'A fascinating journey into our relationship with the physical book...I lost count of the times I exclaimed with delight when I read a nugget of information I hadn't encountered before' Val McDermid, The Times Most of what we say about books is really about the words inside them: the rosy nostalgic glow for childhood reading, the lifetime companionship of a much-loved novel. But books are things as well as words, objects in our lives as well as worlds in our heads. And just as we crack their spines, loosen their leaves and write in their margins, so they disrupt and disorder us in turn. All books are, as Stephen King put it, 'a uniquely portable magic'. Here, Emma Smith shows us why. Portable Magic unfurls an exciting and iconoclastic new story of the book in human hands, exploring when, why and how it acquired its particular hold over us. Gathering together a millennium's worth of pivotal encounters with volumes big and small, Smith reveals that, as much as their contents, it is books' physical form - their 'bookhood' - that lends them their distinctive and sometimes dangerous magic. From the Diamond Sutra to Jilly Cooper's Riders, to a book made of wrapped slices of cheese, this composite artisanal object has, for centuries, embodied and extended relationships between readers, nations, ideologies and cultures, in significant and unpredictable ways. Exploring the unexpected and unseen consequences of our love affair with books, Portable Magic hails the rise of the mass-market paperback, and dismantles the myth that print began with Gutenberg; it reveals how our reading habits have been shaped by American soldiers, and proposes new definitions of a 'classic'-and even of the book itself. Ultimately, it illuminates the ways in which our relationship with the written word is more reciprocal - and more turbulent - than we tend to imagine.

Copper Plate Photogravure describes in comprehensive detail the technique of traditional copper plate photogravure as would be practiced by visual artists using normally available facilities and materials. Attention is paid to step-by-step guidance through the many stages of the process. A detailed manual of technique, Copper Plate Photogravure also offers the history of the medium and reference to past alternative methods of practice. Copper Plate Photogravure: Demystifying the Process is part of the current revitalization of one of the most satisfyingly beautiful image-making processes. The range of ink color and paper quality possibilities is endless. The potential for handwork and alteration of the copper plate provides yet another realm of expressive variation. The subject matter and the treatment are as variable and broad as photography itself. This book's purpose is to demystify and clarify what is a complex but altogether "do-able" photomechanical process using currently available materials. With Copper Plate Photogravure, you will learn how to: * produce a full-scale film positive from a photographic negative * sensitize the gravure tissue to prepare it for exposure to the positive * prepare the plate and develop the gelatin resist prior to etching * prepare the various strengths of etching solutions and etch the plate to achieve a full tonal scale * rework the plate using printmaking tools to correct flaws or to adjust the image for aesthetic reasons * use the appropriate printing inks, ink additives, quality papers, and printshop equipment to produce a high quality print A historical survey and appendices of detailed technical information, charts, and tables are included, as well as a list of suppliers and sources for the materials required, some of which are highly specialized. A comprehensive glossary introduces the non-photographer or non-printmaker to many of the terms particular to those fields and associated with this process.

Maybe it's the behemoth copier at work. Or the one you use to print boarding passes at home. Or maybe it's the one that haunts your nightmares to this day, the one that never seemed to work, not since the first day you plugged it in. We all have a printer in our lives that we would love to see taken down a notch."You can print from an iPhone. It's the dumbest thing." - Bo Fahs, writer and host of Tele-Friends. From the moment we began to digitise our world, we created machines that worked tirelessly to pull all that information zooming around back to the physical world. Enter: the home printer. Perhaps as payback for forming a nonsensical dichotomy, these printers couldn't just work. Not without a fight, at least. No. They insisted on screeching at plane-like decibels, plopping out pages at an excruciatingly slow pace, streaking only the most important documents, and running out of ink when you know you JUST refilled the cartridge. From the first consumer inkjet to more modern monstrosities, Sh*tty Printers breaks down the worst offenders of our home offices. Featuring popular and exasperating home staples such as: The HP Thinkjet 2225A, The Lexmark Z22, The long forgotten Canon BJC-85, and many more. Each printer is beautifully photographed and ruthlessly torn to shreds as their individual strengths, weaknesses, and charisma are scored on sliding scales born from relatable frustration.

