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How about one of these?An Annotated Bibliography of Typography, Letterpress Printing and Other Arts of the Bookby David S. Rose • Five Roses PressThe explosion of desktop-based, digital pre-press technology at the end of the twentieth century brought to a wide audience the previously specialized world of typography. Modern type design applications give users the ability to create new digital typefaces from the imagination, to recreate classic faces that are otherwise unavailable in digital form, and to adapt existing faces for specific needs.For those artisans who still hand-set and print with traditional letterpress technology, a dozen type foundries continue to provide a constant stream of classic metal faces. And for designers who combine the two worlds by printing letterpress from photopolymer plates, the options are unlimited.As with any powerful tools, the more one knows of the history behind them, the better able one will be to utilize them. The books listed here are just a few of hundreds that have been written on the subject of typography over three centuries, but they will provide a solid start for reading in this area.While many of the works listed are classics in the field, not all of them are currently in print. Those that are not available from the publisher (or from reprint houses such as Dover Publications) may often be found at antiquarian dealers who specialize in the field of Books about Books. A number of such dealers are listed at the end of this bibliography, and the rapid adoption of the Internet by antiquarian book dealers now means that most of these books are a simple click away.Overviews of Printing TypesPrinting Types: An Introduction by Alexander Lawson with Dwight Agner [Boston: Beacon Press, 1990] is a short (120 pages) easy-to-read overview that is exactly as advertised: an introduction. For over thirty years, Lawson has taught a course in the history of printing types at the Rochester Institute of Technology School of Printing, and this book grew out of his need for a simple handbook on the subject for his students. It is a well designed and illustrated inexpensive paperback, and would probably be your best bet if you have a casual interest in the subject and only want to read one book. The latest edition, brought current through 1990, covers electronic typography as well.Printing Types: Their History, Forms, and Use by Daniel Berkeley Updike (1860-1941) [New York: Dover, 1980 reprint of the second (1937) edition]. This is the classic work in the field of typographic history. Updike was a leader in the revival of traditional printing typefaces in the United States, and was the founder of the Merrymount Press (1893). A series of lectures he gave at Harvard from 1910-1917 served as the basis for Printing Types, which was first published in 1922. This Dover reprint is in two volumes, 618 pages of text plus 300 unnumbered illustrations. As Dover says in the jacket notes, "Printing Types presents the standards, the landmarks in typography that anyone connected with printing must know. In its mammoth, illustrated coverage, it is without a doubt the definitive guide to the subject.Letters of Credit: A View of Type Design by Walter Tracy [Boston: David Godine, 1986. 224 p, ill.] A beautiful and profusely illustrated step-by-step demonstration of type-design aesthetics that traces the beginnings and the path of modern-day typesetting.Fine print on type; the best of Fine print magazine on type and typography by Charles A. Bigelow, Paul Hayden Duensing, Linnea Gentry [San Francisco: Fine Print: Bedford Arts, 1988] is an excellent selection of articles from Fine Print magazine, the late indispensable periodical with which anyone concerned with type should be familiar. Each issue was designed by a different typographer, printed by letterpress and included scholarly articles, typographic overviews, reviews, and notices of new books on typography. Fine Print was published quarterly through about 1990, after which the publication led cliff-hanging existence as various groups and institutions tried to save it. While long gone, a final retrospective index is currently nearing production, and will also be a must-get.Typographical periodicals between the wars; a critique of the Fleuron, Signature, and Typography by Grant Shipcott [Oxford: Oxford Polytechnic Press, 1980. xiv, 111 p. :ill.]. These classic periodicals (particularly the Fleuron) were to their time what Fine Print was to typography and book design today, but because of the ferment in the world of design during the 20s and 30s and because of their illustrious contributors, they had a much greater effect on the typography of the time.Type and Typefaces by J. Ben Lieberman [New Rochelle: The Myriade Press, 1978] is an alternative to the Lawson book, but rather less accurate, bigger (142 pages, 8 1/2 x 11, hardcover) and harder to find. Ben Lieberman was an enthusiastic amateur printer and the father of the American Chappel movement of hobby printers. This book is an exuberant look at the history, classification, identification, and personalities of typography. It includes examples of over 1,000 type faces, and is well illustrated. Lieberman was not a scholar, but if you like unabashed 'boosterism,' you might find this book fun to read, despite its errors of both omission and commission.History and Development of Lettering and Letter formsThe 26 Letters by Oscar Ogg [New York: Thomas Y. Crowell, 1948]. A nicely done book by a well known American calligrapher, tracing the evolution of the alphabet from prehistoric times to the invention of printing. 250 pages, well illustrated.Letters by James Hutchinson [New York: Van Nostrand Reinhold, 1983]. A stylishly designed, very readable history of alphabets, writing, and printing types.The History and Technique of Lettering by Alexander Nesbitt [New York: Dover Publications, 1957]. A thorough history of type design from its origin through the mid-twentieth century, this book covers some of the same material as the Ogg book, but includes much more information on the development of letter forms since the invention of printing. It is written from an artist's perspective, and has a how-to section on lettering.The Alphabet and Elements of Lettering by Frederic W. Goudy [New York: Dover Publications, 1963. Reprint of 1952 University of California edition]. This falls somewhere between the Ogg and Nesbitt books, from Goudy's unique perspective as the most prolific type designer of the twentieth century.Roman Lettering by L.C. Evetts [New York: Taplinger, 1979] includes a character-by-character analysis of the letters on Trajans Column in Rome, which have served for centuries as one of the foundations of roman (serif) letter design. Evetts also includes charts showing the evolution of the roman alphabet through the centuries. Handsome lettering, with little text to clutter the presentation.An ABC Book: ABC of Lettering and Printing Types by Erik Lindegren [New York: Pentalic, nd ca. 1976]. A survey of type, calligraphy, and design, with examples of work from all periods, with an especially strong representation of lettering by Swedish, English, German, and American scribes and designers. A lively, well-designed introduction to letters.Writing, Illuminating and Lettering by Edward Johnston [New York: Taplinger, 1980]. The comprehensive calligraphy manual by the man who led the twentieth century revival of calligraphy. Johnston's influence on English, American and German lettering and design was immense.History of Lettering by Nicolete Gray [Boston: David Godine, 1987. 