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Galley Nameplate

31 • Issue 2/3 • Fall 2010

Message from the President In This Issue Museum information ...... 2 The photo below says lot about the Museum of . Ted Leigh and Dan Abugov are under a Vandercook SP-25. The proofi ng press was a donation from Printing Arts Fair ...... 3 the Wall Street Journal, which once had its major production site in Chicopee, The Press ...... 4 MA. Somewhere along the line, the roller mechanism was mis-wired and would QWERTY ...... 5 move in one direction but not in the other. The malfunction was traced to an Type Specimens ...... 6 ancient capacitor on an ancient printed circuit board. Boxcar Base ...... 7 A lot of help came from a visitor one day. As he entered, we asked if he was an Fall Programs ...... 8 electrical engineer. “Yes, how did you know?” he said and we promptly put him Fall Programs ...... 9 to work. ...... 10 Ted fi rst called other SP-25 sites and then found a supplier of ancient electrical ...... 11 parts. He replaced the capacitor and the press was back in business. Because Donnelley Building ...... 12 of the large press bed, the Vandercook will be used to proof our growing Louis Moyroud ...... 13 type . Glenn LeDoux has been sorting and classifying wood type and The Daye Press ...... 14 will now be able to proof it. Museum Visitors ...... 15 This is what our volunteers do. They work tirelessly to preserve and protect the Membership Form...... 16 craft of printing. They bring ancient back to life. On-going Exhibits Freedom of the Press and the Colonial Print Shop Gary Gregory and the Museum staff have created an exhibi- tion of a wooden common press (replica) and a wooden press (genuine). Art of Anna Hogan Exhibit A selection of Anna Hogan’s wood are on display. Botanical Prints Botanical prints from plates donated by the Arnold Arboretum of Harvard University have been printed in meticulous detail. Board of Directors

OFFICERS Frank Romano President Bill Whitley Vice President Brian Frykenberg Secretary Theodore Leigh Treasurer and Acting Executive Director

DIRECTORS

Sally Abugov, Creative Director John Adams, Attorney John Barrett, Appraisals & collections Sandy Fuhs, Professor and Editor Cliff Garber, Webmaster Gary Gregory, Historical Portrayer Howard Hansen, Curator Norman Hansen, Founder Rebecca Krzyzaniak, Professor Glenn LeDoux, Media Bill Livolsi, Retired Educator Larry Oppenberg, Type Designer Kim Pickard, Founder John Rogers, Acquisition Specialist Louis Rosenblum, Historian Nancy Trottier, Archivist William E. Bonser, Director Emeritus

CONTACT The Museum of Printing 800 Massachusetts Avenue North Andover, MA 01845 Telephone: 978-686-0450 [email protected] www.museumofprinting.org

HOURS The Museum is open Friday and Saturday (until Dec. 24) 10:00 am to 4:00 pm General Admission: $5.00 Students and Seniors: $3.00 Children 6 and under: Free

2 THE GALLEY They came to the fair

The 7th Annual Printing Arts Fair took place at the Museum of Printing on a sunny Father’s Day. Many families were counted among the 400-plus attendees, who saw demonstrations of , stone , intaglio printing, Ludlow and Linotype linecasting, and other arts.

Over 30 exhibitors offered , cards, rare books, antique equipment, ephemera, and other articles. Children could print wood type and pictorial cuts as well as Father’s Day cards.

The centerpiece of the event was the second year we printed with a steamroller. Sally Abugov and her band of 28 linoleum block carvers created a wonderful set of alphabetic designs with fl oral/ fauna themes. The individual blocks were printed in differ- ent colors and sold at the Fair.

Letter art created by:

A Trina Abbott P Karen Shaner, B Leslie Evans Katrina Swartz, C Carolyn Muskat Anjali Pala D Joan Ellis Q Laura Mauriello E Fran McCormick R Jennie Cline F Emily Trespas S Rebecca Saraceno G Sarah Smith T Sandy Fuhs H Diane Bigda U Jessie Marsolais I Kelly Jarasitis V Alex Abugov J Deb Bastien W Dan Abugov K Katey Corrigan X Bridget Fitzgerald L John Wendler Y Nancy Conlan M Julia Talcott Z Nancy Trottier N Sarah Bardo (center art too) O Deb Putnoi

FALL 2010 3 The fi rst metal press fi nely produced books at reasonable prices but also to smaller-sized books which were easy to fi t in a pocket.