Principles of Textile Printing discusses technical aspects of textile printing, covering almost all topics related to textile printing, including the types and quality of printing important for user satisfaction. It offers historical and introductory aspects of textile printing, styles and methods of printing, and printing and ancillary machines. Describes a variety of existing technologies and a wide range of designs created by applying colors in restricted portions using printing tools. Identifies technical, as opposed to artistic, aspects of textile printing. Covers a wide range of diverse and economical designs created by applying colors in restricted portions using printing tools. Discusses theoretical as well as practical aspects of textile printing. Explores a broad variety of printing types. The book aims to educate those readers from large printing houses as well as from cottage and smaller boutique printers so that their products meet fastness standards.

For mainstream economics, cultural production raises no special questions: creative expression is to be harvested for wealth creation like any other form of labour. As Karl Marx saw it, however, capital is hostile to the arts because it cannot fully control the process of creativity. But while he saw the arts as marginal to capital accumulation, that was before the birth of the mass media. Engaging with the major issues in Marxist theory around art and capitalism, From Printing to Streaming traces how the logic of cultural capitalism evolved from the print age to digital times, tracking the development of printing, photography, sound recording, newsprint, advertising, film and broadcasting, exploring the peculiarities of each as commodities, and their recent transformation by digital technology, where everything melts into computer code. Showing how these developments have had profound implications for both cultural creation and consumption, Chanan offers a radical and comprehensive analysis of the commodification of artistic creation and the struggle to realise its potential in the digital age.

Book, Text, Medium: Cross Sectional Reading for a Digital Age utilizes codex history, close reading, and language philosophy to assess the transformative arc between medieval books and today's e-books. It examines what happens to the reading experience in the twenty-first century when the original concept of a book is still held in the mind of a reader, if no longer in the reader's hand. Leading critic Garrett Stewart explores the play of mediation more generally, as the concept of book moves from a manufactured object to simply the language it puts into circulation. Framed by digital poetics, phonorobotics, and the rising popularity of audiobooks, this study sheds new light on both the history of reading and the negation of legible print in conceptual book art.

Principles of Textile Printing discusses technical aspects of textile printing, covering almost all topics related to textile printing, including the types and quality of printing important for user satisfaction. It offers historical and introductory aspects of textile printing, styles and methods of printing, and printing and ancillary machines. Describes a variety of existing technologies and a wide range of designs created by applying colors in restricted portions using printing tools. Identifies technical, as opposed to artistic, aspects of textile printing. Covers a wide range of diverse and economical designs created by applying colors in restricted portions using printing tools. Discusses theoretical as well as practical aspects of textile printing. Explores a broad variety of printing types. The book aims to educate those readers from large printing houses as well as from cottage and smaller boutique printers so that their products meet fastness standards.

Described by the TLS as 'a formidable bibliographical achievement ... destined to become a key reference work for Shakespeareans', Shakespeare in Print is now issued in a revised and expanded edition offering a wealth of new material, including a chapter which maps the history of digital editions from the earliest computer-generated texts to the very latest digital resources. Murphy's narrative offers a masterful overview of the history of Shakespeare publishing and editing, teasing out the greater cultural significance of the ways in which the plays and poems have been disseminated and received over the centuries from Shakespeare's time to our own. The opening chapters have been completely rewritten to offer close engagement with the careers of the network of publishers and printers who first brought Shakespeare to print, additional material has been added to all chapters, and the chronological appendix has been updated and expanded.

