Hand Engraved Samples & Press Proofs in VOGUE’s Blog

“Need to Know” section of Vogue magazine’s online zine by Stephanie LaCava and edited by Virginia Tupker.

This features re-purposed, vintage, hand engraved dies. They are goofy and some with nifty old type. http://petitesuite.wordpress.com./

Calligraphic Engraving

This past week I spent researching calligraphic engraving at the Harry Ransom Center (HRC) at University of Texas at Austin. HRC archives hold many copybook (or copy book) specimens, three “The Universal Penman” by George Bickham, great master of this highly specialized craft in 18th-century England, one beautiful copy is in the fabulous bound Beaufoy, H.B.H., collection of English, German and Dutch writing manuals.

I examined over 1,460 individual engraved plates either bound or tipped-in to these books or the Beaufoy collection.  There are exquisite examples of engraved calligraphy but of greater interest to me was being able to look at the structure of engraved letter forms.  I was able to bring with me, and use, the 3X photographic loop, with excellent optics, so was able to see some great detail.

I will be writing my observations here in my blog.  Meanwhile, anyone interested in the genre can go to this bibliography about origins of letter forms including writing and copy books:

http://ihl.enssib.fr/siteihl.php?page=45&aflng=fr.

Also, a reasonable copy, offset not engraved, of Bickham’s “Universal Penman” can be bought as a Dover edition for fairly cheap.

My favorite specimen was a complete book by Snell, about 4-5 characters per page, 13 plates in all illustrating the entire alphabet.  At the end of which (and I could not tell if it is part of the Snell book or a random, tipped-in item) was a grid comparing each character in the alphabet for Roman, Italick [sic], two kinds of script, “secretary”, “church”, engrossing and several other forms of types.

I will post pictures in the coming weeks, it takes four to six (weeks) for the HRC to process orders for scanning copies.

Love Letters: American Commercial Engraving, Monograms and Social Stationery

Please join me at University of Texas at Austin for the most recent rendition of this evolving presentation about American commercial engraving.

Tuesday September 22

6:00pm–7:30pm

Art Building, Room ART 1.120

This lecture will include images from recent research and sources of commercial engraving and specifications for engraving types never before shown in public or discussed.

http://aigaaustin.org/events/2009/09/detail/414/

Beauty Make-Over Complete!

A Silk Purse…

…From A…

Sow’s Ear.

Mission complete, the smaller of two, hundred year old engraving proofing presses have just been fully restored and completely operable by my husband and partner, John Mack Collins.  This baby (pictured above) weighs-in at about two hundred pounds and when you hit the ball watch your head and digits ’cause it wields about a force of two tons.

These presses were originally made for proofing half inch thick commercially engraved dies but they have been used for production work on embossed monograms and family seals.  The big brother, about 50% again the weight, is almost completely restored as well.  This one will reside at Loyola University New Orleans in the graphic design department with Professors Daniela Marx and Nancy Bernardo.  A small but burgeoning cottage industry for print engraving is being nurtured here in New Orleans by Yvette Rutlidge, venerable typographer, sign letter and master engraver, Mystic Blue Signs.  Yve will be devoting a portion of her shop to the letter arts, and, engraving.

Follow the entire story, here:

http://typophile.com/node/59459
http://typophile.com/node/58983
(sample of the 1/2″ thick steel dies) http://typophile.com/node/51918
http://typophile.com/node/51189

So Noted: In Search of Monograms

Nancy Sharon Collins, A/K/A the engraving lady, is seeking submissions of engraved social stationery, read about it in the Mohawk paper website.

read more about it.

Heavy Metal Ephemera: The Resurrection of Two Social Engraving Presses

This is the story of a 5-year journey in search of an engraving proofing press. Once ubiquitous in small print shops throughout the country, these presses were used to impress small engraved monograms, logotypes and other elements into stationary, envelopes, calling cards, folders and the like.

http://www.ephemerasociety.org/articles/heavymetal.html

The Story Continues: M. M. Keltons’s Son. Engraving Proofing Presses

 

Previously posted on this blog has been the story of the engraving proofing presses. Since that time they were completely dismantled, steam-cleaned and the individual parts and fittings sand blasted. The parts were immediately “oiled” with silicone to prevent rusting in the extreme, south Louisiana humidity, the frame and screw handle with inertia-weight—that looks like a dumbell with a big steel ball on each end—were coated with a primer then painted. It was so humid the primer wouldn’t dry so we had to leave them up in Alexandria, LA, until dry.

My husband brought them home yesterday and—with our 2-ton shop crane, dolly, ramps and brute force—into the cool, humidity controlled studio where he is polishing the brass fittings.

Daniela Marx, head of graphic design at Loyola University New Orleans, was here yesterday for an AIGA New Orleans board meeting and I treated her to a sneak peak at some of the spiffed-up parts (like the massive steel screw that attaches to the handle).

According to “Engraved Stationery Handbook”, Robert N.Steffens published by The Cronite Co., Inc., New York City, 1950, “This type of press was developed years ago” and “is rarely used any longer. It was designed to stamp the 1/2” thick engraving dies we use creating social stationery.

