Expense Report - Warren Wilson College: Fill & Download for Free

In the early 90s I worked in an office where I went to school (it was Warren Wilson, where all students have on-campus jobs of some kind or another). It was our job to enter everyone’s hours in the college mainframe app on Wyse terminals. At the time there were about 550 students spread across something like 75 work crews. We received hand-written time cards on index cards.The data entry experience on the Wyse terminal was pretty horrid, and everybody sucked at it as far as speed and accuracy. As a workaround, I built a spreadsheet “app” in Quattro Pro DOS and later Windows which went through several iterations and was a proper monstrosity. (Our office had simply given up on Wyse data entry.) A while later (1992) I got into Microsoft Access 1.0 at my dad’s suggestion, who worked in IT as a business analyst.Access was a game-changer, but I quickly saw that databases were different from spreadsheets, and they required some different thinking. I read and studied everything I could make sense of about databases. (Some of it was quite esoteric and mostly useless to me — i.e. CJ Date’s classic textbook on databases, but some was amazingly helpful, for example the old — expensive — Smart Access newsletter. One 5-page article on normalization I can remember was a breakthrough. EDIT: I should also point out that back at this time, you could call Microsoft support and talk to a person with very little hold time, and discuss rather in-depth questions with them. OMG those were the days! Part of the reason for my strange loyalty to Microsoft all this time.) Although Access would go on to be dogged by many infamous limitations, and get a bad reputation for enterprise development for various reasons, I still believe it’s a fantastic product for what it is. (However, I am pretty allergic to it today — I haven’t touched it in many years.)The neat thing about Access is you could go from idea to data to UI and report output in one very tight feedback loop. I was supporting people in my office, and I could see their pain points right in front of me because we shared desks. I was constantly tweaking, breaking, and improving things. At the heart of it, I could tell that the underlying database structure mattered more than anything, and the UI flowed pretty easily if the underlying data aligned well with the real world data. The student payroll/time keeping data had its share of complications, and I often found myself embroiled and stumped in design dilemmas at the table level. I dropped out of school (English major) so I could give it all my attention — I was really hooked.I continued to support the student payroll system as a volunteer (that system was eventually retired in 2007 — the mainframe people finally came back with a better system after at least one rejected attempt in the meantime), but I had dropped out of school, and was unemployed. My girlfriend of the time said she couldn’t respect me if I didn’t get a job, so I applied at a local computer store called Electronic Office as a trainer in MS Access. Some of the students in these classes became my first consulting clients, and the owner of the training business became my first business partner. That’s another story….

I’m in a bit of a unique position to answer this, I suppose, as I also note on my companion answer to the corresponding conservative question. I’m a never-Trumper and I believe in careful, measured, restrained, deliberate progress. My more liberal friends are convinced I’m a conservative, but most conservatives seem convinced I’m somewhere left of Karl Marx.I grew up a short distance away from the birthplace of the Republican Party, which was a liberal and highly progressive party when it was created, I might point out. I had immediate family in the Grange, a progressive Republican organization of farmers for most of its history. I was probably in college before I met a Democrat.But, by the time I was old enough to be aware of politics, most people around me listened to WTMJ and Charlie Sykes and Republicanism had turned conservative and reactionary. The Tea Party was highly active and successful in my hometown and school district. My home county broke 60–30 for Trump.How did an area of LaFollette progressive farmers barely 100 years ago become what it is today?Progressivism started failing them. Them, specifically.And this is largely what I think liberals have tended to fail to consider.I understand that I’m likely to be a bit stereotypical here in lumping liberals in with city people. There are liberals in the rural areas, sure. Most of them will have already realized a lot of what I’m writing.But for the most part, most of the outspoken liberals out there are not rural folks. The ones that dominate the Democratic Party are typically from urban areas.This is, as I have looked into the history of things, an artifact of the 20th century. There were formerly progressive