A Whole Lot of Nothing

actually did some setting & printing over the past month, but I can't talk much about the things for now. Instead, it's another collection of unrelated comments and almost-news. Also, I've updated the (non-HM) book sale/cull page on the Web site, if you feel like doing some shopping.

Some finished sheets - intentionally not well shown here - from Will Rueter's Books Are My Utopia. Don't want to spoil the fun of seeing them for the first time in person. Claudia starts binding this month, the edition should be ready for issue in April.

Vaughan Oliver's recent death reminded me that my deluxe copy of This Rimy River needed some repair. It's a catalogue for an exhibition of his work (primarily for 4AD) from 1994. The deluxe issue (400 copies) is basically the same as the trade, but with all kinds of wild metallic overprinting. It's wonderful. The binding is interesting: the text block is joined at the front and back, by stubs about one inch wide, to a leather spine. (Looks like bonded leather, and it hasn't been pared.) The boards are sheets of acrylic that have an image machined in, notched along the spine edges to allow the leather joints to lie flush with the inside face. The boards were originally attached using some kind of adhesive, probably a double-sided tape. My copy of this book came from a few found in a warehouse in the '00s. Upon arrival, the front board completely detatched from the joint at first opening. Ugh. I tried fixing it with the much-missed 3M 889 double-sided conservation tape (what I used for the deluxe bindings of Aurora Teardrops, which was ripped of from inspired by This Rimy River). The tape, which has never let me down in any number of uses, could not hold the two pieces together. So I reluctantly decided to try contact cement, with fears of coating the lovely book in ruinous strands of glue. I didn't, and 24 hours later the board was firmly in place. But an example of an interesting idea for a binding that suffered from a lack of understanding of materials & methods. Nonetheless, cool book, happy to have a copy.  

The frontis from Annales typographici ab artis inventae origine ad annum (1719). Careful who you order a copy from, they may decide it's underpriced and make up a reason why it can't be shipped. Abe used to allow customers to provide seller feedback, but that ended ages ago. And can't we get these people who will make up a facsimile of any book you search for - in a deluxe binding no less! - to go away?  

The Bromer's current gallery exhibition features etchings by the excellent D. R. Wakefield, who has been issuing beautiful books through his Chevington Press for years. He's based in the U.K., and his books aren't widely or frequently encountered in North America, so this is definitely worth seeing.  

The Griffo project is underway, but I probably won't be posting much about it during production - more doing and less talking about doing this year. Publication remains scheduled for fall of this year.


The Origin & Progression of Printing...

I found several cool presents under the Xmas tree last week. One both was & wasn't a surprise: a copy of Pellegrino Orlandi's Origine e progressi della stampa o sia dell'arte impressoria e notizie dell'opere stampate dall'anno M.CCCC.LVV sino all'anno M.D. (Bologna, 1722). It wasn't a surprise because I'd ordered it, from an Italian dealer, in September. It was a surprise because getting the export license took so long that it arrived just days before the 25th, so I delayed opening it & called it a present (even though it's for work). 

(In Italy, all books published more than 50 years ago require an export license. Other countries have similar restrictions, but typically applying only once a fairly high minimum value is exceeded. Not so in Italy. Some booksellers charge a fee for acquiring this license, some don't, some won't even make the effort. Italy not being known for an efficient bureaucracy, securing this license seems to involve repeated visits to a regional office, i.e. badgering whoever has control of the stamp. I was lucky that the bookseller who had this copy of Orlandi was willing to do the legwork.)

I had encountered the book's title in various sources while doing research for this year's Francesco Griffo project. I found a scanned copy online, and despite the poor reproduction, the book intrigued. To the best of my knowledge, it is the first Italian history of printing during the incunable period, attempting to list all of the printers of books active up to 1500 in Europe (i.e. modern Italy, Spain, Holland, Belgium, Germany, France and England). The first half lists printers by city, and the titles they published (shown above is the first page for Jenson's listing). A short middle section provides some information about printing, the casting and use of type, and five pages collecting a total of 94 printer's marks (#5, in the image below, is Aldus's). The second half of the book seems to be a list of all incunable editions, alphabetized by author's name, e.g. all known editions of Ovid's Metamorphoses published before 1500. 