Charles Mahon, Third Earl Stanhope, found that Chiswick Press specialized in the production of small wooden printing presses were not strong enough for volumes, noted for their engravings. The books long runs. He invented the first cast-iron were printed by hand on iron presses. One of the presses press. His first design had straight sides but cracked. is now in Gunnersbury Park Museum, outside . His second design had curved sides and was much stronger. A large number of these presses printed the The Stanhope press is London Times through half of the 1800s. the oldest surviving metal The private press in the world, made by was a forerunner Robert Walker in 1804 (No. 5), can be seen in the Gun- of the private nersbury Museum. In red lettering, it says “Stanhope, presses started by William Morris and others later in the 19th century. Chiswick Press was founded by Charles Whittingham (1767-1840) who had acquired a for extracting tar from old ropes. The hemp was pulped to produce a

Inventit, No. 5, and the date 1804.” The press is near the front door, behind glass, and diffi cult to . The Museum is rather eclectic. Take the Piccadilly Underground to Acton Town. Turn left and walk about 10 minutes and turn into the park after Circular Road.

with a strong and silky finish while the tar was used to produce printing . In 1810 Whittingham equipped a printing works with a paper mill next door. After Whittingham’s death his nephew, Charles Whittingham (1797-1876) took over the business and continued printing at Chiswick until 1852 when he moved the Chiswick Press to Tooks Court, Chancery Lane. The Whittinghams not only pioneered a movement towards

4 THE GALLEY The quirks in The QWERTY layout allows many counterparts. Remember when we more words to be keyed using only used the lowercase L as a one? The QWERTY the left hand. In fact, thousands of letter M is located at the end of the English words can be keyed using third row to the right of the letter L QWERTY describes the keyboard only the left hand, while only a few rather than on the fourth row to the layout of English-language keyboards, hundred words can be typed using right of the N, the letters C and X based on the 1874 . It takes only the right hand. This is helpful are reversed, and most its name from the fi rst six characters for left-handed people. I contend that marks are in different positions or are of the keyboard’s top row of letters. Sholes was left-handed and got even missing entirely. 0 and 1 were omitted The basic layout was designed by for every left-handed person who to simplify the design and reduce Christopher Latham Sholes for the would ever live. the manufacturing and maintenance Sholes-Glidden typewriter and sold costs; they were chosen specifi cally The QWERTY layout became popular to Remington. It was said to be because they were “redundant” and with the success of the Remington designed to minimize typebar clashes could be recreated using other keys. and remains in use on computer No. 2 of 1878, the fi rst typewriter to keyboards. It is illogical, random, include both upper and lowercase When Sholes built his fi rst model in and based on what I think was a left- letters, via a shift key. The original 1868, the keys were arranged alpha- handed ex-publisher-cum-inventor who model was . betically in two rows, piano-like. The could not solve the jamming of keys. fi rst typewriter did jam and Sholes Because it was the fi rst successful rearranged the letters. Sholes took mechanical , its key the most common letter pairs such layout has become the standard. as “TH” and made sure their type- bars were at safe distances. Sholes was the 52nd person to invent the typewriter but the only one The fi rst machines typed only capital to call it that. He struggled for six letters. The Remington No. 2 offered years to perfect his , making both upper and lowercase by adding many trial-and-error re-arrangements the familiar shift key. It is called of the original machine’s alphabetical a shift because it caused the car- key arrangement to reduce typebar riage to shift in position for printing clashes. He used a study of letter-pair either of two letters on each typebar. frequency by educator Amos Dens- Electronic keyboards no longer shift more, brother of his fi nancial backer, mechanically, but its name remains. James Densmore. Several alternatives to QWERTY He arrived at a four-row, upper- have been developed over the years, case keyboard close to the modern claimed to be more effi cient, intuitive and ergonomic. Nevertheless, none QWERTY standard. In 1873 The keys are not on a standard grid has seen widespread adoption, due Sholes’ backer, James Densmore, and each slants diagonally to the sheer dominance of available sold manufacturing rights for the due to the mechanical linkages. Each keyboards and training. Sholes-Glidden “Type Writer” to key being attached to a lever, and E. Remington and Sons, and the hence the offset prevents the levers When Ottmar Mergenthaler was keyboard layout was fi nalized by from running into each other and laying out the keys for the Linotype Remington’s mechanics. The key- this staggered arrangement has been he counted the pieces of type in a board presented to Remington was: retained by computer keyboards. ’s typecase. He had a separate set of keys for caps and lowercase 2 3 4 5 6 7 8 9 - , The QWERTY layout depicted in arranged by letter frequency use in Q W E . T Y I U O P Sholes’ 1878 patent includes a few the . He was the fi rst Z S D F G H J K L M differences from the modern layout, to fi nd QWERTY as a problem. A X & C V B N ? ; R most notably in the absence of the Remington’s adjustments created a numerals 0 and 1, with each of the Thus, in a computer age, we input keyboard that is essentially the modern remaining numerals shifted one our copy on an antiquated, illogical QWERTY layout. position to the left of their modern keyboard arrangement.