wings in both major parties. But into the 20th century, the Republican Party tended to move more and more rural rather than just North. Republicans had always tended to be more pro-capital through the late 19th Century, while labor was more of a Democratic Party plank. There was a pro-labor progressive movement that for a brief time really held sway over the Republican Party with leaders such as Theodore Roosevelt, Henry Cabot Lodge, Robert “Fighting Bob” LaFollette, and William Howard Taft.Rural organizations like the Grange were the progressive pro-labor force in the agricultural regions like the Midwest.As the Republican Party lost its progressive wing in the early 20th century into intraparty fighting between the more measured Roosevelt progressives and the more radical LaFollette Republicans, the conservative pro-capital wing regained control of the Republican Party with party leadership such as Warren Harding and Herbert Hoover.Woodrow Wilson solidified a pro-labor progressive contingent within the Democratic Party when the Republican coalition fell apart in 1912. This was primarily aimed at unionization, which in turn tended to more heavily favor the increasing industrialization and urbanization of the country. By the time that Franklin Delano Roosevelt was elected to office, Republicans were increasingly becoming the party of the rural areas and the Northeast and Democrats were increasingly becoming the party of the cities.That split was torn open by the passage of the Civil Rights Act of 1964 and other progressive reforms of the late 1960’s. The conservative “Dixiecrats” of the rural South finally abandoned party loyalty for ideological loyalty and switched sides when conservative leadership within the Republican Party worked out a deal to provide them with continued seniority, starting with Strom Thurmond.This urban-rural divide has continued to accelerate to today, evident in electoral maps such as these from the 2016 national election:That looks like a huge sea of red.Adjusted for population, it looks more like this:I don’t bring this up to get into a debate about the electoral college, only to point out that urban-rural divide.1. It’s not about ideology or even partisanship, it’s about the “rural consciousness.”If you haven’t read Katherine Cramer’s outstanding work in The Politics of Resentment, you really really should. As I read it, I was stunned at how well she described my hometown and the people in it. I don’t know if one of the test groups she had was actually in my town, but it might as well have been. It was eerily familiar.Cramer discovered that rural people very much have their own social identity, and they feel that it is both under attack and worthy of preservation.And that is not unjustified. The politics are dominated by the increasingly concentrated populations of the urban areas. Without geographical representation like the electoral college or what liberals point out is an unfair weighting of the rural vote, there is a fear, one that is often realized, that the city folk will simply come in, invade them, and impose their city-minded views on them.When you hear rural people wanting “deregulation” and complaining about “overreach,” they’re just latching on to terms that describe what they experience. I can’t tell you how many farmers or rural county executives I know that are pissed to hell at the state because it seems like every year, there’s some new unfunded mandate or regulation or new tax. There may be and usually are very good reasons for these things, but they aren’t explained to my people. It’s just another edict from Madison and Milwaukee.They have lower tax bases and lower economies of scale because of the lack of population density. Progressive policies often fail to take that into account, and raise revenue by raising statewide property taxes. This massively disproportionately hits rural people, who tend to be land rich and money poor. Land is a great asset, but it’s not a liquid one. So, when we’re barely breaking even most years and two shitty seasons away from complete insolvency and China and California and giant agricorps are dumping cheap milk and pork into the system, we’re kind of fucked when you start demanding another thousand bucks a year from us.Minnesota is trying something that might help in the form of a tax credit for agricultural land when school districts want to pass a referendum, so that farmers that are disproportionately impacted by property tax hikes don’t get hit as hard. This is a good idea, and a way to try to help show that progressive policies don’t have to end up breaking them.2. You can be pretentious AF at times.Mal: You backed out of a deal last time. Left us hanging.Jayne: Hurt our feelings.Mal: You recall why that took place?Badger: Had a problem with your attitude, is why. Felt you was… what’s the word…?Jayne: Pretentious? [Mal gives Jayne a dirty look]Badger: Exactly! You think you’re better’n other