I have not been able to find much information about Orlandi, beyond him being a Carmelite brother who is perhaps best known for Abecedario pittorico, an encyclopedia of 4,000 painters, sculptors and architects. I can also find little information about the printer of Origine e progressi, Constantine Pisarri. I don't know why his imprint does not appear on the title page of part 1 or 2 (he is mentioned on the penultimate page, in the publication privilege, and his mark CPB appears on the final page). His relationship with Orlandi seems to date back to at least 1704, when he printed the first edition of Abecedario pittorico. He printed other books by Orlandi in 1714 and 1719. 

The Neue Zeitungen von gelehrten Sachen from 1724 includes a brief description of the book (in an impenetrable fraktur), including the comment that Orlandi "found more old books in the Italian libraries than Maittaire found in the English and others." Maittaire was Michel Maittaire, who undertook a similar project, written in Latin and published in London in 1719 (subsequent volumes followed). 

The book is not terribly well printed - probably about average for the time and period - but the setting, variety of types used, format (a wide quarto), and quality of paper make up for the presswork. I particularly like the face used to set the city names...

My Italian could not even be generously called basic, so I will be making my way through Orlandi very slowly. While that can become frustrating, I also find it enhances my enjoyment of the book: because I'm forced to proceed slowly, I see each page more thoroughly. Despite the wealth of information it contains, and its appeal in purely typographic and bibliophilic terms, the book does not seem to command high prices. A copy in what sounds like reasonable condition is currently listed online for about €400. So that's it, merry Xmas to me from HM. I got another cool book, but you'll have to wait a few months to see that one...


Graphic designer Vaughan Oliver died last month. I've written about his work and influence before - it was his inner sleeve for the compilation Lonely As An Eyesore (4AD 1987, shown below) that first opened my eyes to graphic potential of type. He tended to lose his footing when he strayed into book forms, primarily because he didn't understand do's and don'ts of binding, but his album covers were brilliant. 



Busy printing today. Come back in a day or two and I'll have this month's post up...


Francesco Griffo Lives!

A year-end round-up…

The next book will be in the press in January. Francesco Griffo da Bologna - Fragments & Glimpses is a second, expanded edition of the "biography" I published in 1999. I use quotes because his story was assembled using quotations from a wide variety of sources, organized into chapters (e.g. The Roman Type, The Greek Types, etc) – similar in concept to oral history, which I like because it removes the authors and all the noise they introduce. Many of the sources quoted in the 1999 edition actually were secondary or tertiary sources, drawing on original work by other authors; for the new edition, I have tracked down (and translated, as necessary) the original sources of fact and opinion wherever possible, so while the book's structure follows the original, more than three-quarters of the content has been replaced with new material.  

Griffo's story is interesting for reasons beyond the quality and influence of the Latin, Greek and Hebrew types he cut for Aldus. The story of the italic type overlaps with the history of intellectual copyright, and the question of authorship. His career after breaking with Aldus included cutting types for books considered equal to anything Aldus published, in form and content, including the six small volumes he published himself in 1516–17. Plus, there's the matter of bashing in his son-in-law's head, for which he was tried and presumably hanged; the following three centuries, during which his types were remembered but he was not; his mis-identification in the 19th century as the celebrated artist Francesco Raibolini; the subsequent debate among Italian bibliophiles over why this could or could not be the case; and ultimately, discovery of proof that he was his own man. You can't make this stuff up.  

This new edition is expanded by the introduction of facsimiles of Griffo's types, and four appendices recounting the 19th-century debate between Antonio Panizzi, Giacomo Manzoni, Adamo Rossi and Eraldo Orioli over exactly which Francesco had been Aldus's punchcutter. These texts were originally published in Italian, and to the best of my knowledge, have not previously been published in English. The originals were translated for this project in England by Emma Mandley. 

Finally, each copy will contain a leaf from the second (of three) volumes of Ovid's writing, issued by Aldus in 1502, set in Griffo's famous italic type. Most of these leaves come from the "Heroidvm," the balance from "Ad Liviam". I found a total of 56 leaves, separated from the rest of the book who knows when, and so that will be the number of copies in the edition. At this point it looks like the book will be issued in three states: extravagant full leather, boxed (available by advance subscription only); quarter leather; and laced into a handmade paper case. The first two states will include an intaglio reproduction of an engraving from the title page of Domenico Manni's Vita di Aldo (Venice, 1759; shown above). The full-leather state will also include proofs on Japanese paper of several illustrations in the book. 

