T-60. The History of 19th- & 20th-Century Typography & Printing
By the end of the eighteenth century, letterpress printing had been in existence for 350 years, and in that time it had changed technologically hardly at all. Baskerville, Bodoni, and Didot were printing from essentially the same hand-cast type on the same handmade paper with the same wooden presses that Gutenberg, Jenson, and Aldus had used. By the end of the twentieth century, letterpress had been eclipsed by the printing technologies that continue to change the way we deal with, and even think about, the printed word. The 200-year interval considered in this course, which, in no coincidence, also saw the rise of the Enlightenment and industrialism, is characterized by a series of dynamic tensions between continuity and change. The scale and influence of printing changed profoundly, yet letterpress, dominant throughout the period, remained identifiably the same technology. Letterpress, in its capabilities and its limitations, shaped not only how typography developed, but to a great degree what it is today.
T-60 will examine the inextricable bond between the technological and cultural contexts of typography and printing: the evolution of ideas about the graphic expression of thought and language; the revolution of ideas about printing as an art; and the very concept, as we now understand it, of graphic design. While acknowledging the monumental books of the period and the great personalities who created them, the course will attempt to see them—books and people both—not in splendid isolation but as responses, and sometimes challenges, to prevailing conditions and expectations.
Lectures, discussions, and demonstrations will give an overview of the evolution of typography and printing and highlight case studies that are particularly illuminating. The course will emphasize the examination of original materials from the RBS collections and the Albert and Shirley Small Special Collections Library. Students in this course will learn how to describe and identify typefaces and the periods they represent, and will engage in hands-on typesetting and printing lab sessions using RBS’s type and Vandercook proofing press. At the end of RBS week, each student will present a 5-minute lecture on a typeface of their choice to the class.
In their personal statements, applicants should describe their interest in and experience with typography and printing. Applicants are asked to state their goals for the course and explain how this course might fit into their scholarly and/or creative practice.
Katherine McCanless Ruffin
Though trained as an architectural historian, John Kristensen found his calling in printing and has for over thirty years been the proprietor of Boston’s Firefly Press, a commercial letterpress printing office and type foundry whose goal has been to apply the craft of true letterpress printing and the virtues of traditional typography to the needs and circumstances of the present day. His work has led him to study and his study to teaching, his chief interest being Boston and New England printing and printers of the turn of the twentieth century. He calls himself “the world’s last D. B. Updike wannabee.” From 1993 until 2001 Mr. Kristensen both instructed in printing and lectured on the topics of the Dartmouth College Summer Book Arts Workshops. Firefly Press hosts frequent visits and workshops for school classes and graphic design organizations, and Mr. Kristensen has delivered talks to groups as diverse the Cambridge Historical Society and Save Venice. In 2009 Mr. Kristensen delivered the J. Ben Lieberman Lecture of the American Printing History Association. He first lectured at RBS in 2010 when he spoke on “The Heavyweight Bout: Linotype vs. Monotype.” In 2011 he delivered the inaugural Charles A. Rheault Lecture of Boston’s Society of Printers. A short documentary on Firefly Press made in 2001 by Boston’s WGBH Television is by an enormous margin the most often viewed letterpress-related video on the internet.Full Bio »
Katherine McCanless Ruffin
Katherine McCanless Ruffin is Book Studies and Book Arts Program Director at Wellesley College. She holds an A.B. in philosophy from Bryn Mawr College and an M.F.A. in the book arts from the University of Alabama. Katherine is currently a doctoral candidate in Library and Information Science at Simmons College. Her dissertation is titled “Carl Purington Rollins, the Bibliographical Press at Yale University, and the Origins of the Bibliographic Press Movement in America.”
Katherine has published limited editions under her own imprint of Shinola Press since 1994. She has taught letterpress printing at the Center for Book Arts in New York City, Penland School of Crafts, and the Wells College Book Arts Summer Institute. Katherine also teaches the book arts in the Masters of Art Education Program at the Boston University College of Fine Arts. In February 2015, she completed a Mellon Creative Residency in the John B. Hurford ’60 Center for Arts and Humanities at Haverford College.
She is currently a trustee of the American Printing History Association and a member of the editorial board of Openings: Studies in Book Art, the journal of the College Book Art Association.Full Bio »