256 p].Type Designs from Various PeriodsArt of the Printed Book, 1455-1955; masterpieces of typography through five centuries from the collections of the Pierpont Morgan Library, New York by Joseph Blumenthal, (1897- ) [New York: Pierpont Morgan Library; 1984. Boston, MA: D.R. Godine, xiv, 192 p. : ill.]. Available both in hardcover and paperback, this collection by one of the great printer/scholars of the century is a must have for anyone interested in original source material. More than a hundred full pages facsimiles from the Morgan Library provide an instant overview of the development of typographic design from Gutenberg to the mid-twentieth century.Anatomy of a Typeface by Alexander Lawson [Boston: David R. Godine, 1990, 428 pages] A great book from one of the leading typographic experts of the late twentieth century, this substantial work examines a wide variety of typefaces in great detail, and explains why they look the way they do. An excellent reference work for the designer and printer that will both improve your eye for the detail of font design and inform the choices you will make in specifying and setting type yourself.Selected Essays on Books and Printing by A. F. Johnson [Amsterdam: Van Gendt, 1970]. Johnson was a scholar at the British Museum, and along with Daniel Berkeley Updike and Stanley Morrison was considered one of the experts in the field of typographic history. This lovely, massive (500 pages), and very expensive collection of some of his writings from 1927-1957 concentrates primarily on the typographic work of sixteenth century calligraphers and printers.A view of early typography up to about 1600 by Harry Carter [(The Lyell lectures 1968) Oxford, Clarendon P., 1969. xii, 137 p. 45 plates. illus., facsims., col. map].A history of the old English letter foundries; with notes, historical and bibliographical, on the rise and fall of English typography by Talbot Baines Reed, 1852-1893 and A. F. Johnson [Folkestone: Dawsons, Reissued 1974 xiv, 400 p., fold. leaf : ill., facsims].Notes on a Century of Typography at the University Press, Oxford, 1693-1794 by Horace Hart [Oxford, Clarendon Press, Reissued 1970 (1st ed. of 1900 reprinted) with an introduction and additional notes by Harry Carter. ix, 16, xvi, 203 p., plate. illus. facsims]. History of the types and typography of the Oxford University Press, generally regarded as the preeminent scholarly press in the western world.Nineteenth Century Ornamented Type Faces by Nicolete Gray [Berkeley: University of California Press, 1976]. Reprint of a classic from 1938, this large format 240 page work is the definitive book on its subject.American Wood Type, 1828-1900 by Rob Roy Kelly [New York: Da Capo Press]. Notes on the evolution of decorated and large wood types, and comments on related trades. As with the Nicolete Gray book, this is the definitive work in its field. The book was issued in several editions, of which this (paperback) is the least expensive.The Typographic Book 1450-1935 by Stanley Morrison and Kenneth Day [Chicago: University of Chicago Press, 1963]. A lush, expensive, visual treasury of almost 500 years of typography, including 357 plates.American typography today by Rob Carter [(New York: Van Nostrand Reinhold, 1989. 159 p. : ill. (some col.)].The Liberated Page Edited by Herbert Spencer [San Francisco: Bedford Arts, 1987]. An anthology of the major typographic experiments of the 20th century, as recorded in Typographica magazine.TypographyA Typographic Workbook: A Primer to History, Techniques, and Artistry by Kate Clair. A good place to start for a basic grounding in typographic design.The Elements of Typographic Style by Robert Bringhurst. A highly acclaimed, although somewhat more advanced, standard work in the field.The Crystal Goblet; sixteen essays on typography by Beatrice Warde [Cleveland and New York: World Publishing Company, 1956]. From a major woman in the field of typography come some thought-provoking pieces, including the famous analogy that gave the collection its name. Mandatory reading for would-be typographers.The Case for Legibility by John Ryder [London: The Bodley Head, 1979] "Not a typographer's manual nor a 'do-it-yourself' guide to book design, it is a personal statement of great sincerity and conviction by a distinguished practitioner of the art." Ryder also wrote “Printing For Pleasure”, one of the touchstones of the avocational letterpress printing movement.Better Type by Betty Binns [New York: Watson-Guptill, 1989. 192 p]. A trade book from the early days of the desktop publishing revolution that shows by copious examples the subtle differences in relationships between typefaces, letters, and spaces. From the preface: "This book systematically trains designers to make these fine discriminations, with the aim of specifying text type that is not only readable, but also beautiful and expressive." Only released in this one edition, and not readily available, but a nice book nevertheless.Introduction to Typography by Oliver Simon [London: Faber & Faber, 1945]. Not a bad place to start. This edition is out of print, but there has been at least one reprint in recent years. Simon's introduction is designed for the layman, and discusses many of the basic principles and theories of designing with type.First Principles of Typography by Stanley Morrison [Cambridge: at the University Press, 1951]. An important book from the man who designed Times Roman for the London Times.Asymmetric typography by Jan Tschichold [(Translated by Ruari McLean) New York, Reinhold Pub. Corp. 1967. 94 p. illus. (part col.) facsims]. Jan Tschichold (1902-1974), a well-known typographer, caused many people to rethink 'conventional' theories of typography when this seminal work was published in the mid-60s. Whether or not you agree with his approach, this book is required reading and will widen your typographic horizons.An essay on typography by Eric Gill [1st U.S. ed. Boston: D.R. Godine, 1988]. A classic typographic manifesto on the art and craft of letterforms from the designer of Gill Sans and the famous typography of London Underground.Typography, A Manual of Design by Emil Ruder [Niederteufen, Switzerland: Arthur Niggli Ltd, 1977. 3rd Edition]. A fascinating, disciplined, and very Swiss analysis of typography and letterforms. Ruder's discussion and illustration of the importance of white space in letter forms and graphic designs is excellent background reading.Report on the typography of the Cambridge University Press by Bruce Rogers [Cambridge, Cambridgeshire: University Printer, 1950. viii, 32, (3) p. : ill.]. Bruce Rogers (1870-1957) is regarded by many as having been the greatest typographer and book designer of the twentieth century. After World War II he was commissioned by the Cambridge University Press to undertake a thorough review of all of the Press' publications and standards. The resulting Report had a major impact not only on the C.U.P., but also on the general typographic theory in both Britain and the U.S.Designing with type; a basic course in typography by James Craig and Susan E. Meyer [Fourth. ed. New York: Watson-Guptill Publications, 1999. 