The book will be 6 x 9 inches, 104 pages (+/-), set in Bembo. It will be printed on dampened Arches wove paper, two-up, on the handpress. At two sheets a week, that's about four months of printing. Then there's the binding, so copies should be ready for issue in the fall of 2020. Over the past two years I've had fun assembling some of the key sources for this project, and making my way through them with rudimentary Italian and only slightly better French. I'll post images of some of the more interesting pages next year. 


Will Rueter continues work on the calligraphy for his Books Are My Utopia. Claudia should start the binding early in the new year. Copies out by April? 

Copies of PatternPattern started traveling far & wide last month. The deluxe copies will be the last ones out, hopefully by the end of the year. 

Finally, I want to note the life, and loss, of HM's valued bookseller and friend, Bill Stewart, of Vamp & Tramp Books. He was one of the few booksellers to show any interest in the first edition of Fragments & Glimpses, 20 years ago. Since then, he and his partner Vicky have been wonderful supporters, and also just decent people who are fun to hang out with, passionate about books and the people making them. I'll miss knowing Bill is in the world. 

Thanks to everyone else who has supported HM this past year (many in ways they don't even realize). It's always appreciated & never taken for granted.


The Geometry of Motion

Copies of Barbara Hodgson & Claudia Cohen's newest collaboration, PatternPattern: The Geometry of Motion, will begin shipping this month. The book adds another branch to their ongoing adventures in decoration, materials and processes previously explored in the four-part color series as well as Cutting Paper, Decorating Paper and Folding Paper. 

PatternPattern focuses on traditional and modern systems of analyzing repeating decorative patterns. These systems - grid, proportion, tessellation, symmetry, motif, and style & culture - are each discussed in a brief overview, and extensively illustrated, primarily with examples hand-drawn by the authors in each copy. Each section starts with a drawing done on translucent drafting vellum, to overlay the accompanying text. The focus throughout is on design development, progression, and variety, emphasizing the possibilities for infinite interpretations of basic styles. The book also includes an extensive bibliography.

In addition to the original drawings in each copy, the book will be issued with an accompanying portfolio of sample textile grid design ‎leaves from Franz Donat's Grosses Bindungs Lexicon (The Large Book of Textile Design, 1908; see sample above). 

PatternPattern (50 pp. + inserted drawings, 9 x 9 inches) was designed and set by Barbara in Fournier type. It was inked & printed by hand at Heavenly Monkey, on dampened Arches wove paper. As with all their books to date, the edition is 30 numbered, and six AP, copies. All of the copies have been bound & boxed by Claudia. Copies 1-10 are extra-bound in leather (with onlays; see image below) over boards, and include additional original pattern samples. Copies 11-30 are quarter-bound in vellum with original stencilled papers (by Claudia) over boards. 

The edition is fully subscribed, but some copies are available through HM's regular booksellers (see list at right). 

As with past publications, Barbara agreed to answer a few questions about the new book...

HM: What was the one thing that proved to be much more complicated/painstaking/time-consuming than you'd expected?

BH: There were two especially difficult aspects to this book. The first one is probably the most obvious: how to narrow down the infinite number of patterns to a reasonable number that is also representative and interesting. The solution was to try drawing many different ones and choose from those that worked best as drawings. The second was less obvious at the beginning: how to organize the book. I had expected that this would be relatively simple. After all, there are thousands of books on pattern, each of them based on some sort of organizational system. It turns out that one reason there are so many books on pattern is because patterns are difficult to organize.

After several false starts and after rearranging the contents many times, I finally settled on a review of historical systems of pattern organization from simplest to most complicated: by grid, geometrical proportion, tessellation (also known as tiling), symmetry, motif, and style and culture. I’ll elaborate on the last two of these systems here.

Organizing pattern by style or culture was popular in the 19th century, as seen in books by Albert Auguste Racinet, Alexander Speltz, Heinrich Dolmetsch, and Owen Jones. What strikes the modern observer (and surely it struck observers in the 19th century), is the appearance of similar patterns throughout different cultures. Jones, the author of The Grammar of Ornament,” 1856, wrote about similarities to be found in the decorative arts in different cultures, specifically between Arab, Roman, Byzantine and Moorish patterns. He noted that similar patterns were reinterpreted by each culture the same way “an idea [is] expressed in four different languages. The mind receives from each the same modified conception, by the sounds so widely differing.” This thought expresses the difficulty of assigning any one pattern to a specific time, place, culture or person.

