Printing Machinery.” by EDWARDARNOTT CLOWES
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A History of English Literature MICHAEL ALEXANDER
A History of English Literature MICHAEL ALEXANDER [p. iv] © Michael Alexander 2000 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No paragraph of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, 90 Tottenham Court Road, London W 1 P 0LP. Any person who does any unauthorised act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The author has asserted his right to be identified as the author of this work in accordance with the Copyright, Designs and Patents Act 1988. First published 2000 by MACMILLAN PRESS LTD Houndmills, Basingstoke, Hampshire RG21 6XS and London Companies and representatives throughout the world ISBN 0-333-91397-3 hardcover ISBN 0-333-67226-7 paperback A catalogue record for this book is available from the British Library. This book is printed on paper suitable for recycling and made from fully managed and sustained forest sources. 10 9 8 7 6 5 4 3 2 1 09 08 07 06 05 04 03 02 O1 00 Typeset by Footnote Graphics, Warminster, Wilts Printed in Great Britain by Antony Rowe Ltd, Chippenham, Wilts [p. v] Contents Acknowledgements The harvest of literacy Preface Further reading Abbreviations 2 Middle English Literature: 1066-1500 Introduction The new writing Literary history Handwriting -
History of Printing: from Gutenberg to the Laser Printer
History of Printing: From Gutenberg to the Laser Printer by Rochelle Forrester Copyright © 2019 Rochelle Forrester All Rights Reserved The moral right of the author has been asserted Anyone may reproduce all or any part of this paper without the permission of the author so long as a full acknowledgement of the source of the reproduced material is made. Second Edition Published 1 January 2020 Preface This paper was written in order to examine the order of discovery of significant developments in the history of printing. It is part of my efforts to put the study of social and cultural history and social change on a scientific basis capable of rational analysis and understanding. This has resulted in a hard copy book How Change Happens: A Theory of Philosophy of History, Social Change and Cultural Evolution and a website How Change Happens Rochelle Forrester’s Social Change, Cultural Evolution and Philosophy of History website. There are also philosophy of history papers such as The Course of History, The Scientific Study of History, Guttman Scale Analysis and its use to explain Cultural Evolution and Social Change and Philosophy of History and papers on Academia.edu, Figshare, Humanities Commons, Mendeley, Open Science Framework, Orcid, Phil Papers, SocArXiv, Social Science Research Network, Vixra and Zenodo websites. This paper is part of a series on the History of Science and Technology. Other papers in the series are The Invention of Stone Tools Fire The Neolithic Revolution -
1 Thomas Hvid Kromann “Montages Wrapped in Flong: a Material–Archaeological Investigation of Asger Jorn and Guy Debord'
Thomas Hvid Kromann “Montages wrapped in flong: a material–archaeological investigation of Asger Jorn and Guy Debord’s Fin de Copenhague” (2015) Extended English summary "Montager svøbt i matricepap. En materialearkæologisk undersøgelse af Asger Jorn og Guy Debords Fin de Copenhague" was published in the Danish peer-reviewed journal Fund & Forskning, no. 54, 2015, pp. 587–625. Published by The Royal Library in Copenhagen. Thomas Hvid Kromann (b. 1974), PhD Researcher at the Center for Manuscripts and Rare Books, The Royal Library, Copenhagen, Denmark. [email protected] and [email protected] Aim of the article The making of Fin de Copenhague took place a couple of months before the foundation of the Situationist International movement (1957–72) and is closely linked to it. In an increasingly politicized situationist movement, Fin de Copenhague and its sequel, Mémoires, were instrumentalized as“documents” – not as art works in a book format, but rather as anti- art works. As was stated in the first issue of the bulletin Internationale Situationniste, no situationist art form could exist, only a situationist use of artistic methods. This self- perception, primarily influenced by Debord, has subsequently influenced the way the two books have been critically received. In the decades that followed their creation, relatively little attention was paid to them in the increasing amount of research into the art of Jorn, the political-avantgardist activism of Debord and the situationist movement. The “concept” behind the books was reduced to the theoretical framework of the situationist movement (corresponding to key situationist strategies such as “détournement”), while the material dimension of the concrete artefacts themselves was neglected. -
Glossary of Terms for Pre-Industrial Book History