176 p]. A modern 'how-to' book, often used as the primary textbook in college design courses, that is available at many large bookstores and graphic arts dealers.Finer Points in the spacing & arrangement of Type by Geoffrey Dowding.Book DesignMethods of Book Design: The Practice of an Industrial Craft by Hugh Williamson. An excellent book, not only for the author's typographical observations, but also as a comprehensive survey of printing at the height of letterpress.The Design of Books by Adrian Wilson. A classic on the design, layout, and typography of traditional pages and books, written by a great letterpress printer in 1967.Bookmaking: Editing, Design and Production by Marshall Lee Originally written primarily about letterpress in 1965, this 500+ page work has recently been re-issued in a greatly updated third edition for the computer era.Printing Poetry: A workbook in typographic reification by Clifford Burke. A very informative work on this subject that also applies to other letterpress printing. Issued in an edition of only 1000.Type DesignersTwentieth Century Type Designers by Sebastian Carter [New York: Taplinger Publishing Company, 1987]. An excellent look at the people behind the type faces, with in-depth profiles of designers such as Goudy, Morrison, Zapf, etc.Typologia; studies in type design & type making, with comments on the invention of typography, the first types, legibility, and fine printing by Frederic W. Goudy (1865-1947). [Reissued 1977. Berkeley: University of California Press, xviii, 170 p.: ill.; 24 cm.]. Written by the most prolific type designer of the 20th century [creator of, among others, the eponymous Goudy Oldstyle], this reprint of the 1940 edition discusses the history, function, and meaning of type, and gives some very good insights into how a type designer works.Jan Tschichold: typographer by Ruari McLean [Boston: David R. Godine, 1975]. This puts Tschichold's career and writings in the context of developments in society around him. It is informative and thought-provoking on its own, and serves as useful background to his writings on the subject.Manuale Typographicum; 100 typographical arrangements with considerations about types, typography and the art of printing selected from past and present, printed in eighteen languages by Herman Zapf [Frankfurt, New York: Z-Presse, 1968]. Herman Zapf is known to most desktop typographers primarily for giving his name to the Zapf Dingbat font. He is, in addition, one of the most respected and creative typographers and type designers of the century, who created not only the Dingbat and Zapf Chancery fonts, but also Optima and many other faces. Manuale Typographicum is a breathtaking 'tour de force,' consisting of 100 broadsides about type design in a wide variety of faces and styles. Superb as a source of inspiration and example.Herman Zapf and His Design Philosophy by Herman Zapf, Introduction by Carl Zahn [New Haven: Yale University Press, 90 color plates]. While the Manuale shows the master at work, this volume is a discourse on Zapf's insights into type design. An excellent book.Edward Johnston by Priscilla Johnston [New York: Pentallic, 1976]. This biography of the twentieth century's most important calligrapher, written by his daughter, traces his career and influence. Unlike many printing books, this one is a delightful read.Of the Just Shaping of Letters by Albrecht Dürer [New York: Dover Publications, 1965. (reprint of the Grolier Club translation of 1917)]. Originally part of Dürer's theoretical treatise on applied geometry, here is the source for those famous capital letters set against a gridded background.Champ Fleury by Geoffrey Tory, translated into English and annotated by George B. Ives [New York: Dover Publications, 1967. (reprint of the Grolier Club translation of 1927)]. The other famous humanistic alphabet similar to the one discussed in the Dürer book, but this is the one with the letters shown against naked human bodies in addition to the grid system.Pioneers of modern typography by Herbert Spencer [Cambridge, Mass.: MIT Press, 1983. Rev. ed. 160 p. : ill.].Typeface Reference WorksAmerican Metal Typefaces of the Twentieth Century by Mac McGrew [New Castle, Delaware: Oak Knoll Books, 1994, 2nd rev, ed. 376 p. : ill]. The definitive work on the subject, and an essential reference for both graphic designers and current letterpress printers. Currently in print from the publisher.The Encyclopedia of Type Faces, 4th Edition by W. Pincus Jaspert, W. Turner Berry, and A. F. Johnson [Poole, Dorset: Blandford Press, 1983]. A standard, comprehensive reference in the field, this work is a detailed listing of over 1,000 faces, arranged by name, with full information on their history, designers, etc. Although even after several editions it has numerous uncorrected errors (dates, foundries, names, even occasionally an incorrect specimen shown) it is still a required reference work on the subject.A.T.A. Type Comparison Book by Frank Merriman [Advertising Typographers Association of America, 1965]. An indispensable handbook for identifying typefaces. Hundreds of faces are grouped together by design, making it easy to find the one you want. Still in print, possibly in a more recent edition.Graphics Master 7: Workbook of reference guides & Graphic Tools for the Design, Preparation & Production Print and Internet Publishing by Dean Phillip Lem [Los Angeles, Calif.: D. Lem Associates, 2000. 7th ed. 158 p. : ill. (some col.)]. Although it covers much more than just type design, and is fairly expensive, this is one of the most important and continually useful reference work that a desktop designer and/or publisher should have.Font & Function [Mountain View, California: Adobe Systems] was Adobe's biennial catalog of their latest font offerings. But this tabloid size, four-color publication was also quite a bit more. It included articles on typographic history, the background to many Adobe PostScript fonts, technical information and a graphic listing of over 1500 Adobe fonts. While it is no longer being published, back issues are available from a number of sources.The typEncyclopedia; a user's guide to better typography by Frank J Romano [New York: R.R. Bowker Co., 1984. xii, 188 p. : ill.].Type and typography; the designer's type book by Ben Rosen [New York: Van Nostrand Reinhold Co., 1976 Rev. ed. 406 p. : ill.].History of PrintingA Short History of the Printed Word by Warren Chappell [Boston: Nonpareil Books (David Godine), 1980]. A once-over-very-lightly in 240 pages of large type, hitting the highlights in the development of type, printing and bookmaking.Five Hundred Years of Printing by S. H. Steinberg [Baltimore: Penguin Books, 1974]. A 400-page small-print paperback which is still in print, this covers Gutenberg through the early 20th century. Steinberg's style is a little dry. Since his death, the book (starting with the third edition) has been edited by James Moran.A Dictionary of Book History by John Feather [New York: Oxford University Press, 1986, 278 pp] is a concise one-stop reference, in alphabetical order, to topics including bibliography and bibliographical terminology, the history of printing, the physical history of the book (including typography, binding, etc.) and book collecting. It has over 650 articles ranging from a few lines to several pages, and covers the ground pretty thoroughly. Although not a classic work (and, indeed, poorly designed itself as a book), it serves as a very handy reference to the history of books. An expensive purchase at the original price of $45, it is often available on remainder for about $10.The Making of Books by Seán Jennett [New York and Washington: Frederick A. Preager, 1967]. A good overview of the entire art and craft of the book, including a little history and a fairly detailed examination of every stage of the process. If you are interested in books in general, this is a good place to start. Out of print, but rather ubiquitous at second-hand and antiquarian dealers.The Book: The Story of Printing & Bookmaking by Douglas C. McMurtrie [New York: Oxford University Press, 1943]. Almost 700 pages of large type devoted to the history of the book, by one of the most prolific writers in the field. Easy to read, anecdotal, and illustrated. Although out of print, it is not particularly scarce and, if you can find it, probably the quickest way to get up to speed on printing history.Letterpress Printing InstructionIntroduction to Letterpress Printing by David S. Rose.: [New York: Five Roses Press, 2003, 32pp.] The complete 21st century Getting Started Guide to everything you need to know about acquiring a press, finding supplies, learning to print, and setting up your very own letterpress shop. (Note: this indispensable little reference gets first place on the list because it was written by [ahem] the author of this very bibliography. A fully hyperlinked electronic version with up to date sources can be downloaded from www.fiveroses.org/intro.htm)General Printing by Glen U. Cleeton and Charles W. Pitkin.: [Bloomington, Ill: McKnight & McKnight Publishing Company, 1941-1963, 195pp.] Probably the best all-around introductory book for traditional letterpress printing, this manual is profusely illustrated with detailed and useful photographs. It is the one most recommended on the Letpress list, and several members personally knew the authors. Copies of the book are readily available in both paperback and hardcover.The Practice of Printing by Ralph W. Polk (in later editions, together with Edwin W. Polk) [Peoria, Illinois: The Manual Arts Press, 1937-1945; later editions Charles A. Bennett & Co., 1952-1964, 300+ pp]. The most ubiquitous letterpress printing manual of the twentieth century. This is the standard, in print for over 40 years, from which many current letterpress printers first learned in school print shop classes, and is a good basic reference for the letterpress printer. Although out of print, it is readily available, in one or another of its many editions, from most book arts dealers and online sources. In later years, it was distributed by the Kelsey Co. as the advanced printing manual for their mass-market presses. By 1971 it was updated to de-emphasize handset type, and was re-issued as "The Practice of Printing: Letterpress & Offset". If you are primarily interested in letterpress printing, try to get one of the earlier editions.Platen Press Operation by George J. Mills [Pittsburgh, Carnegie Institute of Technology, 1953, 150 p. illus.] This manual is the first choice of letterpress cognoscenti who are printing on platen presses, and serves as the missing "owner’s manual" for traditional platen presses such as Chandler & Price, Gordon, Pearl and other floor-mounted job presses. It should be read in conjunction with one of the above books, which provide more thorough coverage of hand type-setting and composition. This invaluable book is still available, in a reprint of the 1959 edition, from NA Graphics.Printing Digital Type on the Hand-Operated Flatbed Cylinder Press by Gerald Lange (Second Edition). California: Bieler Press, 2001 This is one of the few letterpress manuals currently in print, and the only one specifically addressing both Vandercook proof presses (the gold standard for current fine letterpress printers) and photopolymer plates. This book is the authority on the technologies of "modern" limited edition letterpress printing. Subjects covered include digital type and computer practices; letterpress configuration; photopolymer plates, flat-bases, and processing equipment; photopolymer plate-making; plate registration and travel; impression; cylinder packing and makeready; presswork; ink and inking; press operation and maintenance, as well as an updated listing of manufacturers and distributors. Newly included with this edition are troubleshooting guides to problems encountered during the processing and printing of photopolymer plates.Printing on the Iron Handpress by Richard-Gabriel Rummonds is the most comprehensive book ever published on the subject, and is still in print from Oak Knoll Press. (Note that "handpress" here means something specific when it comes to letterpress printing, and doesn't refer to ordinary hand-operated presses such as a Kelsey or a Pilot.) Precise techniques for printing on the handpress are presented in lucid, step-by-step procedures that Rummonds perfected over a period of almost twenty-five years at his celebrated Plain Wrapper Press and Ex Ophidia. In tandem with more than 400 detailed diagrams by George Laws, Rummonds describes every procedure a printer needs to know from setting up a handpress studio to preparing books for the binder. The author also maintains a constantly updated web-site to accompany the book.Printing for Pleasure, A Practical Guide for Amateurs by John Ryder [published in multiple editions from 1955-1977, in England and the US, by publishers including Chicago: Henry Regnery Co., (1977) and London: The Bodley Head (1976) This is still in print from The Bodley Head in the UK or Oak Knoll Books in North America]. A lovely, classy, little (12 mo) book, both pleasing to look at and inspirational for the novice amateur printer. This introductory work gives a light overview of the hobby of letterpress printing on both sides of the Atlantic, covering how to choose a press, type, paper and ink, as well as planning, design and production. A good place to start if you are just considering taking up this avocation, and a nice place to come back to every now and then to remind you why you are still printing.A Composition Manual: PIA Tools of Industry Series by Ralph W. Polk, Harry L. Gage et al. [Printing Industries of America 1953, 4to, 311 pp., index, biblio., 433 pps] A really excellent tutorial and reference work, sponsored by the printing industry trade association as the definitive manual for apprentices. It is a thorough overview of the entire typesetting and proofing end of the business that took four years and several experts to write. Because it was published in 1953, it came out just at the inflection point between hot and cold type, and is a fascinating final masterwork from an industry that feels the winds of change approaching. In addition to very detailed and well-illustrated tutorials on hand-setting and proofing metal type, it includes surprisingly useful overviews and illustrations of all the other composition-related tools of the shop, including Elrod, Ludlow and Monotype casters. To quote from the Forward, "The industry recognized the need for a manual containing basic principles of good typography that are fundamental to the presentation of the printed word, irrespective of whether that word is composed by hand, by machine, by photo-typesetting or by some yet unnamed method of the future…"I.T.U. Lessons