people!Mal: Just the ones I’m better than.Firefly, “Shindig”My people consider liberals to be smug elitists that look down on them, and both sides are not unjustified.Look at what you see on TV representing my people. The positive end of that stick is the naivety of Parks and Rec. What do we more commonly see ourselves portrayed as? Called on national television?Rednecks. Inbred hicks. Toothless hillbillies. Racists and homophobes clinging to guns and Bibles. (Yeah, I know, if you take Obama’s entire quote in context, it’s speaking precisely to this problem, but that sound bite was all my people heard.)Look, this isn’t entirely your fault, liberals. I grew up with Jew jokes and black jokes and rampant homophobia. A family member who was a coach once yelled to one of his kids, “Run like a Mexican with a TV on his shoulder!” I’m not kidding. It’s that bad.I don’t want to make excuses for any of that.But here’s why context matters: we didn’t have any of those people in our community, with the exception of homosexual people, though we certainly didn’t know any of those. Homosexuality was one of those things that was pointedly ignored. I had a great aunt and an uncle who lived with “a friend” for all of my life. My family still won’t acknowledge the truth of it.It wasn’t really until I got to college and grew up that I began to realize with some horror why that is, in fact, really that bad. It’s not unjustified to look at those back home who don’t understand that and probably never will with some degree of that horror. The liberal disdain for it is not wholly undeserved.I’ve tried to explain it to my people. Most of them won’t listen. You can look at the comments I receive from certain people when I’ve written about white privilege as exhibit A. I get basically the same trying to explain it to people back home.When I used to try to explain it to them, I was considered one of them smug, pretentious elitists who got a degree and thinks I’m better than them right now. It took time for me to learn how to have those conversations in a way that helped them realize the real harm those things cause.What liberals tend to fail to realize is that it’s a lack of experience with those groups of people.Liberals tend to make a moral judgment about these people because of these things. These people, in their view, must believe these things because they are terrible, immoral people. They believe that these people must be irredeemable because who doesn’t know that such things are wrong today?That’s not it. It’s a lack of realness to them. The only place that most of these minority communities exist to them is on television, which is never set where they are. It’s set in the cities, far away from them. They don’t see their reality represented back to them with any fairness.My family has had to learn hard why black jokes aren’t cool after my sister married a black man from Chicago.It was suddenly real to them.An increasing Hispanic population in my home area working a lot of the dairy jobs has created an interesting split. The people who interact with them constantly like the dairy farms that hire them have done a 180 on Mexican jokes and anti-Hispanic rhetoric. People who don’t interact with that community regularly are still set in their old ways. And it’s causing a lot of friction, not just between the Hispanic community and the bigoted population, but between the two white communities.My people are pretty welcoming to people they actually know. When something happens, we’ll all pitch in to the fundraiser or grab chainsaws to get a tree off someone’s house after a bad storm. Doesn’t matter who you are, or what you look like, or what your sexual orientation or non-binary gender is.But this isn’t reported. This isn’t what makes it to portrayals of my people on television. Nobody makes a nationally-broadcast-over-aerial television show out of rural Wisconsin that depicts the positives of rural life, as it really is.Even on cable, every show I’ve ever watched doesn’t honor the rural consciousness. It treats us as a joke or an exaggeration at best. At worst, we are a land of serial killers and deplorables and poor people.And if we weren’t hanging on by a raggedy thread, maybe we could take it. Maybe. But we are.My people feel humiliated by you.And ultimately, humiliation is the root of all terrorism.There are some serious fences to mend here, and it’s going to take a lot of effort to rebuild some measure of trust. That’s made a lot harder by something I’ll discuss later.3. Marketing MattersThere’s little to no difference between marketing and propaganda. I literally used commercials to teach propaganda to my high school students.You can say that Republicans are propaganda masters all you want. It’s marketing. And they’re damned good at it.Say what you want about their policies, Republicans have long been waaaaaaaaaaaaay the hell better at selling their policies, especially to rural America.Matthew Bates isn’t