FALL 2010 5 Type specimens Annenberg’s criteria for inclusion were: (a) case- From Gutenberg’s invention of moveable type, printers bound books only—no had cast type for their own use. The fi rst printer to sell pamphlets, except for early type to other printers was Claude Garamond (around ones, and no showings of 1511). He promoted his types with a single sheet showing individual type families; type specimens. John was the fi rst type founder to (b) foundry types only—no offer a bound volume with type specimens. wood type or Monotype;

The fi rst of “Type Foundries of America and Their Catalogs” was published in 1975 in an edition of 500 copies. It was complied by Maurice Annenberg, the proprietor of a major printing company in . Annenberg collected and read everything he could about printiprintingn and shared his kknowledgenowl in three publica- tiontions:s: “Advertising 3000 BC —1—190090 AD” (1959); “Type FoFoundriesun of America” ((1975);197 and “A Typographi- cacall Journey through the InInlandl Printer” (1977). and (c) books issued by foundries only—no agencies. The cut-off date was 1945, the year of American Type Found- ers Company’s last case-bound specimen. Annenberg provided historical accounts of the foundries and illus- trated the whole with reproductions from the specimen books themselves, the “Inland Printer,” and other sources.

The Museum of Printing has an excellect collection of type specimen books. The 1923 ATF catalog and the 1940 Linotype Red Book are the two largest. There are many others from Intertype, Monotype, Linotype, ATF, as well as other foundries, foreign and domestic.

Annenberg used Ralph Green’s “Check List of American 19th Century Type Specimen Books” (1951) as a guide which he found to have many omissions and inconsisten- cies. He gleaned additional information from Lawrence Romaine’s “A Guide to American Trade Catalogs, 1744- 1900” (1960) and from Henry L. Bullen’s 1934 and 1936 catalogues of type specimen duplicates for sale by the of the Company. With these as his base, Annenberg set out to correct and augment Green’s list by surveying various and private collectors believed to have collections of type spec- imen books. The task took over three years and resulted in a tabulation of 650 specimen books from sixty-nine foundries which were held in thirty-seven institutional and private collections.

6 THE GALLEY Boxcar Base System He moved the press into a studio shared with a and a truck Some letterpress printers convert driver in the most decrepit building design fi les to printing in the city. In the evenings and week- plates. Then they must mount plates ends, amid the boxcars and grain on a type-high surface and the elevators, he printed for music events Boxcar Base system is designed for and for local weddings. He called cylinder or letterpresses. the operation “Boxcar Press.” During these adventures, he happened upon Boxcar Bases The bases are engineered from cast a better way to mount computer- For Vandercooks, Heidelberg cyl- aluminum, ground and gridded to generated plates into a letterpress inders, and Heidelberg windmills: provide a foundation for letterpress press—a bridge between graphic they recommend the standard printing. All sizes are guaranteed to design software and antique presses. Boxcar Base, which pairs with the within 0.001-in. in thickness, parallel, With assistance from 3M and some 94FL plates. The standard bases and fl atness. The system consists of: Minneapolis machine shops, he took will also work on other platen • A precision ground and gridded a prototype to a letterpress trade fair presses (such as the C&P) if the Boxcar Base, which is reusable and started taking orders. and locks up in your or bed ink form rollers are set precisely. • Boxcar adhesive (double-sided) The poet, Debbie Urbanski, whose These standard bases are ideal for • backed photopolymer work he fi rst printed at Carleton, per- presses that have adjustable roller plates, which are reusable suaded him to follow her to Syracuse, height. BASES (in inches) include: New York. He moved Boxcar Press After you adhere the plastic-backed into the basement of their new house. 4.5 x 7.5 13 x 19 plates to your base, the plate moves Debbie opted to join the business 6 x 9 17 x 22 only when you want it to: the adhesive as a partner. She started their Bella and plates pulls up from the base Figura letterpress 9 x 12 24 x 24 easily when lifted vertically, but resist line, available only online, which was 12 x 16 the horizontal shearing of the rollers an odd concept in 2001. and press cylinder. They hired Syracuse University interns An anodized grid of .25-in. lines to work in their basement. Their Boxcar Press provide registration ease; because wedding invitations were taking off, 501 W. Fayette St. #222 Syracuse, plastic-backed plates are transparent, thanks to Google. Desperate for , NY 13204 (315) 473-0930 you can see the grid through your they moved the business into an artist www.boxcarpress.com plates for positioning on press. The warehouse in downtown Syracuse. The Museum of Printing thanks base’s anodizing protects the metal Boxcar Press for their support. As surface from scratches and wear with Everything they do is a byproduct of users of the system, we can, and a permanent that’s harder their love for the craft. Their mission often do, recommend it to than a . If you have a need is to ensure letterpress remains rel- letterpress printers. for a base with a different thickness evant for future generations. or size, don’t be shy, they can make custom bases at reasonable prices.