Utah State University DigitalCommons@USU Library Faculty & Staff Publications Libraries 7-2009 Glossary of terms for pre-industrial book history Richard W. Clement Utah State University Follow this and additional works at: https://digitalcommons.usu.edu/lib_pubs Part of the Library and Information Science Commons Recommended Citation Clement, Richard W., "Glossary of terms for pre-industrial book history" (2009). Library Faculty & Staff Publications. Paper 11. https://digitalcommons.usu.edu/lib_pubs/11 This Other is brought to you for free and open access by the Libraries at DigitalCommons@USU. It has been accepted for inclusion in Library Faculty & Staff Publications by an authorized administrator of DigitalCommons@USU. For more information, please contact [email protected]. Glossary 7/6/09 10:48 AM GLOSSARY OF TERMS FOR PRE-INDUSTRIAL BOOK HISTORY Richard W. Clement Utah State University Addendum / Addenda - addition / additions to the book after it has been printed. Bifolium - two conjugate leaves; a sheet prepared for writing or having been written on. Biting - the fusion of two strokes in two different letters, woven together in textura. Black-letter type - gothic or textura type. Boards - the wood, paste-board, straw-board, or other base for the sides of any bound or cased book, i.e. any book in hard covers. Body of the type - the height of the letter (or point size). Boss - metal knobs used to protect the surface of the leather sides of the binding. Bound - A book in which the gatherings are sewn onto horizontal cords, the free ends of which are then drawn through holes in the board and firmly attached so that leaves and binding become a structural entity. -
Bed & Platen Book Printing Machines
BED & PLATEN Book Printing Machines American and British streams of ingenious regression in the quest for print quality A technical study by Douglas W. Charles with a foreword by Stephen O. Saxe PLANE SURFACE PRESS MMXVII BED & PLATEN Book Printing Machines American and British streams of ingenious regression in the quest for print quality A technical study by Douglas W. Charles with a foreword by Stephen O. Saxe PLANE SURFACE PRESS MMXVII A C K N O W L E D G M E N T S In addition to the late William Elligett, whose urging and generosity spurred this study, the following institutions and individuals are owed particular thanks. The author takes credit for all errors of fact or interpretation. Bodleian Library, Staff British Library Quick Information (Patents), Ziaad Khan Compuset Centre of Darjeeling, Bon Pradhan Full Circle Media Arts, Gregg Poppen Historiche Drukkerij Turnhout, Herwig Kempenaers Ketchikan Daily News, Lew Williams III Ketchikan Public Library, Staff Leeds (UK) City Council, Business and Patent Information Services, Staff Oxford University Press (Archives) Dr. Martin Maw, (Library) Staff Radcliffe Science Library,Staff St. Bride Printing Library, Clare Amos, Lyn Arlotte, Robert Richardson Smithsonian Institution, Dr. Elizabeth Harris, Stanley Nelson Hall Anderson Don Charles Mick Elligett Peter Marsh Stephen O. Saxe Dorothee Snoek iii F O R E W O R D The bed and platen printing machine seems to be the “missing link” in the story of the evolution of the printing press. The narrative, as usually presented, begins with Gutenberg’s adaptation of the wine press, followed centuries later by Blaeu’s improvements in the 1620s. -
Typesetting & Publishing Glossary
. IZMIR UNIVERSITY OF ECONOMICS FACULTY OF FINE ARTS AND DESIGN Alessandro Segalini, Dept. of Communication Design: alessandro.segalini @ ieu.edu.tr — homes.ieu.edu.tr/~asegalini DESKTOP PUBLISHING GLOSSARY 1/4 A Acetate – a transparent sheet placed over artwork allowing Bromide – a photographic print made on bromide paper. Cross head – a heading set in the body of the text used to the artist to write instructions or indicate where second colour Bronzing – an effect produced by dusting wet ink after print- break it into easily readable sections. is to be placed. See “Overlay”. ing with a metallic powder. Cursive – used to describe typefaces that resemble written Addendum – supplementary material additional to the main Bullet – a large dot preceding text to add emphasis. script. body of a book and printed separately at the start or end of the Cut flush – a method of trimming a book after the cover has text. C been attached to the pages. Air (US) – an amount of white space in a layout. Calendered finish – produced by passing paper through a Cutout – a halftone where the background has been removed Airbrush – a mechanical painting tool producing an adjust- series of metal rollers to give a very smooth surface. to produce a silhouette. able spray of paint driven by compressed air. Used in illustra- Caliper – the thickness of sheet of paper or board expressed tion design and photographic retouching. in microns (millionths of a metre). Also the name of the tool D Align – to line up typeset or other graphic material as speci- used to make the measurement. -
Vol II. Chapter I