John Day (1522-1584) is generally acknowledged to be the foremost English printer of the later sixteenth century. As well as printing some of the most important books of his day, most notably John Foxe's Acts and Monuments, he also pioneered enormous advances in English typography and book illustration. Yet despite his revered position in printing history, this book is the first full-length study to look into Day's life and legacy. Scholars have paid much attention of late to the Acts and Monuments but without placing it within the context of Day's overall business strategy. He was a printer whose success and range of titles, like his connections and influence, went far beyond John Foxe. Day may have gained his notoriety as the printer of Foxe's book but in order to understand both the man and his business, as Evenden shows, we must look at the wider range of Day's productions and the motivation behind them. The study begins by setting Day in the context of the sixteenth-century printing industry, examining his disputed origins and his establishment as a London printer. A number of Day's most celebrated Elizabethan productions are then discussed in detail, in order to understand not only his business strategies but also his religious and political affiliations throughout this period; similarly, Evenden examines his connections with the Stranger communities in London, and how they assisted Day's business and helped to enhance his reputation. Throughout the book it is argued that Day's printing empire and wealth were founded on a combination of two crucial factors: outstanding technical skills, and the ability to attract patrons and patents. Day carried out technically demanding printing assignments (most notably the heavily illustrated Acts and Monuments) for leading Elizabethan statesmen and churchmen and was rewarded with exclusive rights to print more lucrative works such as the ABC, Catechism, and Metrical Psalms. Thus, his success rested on both cheap and exp

3D Printing is a faster, more cost-effective method for building prototypes from three-dimensional computer-aided design (CAD) drawings. 3D Printing provides a fundamental overview of the general product design and manufacturing process and presents the technology and application for designing and fabricating parts in a format that makes learning easy. This user-friendly book clearly covers the 3D printing process for designers, teachers, students, and hobbyists and can also be used as a reference book in a product design and process development.

Now in its third edition, the Handbook of Package Engineering is still considered the standard industry reference on packaging materials and engineering. This text is a useful source of information for anyone involved in packaging. Designed as a refresher on packaging fundamentals, this complete guide also provides information on recent changes in the materials and structures of packaging. It reviews the essentials of production - packaging operations, line layout, and the machines that are required in order to perform basic packaging functions. It introduces the increasing web of laws and regulations controlling virtually all packaged products.

Who hasn't dreamed of seeing matter transformed in a way that suits you? This is the goal of 4D printing, using materials that can change in terms of shape and property under the effect of energy stimulation. From the description of the actions and actuators, the authors show the weaknesses that limit the industrialization of 4D printing processes; these are the modes of energy stimulation. To prepare for the future, two chapters are introduced: "Material-Process Duality in Industrial 4D Printing" and "How to Approach 4D Printing in Design". If the capture and reuse of 4D printing knowledge is necessary for this objective, the conclusion leaves the existing myth around the 4D printing theme and proposes a "draft" roadmap that should be the subject of reflection and scientific debate on a concept that is still immature, but full of promise.

This is the first in-depth presentation in book form of both modified atmosphere and sous vide food preservation and packaging technologies and applications. The use of these technologies with all applicable food product categories is examined. The authors are specialists in these preservation/packaging methods from North America and Europe.
All significant aspects are examined including processes and materials, applications, microbiological control, and regulations and guidelines. Topics of special interest include use of hurdles, HACCP, gas absorbents and generators, and time-temperature indicators. Extensive practical reference data is economically presented in tables.

'A fascinating journey into our relationship with the physical book...I lost count of the times I exclaimed with delight when I read a nugget of information I hadn't encountered before' Val McDermid, The Times Most of what we say about books is really about the words inside them: the rosy nostalgic glow for childhood reading, the lifetime companionship of a much-loved novel. But books are things as well as words, objects in our lives as well as worlds in our heads. And just as we crack their spines, loosen their leaves and write in their margins, so they disrupt and disorder us in turn. All books are, as Stephen King put it, 'a uniquely portable magic'. Here, Emma Smith shows us why. Portable Magic unfurls an exciting and iconoclastic new story of the book in human hands, exploring when, why and how it acquired its particular hold over us. Gathering together a millennium's worth of pivotal encounters with volumes big and small, Smith reveals that, as much as their contents, it is books' physical form - their 'bookhood' - that lends them their distinctive and sometimes dangerous magic. From the Diamond Sutra to Jilly Cooper's Riders, to a book made of wrapped slices of cheese, this composite artisanal object has, for centuries, embodied and extended relationships between readers, nations, ideologies and cultures, in significant and unpredictable ways. Exploring the unexpected and unseen consequences of our love affair with books, Portable Magic hails the rise of the mass-market paperback, and dismantles the myth that print began with Gutenberg; it reveals how our reading habits have been shaped by American soldiers, and proposes new definitions of a 'classic'-and even of the book itself. Ultimately, it illuminates the ways in which our relationship with the written word is more reciprocal - and more turbulent - than we tend to imagine.