Founder Harold Kyle was trained in the book arts at Carleton College and at Campbell-Logan Bindery. While a printer-in-residence at the Minnesota Center for Book Arts (MCBA), he received a coveted Fine Press Min- nesota Book Award. He says “When I saw an ad online for a Vandercook letterpress in for $100— scrap metal price—I jumped.”

FALL 2010 7 Fall programs Lectures Workshops Thursday, October 21, 6pm Saturday, October 2 Postage Stamps by Type Designers: A Primer Linoleum Block Printing for Greeting Cards Workshop Rebecca Saraceno Eric Gill, , Gerard Unger, Sem Hartz, Time: 10:00 a.m. - 3:30 p.m. Julian Waters, , Wim Crouwel, Lance Hidy, Hermann Zapf—stamp designers? Yes! Michael ½ hour lunch break in museum. Pack a sack lunch to eat Russem of Kat Ran Press will bring together a colorful in the museum. Beverages will be provided. selection of stamps designed by some of the great (and not-so-great) designers of metal and digital . Join Students will be introduced to the materials, tools, and us for a joyous romp through 85 years of postage stamps techniques for transferring an image to a linoleum block by European and American type designers. and carving in preparation for printing a collection of greeting cards. Students will receive instruction on how Michael Russem is a book designer and letterpress printer to use the tools for making specifi c cuts through lecture with offi ces in Cambridge and Florence, Massachusetts. and demonstration, and print their designs on a Vander- Since 1994, his Kat Ran Press has designed and printed cook proof press. A package of 10 sheets of paper and 10 books, catalogues, and ephemera. He has taught let- is included in the materials fee. terpress printing and typography at Harvard and Smith Prerequisites: None—this is for the beginner. College, and has lectured on stamps by type designers Cost: $30 members; $50 non-members at the Society of Printers, The Typophiles, Guild of Book Materials Fee: Included Workers, The Baxter Society, Smith College, and the . Limited to 10 participants. Advance registration required.

Free for members; $30 others Students should bring their own carving tools. (most craft stores have these: http://www.dickblick.com/products/ Thursday, November 4, 6pm speedball-linoleum-cutters/). Students should come prepared with potential images that could be transferred Heavyweight Bout: Linotype vs. Monotype. Two Dominant of Hot-Metal Square Off to the blocks via tracing paper (to be supplied). We will John Kristensen, referee follow-up with once you register.

As proprietor of Firefl y Press, John uses both machines Saturday, October 9 and can therefore objectively compare the two seminal Printing on a Wooden Common Press Workshop hot metal typesetters. Instructor: Gary Gregory Free for members; $30 others Time: 10:00 a.m. - 3:30 p.m.

Thursday, November 18, 6pm ½ hour lunch break in museum. Pack a sack lunch to eat Beyond Hobby Printing in the museum. Beverages will be provided.

Discussing the evolution of a modern letterpress business: Here is your chance to channel your Colonial heritage. juggling a nationally carried wholesale catalog, running a Workshop participants will set type and print on a custom design and print shop and hosting the occasional detailed replica of an english common press using, among typesetting workshop. other things, wooden quoins and ink balls. Shelley Barandes, owner of Albertine Press Cost: $30 members; $50 non-members Free for members; $30 others Limited to 8 participants

8 THE GALLEY Special Events Type Sale Saturday, October 16th, 10:00 a.m. to 4:00 p.m.

A Night at the Museum with Print Buyers International Wednesday, October 13, 6:00pm to 8:00pm

Join Margie Dana for a reception and short talk on how print buying has changed. Museum members welcome at no charge.

Hot Metal Daze Saturday, November 13, 10:00 a.m. to 4:00 p.m. Saturday, October 23

Workshop: Printing Broadsides with Wood Type Typecase Design Competition Instructor: Glenn LeDoux Come in any day and pick up an old typecase. Then take Time: 10:00 a.m. - 4:00 p.m. until Spring to decorate it in any way you please. In April we will judge and show the entrants. Special prizes and ½ hour lunch break in museum. Pack a sack lunch to eat lots of recognition. $10 entry fee includes typecase. in the museum. Beverages will be provided.

