The Print Project

Type Tuesday: Italics

Type Tuesday, Uncategorized

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Aldus Pius Manutius Romanus (1449-1515) loved the letterpress. He had the best printing office in his area; nobody had so much type, or so much paper, as Aldus.

Around the age of forty, Aldus decided to devote his life to publishing classical literature. Europe was at the time in turmoil, with Christian scholars being hounded out of their homes into neighbouring countries. Aldus offered refugees safe asylum in return for their help in collating quality copies of Greek and Latin classics.

Many of the old grammar books had suffered from shoddy copying over the years. They were slapdash and messy, and many were saved by the work of the men in Aldus’ academy of learned men.

To bring down his production costs, and to make the books more affordable for skint scholars, Aldus needed to fit as many words as he could on every page. Ideally he wanted to be able to get 2 pages’ worth of type onto a single page. He employed the artist Giovanni de Bologna to design a new, compressed typeface – which became known as the italic.

Aldus’ press became famous all around Europe. People all over were carrying his pocket editions of Latin and Greek classics around with them. His press was so famous that people were constantly knocking on the door, wanting to visit. Their interest got in the way of the work of the press. He hung a sign over the print shop door: “Whoever you are that wish to see Aldus, be brief,” it said; “And when business is finished go away.”

Things printed in italics at the print project “With 26 Soldiers of Lead I Have conquered the world” card.

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Type Tuesday: Morris Golden

Letterpress, Paper, Printing, Type Tuesday, Typography

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Morris ‘Golden’ was designed by the furniture designer, printer, and active socialist William Morris in 1891. At the time he was working towards setting up the Kelmscott Press. For 8 years he had been involved in the writing and printing of socialist newsletters, something he could only afford to do because of his day job designing and selling home furnishings to the wealthy.

Morris knew that he was only able to create art because his business was successful, and struggled to right his conscience against this. Millions were too exhausted by their own day jobs to have anything left to create or gain pleasure from art. “What business have we all with art unless all can share it?”, he wrote. His aim in setting up the Kelmscott Press was to produce beautiful books that could be afforded by the many.

The press had a lengthy setting up period. Morris was exacting about the type of paper he wanted to use, the inks, and the typeface. During this period he spent a year learning to print, make paper, and bind books. A second-hand Albion was installed on the premises, and Morris set about designing a unique typeface.

He collected 15th century ornamented letters (‘incunabula’), to study, and worked from enlarged photographs of typeface from printers working in 15th Century Venice: “…as to the fifteenth century books, I had noticed that they were always beautiful by force of the mere typography,” he wrote.

He was keen that the typeface should be solid and square, and that letters such as the n and u, and p and d, should not be mere inversions of one another – they should have details that make them distinct. He worked on the project for a year, and took to walking around with a matchbook in his pocket containing specimens of the latest letters.

The typeface, which was in 14 point, was intended for printing the Kelmscott Press’ first book, a reprint of Caxton’s Golden Legend. Ultimately, though, it was first used to print Morris’ own story, The Legend of the Glittering Plain. When push came to shove, they didn’t have the right size of paper to print the Golden Legend. Morris had originally meant to only print 20 copies for friends, but public interest in the press had grown so much that he ended up printing 200, and they sold out within a few days.

Things printed using 8 point recasting of Morris Golden at The Print Project:

Inner text on “A Stranger Came” — a 5-page short story chapbook.

Available to buy: here

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