This three-volume bibliography of printing was published between 1880 and 1886 by E. C. Bigmore (1838-99) and C. W. H. Wyman (1832-1909), who had, unknown to each other, been working on similar projects and were brought together by the antiquarian bookseller and publisher Bernard Quaritch. The scope of the work, which quickly became a classic, includes 'typographic, lithographic, copperplate printing, etc., with the cognate arts of type-founding, stereotyping, electrotyping, and wood-engraving', but excludes the topics of paper and bookbinding. The three volumes are arranged in alphabetical order of surname of author; anonymous works are ordered by the wording of the title. Compiled with the assistance of such historians of printing as William Blades and John Southward (several of whose works are available in this series), this authoritative work is of continuing value to bibliographers. Volume 3, published in 1886, covers the letters T to Z.

Polymers for 3D Printing: Methods, Properties, and Characteristics provides a detailed guide to polymers for 3D printing, bridging the gap between research and practice, and enabling engineers, technicians and designers to utilise and implement this technology for their products or applications.

What has fifteenth-century England to do with the Renaissance? By challenging accepted notions of 'medieval' and 'early modern' David Rundle proposes a new understanding of English engagement with the Renaissance. He does so by focussing on one central element of the humanist agenda - the reform of the script and of the book more generally - to demonstrate a tradition of engagement from the 1430s into the early sixteenth century. Introducing a cast-list of scribes and collectors who are not only English and Italian but also Scottish, Dutch and German, this study sheds light on the cosmopolitanism central to the success of the humanist agenda. Questioning accepted narratives of the slow spread of the Renaissance from Italy to other parts of Europe, Rundle suggests new possibilities for the fields of manuscript studies and the study of Renaissance humanism.

Book, Text, Medium: Cross Sectional Reading for a Digital Age utilizes codex history, close reading, and language philosophy to assess the transformative arc between medieval books and today's e-books. It examines what happens to the reading experience in the twenty-first century when the original concept of a book is still held in the mind of a reader, if no longer in the reader's hand. Leading critic Garrett Stewart explores the play of mediation more generally, as the concept of book moves from a manufactured object to simply the language it puts into circulation. Framed by digital poetics, phonorobotics, and the rising popularity of audiobooks, this study sheds new light on both the history of reading and the negation of legible print in conceptual book art.

From typefounding through typesetting to the printing process itself, this narrative offers a fresh look at the unprecedented success story of the spread of the 'black art' right across Europe in a mere 40 years. Stephan FA1/4ssel here analyses the first early printings, placing them in the context of the history of communication and the intellectual climate of a Europe-wide educated elite by about 1500. He foregrounds the tremendous rise in European culture and the history of education experienced as a direct result of this media revolution. In separate chapters FA1/4ssel depicts the fast spreading of the art of printing to Italy, France and England, at the same time highlighting the importance of the art of printing for the Roman Catholic Church, the Reformation, the University and the economy. From herbals to a guide for midwives, the present book shows popular instruction at work in the vernacular, as well as the consolidation of knowledge into encyclopedias in the early modern period, and the emergence of new forms of the prose novel and the beginnings of newspapers and periodicals. Finally Stephan FA1/4ssel traces the modern resonances of Gutenberg's invention, which persisted in virtually unchanged form for a further 350 years. It underwent decisive technological change through industrialisation and mechanisation in the nineteenth century, and again through digitalisation at the close of the twentieth century. However, as FA1/4ssel shows, the mass diffusion of information and the related communications revolution which began with Gutenberg continue unabated.

