Member Institutions:

SHAKESPEARE PRESS MUSEUM CAL POLY SAN LUIS OBISPO 

PROGRAM The museum is affiliated with the Graphic Communication Department. It is a non profit organization that serves members of all backgrounds, ie. students of all majors, members from the community.

HISTORY The museum started as a private collection of Charles Palmer, who was nicknamed “Shakespeare”. The museum was later dedicated to the Graphic Communication Department in 1966 and opened to the public on May 24, 1969. Under the guidance of a student curator and faculty advisor, members and Graphic Communication students regularly print using the antique equipment, gaining an appreciation for printing history and the methods used in the past.

FACILITIES Presses: Campbell Country Cylinder (1890), Hand Platen Jobber (6x9 Columbian No. 2), Edison Mimeogrpah (1902), Golding Jobber (12x18), Palmer & Rey Platen, Pearl Press (7x11), Peerless Platen Jobber (8x10), Vaughn's Hand Cylinder (1895), Washington Hand Press (23x35 R. Hoe & Company Washington Hand Press (late 1850s))
Bindery Equipment: Franklin Perforator, Jewel Paper Cutter, Mallets & Shooting Sticks, Paragon Paper Cutter, Boston Wire Stitcher

RECENT PUBLICATIONS
Cal Poly Magazine (online and in print)
We recently started an online shop that features some of our cards.

FACULTY
Its current faculty advisors are Graphic Communication professors Brian Lawler and Ken Macro. The student curator is Graphic Communication major Carol Pan.

CONTACT
Shakespeare Press:
Brian Lawler (current advisor):
Ken Macro (current advisor):

COLLEGE OF VISUAL ARTS 

PROGRAM Letterpress is part of the Printmaking Department, which has recently become a concentration for an under grad BFA in CVA’s new Multidisciplinary program. We also serve the interests of the Fine Arts, and Graphic Design departments for required courses and electives for their programs. The Printmaking shops exist for classes and we do not have a professional press at this time.

HISTORY There had been periodic print courses in Intaglio offered at the college since its inception, as the founder of the College , Lowell Bobleter was a well known regional printmaker. Printmaking as an organized dept was founded by Professor Maria Santiago who continues as co-ordinator of the area and lead printmaker.

FACILITIES We have some proofing presses a Nolin and a Vandercook
an old manual book press and dark room facilities for photo polymer exposing, a small composing room and lead type and related printmaking facilities for Litho, Intaglio, Monotype, Relief, Screenprinting etc.

FACULTY Currently, Maria Santiago full time. Our letterpress and book arts instructor was Chip Schilling and he is on temporary leave from teaching at CVA. We hire adjunct instructors for a variety of courses and have a shop technician on staff, Jeremy Schock… and we have student workers that maintain access and safety etc. We also have the Minnesota Center for Book Arts in nearby Minneapolis which is a great resource for our students.

CONTACT
Maria Santiago:
College of Visual Arts

PROGRAM Undergraduate courses

HISTORY Founded in 1978 by Jim Trissel, now in the hands of Colin Frazer.

FACILITIES Vandercook Universal 3, Vandercook Universal 4, Vandercook 219, 8x10 C&P, Asbern AD-1; Type: about 500 fonts, including extensive collections of Goudy, Bodoni, Futura, Spectrum, & Garamond; Polymer platemaking capability; Bindery

FACULTY Colin Frazer, head of the press

CONTACT
Colin Frazer:
The Press at Colorado College

CENTER FOR BOOK AND PAPER ARTS COLUMBIA COLLEGE CHICAGO 

PROGRAM Interdisciplinary MFA in Book & Paper
The publishing division of CBPA is Epicenter. JAB - The Journal of Artists' Books is published twice each year through CBPA / Epicenter. JAB is a forum for raising the level of critical inquiry into artists' books.