Note the name and how similar it is to Kelsey and Kelton, both manufactures I have seen for small letterpress presses.

The Cronite book is the only reference I have yet found to this type of press, if anyone knows more about them, please share.

Previously posted on this blog has been the story of the engraving proofing presses.

Since that time they were completely dismantled, steam-cleaned and the individual parts and fittings sand blasted. The parts were immediately “oiled” with silicone to prevent rusting in the extreme, south Louisiana humidity, the frame and screw handle with inertia-weight—that looks like a dumbell with a big steel ball on each end—were coated with a primer then painted. It was so humid the primer wouldn’t dry so we had to leave them up in Alexandria, LA, until dry.

My husband brought them home yesterday and—with our 2-ton shop crane, dolly, ramps and brute force—into the cool, humidity controlled studio where he is polishing the brass fittings.

Daniela Marx, head of graphic design at Loyola University New Orleans, was here yesterday for an AIGA New Orleans board meeting and I treated her to a sneak peak at some of the spiffed-up parts (like the massive steel screw that attaches to the handle).

According to “Engraved Stationery Handbook”, Robert N.Steffens published by The Cronite Co., Inc., New York City, 1950, “This type of press was developed years ago” and “is rarely used any longer. It was designed to stamp the 1/2” thick engraving dies we use creating social stationery.

Note the name and how similar it is to Kelsey and Kelton, both manufactures I have seen for small letterpress presses.

The Cronite book is the only reference I have yet found to this type of press, if anyone knows more about them, please share.

http://typophile.com/node/59459

History of Romantic Letters at TypeCon 2009

The History of Romantic Letters at TypeCon 2009

THURSDAY, JULY 16
2:00 pm-5:30 pm

Presented by Nancy Sharon Collins (Collins LLC/Loyola University/AIGA New Orleans)

Location: Portfolio Center, Atlanta
Cost: $50 + $10 materials fee
Ever wonder about engraving? What is it? Where does it come from? Why does it look that way? What’s a monogram? How does engraving factor into the history and function of type?

The only way to truly appreciate engraving is to try it yourself—come experience the “cut” by which engraved letterforms are made—everyone in this workshop will be encouraged to try their hand with a “graver” (or “burin”), the real tools of this elegant, virtually forgotten trade.

Specimens of vintage monograms, lettering styles and engraving will be displayed. Using simple tools such as graphite pencil and various sorts of erasers, attendees will trace, combine, retrace existing forms and learn to make new symbols, letters and forms with these historic pieces of inspiration.

http://www.typecon.com/calendar.php?category=Workshops

Readable Text, New Orleans Style at TypeCon 2009

http://www.typecon.com/calendar.php

SUNDAY, JULY 19

12:00 noon, Type in 20

TypeCon 2009, Atlanta

Nancy Sharon Collins talks about FLOOD BOOK and notions of readable text. Audrey Bennett and Ellen Lupton are cited.

In 2005 Audrey Bennett spoke on this topic at Typecon in Boston, she and I have exchanged emails about this, infrequently, ever since.  I was interested in her talk because I was then teaching graphic design and typography at a university literally down the bayou in south Louisiana where illiteracy rates soar.  Recently at an AIGA leadership retreat in  Portland, OR, I ran into Audrey who I had not seen since Boston.  I was very excited to show her a book I designed and was amazed to discover that she had just purchased a copy.

FLOOD BOOK, * as it is named, is a post-Katrina rant—or repetitive chant—with rhyming verse written in Yat which is a local, New Orleanian dialect. Its a little book, the size of a short novella, with compelling illustrations and simple, classical type.  I wanted Audrey to see it because it became a sell out as a tool for teaching reading to those with severe literacy challenges.   Why had she picked-up the book and what was it that inspired her to buy it?  In this presentation I will talk about the typographic and design choices in the FLOOD BOOK project, the coincidence with Audrey and how Dr. Caroline Musselwhite, assistive technology specialist working in the areas of AAC and literacy, found the book useful in her workshops.

* FLOOD BOOK will be on sale at the SOTA book store.

Engraving Proofing Presses Go for a Make Over

The two engraving proofing presses previously written about (here) are going up to Alexandria, LA for a beauty makeover.

While John (hubby) and Ken (friend) work on the presses tomorrow in Ken’s shop, I will be going back over to James Gabour’s printing facility in Pineville.  Meeting us there will be the new archivist from the LSU AgCenter in Alexandria.
James senior may have to close the plant and— as much as possible—I (we) want to help preserve as much of the contents and printing history in his shop.

The AgCenter can only take records (paper), no ephemera, no equipment and there is plenty of everything.  Loyola University New Orleans graphic design department is interested in taking some, VERNA, a local letter press shop  will probably take the letter press equipment and types, there loads of wood type as well.  Jeff Pulaski, graphic design professor up in Witchita, may also help with the dispensation of the rest.  Here are links to the good folk who are helping:

http://cmfa.loyno.edu/faculty/daniela-marx
http://www.1dayofart.com/content/tag/daniela-marx/
http://vernapress.com/peter.html

http://www.outofsortspress.com

http://typophile.com/blog/14410