Learn how broadsides and are printed using wood Watch our schedule type, , and ornaments from the Museum’s The Museum is open on Fridays and Saturdays through collection. Attendees will operate a Vandercook Proof December 18th. We will be closed on December 24 and Press and learn typesetting, ink mixing, and color 25 and December 31 and January 1. From January 8 registration fundamentals. through March 26 we are only open on Saturdays. We Prerequisites: None—this is for the beginner. would love to open more often but we need more Cost: $30 members, $50 Non-members volunteers (hint, hint). Glenn LeDoux

Saturday, October 30 Broadsheet Calendar Workshop Instructor: Katelynn Corrigan Time: 10:00 a.m. - 3:30 p.m.

½ hour lunch break in museum. Pack a sack lunch to eat in the museum. Beverages will be provided.

2011 is right around the corner! Students will design and print a broadsheet style calendar suitable for framing. Skills explored will include lockup and makeready for mixed forms on the Vandercook proof press. Paper will be provided. Prerequisites: None— this is for the beginner. Cost: $30 members, $50 Non-members

FALL 2010 9 From to The German rule is to use the within formal or corporate titles made up of two separate names; under German composition rules, the ampersand should not be used in running text. In the 3rd century B.C. Aristophanes of Byzantium invented a system of single dots that separated verses and An (or ) is a punctuation mark indicated the amount of breath needed to read each frag- or a tone mark. It is a , like a period, but used in ment of text aloud. The different lengths were signifi ed by exclamatory or emphatic sentences. In typesetting, the a dot at the bottom, middle, or top of the line. For a short exclamation mark is called a screamer or bang. Some passage (a komma), a dot was placed mid-level. The name brands use it, like “Yahoo!” The town of “Westward Ho!” came to be used for the mark itself instead of the clause it in , from the by Charles Kingsley, is the separated. The mark used today is descended from a diag- only place name in the world that offi cially contains an onal , or virgula suspensiva (the slash), used from exclamation mark. The symbol is said to originate from the 13th to 17th centuries to represent a pause, mainly by the word io, an exclamation of joy. It was formed . In the 16th century, the virgule dropped either as a digraph of the letters i and o, or as the letter i to the bottom of the line and curved, turning into the (for io) above a period. shape we know. A is also a punctuation mark or a tone Aldus Manutius used the to indicate inter- mark. It is a full stop used in interrogatory sentences. It is dependent statements. General use of the semicolon in also called a query. The symbol is said to originate from English began in 1591; Ben Jonson was the fi rst English the Latin quæstio, meaning question. Over time, ‘Qo’ was writer to use it systematically. simplifi ed into the curlicue and underdot which is the question mark. The ampersand is a corruption of “and (&) per se and,” which literally The interrobang combines the function and look of both means “(the character) & by itself question mark and exclamation point. The concept of (is the word) and.” The symbol (or the interobang was introduced by Martin K. Speckter in ) & is derived from the liga- 1962 in an article in TYPEtalks magazine. It was created ture of ET or et, which is the Latin to allow the punctuation of rhetorical statements, where (and French) word for “and.” One neither the question nor exclamation marks alone served Κ the purpose, and together looked weird. Mr. Speckter of the fi rst examples of an ampersand appears on a piece of papyrus from about 45 A.D. Written in an early Roman called his mark an interobang from the Latin for query capital cursive (the handwriting of the time), it shows the and the proofreader’s term for exclamation. In an April, ET. A sample of Pompeian graffi ti from 79 A.D. 1962 editorial, The Wall Street Journal endorsed its use also shows a combination of the capitals E and T, and with an example: “Who forgot to put gas in the car!?” is again written in early Roman script. The ampersand In 1966, Richard Isbell of ATF designed Americana, the is generally interchangeable with and. This is why ‘etc.’ fi rst that included the interrobang as one of its can sometimes be seen written as ‘&c.’ To see a differ- . In 1968, an interrobang key was available on some ent ampersand a day, visit http://ampersandampersand. Remington . The word interrobang started to tumblr.com/ appear in dictionaries, and the new punctuation mark was the subject of several articles in magazines, The Poetica typeface family, designed by Robert Slimbach , and even a subject on talk shows. You can of Adobe and based on Cancelleresca, the commercial fi nd an interrobang in Microsoft Word’s 2. It writing hand of the Italian , has 58 amper- is also present in Sans and Unicode sands (one more than Heinz catsup). Some typefaces have MS. Although the interrobang was in especially beautiful ampersands—the italic ampersands vogue for much of the 1960s, it never for Garamond, Minion, Janson, Meridien, , caught on. It has not faded away com- and Caslon are gorgeous. With the appearance of slab pletely; some typefaces still feature an and sans serif typefaces in the 19th century, type- interrobang, and it is included in the founders preferred the roman version of the ampersand Unicode character set. In German it is in italic as well as roman styles. Ampersand usage varies an Einander überlagerndes Ausrufungs- from language to language. In English and French text, und Fragezeichen. the ampersand may be substituted for the words ‘and” and “et,” and both versions may be used in the same text. Why is it still around? Who knows

