|| The main
press for books and posters is a big Western proof press.
press was acquired in 1999 from John Pitt who used it at his Beeches Press. The
bed is 30" wide, so printing on an SRA2 sheet is quite comfortable. It is
very simple: the only powered item is the main inking roller under the rolling
assembly visible here. The cylinder is wound down and up the press by hand. (I
have uploaded the spares manual for the press
|| Every printer should have a hand-press
- we have a fine Albion.
Albion is a 'Royal', denoting the size of the bed as capable of taking a sheet
of paper of that size, 21x26 inches. It was originally from Oxford University
Press, where it was probably used in one of the composing rooms for proofing.|
first press we acquired was a 15" by 10" Chandler & Price treadle
platen, made in 1910.
bought this press, not really knowing what I was buying, from a local jobbing
printer who had renovated it. All of my books up to and including Venice
Visited were printed on it. Getting an even impression over the page can be
hard work and it is really a one-page-at-a-time machine. It is now used for
smaller items for which it serves very well.|
main typefaces in case are Caslon, Perpetua, Van Dijck, Hunt Roman, Octavian, and Fournier.
have useful quantities of these types in 13pt and 14pt - good sizes for hand-setting -
plus a range of other sizes to support the needs of book printing. (That said,
A Long Story used only one size of Fournier, and Tonge's Travels
only one size of Centaur.) Our Caslon and Perpetua founts are mostly Stephenson
Blake, the Hunt is from Stempel, and the others are all Monotype. Altogether we have about 200 cases of
type from 6pt to 72pt, including a useful collection of ornaments.|
big books, we have our type machine-set on the Monotype.
use Stan Lane at Gloucester Typesetting, or Harry McIntosh near Edinburgh
for our machine casting. Where a book starts in digital form, we often take
advantage of Harry McIntosh's system that will cast direct from digital copy
most printers we have many flowers and ornaments just waiting for their day.
books tend, if anything, to be rather unornamented, but when you need an
ornament, you need one that is just right and a good collection from which to
select is essential. A lot of our flowers formerly belonged to Mark Arman.|
The same is true for paper.
typeface is one of the more evident features of a printed book, but there is
also a wide choice of papers, from the finest tissue to the heaviest etching
papers, from the silkiest to the roughest handmade. The paper for a book
must be chosen with the text and the typeface in mind.|