Copper Plate Photogravure describes in comprehensive detail the technique of traditional copper plate photogravure as would be practiced by visual artists using normally available facilities and materials. Attention is paid to step-by-step guidance through the many stages of the process. A detailed manual of technique, Copper Plate Photogravure also offers the history of the medium and reference to past alternative methods of practice.
Copper Plate Photogravure: Demystifying the Process is part of the current revitalization of one of the most satisfyingly beautiful image-making processes. The range of ink color and paper quality possibilities is endless. The potential for handwork and alteration of the copper plate provides yet another realm of expressive variation. The subject matter and the treatment are as variable and broad as photography itself. This book's purpose is to demystify and clarify what is a complex but altogether "do-able" photomechanical process using currently available materials. With Copper Plate Photogravure, you will learn how to:
. produce a full-scale film positive from a photographic negative
. sensitize the gravure tissue to prepare it for exposure to the positive
. prepare the plate and develop the gelatin resist prior to etching
. prepare the various strengths of etching solutions and etch the plate to achieve a full tonal scale
. rework the plate using printmaking tools to correct flaws or to adjust the image for aesthetic reasons
. use the appropriate printing inks, ink additives, quality papers, and printshop equipment to produce a high
quality print
A historical survey and appendices of detailed technical information, charts, and tables are included, as well as a list of suppliers and sources for the materials required, some of which are highly specialized. A comprehensive glossary
introduces the non-photographer or non-printmaker to many of the terms particular to those fields and associated with this process.
* Follow step-by-step basic printing procedures for a photogravure plate, complete with trouble shooting information
* Valuable information is offered on the materials, procedures, and printshop equipment
* Study the historical precedents from the invention of photography to its current commercial use

First Published in 1997. Routledge is an imprint of Taylor & Francis, an informa company.

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification: ++++ Typographical Antiquities: An Historical Account Of Printing In England, With Some Memoirs Of Our Antient Printers, And A Register Of The Books Printed By Them, From 1471 To 1600, With An Appendix Concerning Printing In Scotland And Ireland. Greatly Enlarged By T.F. Dibdin; Typographical Antiquities: An Historical Account Of Printing In England, With Some Memoirs Of Our Antient Printers, And A Register Of The Books Printed By Them, From 1471 To 1600, With An Appendix Concerning Printing In Scotland And Ireland. Greatly Enlarged By T.F. Dibdin; Joseph Ames Joseph Ames Thomas Frognall Dibdin

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification: ++++ Typographical Antiquities: An Historical Account Of Printing In England, With Some Memoirs Of Our Antient Printers, And A Register Of The Books Printed By Them, From 1471 To 1600, With An Appendix Concerning Printing In Scotland And Ireland. Greatly Enlarged By T.F. Dibdin; Typographical Antiquities: An Historical Account Of Printing In England, With Some Memoirs Of Our Antient Printers, And A Register Of The Books Printed By Them, From 1471 To 1600, With An Appendix Concerning Printing In Scotland And Ireland. Greatly Enlarged By T.F. Dibdin; Joseph Ames Joseph Ames Thomas Frognall Dibdin

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification: ++++ Typographical Antiquities: An Historical Account Of Printing In England, With Some Memoirs Of Our Antient Printers, And A Register Of The Books Printed By Them, From 1471 To 1600, With An Appendix Concerning Printing In Scotland And Ireland. Greatly Enlarged By T.F. Dibdin; Typographical Antiquities: An Historical Account Of Printing In England, With Some Memoirs Of Our Antient Printers, And A Register Of The Books Printed By Them, From 1471 To 1600, With An Appendix Concerning Printing In Scotland And Ireland. Greatly Enlarged By T.F. Dibdin; Joseph Ames Joseph Ames Thomas Frognall Dibdin