10 THE GALLEY The tormented typographical landmarks in the history of the serif typeface. history of Garamond Enter Cardinal Richelieu and Jean Claude Garamond begot a typeface Jannon (1580-1658), two support- that has survived eponymous impos- ing players in our drama. Jannon, ters, a fanatical Cardinal, a forensic a French printer working in Sedan female typographer, hot and cold and the ruthless Cardinal met when typesetting, Richelieu attacked the Protestant and com- stronghold in 1640 and seized, among petitive digital other things, Jannon’s types and . There equipment. These were confi scated Barnard College and a letter of are more ver- to the royal printing works and the recommendation by Bruce Rogers sions of the Jannon types were used to print got her a job as an assistant in the Garamond the memoirs of the Cardinal before American Type Founders (ATF) typeface than being lost. Jean Jannon ranks among library. Typography became her true any other the leaders of French typography of vocation. Married to Frederic Warde, ever created. the fi rst half of the 17th century. He designer of Arrighi, the italic for trained as a punch-cutter in Our story begins in when he is Bruce Rogers’ , both travelled and worked in the printing offi ce of born around 1480 in Paris, but does to London in 1925 by invitation of the Calvinist Academy in Sedan. He not end when he died in 1561 in the (who designed began working on his own alphabet same city. In 1510 he began his train- Times). Morison published articles in 1615, so that he would not have ing as a punch-cutter with Simon on typography in the magazine “The to order type from others. In 1621 de Colines. In 1520 he was a student Fleuron” and Beatrice researched the Jannon published a face with Geoffroy Tory and in 1530 Gara- derivation of Garamond, and under and italics, derived from the shapes of mond’s fi rst type is used in an edition the pseudonym of Paul Beaujon to Garamond’s typefaces. They differed of a book by . It is based on avoid the discrimination against in contrast and other features. Aldus Manutius’ 1455 type De Aetna. women, revealed the true source of In 1520 Robert Estienne, celebrated Planning for the 1890 centennial of the the Caractères de l’Université in 1926. Parisian editor-printer, approached French Revolution began in the early The foundries that had their pseudo- Garamond to order a roman font. part of the 1800s. The Jannon types Garamonds were aghast. They all King Francis I commissioned Gara- were discovered in 1825 in the national then developed fonts based on mond to cut a Greek type and the printing works, and ascribed to Garamond, but because, their exist- ensuing Grec du Roi was also used by Garamond in a history of the printing ing fonts were already out there, Estienne. Garamond went on to sell works by Anatole Claudin. The types called the new versions something the typeface to other printers, making had come from Richelieu. Claudin else. As the compa- him the fi rst typefounder. listed the types under the name “Car- nies started up they “borrowed” their actères de l’Université.” The early hot From 1545 onwards he also worked as versions of Garamond from the hot metal foundries—ATF, Linotype, and a publisher. After Garamond’s death, metal versions, sometimes Monotype—saw these typefaces and Christoph from Antwerp, the choosing a Jannon version and created their own versions of Gara- Le Bé , and the Frank- sometimes choosing a Garamond mond (but really Jannon). furt foundry Egenolff-Bermer acquire version. When PostScript fonts a large proportion of Garamond’s We now meet . She entered the scene in 1985 every original punches and matrices. The became interested in the letterform at company that had typefaces. latter were used to print the famous specimen sheet of the Egenolff-Berner foundry of Frankfurt in 1592, a speci- men which associated for the fi rst time the roman of Garamond with the italic of Granjon. The typefaces Garamond produced are considered