in Printing [Indianapolis: International Typographical Union, 1927-1972, Various paginations] Published in many editions across half a century, these ten volumes were created by the printing unions as the standardized training course for American printers. While not as elegantly written or produced as many of the other letterpress manuals, these thousands of pages cover just about everything the journeyman printer was supposed to know, eventually encompassing Unit One (Elements of [Letterpress] Composition) through Unit Ten (Photocomposition, Ruling and Pasteup). Along the way is detailed information on topics including Display Composition, Imposition and Lockup, Trade Unionism, Linotype Operation, Design, and even English ("because English is a 'reasoning' subject which may have caused the student difficulty in school."). The first volume, covering the history of printing through typesetting and a proofing, is probably the most useful one for the modern letterpress printer. The original edition of 1927, written by John H. Chambers, was replaced by a much better text in the 50's that was almost certainly ghost-written by Ralph W. Polk, who also wrote the even better manual on behalf of the employers, as well as his own manuals (see above).Printing For School And Shop by Frank S. Henry [New York: John Wiley & Sons 1917, B&W photos and drwgs 318pp] Subtitled "A Textbook for Printers' Apprentices, Continuation classes, and for General Use in Schools" and updated with another edition in 1944, this was the original vocational course textbook which was eventually supplanted for the most part by Polk. Nevertheless, it provides detailed technical instruction and illustrations and—particularly in the later edition—can still serve as a useful learning tool for today's printer.The Essentials of Printing by Frank S. Henry [New York: John Wiley & Sons 1924, B&W drwgs 187pp + index] Subtitled "A Text-book for Beginners" and half the length of the preceding book. "It develops that there is an insistent demand for a shorter text, one that shall cover only the absolute essentials of printing...this volume attempts to present to the novice, in sequence, the operations necessary to the production of a piece of printed matter." Useful and relatively short, but somewhat outdated (even for letterpress!)Printing as a Hobby. By J. Ben.Lieberman [New York: Sterling Publishing Co. & London: Oak Tree Press, 1963. 128 p. Index.] is the brash, bigger, and less restrained American counterpart to the quintessentially British book by Ryder. Lieberman was an enthusiastic amateur printer, and this book is an exuberant well-illustrated pitch for his hobby. The author was not a scholar (nor particularly an aesthete), but if you like unabashed 'boosterism,' you might find this book fun to read, despite its errors of both omission and commission (not unlike his later book, Type and Typefaces, described above.)Printing, A Practical Introduction to the Graphic Arts by Hartley E. Jackson [New York; McGraw-Hill, 1957, 8vo., 286 pages]. Organization and use of the type case, hand setting, use of the platen press, and basic binding, with short sections on linoleum blocks, silk screen and photography in this industrial arts text. Not as good as Polk, but more than acceptable as an apprentice course book.Graphic Arts by Frederick D. Kagy [Chicago: The Goodheart-Willcox Co., Inc., 1961, 8vo, 112 pps.] Another (and probably the last) of the high-school vocational textbooks designed for once-over-lightly printing classes included as part of a longer graphic arts program, this short book gives a simple but well-illustrated quickie introduction to hand type-setting and platen press printing in about twenty pages. Nowhere near as comprehensive as many of the others, but certainly better than learning through pure trial and error.Introduction to Printing, The Craft of Letterpress by Herbert Simon, [London: Faber and Faber, 1968]Getting Started in Hand Printing & Binding by Van Waterford, [TAB Books, Blue Ridge Summit, Pennsylvania, 1981]Other Book ArtsHand Bookbinding: A Manual of Instruction by Aldren A. Watson. A clear, thorough, inexpensive introduction to hand binding.The Papermaker's Companion: The Ultimate Guide to Making And Using Handmade Paper by Helen Hiebert. Extensive step by step instructions.How to Marbleize Paper: Step-By-Step Instructions for 12 Traditional Patterns by Gabriele Grunebaum. A slim, inexpensive, but useful paperback.Practical Typecasting by Theo Rehak. The ultimate and definitive book on the subject, by the dean of American typefounders.Miller's Collecting Books by Catherine Porter. A modern, illustrated guide to all aspects of book collecting.BibliographiesA Typological Tally compiled by Tony Appleton [Brighton, (T. Appleton, 28 Florence Rd., Brighton, Sussex BN1 6DJ), 1973. 94 p. ill.]. Thirteen hundred writings in English on printing history, typography, bookbinding, and papermaking, compiled by one of the world's top dealers in the field.A Bibliography of Printing with Notes and Illustrations by F. C. Bigmore and C. W. H. Wyman [London: Oak Knoll Books, 1978]. Universally known as "Bigmore and Wyman," this is to printing bibliographies what Updike is to books about printing types. Published in 1880 (editions since then have been reprints) B&W provides excellent commentaries on just about every book that had been written on the subject as of the year it was published.Book Dealers/Publishers Specializing in Typography and the Book ArtsOak Knoll Books, ABAA 310 Delaware St. New Castle, DE 19720 USA tel:302-328-7232fax:302-328-7274 www.oakknoll.com email: [email protected] Veatches Art of the Book P.O. Box 328 140 Crescent Street Northampton, MA 01061 tel: 1-413-584-1867 fax: 1-413-584-2751 www.veatches.com email: [email protected] Wakeman Books 2 Manor Way, Kidlington, Oxford OX5 2BD, UK tel: +44 (0)1865 378316 fax: +44 (0)1865 378934 www.fwbooks.com email: [email protected] Bookpress Ltd. 1304 Jamestown Road Williamsburg, Virginia 23185 USA tel:(757) 229-1260 fax:(757) 229-0498 email: [email protected] Hawley Books 915 S. Third St. Louisville, KY 40203 U.S.A. tel: 502-451-3021email: [email protected] Knuf Antiquarian Books P.O.Box 780, Oss NB, Netherlands, 5340 AT. tel: +31 412 626072. fax: +31 412 638755 email: [email protected] Book Shop 117 Water Street Exeter, NH, 03833 tel: 603-772-8443www.colophonbooks.com email: [email protected] Graphics Attn: Fritz Klinke P.O. Box 467 Silverton, Colorado 81433 tel: 970-387-0212fax: 970-387-0127 email: [email protected] R. Godine, Publisher 9 Hamilton Place Boston, MA 02108-4715 tel: (617) 451-9600fax: (617) 350-0250 www.godine.com email: [email protected] Press 1249 Eighth Street Berkeley, CA 94710 tel (800) 283-9444 tel (510) 548-5991www.peachpit.comDawson's Book Shop 535 North Larchmont Blvd. Los Angeles, CA, 90004 tel: (213) 469-2186Many thanks to Howard Gralla, Alvin Eisenman, Robert Fleck, Kathy Schinhofen, Chuck Rowe, Earl Allen, Susan Lesch, Kathleen Tinkel, Michael J. Boyle, John Horn, Chris Simonds, Fritz Klinke, Roberta Lavadour, David Norton, Tom Parson, David Goodrich and the many members of the Letpress Internet mailing list for their suggestions before and during the compilation of this bibliography.An earlier version of this bibliography was originally published by Aldus Corporation in conjunction with their release of the Fontographer type design application. That version was, in turn, adapted and expanded from an earlier annotated checklist by the same author prepared for members of the MAUG Forums on Compuserve.Copyright © 1988-2014 by David S. Rose [email protected] The current version of this bibliography is always available online athttp://www.fiveroses.org/bibliography.htm and hyper-linking to it is encouraged. For any other publication inquiries, please contact the author.Revision: August 20, 2003 / December 18, 2014