HISTORY Founded by Marilyn Sward and Barbara Lazarus-Metz in the 1970s as an independent arts organization, the Center for Book & Paper is now a part of Columbia College Chicago, the largest private communication arts college in the US. There is a three year Interdisciplinary MFA in Book & Paper Arts - currently there are 28 students in the program. The MFA program is part of the Interdisciplinary Arts Graduate Department and during the first semester of this three year program the students participate in core classes in InterArts. There are currently 28 students in the MFA Book & Paper. Classes include: Theory and History of Artist Books, writing, bookbinding, papermaking, and printing classes. A wide range of texts are read including: Johanna Drucker’s The Century of Artists’ Books, Betty Bright’s No Longer Innocent, A Book of the Book edited by Jerome Rothenberg & Steve Clay, Reneé & Judd Hiebert’s book The Cutting Edge of Reading, Cornelia Lauf & Clive Phillpot Author/Artist Contemporary Artist Books, etc. Also, lots of articles including essays by Roland Barthes, Geoffrey Batchen, Walter Benjamin, Ulises Carrion. In the final year the students concentrate on their thesis project.
We also have LOTS of community classes in letterpress, bookbinding and papermaking.

FACILITIES There are three very plush studios. The Print Shop has eight Vandercooks (4 Universal 1s, one SP-25, and 3 No. 4s, as well as two C & Ps - also an AB Dick offset press with plans on getting a large sheet Heidelberg offset press. There is an imagesetter capable of making film directly from computer files for polymer plates and offset plates. The computer lab has six Macs and two printers. There is lots of metal and wood type and a photopolymer platemaker. The paper studio has three beaters (one 7 lb. Reina, one 2 lb. Reina, and a 1 lb. Valley). The Bindery has two well-lit northeastern facing rooms with 10 foot high windows all around. There are two board shears, many book presses, kwik print foil stamping, plows, a guillotine, and lots of table space.

RECENT PUBLICATIONS JAB21 - JAB - The Journal of Artists' Books #21. 

FACULTY Clifton Meador is the only full time tenured faculty member. Andrea Peterson and Melissa Jay Craig are two full time non-tenured faculty members and there are five adjunct instructors (Audrey Niffenegger, Shawn Sheehy, Jill Gage, Barb Korbel, and Scott Kellar). JAB - The Journal of Artists’ Books is produced here and we are planning a class to start in the fall and to run once per year so the students can learn more about conception, production, design, editing, and writing.

CONTACT
Interdisciplinary MFA in Book and Paper
JAB - The Journal of Artists' Books
Clifton Meador:
Gina Ordaz:

PROGRAM Non-curricular print shop running printing & poetry workshops

FACILITIES 12x18 C&P, 8x12 C&P, Type

CONTACT
Kseniya Thomas, College Printer:

PROGRAM Minerva is an aspect of the Arthur & Mata Jaffe Center for Book Arts at FAU's Wimberly Library. There is no degree-based academic program in the book arts at FAU. We have no affiliations with professional presses.

HISTORY I guess I would be the director of the press. It began as a donation of a complete letterpress studio by Brien and Beverly Varnado of Mount Pleasant, South Carolina, to FAU Libraries. Our artists' book collection (The Arthur & Mata Jaffe Collection: Books as Aesthetic Objects) is what evolved into the Jaffe Center for Book Arts. The Center just received a provisional certificate of occupancy about a month ago, so we've just begun the process of moving in. When complete, it will house not only the Jaffe Collection, but also a book arts studio, a letterpress studio, and a hand papermaking studio. Minerva will be housed in the letterpress studio.
I guess I would have been the founder, too... but the press was named by our head of Special Collections, Dee Cael.

FACILITIES Wesel iron handpress, Vandercook 4, Pilot proof press, Related printing and binding equipment, Renna Hollander Beater for Papermaking, with related equipment

RECENT PUBLICATIONS
Two publications, to date:
BocaRatoons: Editorial Cartoons by Ray Russotto for the Boca Raton News
Printed digitally and bound by hand.
Edition of 150

A Field of Owls: The Burrowing Owl Observed
(Essay anthology)
Printed letterpress and bound by hand.
Edition of 100

FACULTY John Cutrone & Seth Thompson

CONTACT
Minerva: The Press at Wimberly
Jaffe Center for Book Arts
Florida Atlantic University Libraries
777 Glades Road
PO Box 3092
Boca Raton, FL 33431-0992
Jaffe Center Main Line: (561) 297-0226