FALL 2010 11 The architecture ddoubling the manu- ffacturing space. of pgprinting BBusiness expanded so The rapidra growth of qquicklyu that within a RRRR DDonnelley’so busi- ddecade,e the Plymouth ness rrequirede erection CouCourt building was of a newne building at crampecramped.d RR Donnelley PlymoPlymouthu Court and exexecutivesecutives pplannedla a new plant on Polk StrStreet,e south of Calumet Avenue, between 21st and ththee Loop iinn an area that 22nd Streets. Again, Shaw was asked would soon be called Printing House to design the building, Row (known today as Printer’s Row). aan eight-story Gothic The architect of the new plant was sstructure with a tower HHoward Van Doren tthath was completed in SShaw, who had seseveral phases over the aattended Yale with nnexte seventeen years. of paper they used and large presses TT. E. Donnelley. The R.R R Donnelley Printing they operated. Supported by 4,675 WWhen the first phase Plant, sometimes known as the Lake- -reinforced concrete columns, wwasa completed in May side Press Building or more simply this type of construction not only 18971897,, it was immediately The Calumet Plant and now known served the Donnelly well, it also pro- touted by the press as the largest as the Lakeside Center, vided the perfect infrastructure for and most modern plant in one of wwas built between 1912 future tenants. To further the build- the most important printing dis- aand 1929 to house the ing’s support structure, reinforcing tricts in the country. ooperations of the RR bars, normally laid perpendicular, were laid at various angles enabling IInside were a DDonnelley printing the fl oors to bear loads of at least 250 ccomposing room, cocompany. The building pounds per square foot. elelectrotype foundry, susupportedp printing oper- ppressr rooms with atioationsn for the company OOnce completed in ttwenty-twow cylinder and was the Donnelley headquarters 11929, the Calumet prepresses, eight high- until 1991 when they moved the head- PPlant was the largest sspeedpeed rotary perfecting qquarters to 77 West bubuilding in the United presses, twenty job presses, one WWacker. In 1993, the StStates devoted to print- rotary offset press, folding machines, pplant was closed after ining.g. It contained over 1.1 gathering machines, and patent ttheh discontinuation by mimillionllion square feet of fl oor binders, with annual capacity of 2.5 SSears,e Roebuck and Co. space. The daily capacity of the case million books and 75 million book- of itsi mail-order catalog, bindery was 25,000 books; the mail- lets. A second phase of the building wwhichhich had been the last order bindery could deliver several was completed in 1901, nearly major account printed there. hundred thousand catalogues and The building was designed by telephone books. Howard Van Doren Shaw to be a TheT building’s fi reprooreprooff ddesignesign oof poured reinforced exteriore featured cconcrete columns terracottate shields aand an open-shell withw fanciful cconcrete fl oor. designsde evoking AAlthough considered EnglishEn heraldry and ttoo be expensive by thethe marks of history’s ththe standards of that greatgreat printers.p Some of ttime,im T.E. Donnelley them are reproduced here. agreeagreedd that the support wouwouldld bebe neededneeded for the many tons

12 THE GALLEY Louis Moyroud, composed of representatives from large newspapers, typographers, etc. Inventor They wanted more. The foundation wanted a bigger machine that could The death of hot metal do more—because the Foundation’s Louis Moyroud just died. Doesn’t members were big newspapers, book ring a ? He and Rene Higonnet printers, and typesetting services. invented photographic typesetting. After a few more years the Photon Oh, phototypesetting does not ring Model 200B came out and it started a bell either? From the 1950s to the a revolution in printing pre-press. 1990s, the printing industry set type It took almost a decade to provide using photographic techniques, expos- a machine with sixteen fonts, eight ing miles of photo-sensitive paper and sizes, and more capability. By then, fi lm. The printing industry moved to the Photon machine, as it was called, CTP in the 1990s and was priced very high and its market in the 2000s, but the era of pre-press limited to larger companies. Later, automation began with Louis and Compugraphic would introduce the Rene. Rene died in 1983. Louis died CompuWriter with two fonts and two on June 30 at the age of 96. sizes and see amazing success.