OSome habits that changed my life;Taking advantage of Microsoft programs like office & excell to print out “daily schedule” with a daily sceduale your able to pencil in everything you want to do, by the hour or half hour. The example templates that they give are really cool and worth looking at. Plus, You can have your morning, afternoon & night routine and look at it. If you don’t have a printer, go to your local library and print a bunch of copies! Or search in printable daily /weekly to do. There are other helpful programs like spreadsheets you can use to better your life. Print & create these too!If you are in school taking advantage of Microsoft is even better. They hook you up with, power points, brochures and even pamphlets. If you are making a resume, use their current version. It’s all professional. There are also pie graphs and bar graphs if you want to get fancy! And use the library printer (:Drink water when you wake up. After sleeping for the hours you do- you become dehydrated. Drinking a glass of cold water when you wake helps the metabolism, Helps your skin, & gets you going. Adding a lemon to your water is even better. & then after you’ve mastered this- master green tea or apple cider vinegar.Go to bed earlier, wake up earlier! I used to be a huge night owl. I would sleep in until 11 or noon & I would feel groggy & less motivated. Baby steps. Set your alarm 15 min earlier & try to make a goal to go to bed at midnight instead. Wake up at 9am. That’s one extra hour of sleep. I used to say I was a night person but waking up earlier has taught me that I can make my own routines. I write, read, shower, clean and it feels good to have that extra time.Complete the most important task first! Whether it’s laundry or going to the store, do that first in your day and get it over with. You’ll feel so much better avoiding procrastination.Cut sugar intake in half. Sugar is literally so bad for you. It causes decay, diseases & even if you get your coffee with 1 sugar you’d be making a difference. Instead of eating sugar cereal in the morn; go for oatmeal and fruit.Limit social media time… On fb settings click “time spent on fb”, and notice the amount of hours spent a day scrolling. Cut that down to half. Pointless scrolling is so bad and unproductive. Set an alarm if it helps. Also, your body usually is not moving; like you’ll be laying in bed and scrolling. Get up and do something! Every 20 min.Read. It makes you more articulate. One should read at least once a week. Even if it’s the news or a magazine.Take walks in the morning! You’ll feel great after.Gratitude. Express the things you are grateful for every day. Whether it’s in your car to get a morning coffee, or writing it down. Some people can’t even afford to live, others are missing legs. Just think for a second and be grateful for how lucky you are.Plan what you wear- the night before. Whether you get coffee & try on clothes that you haven’t in a while… figure out what clothes match with what than redecorate the closet. You won’t be rushing around in the morning and your mind will already be made up. Don’t be afraid to dress up!Positive thinking-law of attraction; Everything outside of the brain is external. It’s all in our minds, therefore we create our life. If you dread going to work, change that thought and look at the positives. Remember, you ask the universe to help you, with your thoughts. Quit complaining, and saying I can. Imagine as if you’re already there. How good does it feel? We have money to make! Remember you’re working and giving hours of your life for money.If you get gas, use your next card where you can build credit -and strictly use it for gas. You’re score can go to 715–750 in no time. Look into cash backs And use those as well. Avoid cards with high interest rates.Coupons.. yard sale, cans, change, apps, make some $$ out of nothing! Old purses and storage in the garage. Go look!Find your talent & make time. Whether it’s writing, filming, acting, singing, creating, designing- explore that talent and everything it has to offer. Take free classes online. See what you can bring to the table or just have fun.Solitude. Solitude is key. If you can spend time by yourself, you’re one step ahead. Love your alone time. Have a routine. Many people are waiting for friends to hit them up and go out for a drink, make time for self care.Learn to say no. Remember YOU, come first! It might be hard to get out of the habit of people pleasing, but learning to say no to obligations is important. People don’t take it that personal.Give yourself ONE self care day a week. This can be done by pampering oneself, hanging with an old friend, doing something to your hair. Just don’t work every single day, we all need to recharge.Dress how you want to feel - this works wonders. For example, you want to wear something dressier? Grab that summer dress, some tights, a jacket boom, you’ll feel confident. Accessorizing is good too. If you want to be comfy, wear a sweatshirt; likely- you’ll take a nap. Wear your fave color for good vibes. If you are going somewhere where you want to make an impression, wear something flashy. What you wear is how you feel.Live in the moment! This gets rid of anxiety as well. Thinking of the memories is living in the past & the future is the same concept. Instead, look around you. What are you doing? What environment are you in? What do you smell? Describe in your head what’s happening. Be present and be still. Record it on paper if you wish.Some form of exercise- look you don’t have to go to the gym. You can literally listen to music and dance around in the mirror or do yoga. The body needs movement. The gym is great, but you can just watch work out videos if you prefer. There are many pre-work outs to try to help give a boost. It releases endorphins, so the way you feel after is awesome. Once you hit that climax, it feels natural. You’ll experience “runners high”, which is really just your body working for you. It is so important. It changes your life. You can work from home.Budget your money! Literally open your notebook and write down every expense. Rent, credit cards, insurance, car insurance, eating out, drinking, shopping and be mindful of how much your spending and make it fancy/ highlight it - type.. Print it out, hang it up. Look at it daily.Meditate or just listen to certain frequencies. Our body responds to certain frequencies.For example 528 HZ on YouTube is a good frequency to meditate to and so is 442 HRz. Most people won’t meditate because they need some background. You can have this music & visualize. These frequencies are beneficial to your brain. Look up the music frequencies. There are many different kinds. I enjoy sleeping with them playing in the background. They scientifically help, Like it’s provenStop reacting to negativity, like road rage. If someone flicks you off, ignore them. Only react when it’s positive. If you change