a million and a half pieces of wood type. The company that owned the original Hamilton factory building where the museum was housed in Two Rivers, Wisconsin wanted it back, and fast. The end for the famed typography institution seemed near.

But within days of announcing the dire news on social media, friends of Hamilton forged a human chain of donors and volunteers. “The response was overwhelming,” Artistic Director Bill Moran says. “Fundraising events took place in Seattle, Chicago, Brooklyn, Milwaukee and San Diego and other cities around the country with folks designing and printing works for sale, with all proceeds going to the museum."

The organization received donations from people in 42 states and more than 20 countries. Sixteen-hundred hours of volunteer time went to packing and loading 27 semi-trailers. A local shipping company lent trucks and drivers. A neighboring pallet manufacturer provided more than 500 shipping pallets and another company donated a forklift. Working nights and weekends, Hamilton volunteers moved lock, stock, and typecases into a converted factory just 10 blocks away.

Hamilton’s goal, Moran tells me, was to keep the museum in Two Rivers but have enough space in which to grow— “and we did both.” They settled into the former Formrite building on the southern end of the city with a view of Lake Michigan, one in a cluster of '50s-era industrial structures. While the new building lacks the same character as the previous one, Moran says it fits their needs: “It has a dry roof and safe electrical system.” At 85,000 square feet it more than doubles the previous space. And with the help of the city council and Two Rivers Historical Society the building was rezoned and brought up to code.

Erik Spiekermann, the German type face maestro, has been designing a new wood type font in honor of the Hamilton’s opening.

Still, it's a long way from ready. With about $150,000 of repairs and renovations in the offing, the museum is expanding its classroom space, building new exhibitions, and creating an improved store along with a library for their archives. “We want to expand the storytelling process including the history of printing,” Moran says. “We're also hoping to increase the number of school kids who can use the space, as this will let us reach out to a new generation of printers.” They are also planning an iPad app that will test user's type recognition and offer a virtual tour for remote visiting. Hamilton is additionally digitizing the organization's “favorite fonts” and selling them online with partner P22.

Wood type is not merely a source of nostalgia;  Erik Spiekermann, the German type face maestro, has been designing a new wood type font, Hard Bold Condensed, in honor of the Hamilton’s opening. “It's a cool design and reminds me of something you'd see on a European shop window in the 1920s,” says Moran, who is cutting the type in wood in a variety of sizes for Spiekermann’s personal print shop. In return, he's donating the digital version to Hamilton to sell.

To help support the museum’s fund drive, an online store is open while the museum has been closed. In addition to prints that were letterpress printed using original Hamilton wood type and historic blocks, they have produced clothing, books, and gift certificates.

So there's been at least one positive outcome of the forced move for this a treasure trove of American printing history artifacts: Now Hamilton knows exactly what items—and how many fervent supporters—it has."

(via The Atlantic)

Books We Love - An Edible Survival Guide Book

Books We Love - An Edible Survival Guide Book



"It is said that Land Rover vehicles can take on any obstacles in the desert, but can their owners?

To help Land Rover owners stay alive if they ever get stuck in the desert, Land Rover worked with ad agency Young & Rubicam Dubaito create an edible survival guide.

In the ‘Edible Desert Survival Guide’, tips on surviving the harshness of the dessert—such as scorching temperatures, deadly animals and such—are explained.

It teaches you things like how to build shelters, signal for help, light a fire, hunt birds and how to get your orientation by using the North star.

But as a last resort, you can eat the book!

The survival guide is made out of edible paper and ink. Its metal binding can be used as skewers; and its reflective packaging, to signal for help. "

(Via Design Taxi)

LR Eat Book 2.aiLR Eat Book

Miniature Matchbox Magazine

Miniature Matchbox Magazine


"If you are getting tired of the magazine titles on the newsstand, you may want to check out “Zine-in-a-Matchbox”, a miniature magazine that fits into a matchbox.

The brainchild of Brisbane, Australia-based designer Pascalle Burton of The Lavender Room, this quirky, award-nominated magazine is now at its 12th issue.

Each issue consists of a standard set of content, including quotes from celebrated author J.D Salinger and scaled down images of vintage books the Burton has found in second-hand bookshops.