CHAPTER I. THE PRINTING PRESS—Its Principle—The Bed—The Carriage and Rails —The Tympan—The Frisket—Characteristics of the Albion and Columbian Presses Respectively—Description of their Mechanism—How they are Set Up, Kept in Order, and the Impression Regulated. WE now enter upon the second branch of our subject—practical Presswork. We shall have to deal with a department of the printing office altogether distinct from the composing room; with an entirely different kind or appliances and processes, and to a certain extent with an altogether different class of operatives, whose manners and customs are peculiarly their own. The object that first strikes a visitor to the press-room is, of course, the press, and we may well begin by describing that important piece of machinery. There are several varieties of presses in use at the present day. There is the old wooden press, still to be found in some small offices in London and in the country. There are also the iron Stanhope press, the Britannia, the Imperial, and one or two others; but in the best offices these are chiefly used now for pulling proofs upon,. Practically there are only two presses in actual use, the Columbian and. the Albion; and to these we will confine our attention. The principle of the press is, briefly, this:—The forme of type is placed on a flat plane of hard material. Over this is another flat plane of iron or other metal, and the latter moves vertically, being always kept parallel to the other. The sheet to be printed, being upon the type, the moving plane approaches and finally comes in contact with it, and the force with which the two come together causes the impression on the paper. -
The Letter-Press Printer: a Complete Guide to the Art Of
University of California Berkeley f THE LETTER-PRESS PRINTER: A COMPLETE GUIDE TO THE ART OF PRINTING CONTAINING PKAOTICAL INSTRUCTIONS FOR LEARNERS AT CASE, PRESS, AND MACHINE. EMBRACING THE WHOLE PRACTICE OF BOOK-WORK.WITH DIAGRAM AND COMPLETE SCHEMES OF IMPOSITIONS; JOB WORK, WITH EXAMPLES; NEWS-WORK, COLOUR WORK, TO MAKE COLOURED INKS. TO WORK PRESS AND MACHINE, TO MAKE ROLLERS, INSTRUCTIONS IN STEREOTYPING, AND OTHER VALUABLE INFORMATION. BY JOSEPH GOULD, PRINTER. LONDON : E. MARLBOROUGH & Co., FARRINGTON & Co., 51, OLD BAILEY, E.G. 31, FETTER LANE, F&EET STREET MIDDLESBROUGH : J. GOULD, PRINTER, SOUTH STREET. (gnteb at SiH&mwre' fall STEREOTYPED BY J. QCOLO PREFACE. " THE First. Second and Third Editions of The Letter-Press " Printer having being disposed of, and a new edition inquired for, I have much pleasure in introducing to the trade a Fourth Edition. Of the First, Second and Third Editions over 9,000 copies were printed and sold, a quantity that has far exceeded my most sanguine expectations. This great success I attribute to the flattering notices of the trade journals, and to their warm recommendations of the work. I have done my utmost to improve the present edition in all the departments on which it proposes to afford instruction, and I hope my endeavours have been sufficiently successful to merit the continued approval of the trade. The Colour Printing section has been carefully read, cor- rected, and added to by a gentleman of great experience, who is at present managing one of the principal colour printing establishments in London. He pointed out some errors in that section of my First Edition, and kindly volunteered his gratuitor.s " " services to make Colour Printing more useful, reliable, and valuable in this edition. -
Zunb6nxt6yfm.Pdf
PRÉ AM BULE 5 Heir to a centuries old tradition, in April 2014 the The Atelier occupies an area of 2,500 square The following trades are links in this Imprimerie Nationale’s Atelier du Livre d’art et de metres, specifically devoted to the production typographic production line: l’Estampe moved out of Paris to the Imprimerie of artist’s books and works for bibliophiles. Nationale’s premises in Flers-en-Escrebieux, near Douai. It is one of last typographic production lines – Type designer Since then, the Atelier du Livre proper as well as the in the world still in operation. It is for this – Punch cutter Imprimerie Nationale’s historic collections, including reason that all the specialist trades involved – Type founder the 35,000 volumes in its historic library and some in making books by the most traditional – Typesetter 700,000 engraved items, the oldest of which date methods are to be found here. The people – Printer/typographer from the mid 16th century, have been together who work in this studio are often the last – Copperplate engraver/printer in one place. who possess skills and knowledge that the Imprimerie Nationale’s strategy is to preserve and pass on, not only for their heritage value but also to ensure that the Atelier continues to be a living production studio. This concentration of skills is, of course, very These expressions of interest and other visible in France, and in other countries too. requests for courses have convinced us of It is for this reason that it attracts the necessity to become a training provider considerable interest in both its heritage and in order to respond to such requests that skills, whose unique nature prompts are all part of the effort to revitalise numerous requests for introductory visits, typography as a printing process, whether tours of discovery to learn about our trades this relates to the knowledge and skills THE REQUESTS CONCERNED FALL INTO – SPECIALIST COURSES: and, even more, for training courses. -
Introduction