your perspective on life and only react to the things you want to- your self control will sky rocket and you’ll be resistant to daily stressors.Treat yourself to a massage! You will feel so lighter after & now there is acupuncture and cupping & more. Read about the practices first if your unsure. Most people didn’t know massages we’re only a dollar a minute or less. They view it as a luxury but it’s cheap! Go do it now.Download TUBI tv. It is free and you have access to more channels and movies than Netflix. There are also all those reality shows you watched ten years ago lmao like flavor of loveBuy a weighted blanket. Make your room the safe haven.Stop talking. Instead be silent and listen. You don’t always have to speak. If you’re at work for example; while it’s good to have conversations, you don’t always have to be talking. You can literally just embrace your time. Sometimes too much talk causes stress & cortisol levels to rise. Avoid politics & religion.Make the beach a habit in summer- make time. The beach changes lives. Whether your reading a magazine or a novel, there’s something so peaceful about the atmosphere and reading.Think about where you really want to live and research where you want to live. Anything is possible. Birds know they can fly away and that they aren’t meant to be kept in one place. We aren’t caged. Plan your future and look at where you want to live. It could be a five year plan.Integrate scrapbooking. Amazon has some cool scrapbooks. Buy one. Get pens for it & be ready to cut out some real pics /magazine pics etc. write and record at least one year or summer of your life. It gives you perspective.Cleaning routines work. Write them down. Dust makes us cough. Sweep the bathroom & clean the closet. Donate all unwanted clothes to charity or sell them. Sheets must be washed like once a month AT least! While your at it buy a new pair.Learn Feng Sui , grab “The Art Of Tidying Up” and do little by little each day. The room you sleep in does effect your energy… also start looking into plants, maybe crystals or sculptures.**Make sure your sleeping on the correct mattress! Some of us have bad backs, we need tempropedic mattresses, etc. also Change your bedsheets/bedspread as often as you can afford. Nothing makes me happier than a new bedspread. Fresh sheets are great. Get a dehumidifier or essential oil diffuser. You’ll feel great.Have a work place, that isn’t your bed. For example, a desk. Many people don’t invest in such things. It will help you focus. Make it so it faces the window or something. Decorate your room to get inspiration. Make a vision board.Lose your ego. Recognize your emotions. Recognize your self. You have this avatar but what about your soul? What can one single person achieve in this life, to better the world?Volunteer. Animals need help, poor people need help, help someone. There are even travel programs.Become a tourist of your own state. There is a website “only in your state”, get on that and make a list of the places you haven’t seen. There are so many mysteries. There is something for everyone here; Only In Your StateGo outside & check the mail. While you check the mail take a walk around the yard. Sit down for a bit. It might be cold but nature is bomb.Drop toxic people. Sooner is better than later.Read the newspaper, instead of articles online. Do things the old fashion way.Instead of watching your fave show one night, watch a documentary. “Grounding” is a great one. Netflix & Hulu have awesome documentaries. I enjoy learning about pyramids & ancient Egypt. Nikola Tesla is also extremely interesting.Self-care for men & women. Girls, pamper yourselves. Mentally & physically. Do something that your future self will thank you for. Guys; the same applies to you. Work out, shave, and mentally get your work done. Reflect. Read your fav magazineTry astral projection- it works beer in the morning. Just set an alarm maybe in 20 min intervals and see if you can experience this.Listen to audibles and podcasts while your driving instead of the radio. This is an awesome substitute because you’ll be learning while your driving. Music is good too, but switch it up!Plan a trip, or plan something fun. Your fave concert, sky-diving, summer plans, a trip to Florida. Plan the hotel, what you’re going to wear, all of it. I promise you’ll turn your life around.Cut out two subscriptions. Let’s say you have Hulu, Netflix, prime, showtimes, planet fitness, tanning - cut out two that you never use !Take pictures… use an old fashion disposable camera. Who cares.Make sure you don’t eat too many sweets. You shouldn’t be waking up starving every morning- that’s usually due to eating late. Instead have a nice breakfast, a light lunch and a nutritious dinner. Try and snack during the day and treat yourself once a week. Make a system.If you’re over 30 and you don’t floss every day you might want to get in the habit of flossing because our teeth will not last forever!Speaking of dental - get in the habit of making your doctor appointments, and all others. See what your insurance covers.Speaking of insurance; most peoples insurance covers therapy! It’s just a five dollar co pay. Go do it! Some others cover chiropractic needs! So see what you have and what it covers!Stretch every single morning.Be spontaneous like you use to be.Get in the habit of doing things BY yourself. This isn’t the same as pure solitude because What I mean is- go to the movies by yourself- go out to breakfast with yourself. You will notice a lot more when you are your only company.Save kittens. Or puppies.Change your trash, recycle, make sure your room is fresh, car is clean. If you’re like hitting your 30s there’s actually no excuse.“Morning Pages” As stated in “The Artists Way”, the book. Every morning the first or second thing to do when you wake up is write 2–3 morning pages, date them and freestyle write. They don’t have to be about anything but the rule is keep writing. After a week it’ll be easier and after a few months you will feel different. Don’t read them until at least three months later. You will notice some patterns. You will see progression.Sell your video games that you don’t use anymore at GameStop. Sell your CDS you don’t listen to at the nearest music shop. There’s a market for everything and it doesn’t just have to be offerup or letgo on our phones. Make human interaction.Do laundry at a laundry mat for a day. Feel it. Then be thankful. If You have the privilege of your own washer and dryer you are lucky.Bring a water bottle every where you go. Go buy one that you can fill with water. Make it your fave color.Call your grandparents, spread love. Visit them while you can.Incorporate Chia seeds in your diet. Throw them in drinks, yoghurt, oatmeal, eggs, whatever you want. Look up other healthy alternatives.Make a list of what you need to accomplish in your week. Then make a list of what you want to accomplish.Get in the habit of going to the dollar tree for like toilet paper, paper towel, paper plates, toothbrushes, & all those types of items. Stop wasting money!Pay it forward every once in a while.Eat a plant based diet for just one week and see how you feel. One week.Take a shower using cold water. It has a different way of shocking your body and waking you up.Challenge yourself to meal-prep instead of buying fast food. Even if you have no time to cook; there are markets with fresh food and