Organizing by motif was a tempting approach, as everyone can recognize such elements as stars, pinstripes, polka dots, foliage, zigzags, and the idea of presenting such pleasing shapes together on pages was hard to resist. But motif proved to be as complex a system of organization as style and culture and was doomed for us as soon as I reviewed Flinders Petrie’s valiant efforts in his 1930 book, Decorative Patterns of the Ancient World. His categories were wide-ranging but inadequate, and he expressed the hope that future design scholars would continue his work.

Because the others—grid, proportion, tessellation and symmetry—are structural systems and are most easily analyzed across cultures and regardless of motif, they proved most successful, especially in combination.

The two difficulties described above might seem secondary to the decision to draw most of the patterns rather than to print them. For me, there wasn’t a choice. Drawn patterns relate to the principles of design by showing, at least in part, the rationale or basis of the pattern and the sequence of its development. Here, the human hand and mind is visibly at work.

What do you think is the coolest part/aspect of the book?

BH: As a maker of and collector of process—notes, sketches, diagrams, and so on—the aspect of this book that I am most drawn to is the process laid bare. More than 40 of the 50-some patterns included in the book are hand-drawn and show their bones in the form of structural pencil or pen work. Some of the patterns are presented in step form with each step adding detail. Others show variations of a single fundamental pattern. Of course, with handwork comes the inevitable error (or two), and these we fix as best we can but leave the evidence of erasures unapologetically.

How does this book fit with your previous ones?

BH: The most obvious tie would be with Decorated Paper (2015), as much of what we included there were repeating patterns. But Folding Paper (2017) and Cutting Paper (2013) are also related. The processes of both folding and cutting paper to produce decorative work often produce repetitive patterns. Tessellations made by folding paper are complex patterns of repeating polygons. Paper folded multiple times and then cut into can also result in repeating patterns. Working on all three of these books motivated us to exploring pattern in more depth.


Books Are Will Rueter's Utopia

Printing for HM's next calligraphic book starts today: Books Are My Utopia features 18 full-page (three of them fold-out) quotes on the theme of books, each one rendered by HM's longtime friend and confidant, Will Rueter. The concept and format are similar to 2017's An Alphabetical Accumulation, wherein the calligraphy is reproduced from polymer plates, but a portion of each page is then added by Will's pen (for example, in the mock-up below, the red and blue will be added by him). 

Will would object to being called a calligrapher, but calligraphy has been an important part of his 50+ year career as a designer and printer. All of The Aliquando Press's publications reflect his passion for variations in, & combinations of letterforms, and he's too modest about his skills. Books Are My Utopia  will be the first publication that focuses exclusively on his calligraphy - everything in the book is by his hand.

Most of the printing will be done at HM, on four different papers: F.J. Head, Barcham Green and Twinrocker (all handmades); and a mouldmade that I'm saying is Saunders c.1950s, but that might be a lie. Either way, it's a lovely laid sheet. The three fold-out sheets will be printed on Japanese papers, by Will in Ontario. Below is the original calligraphy (i.e. art from which plates were made) for the list of authors from whom the quotes were taken.

Printing will be finished this month, and then the sheets go to Will for the embellishments. He hopes to have everything ready for binding by the start of 2020. Like An Alphabetical Accumulation, Claudia Cohen will be binding the edition of 36 copies uniformly; the exact structure and design are still being pondered. We'll put up some progress photos once Will starts laying hands on printed sheets, along with some of his thoughts on the importance of learning to make letterforms with a pen for typographers and designers.

HM participated in the Fisher Rare Books Library's bi-annual small press fair last month. The Fisher is a beautiful space, and the University of Toronto campus is a fun place to be in September. I had a table beside Will, so we spent most of the day kibbutzing and finalizing details for the calligraphy book. I also caught up with the excellent Shanty Bay Press duo, and met a few Toronto people whose names I knew but had never encountered in person. I even printed a freebie that (sort of) illustrates how books are printed at HM. Best of all, the day before the fair I spent at the Fisher playing with books for the Griffo project, including a couple of early Aldine octavos, and the library's copy of the stunning Paulina de Recta Pasche (1513, with types cut by Griffo). More about Griffo after Will's book is out of the press...