wrong about why they have an advantage here: a win for them is to do nothing. Their whole schtick is “do absolutely nothing new and do a lot less of what you’re already doing” and they’ve sold it incredibly well. Whether it’s catchy bits like Reagan’s “welfare queen” or the line “government is the problem,” Republicans have been doing an excellent job of selling the idea that government is not an instrument of the people for doing good for society.They’ve successfully gotten a significant chunk of people to believe that the Constitution doesn’t actually say in multiple places that the purpose of government and of taxation is for the general welfare, or at a minimum, redefined what that means to “rich people gonna rich and that’s the way it should be.”They’ve sold a philosophy that what’s good for the golden goose is good for the rest of you regular ganders and made people think that’s morally correct.They’ve mastered oversimplification of complex issues for the average person.Their actual mascot should really be this guy:Oh, think, my friends, how can any Medicare system ever hope to compete with a gold parachute for a health insurance CEO? Remember, my friends, what a handful of enterprising entrepreneurs did to the famous, fabled walls of socialism! Oh, Venezuela’s price controls come a tumblin’ down!They are incredibly effective atCreating a “problem,”Selling a “solution” which they can conveniently offer at a discount price,Profiting wildly from that solution; andLeaving the whole thing in shambles behind them for someone else to clean up.And most of all, they are fantastic at convincing people that the alternative to getting screwed over by them is somehow worse.Why do rural people eat this up? Because it seizes on something that feels pretty damned real to them: government is constantly putting more burdens on them and they don’t feel like they’re getting what they pay for. Democrats have done a bang up job promoting mass transit and electric cars and all sorts of things… that they will never see. In the meanwhile, their hospitals are closing and their schools are shrinking and losing good teachers and the buses don’t go past their place and their roads are falling to shit and their health insurance keeps going up. It sure seems like Democrats are helping the city people and not them.If you drove a Tesla out to my people, they’d laugh their asses off at you. It seems like a completely impractical car to them. It’s too nice to get it dirty and has waaaay too many bells and whistles.And that’s what they see AOC telling them to buy.Liberals are goddamned horrible at marketing their policies to my people.This is especially true in the era of Trump. Liberals have been essentially running on a platform of “well, we’re better than that shit-filled dumpster fire, right?”That isn’t good enough.You want progress? You have to sell it, to them.These policies are undeniably good for a lot of people who haven’t bought into them.Universal health care would absolutely be good for a lot of people who aren’t currently voting for Democrats or on board with more liberal policies. Many of them are paying out of control premiums and deductibles and going into medical bankruptcy. Rural hospitals are going under or cutting back essential services, all of which makes it that much harder on those people. A universal health insurance system that could ensure that rural people can still get adequate care at a lower cost than they currently pay is undeniably good for them.I constantly see liberals who just wave this away.They simply refuse to market anything, because they think it’s obvious and only an idiot would not understand that. (And again: that just plays into the pretentiousness problem.)No. That’s not enough. Liberals have to sell it.And yeah, they have the extra disadvantage that they have to play to win when all Republicans have to do is play not to lose. Doing something is a lot harder than doing nothing. And it’s easier to scare people into sticking with a shitty thing that they know than a scary thing that they don’t.Republican policies right now are repackaging their own warm piss in unwashed bleach bottles with hastily scrawled “leminaid” in Sharpie on a taped-on piece of ripped off notebook paper.But seriously, if you can’t beat that, you’re clearly in need a better marketing firm.If you want change, you have to sell it.No, no. Stop. I can hear your complaint already.4. Your bitching about conservatives not playing in good faith is a waste of time.Doctor: It's not fair? Oh, I didn't realize that it was not fair! Well, you know what? My TARDIS doesn't work properly and I don't have my own personal tailor.Doctor Who, “The Zygon Inversion”I can hear fifty liberals reading this far who already just audibly sighed or got angry because they’re pissed at the fact that it’s a massively uphill battle. You’re going to bitch about the electoral college and gerrymandering and voter ID and all the ways