Tupperware waiting for you at certain shops such as Dave’s. You will not only save $$ but your body will thank you. & your clock.The second you get paid in cash, deposit it. Leave yourself the extra 3–5$ for coffee. Deposit and save.Imagine if it was your last day on earth, what would you do? Who would you speak to? I want you to make a list of even just five things & a few people and then talk to them!Listen to your favorite song while you get ready for the day. Then listen to a classical song the next day, keep changing.Keep bananas in the kitchen at all times. They are pretty healthy and so easy to eat.Use sage after you clean your room, make this a habit - it does wonders for the environment and kills bacteria! It also smells goodEmbrace your femininity ! Or if you’re a man embrace your masculinity. If your a girl, wear whatever you want, don’t stick to the status quo. Learn traditional habits and embrace other females.Master your work environment. Next time you have your day off, think about how valuable that time is. Literally we are giving hours of our lives for money. Make the most of it & get what you can.If you’re in school , stay ahead. Read chapters and do assignments ahead of Time. Be ahead of the game..Brew your own coffee! Easy just buy tour fave coffee & save $$. Use cool mugs.Take the Myers Briggs test to see what kind of personality you have. Go on google and type it in.Don’t eat past 7 pm!Organize! Have a spot for everything. Jewelry goes in a box, papers go in a Manila envelope, towels in the closet. Don’t worry about losing things anymore.Take naps during the day even if it’s 20 min.In the morning if you have trouble getting up but no time to shower.. wet your face with cold waterKeep all of your receipts, And warranties. You might need them!Avoid gossip. It’s always bad.

Here is an article that I wrote about my current process: The making of Peak Oil comic #4: my step-by-step process But I admit that I skimp on the very details that I am seeking to learn with this Quora question.With this response, I will expand my "Step 6" section from the above blog post.I use my Wacom Cintiq 24HD to draw into Adobe Photoshop CS4, in Windows 8.I draw onto artboards that are 600 dpi. Previously I was drawing on 300 dpi artboards, but felt that this resolution was too low for Photoshop accurately registering some of my smaller brush strokes.My artboard is set to ISO 216 (A4) size, plus an extra 3mm margin around the top, bottom and one of the edges.I do this because I intend to print my comics someday, and some of my artwork bleeds right to the edge of the page. e.g. the steam train on pages 14-15 here: http://www.stuartmcmillen.com/comics_en/peak-oil/#page-13 On my computer I have actually over-drawn extra artwork that is not shown on that website version. When it comes time to print the book, the printer will print the oversized SRA4 page, and then trim off the excess artwork, leaving an effect of "artwork spanning all of the way to the edge" of the A4 page.I use the 3mm bleeds because at one stage I was considering using print on-demand company Lightning Source to print my book, and I used their File Creation Guide Page on lightningsource.com to plan my margins.I use Photoshop CS4 to draw all of my line art via my Wacom Cintiq.(I am currently having a real frustration getting the brush strokes that are displayed in Photoshop to match the movements that I make with my stylus. e.g. if I draw a diagonal line across the screen, there will often be little 'wiggles' along the line. Often I have to draw and re-draw the line 4 or 5 times before it matches what I intended to draw. Any suggestions for what could be the problem?)Once I am happy with the black and white line art within Photoshop, I open up my Adobe Illustator 'storyboards' that I describe in Step 4 of my blog post: The making of Peak Oil comic #4: my step-by-step processThis Adobe Illustrator file (saved as .pdf), contains all of the borders and text of my comic. I drop the artwork into a separate layer, and then use the "Live Trace" -> "Simple Trace" feature of Adobe Illustrator CS4 as shown in this video:(This feature is now known as "Image Trace" in Adobe Illustrator Creative Cloud. However, it seems to be missing many of the key settings from CS4, including the "Simple Trace" preset featured in the above YouTube video. Anyone know some comic art-friendly presets that could be used with Illustrator CC?)Yes, this tracing process converts my artwork from raster to vector.This is the part of my process that I am currently questioning. It is great to have all of my line art compiled together in the one Adobe Illustrator file. e.g. my 120-page Peak Oil comic ( Peak Oil comic - Stuart McMillen comics ) is saved on my computer in a single 89-artboard Illustrator file. Much neater than 89 separate Photoshop files.This is very handy, but the 'tracing' of my artwork does noticeably simplify my artwork during the raster -> vector process. (Similar to what is shown in the above video at the 1:20 mark). Sometimes this leads to positive results (a sort of 'smoothing' quality that evens out the character of my line art, and creates a distinct separation between black and white).Other times, it omits nice subtle details from the original Photoshop drawings.My original reason for vectorising my artwork was so that I could have a single file containing my entire comic, that was perfectly rescaleable in size. Rather than a Photoshop image at a certain resolution that is suitable only for its original purpose (say, a book), but not optimised for a future purpose (say, a large wall poster).My question to anyone reading this is: is there an alternative to my current "vectorise all line art, and dump into a single Illustrator file" technique?" Perhaps using software like InDesign to help me keep track of all pages of my project, like shown in this Illustrator screenshot: http://www.Stuart McMillen comics/wp-content/uploads/2015/04/2015-04-en-Peak-Oil-artboards-in-Illustrator-large.pngAfter all line art is in Illustrator, I colour the artwork using the Pen tool to make coloured shapes on a layer 'behind' the line art.Yes, I do this with the tedious process of manually clicking, clicking, clicking individual pen points "beneath" the line art, until I create an Illustrator 'object' that fits behind each thing that needs colouring.This is probably more tedious that doing the colouring in Photoshop by 'painting' the colour with a brush. But it gives me an 'object' that I can select and change colour with a single click.I use Illustrator's "Save for web" feature to create 495 x 700 pixel PNG files, which are optimised to my website's interface.I use the software PNGGauntlet to crush the PNGs down to the smallest possible file size using PNGOUT algorithm.So: there we go. My weird, self-devised hybrid of Photoshop and Illustrator.I created this Quora thread because I am unsure if I am wasting my time with this approach that combines Photoshop and Illustrator. Please let me know any suggestions.I also write because I am very unsatisfied with how my computer is actually registering my Wacom Cintiq's stylus strokes. It feels like that party game where you draw a picture while guiding the hand of a second person, who is holding the pencil. For every good stroke that I draw, I usually have to 'undo' 4 or 5 bad strokes, which is causing my frustrations. Any advice?