Wm. H. Page's Specimens of Chromatic Wood Type, Borders, Etc.

William H. Page

Description

Having procured a cult-like following in the modern field of design, this extraordinary volume is brimming with over 100 intricate typeface examples, all skilfully produced and vibrantly coloured.

In the world of typography, few titles hold higher esteem than William H. Page's Specimens of Chromatic Wood-Type (1874). First produced in 1874, the book was intended as a catalogue to showcase the capabilities of Page's world-renowned wood type foundry, William Page & Company, to sell the pieces of type to other printers. The elaborate fonts boast up to seven colours, each with labyrinthine borders and bold outlines.

In this new facsimile edition, we have taken meticulous steps to preserve the original colour plates of the iconic volume, ensuring that the charm of Page's typographical masterpiece remains true to the original, first printed over 175 years ago. This prolific volume showcases the artistic magic that lies at the heart of letterpress printing in a rich celebration of a once-forgotten craft.

Sujets

• Modern
• Art
• History

Informations

• Publié par: Read Books Ltd.
• Date de parution: 30 mai 2023
• Nombre de lectures: 5
• EAN13: 9781528798730
• Langue: English
• Poids de l'ouvrage: 12 Mo

Extrait

1






2






3







Copyright © 2023 Old Hand Books
This edition is published by Old Hand Books, an imprint of Read & Co. Books.
This book is copyright and may not be reproduced or copied in any way without the express permission of the publisher in writing.
British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library.
Read & Co. is part of Read Books Ltd. For more information visit www.readandcobooks.co.uk















5



Wm. H. Page’s Specimens of Chromatic Wood Type, Borders, Etc.





6



Contents
Chromatic Type:
Introduction





7



Chromatic Type:
Type made from metal or wood for colour printing and so arranged that there are duplicate or triplicate copies of each letter, which, after being printed, respectively, in different colours, on a given space, blend together in a harmonious whole.
– American Encyclopaedia of Printing, John Luther Ringwalt, 1871




‘The essential point to be remembered is that the ornament, whatever it is, whether picture or pattern-work, should form part of the page, should be a part of the whole scheme of the book. Simple as this proposition is, it is necessary to be stated, because the modern practice is to disregard the relation between the printing and the ornament altogether, so that if the two are helpful to one another it is a mere matter of accident. The due relation of letter to pictures and other ornament was thoroughly understood by the old printers; so that even when the woodcuts are very rude indeed, the proportions of the page still give pleasure by the sense of richness that the cuts and letter together convey. When, as is most often the case, there is actual beauty in the cuts, the books so ornamented are amongst the most delightful works of art that have ever been produced. Therefore, granted well-designed type, due spacing of the lines and words, and proper position of the page on the paper, all books might be at least comely and well-looking: and if to these good qualities were added really beautiful ornament and pictures, printed books might once again illustrate to the full the position of our Society that a work of utility might be also a work of art, if we cared to make it so.’
– ‘An Essay on Printing’, from The Art and Craft of Printing , William Morris, 1902





8



Introduction
In the world of typography, few titles hold higher esteem than William H. Page’s Specimens of Chromatic Wood-Type (1874). Having procured a cult- like following in the modern field of design, this extraordinary volume is brimming with over 100 intricate typeface examples, all skilfully produced and vibrantly coloured. The elaborate fonts boast up to seven colours, each with labyrinthine borders and bold outlines. First produced in 1874, the book was intended as a catalogue to showcase the capabilities of Page’s world-renowned wood type foundry, William Page & Company, to sell the pieces of type to other printers.
The style of printing, known as Chromatic Type, was developed by Edwin Allen in the first half of the nineteenth century. Chromatic Type utilises layers of graphic colour to present a unified effect on the page. Using intricately carved wooden blocks, each letter is built up through multiple forms, artfully blending on the surface to create a rich and harmonious character design.
The history of moveable type printing dates back to nineth-century China, credited to Chinese inventor Bi Sheng (990 - 1051 AD) where fragile pieces of baked clay were used for the letters. Wooden moveable type was later developed by Chinese engineer Wang Zhen (1271 – 1333 AD) as a more durable option for printing text. The hand-carved letters that could be moved and rearranged, then printed in relief to make individual words. Towards the beginning of the nineteenth century, the traditional technique was developed so the work was less time-consuming and could be easily duplicated. In Europe, it became a popular way to print large display typefaces for posters.
A commercial method for wood type printing was established by Darius Wells in 1827 when he created the lateral router with David Bruce - a machine to mass produce and print the carved letter blocks. This modern method of wood type printing spurred the first ever type specimen book produced by Wells’ own print company, D. Wells & Co., a year later. At this time, some of the most iconic type styles had been developed, including sans-serif, slab serif, and fat face that are still in use today. The popularity of intricate typefaces soared with the arrival of the printed poster. By the mid- 1800s, a large populous of wood type manufacturers had been established across America, with William Page & Co. as the industry’s front runner.
Page, born March 24th 1829, learnt the printing trade as a young man.






9



After working in the field for most of his adult life, he established his company in 1859, along with his partner Samuel Mowry, in Norwich, Connecticut. Together, the pair built a successful printing foundry with an impressive catalogue of original typeface designs. They became one of the biggest printers of wood type in the US, and were unrivalled for many years with their bold character, multicoloured designs, and intricate frames. It wasn’t until the 1880s that serious competition appeared in the form of the Hamilton Manufacturing Company, run by J. E. Hamilton. After nearly three decades of dominating the world of wood type print, William Page sold his business to his rival in 1891. The production of chromatic wood type fell out of style in the early twentieth century when new machine printing was introduced with the ability to mass-produce type for newspapers, magazines, and posters.
While the turn of the century saw wood type overtaken by significant industry developments, Page’s colourful tome lives well beyond the lifespan of his business. The old printing technique has regained popularity, with modern artisans reviving the craft. The multi-layered designs have since become a trademark of typographical design. Specimens of Chromatic Wood-Type remains admired among those interested in typography and design as a stunning example of the technique, with many still utilising its bold, circus-style typefaces for inspiration.
As well as its aesthetic popularity, the volume has also come to be seen as something of a poetic riddle. While the collection of typographical designs was intended to showcase form and skill, the words used can also be read as abstract lines of poetry. Whether purposefully organised in that way by its makers, or a product of simple coincidence, the random sequences of text throughout the book provides a humorous read to those browsing the type styles. Lines like ‘detriment prison unite’, ‘numerous stolen mind’, and ‘sour drink boarding Belgian’ add further layers of novelty to this delightful celebration of form and colour.
In this new facsimile edition, we have taken meticulous steps to preserve the original colour plates of the iconic volume, ensuring that the charm of Page’s typographical masterpiece remains true to the original, first printed over 175 years ago. This prolific volume showcases the artistic magic that lies at the heart of letterpress printing in a rich celebration of a once-forgotten craft.




10






11







12








13







14








15







16