that liberals are being deprived of a fair shake in government and conservatives are not engaging in good faith.I’ll be the first right there to tell you that all of that is true.And none of it matters.No, it doesn’t.You know what wasn’t fair? Decades of getting kicked in the teeth as global trade and automation and debt traps pounded rural economies based on agriculture and manufacturing while progressive policies promised help that never came.My people aren’t going to play in good faith because they see no reason to and they have no incentive to trust liberals in their book. Playing dirty is getting them what they want. Compromising never did.At least conservatives are honest about the fact that my people are on their own and can’t expect meaningful assistance from the government. That tracks with their experience. Progressives spent decades overpromising and underdelivering. At least when they elect Republicans, they get what they pay for. If you’re going to get kicked in ass, might as well get lower taxes out of it.As P.J. O’Rourke once noted: “The Democrats are the party that says government will make you smarter, taller, richer, and remove the crabgrass on your lawn. The Republicans are the party that says government doesn't work and then they get elected and prove it.”I’m not saying you need to take the low road and get in the mud. As my people say, “if you wrestle with a pig in the sty, all that happens is you get dirty and the pig likes it.”I’m saying you need to quit being surprised, have a plan for that, and be better at controlling the messaging around it. Bernie’s socialism shtick is screwing y’all over. It’s the same liberal strategy that’s gotten you where you are: promise a metric shit ton that’s going to be imposed on us whether we like it or not and we all get to live with the catastrophic failure if it implodes.5. Not everything unjust is racist and not everything that is racist is intentionally racist.Words matter. What words we use matters.I tried to tell liberals this when they compared Mitt Romney to Hitler and Mussolini. I was told to go away.And here we are: my people won’t listen to you anymore because everything is racist. Everything is over the top, or at least so they feel.And I get that criticism. I understand that criticism from both sides.There is a ton of injustice in this country and a solid 70% of it is continued trauma and inertia from slavery and its successors. Being anything not white in this country does put you at an inherent, automatic disadvantage compared to the advantage of being white.Some of that has to do with actual racism, and some of that has to do with the disadvantages of poverty, which largely exist because of prior actual racism and there’s a lot of catch-up to do.But when everything becomes a matter of outrageous injustice, it does start to become less meaningful. When the outrage is constant, it starts to become background noise. When everything is racist, eventually nothing really is to conservatives.Appropriately challenging racism and injustice is tough. It’s hard to see something that is deeply upsetting and not want to just yell in rage at it. I get that. I do it myself a lot. It’s rarely successful.I feel statements are very effective. Putting a human face on an injustice is very effective. “This is how what you just said was hurtful to me” can be very effective. (Don’t try this online. Most of the time, you’re dealing with trolls who don’t give a shit. But in person, this can be very effective.)Most conservatives and most of my people aren’t being racist on purpose, and that’s why they actually get offended when you call them that. They honestly don’t know why what they just said or did was racist or otherwise unjust. They have a very, very simplified view of what that means.It’s not even that they don’t understand things like microaggressions. They just don’t have the same context for it. They understand trauma, but very differently. They understand disadvantage, but very differently.Take a calming breath. Respond in kindness. Explain how what was said is hurtful and why. Most of my people are not intentionally hurtful. They’re not trying to be racist. They literally just don’t understand why what they did or said was hurtful.6. People do switch sides if they have a good reason, so quit writing off my people as a lost cause.Honestly, this one bothers me the most. I can’t tell you how many liberals who are thoroughly convinced that every Trump supporter and every Republican is a lost cause and will never, ever change.One of your own standard bearers changed sides: Elizabeth Warren. She was a Republican and a die-hard conservative, not that long ago. She was 47 when she switched sides, after she spent a long time dealing with bankruptcies and foreclosures as a lawyer and then through having her grad assistants research that. She was convinced of the Republican line before then, that people failed the consumer game because