Introduction LETTERPRESS PRINTING in the very early days of printing. Then, the punchcutter was This book is not really about the history of printing. Some the designer, often forming the unique characteristics of aspects of that mechanical process must inevitably be con- the letters in the process of his engraving. And very early sidered; but the primary purpose of Historical Types is to in printing history, punchcutting, and even typefounding, show, as clearly as possible, what the classic ‘landmark’ became independent occupations. typefaces actually looked like, and to facilitate an awareness In one sense, Historical Types could well be described as of how the design of printing types changed over time. a celebration of the skill and art of the punchcutter. That explains why Johann Fleischman is smiling at us from the Making type Frontispiece, and why the punch of Baskerville’s marvellous One important thing to remember is that every single his- letter Q forms our tailpiece! torical page shown in this book, from Gutenberg to Ashen- THE FORMAT OF THIS BOOK dene, was printed from individual pieces of metal type. The making of metal type relied a great deal on handcraft skills Historical Types began life as part of my ‘Introduction to and required a lot of technical precision. Typography’ course for graphic designers. When exposed First, a punch is engraved with the form of the letter in to a proper historical perspective, students not only become relief at actual size, but reversed left to right (see Fig. 1). aware of the origins of modern font designs, but are also (Check the actual size of the type illustrated in B5, and able to grasp the subtle differences between one typeface and note that this is by no means the smallest type ever cut.) another. -
Primary School Teacher's Fact and Activity Pack
Primaryy School Curriculum Links Printing and Bookmaking Teacher’s eractive Fact and assroom Activity Pack tivities Did you know that without the printing press, books like the ones we read today would not exist? This Primary School Teacher’s Fact and Activity Pack will take your pupils on a journey of discovery through the history of suitable for 4th - 6th Class books, where they will learn how the invention of the printing press changed the way books were made so that everyone can enjoy them today! Factsheet 1: Where did it all begin? page 2 The First Books before the Invention of the Printing Press Clay tablet with cuneiform script from ancient Clay Tablets Mesopotamia. The very first form of the book can be found over 5000 years ago (3300 BC) in ancient Mesopotamia (today’s Iraq). These ancient people wrote on clay tablets in a script called cuneiform. Cuneiform is one of the earliest forms of writing and its ‘letters’ are made up of wedge shaped characters. The people who wrote on clay tablets were known as scribes. Scribes used a stylus, which was made from a dried blunt reed (a type of tall grass), to write upon a wet tablet. This made it easy for them to carve out their script. Once finished, the scribe would leave the tablet out in the sun to dry. If he wanted to use the tablet again, he would soak it in water and then wipe the cuneiform characters away (an ancient form of recycling). So what did they write about? These ancient scribes wrote about events that were happening during their time (like a journalist writes for Cuneiform script code breaker! a newspaper today) and they also recorded myths, fables, poetry, and the laws of the land. -
Ii the Evidence of the Forged Printing
PAUL NEEDHAM II THE EVIDENCE OF THE FORGED PRINTING The following points, developed from intense discussions and even – though short-lived – disagreements between Wilding and Needham, all argue that SNML is a forgery. The seventh point is in a higher category for, if it is accurately observed, it establishes physical impossibility that SNML was printed from the same setting of movable type as all the other copies. Before reviewing the points, it will be useful to describe Sidereus nuncius as a physical object. The first edition of Sidereus nuncius is a quarto of 30 leaves. Every copy is made up of seven sheets of paper folded in quarters, signed by the printer A–G. These sheets a mount to 28 leaves, but gathering D further contains, sandwiched in the middle of the fold, an additional half-sheet of paper, signed D3.[4]. Thus, the physical structure of the book can be expressed as A–C4 D6 E–G4. These superscripts imply more than that gathering A has 4 leaves, and so forth. They indicate further that the two leaves A1 and A4 are conjugate with each other, being the two halves, joined at the fold, of a half-sheet of paper; that A2 and A3 are the other half of the same sheet; and that A1 and A2, and A3 and A4, were originally, as the sheets came off the press, all joined together at their top margins, comprising a full sheet of paper. As for the already-mentioned spaces left by the compositors for the eventual introduction of moon etchings, these spaces are on the bottom halves of pages 8r (B4r) and 9v (C1v); on the top half of 10r (C2r); and, with two etchings positioned one above the other (but printed separately, not together), on the otherwise entirely blank page 10v (C2v).