To make this publication even more irreverent, every issue comes with a single matchstick, which the reader can use to set it on fire after they are done with it. "

Thanks Design Taxi!

Books We Love - The Independent Coffee Book

Books We Love - The Independent Coffee Book


Product_shot_-_Coffee_Edition_2_-_rectangle Check out this beautifully designed book by Vespertine Press. The Independent Coffee Book is the second revised edition of this insider’s guide.

It is a celebration of coffee, and will lead the way to the rich abundance of cafes, artisanal roasters, master baristas and stall holders who are bringing specialty coffee to the capital’s vibrant markets and streets.

With all new brewing guides, a fold-out map, articles on coffee roasting, coffee carts and the history of London coffee houses and reviews and listings of the finest speciality coffee shops in the capital. A must-have for the London resident or discerning coffee tourist.

We wish we lived closer!


Book Design - Head and Tail Bands

Book Design - Head and Tail Bands


In the lifecycle of book design, there’s a moment when the files are safely off to the printer—corrections made, images retouched, fonts packaged and colors reviewed. This is when I breathe a sigh of relief and indulge in a small but satisfying part of my job—picking the head and tail bands.

Sure, head and tail bands (h/t bands) are overlooked by the vast majority of readers. But to me, they’re the finishing touch that makes the book complete. If you don’t know what I’m talking about, pick up a hardcover book and look at the top of the spine. Chances are there’s a colored silk band where the pages meet the spine. Turn it upside down and there’s another band on the bottom. These are the head and tail bands. Not all hardcover books have them these days, so you might have to pull a few books off the shelf before you find them.

Thanks to Allison Weiner of Chronicle Books!


Books We Love - Art Made From Books

Books We Love - Art Made From Books



Artists around the world have lately been turning to their bookshelves for more than just a good read, opting to cut, paint, carve, stitch or otherwise transform the printed page into whole new beautiful, thought-provoking works of art. Art Made from Books is the definitive guide to this compelling art form, showcasing groundbreaking work by today’s most showstopping practitioners. From Su Blackwell’s whimsical pop-up landscapes to the stacked-book sculptures of Kylie Stillman, each portfolio celebrates the incredible creative diversity of the medium. A preface by pioneering artist Brian Dettmer and an introduction by design critic Alyson Kuhn round out the collection. Presented in an unusual, tactile package with an exposed spine, this is an essential addition to the libraries of book lovers and art aficionados. (via Chronicle Books)

3D Printing with Sugar

3D Printing with Sugar


With the possibilities of 3D printing increasing everyday we are constantly surprised by peoples' creativity in their projects. Take a look at these beautiful objects that were made with sugar using 3D printing technology. (via This is Colossal)





The brainchild of Los Angeles architects Kyle and Liz von Hasseln, The Sugar Lab has adapted modern 3D printing technology to produce high-end edible objects for use on wedding cakes or table centerpieces. Recent graduates from the Southern California Institute of Architecture, the pair have developed a printing method that uses a mixture of sugar and alcohol that prints in layers. While the objects seen here are made using regular sugar, they hope to eventually create flavored mixtures that could be used for more complex pastry decorations, typographical treatments, or even functional objects that can later be eaten.

Sappi Fine Paper - Print &

Sappi Fine Paper - Print &



Sappi Fine Paper North America announced today the debut of "Print &," an insightful publication highlighting the interrelationship between print and digital media. Rather than being at odds, "Print &" highlights persuasive study results showing how print drives return on investment (ROI) when used in combination with alternative media to create effective integrated campaigns. Through independent research and compelling examples, "Print &" explores data on demographic preferences, emotional triggers, as well as shopping behaviors that show how print creates an interactive, visually intriguing and tactile experience. (via PIworld)

Wells College Book Arts Center

Wells College Book Arts Center


Wells-press-view The Book Arts Center at Wells College is located in Aurora, New York. A little village with a population of a little over 700, located east of Cayuga Lake in the Finger Lakes region. According to Printeresting, it is a place certainly worth a visit to see the wonderful letterpress and book arts facilities and the lovely people at the Wells College Book Arts Center. (Read more and see more photos here)