they were bad at it and made bad choices and scammed the system.She found that people in bankruptcy were often a lot different than the irresponsible deadbeats she’d believed them to be. Eventually, she saw how corporate America had been trapping people into debt cycles for a long time, and that’s how we got the Liz Warren we see today.There are a lot of Obama-Trump voters; people who voted for “hope and change” and then turned around and voted for Trump.And perhaps this shouldn’t be entirely surprising.There were a lot of people, especially the rural voters where I’m from, who voted for Obama thought they were going to get “hope and change.”And they got shit on with the recovery from the 2008 financial collapse. They didn’t get the bailouts or the assistance. They didn’t get their jobs back. They didn’t see most of the recovery. Their industries, their towns, all remained in ruin. God bless David Wong over at Cracked, who fucking nailed it with this piece. And it was written before Trump was elected, so that should tell you that it wasn’t just some liberal soul-searching afterwards. It was a warning.Farm bankruptcies were already rising under Obama as small dairies and crop farmers went under more and more, due in large part to predatory debt traps and then a freeze on credit. The CFPB helped a little, which is why you’re seeing these skyrocket under Trump’s massive deregulation push.But my people felt betrayed by eight years of Obama. They saw their health insurance get more expensive and all the growth in the stock market sure didn’t seem to help them.So, when Hillary ran effectively as Obama’s third term, they were willing to throw their lot in with Trump, who they believed knew the secret sauce to being rich and was going to somehow share it with everyone. They really thought that he was going to somehow strongarm China into playing better and everything else. Many of them still do. They think they’re going to get the change that they were promised under Obama.And believe me, plenty of them feel just as betrayed and ready to burn the whole thing to the ground because they feel just as betrayed by both sides. Some of them are sticking with Trump even though they know he’s burning everything to the ground because at least then they’ll have the government off their backs. If everything’s going to shit either way, might as well go for the one who is going to get rid of all of those pesky regulations about why they can’t drain off the back willows and get a few extra acres.My people are not ideologues, for the most part. They don’t actually care about “small government” conservatism or the “nanny state.” Those are just convenient things they’re repeating as stand-ins for what they really want.They generally just want the basics: a fair shake in life, reasonable rules that make sense, and general security.They want Roosevelt’s square deal.They want to quit being punished for working hard when it does feel like some others are gaming the system.They want a path to retirement.They want to be able to try their hand at a business.They want to send their kids to a good school.They want to live in a safe neighborhood.They want to drive on decent roads.They want a hospital that isn’t hundreds of miles away and that won’t bankrupt them.They want laws and regulations that are logical and not overly burdensome, and most of all: something that they have some say over.They want to put food on the table.They want basic dignity and respect.They want what progressives want to give them. And they’ll gladly pay their taxes if they think they’re actually going to get it.Sell them on how your policies will give them that, and seriously, you can make progressives out of lifelong Republicans.

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: oakknoll@oakknoll.comThe 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: Veatchs@veatchs.comFrances Wakeman Books 2 Manor Way, Kidlington, Oxford OX5 2BD, UK tel: +44 (0)1865 378316 fax: +44 (0)1865 378934 www.fwbooks.com email: info@fwbooks.comThe Bookpress Ltd. 1304 Jamestown Road Williamsburg, Virginia 23185 USA tel:(757) 229-1260 fax:(757) 229-0498 email: bookpress@widomaker.comTimothy Hawley Books 915 S. Third St. Louisville, KY 40203 U.S.A. tel: 502-451-3021email: hawleybk@home.comFrits Knuf Antiquarian Books P.O.Box 780, Oss NB, Netherlands, 5340 AT. tel: +31 412 626072. fax: +31 412 638755 email: info@books-on-books.comColophon Book Shop 117 Water Street Exeter, NH, 03833 tel: 603-772-8443www.colophonbooks.com email: colophon@nh.ultranet.comNA Graphics Attn: Fritz Klinke P.O. Box 467 Silverton, Colorado 81433 tel: 970-387-0212fax: 970-387-0127 email: nagraph@frontier.netDavid R. Godine, Publisher 9 Hamilton Place Boston, MA 02108-4715 tel: (617) 451-9600fax: (617) 350-0250 www.godine.com email: info@godine.comPeachpit 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 david@fiveroses.org 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