He was a prolifi c inventor and was They made paper masters for offset The of Moyroud were so inducted into the National Inventors duplicator presses. original that almost every competitor paid damages in legal actions during Hall of Fame. He and Higonnet began After WW II they were assigned a the 1960s. The growth of phototype- their experiments in France just project to reproduce a collection of setting was such that within 20 years, after WW II. In 1946 Higonnet came rules and procedures. The printing the hot metal industry began to to the US and looked up Vannever was to be by offset lithography and decline. The last Linotype was built Bush, president of MIT and President they had to have type set in hot metal, in the U.S. in 1972. Phototypesetting Roosevelt’s advisor on technology. shot in a camera to fi lm, and then made offset litho viable. Bush put Higonnet in contact with plated. Like many engineers, they Bill Garth, who had a company in sought a better way. Garth left and started Compugraphic Cambridge, MA called Lithomat. Corp. with Ellis Hansen to produce They were fortunate that at this time the small machine he really wanted. the xenon fl ash lamp had come into Louis went on to develop a line of use. It could ignite a burst of light phototypesetters—the 570s, 713s, that could be directed through a Zips, and Pacesetters. He worked moving negative master and a lens from his lab in Florida with Grant and then positioned on photographic Morgan and Higonnet’s nephew paper or fi lm as though everything Trevor. When Photon was absorbed was stationary. Yet, the negative into Dymo in 1971, Louis retired. master of the character set was on a rotating glass disk. He had a wonderful sense of humor and an unassuming demeanor. He Garth formed a foundation to support had collected most of the early photo- the development of photographic typesetters and donated them to the typesetting. The fi rst machine, Museum of Printing . His fi rst model Petunia, set the fi rst book photo- is on display. Louis is now gone and graphically “The Wonderful World of revolution he began is now ended. But Insects” in 1949. It had two fonts and other revolutions continue. two sizes and could be sold for what a Linotype sold for. But the Graphic Phototypesetting was only a fl ash Arts Research Foundation (GARF), in the pan. It existed for about 50 which had been formed to sponsor years and was itself replaced by laser Vannever Bush with fi rst phototypesetter the machine’s development, was image-setting and computer-to-plate.

FALL 2010 13 The Daye Press 1639, Daye printed the Freeman’s Oath and in 1640 the Bay Psalm The fi rst printing press in America Book. Later, the press passed to was brought from England in 1638 by Samuel Green and his decendents Reverend Jose Glover. He died during who moved it to New London, Con- the arduous voyage and his assistant necticut where it remained until 1773. Stephen Daye set the press up in It then moved to Norwich, Connecticut Cambridge at Harvard College. In and then to what is now Hanover, New Hampshire. It was in Westminster, Vermont in 1781 where it printed pavillion near the State Capitol in “The Vermont Montpelier, VT. Gazette.” In 1783, it was moved to It is a Common Press that is mostly Windsor, where wood with some metal parts. The it printed “The Museum of Printing continues to Vermont Journal.” display an exact replica of the Wil- It is now at the liamsburg, Virginia Common Press Vermont Historical which is very similar to the Daye Society Museum press, courtesy of Gary Gregory.

14 THE GALLEY The Museum of Printing brings together letterpress affi cionados, speakers, booksellers, students, teachers, kids, parents, and many others. They come for our annual fair to sell book arts materials; they come to hear Ken Gloss from the Brattle Book Store; they visit as school groups; they volunteer to work on equip- ment or print special projects; they take our tours; they buy type and letterpress items—they visit for may different reasons but they visit and we are truly appreciative.

FALL 2010 15 The Museum of Printing NON-PROFIT ORG P.O. Box 5580 U.S. POSTAGE Beverly, MA 01915 PAID SALEM, NH PERMIT NO. 151 Address Service Requested

The Friends of The Museum of Printing is a non-profi t organization dedicated to preserving the past of printing and all of its related crafts. Established in 1978, the In this issue . . . Museum occupies the former Museum building in North Andover, Massachusetts, facing the North Andover Town Common. The Museum’s collection is one of the most extensive in the world, from presses of all types and sizes, to typesetting from handset Museum information ....2 wood and metal, to mechanized character and line casting, to photographic composition. The Museum of Printing is an all-volunteer organization and is supported by membership Printing Arts Fair ...... 3 dues, donations, and the sale of redundant equipment, as well as book arts materials. Your support helps to preserve the rich for the future. Thank you. The Metal Press ...... 4 BECOME A MEMBER TODAY AND SUPPORT THE PRESERVATION AND HISTORY OF PRINTING QWERTY ...... 5 Type Specimens ...... 6 Name Boxcar Base ...... 7 Address Fall Programs ...... 8 City State Zip Fall Programs ...... 9 Telephone Interrobang ...... 10 E-mail Garamond ...... 11 PLEASE MAIL YOUR CHECKS TO: The Museum of Printing • P.O. Box 5580 • Beverly, MA 01915 Donnelley Building ...... 12 To pay by credit card please visit www.museumofprinting.org If you have any questions, please call the Museum at (978) 686-0450. Louis Moyroud ...... 13 Membership dues and donations are tax deductible to the extent allowed by law. Registered in Massachusetts under 501(c)3 of the IRS code. The Daye Press ...... 14

This issue was made possible by donations of paper from the Ticonderoga Mill Museum Visitors ...... 15 of International Paper and reproduction by UniGraphic, Woburn, MA. We thank them for their support. Membership Form ...... 16

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