UNIVERSITY OF HAWAII, MANOA 

PROGRAM We are a comprehensive printmaking department offering instruction, at the undergrad and graduate levels, and facilities in, intaglio, relief (incl. letterpress), lithography, screenprinting, and all related photo printmaking processes, in over 6000 square feet of studio space. We do not currently have a professional press associated with our program, but are occasionally involved in print publishing endeavors with visiting artists. We have a vibrant visiting artists program, service approximately 80 students per semester, and boast the largest etching press (Takach Garfield) in the pacific region.
In the relief printmaking course, letterpress is introduced as an adjunct to general relief work. Basic typesetting is taught, along with press operation and care, as well as general printing from wood and linoleum substrates appropriate for letterpress. In addition, some basic bookbinding skills and principles are introduced. Advanced students and graduate students in the program are able to utilize letterpress in combination with other print media as desired.
The program is always interested in facilitating visits or scheduling demonstrations (usually pro bono) from printmakers or letterpress printers who pass through the islands... Proposals for collaborations or exchanges are encouraged.
 
HISTORY The Printmaking program at UH Manoa has a long and rich history and has been shaped by some important printmakers over the last 50 years, including some noted regional artists, and most significantly, Jean Charlot.

The letterpress area of the printmaking program is a more recent creation, coalescing in the last 10 years around equipment inherited from various departments and vocational programs associated with the state university system here,as well as some private donations. Some of the presses were salvaged from the campus newspaper and refurbished by Duncan Dempster. The type has been inherited from the same newspaper facility, and from the graphic design program. In addition, a sizable collection of type, equipment, tools, and accoutrements has been salvaged from various defunct printshops in the Honolulu area and loaned or donated by the instructor involved.

The goal of the letterpress area is to continue to develop its equipment base, to incorporate proper photopolymer capabilities, to eventually have a dedicated letterpress course independent of traditional relief printmaking instruction, and to engage with the graphic design, english, and other relevent departments of the University, as well as programs in other states and abroad.

FACILITIES Vandercook SP20, Vandercook SP15, Vandercook No1 proof press, Vandercook No2 proof press, Vandercook NoO proof press, C&P 8x12 NS, C&P 10x15 NS; 8 cabinets of foundry type; darkroom, process camera, and exposure unit for photopolymer work (non-platemaker); 18" guillotine; Kwikprint and Kingsley foil stamping; various copy presses (bookbinding).

FACULTY The program is headed by Professor Charles Cohan, and is staffed by instructor Duncan Dempster (who teaches intaglio and relief).

CONTACT
University of Hawaii, Manoa Art Program
Duncan Dempster:

IDAHO STATE UNIVERSITY  

PROGRAM Letterpress is offered as part of the Art of the Book class, which is cross-listed in Mass Communication and Art.
 
HISTORY Founded by Prof. Paula Jull, as part of a cooperative with the Fine Art department in 2000.

COURSES Fine Art dept. has traditional printmaking, etching, litho and relief printing classes. Students in both Mass Comm and Art can arrange to use the press for independent work as well as in the Art of the Book course. The facility is meant to be interdisciplinary, and shared with the library, English Dept. Mass Comm and Art on a scheduled basis.

FACILITIES Presently a room in the art building has an Asbern cylinder press and a Chandler and Price platen press. A recent grant has made it possible to add a Jet photopolymer plate maker, and other equipment to supplement the type and traditional equipment already on hand.

RECENT PUBLICATIONS A broadside was printed with John Risseuw, but it is currently being used for student work.

FACULTY Paula Jull
 
CONTACT
Prof. Paula Jull:
James E. Rogers Dept. of Mass Communication,
Campus Stop 8242, Idaho State University,
Pocatello, Idaho, 83209
208-478-9488

SOYBEAN PRESS UNIVERSITY OF ILLINOIS, URBANA-CHAMPAIGN

PROGRAM We are starting a fine press at the University of Illinois, Urbana-Champaign, called the Soybean Press. Current collaborators on the project come from the University Library, the Art and English departments, the Graduate School of Library and Information Science, and Printing Services. We will be inaugurating our press in conjunction with the second annual sessions of the Midwest Book and Manuscript Studies program at UIUC.

CONTACT
Brandy Parris:

PROGRAM The UI Center for the Book offers a graduate certificate in Book Arts/Book Studies. Courses are offered in printing, bookbinding and book arts, papermaking, calligraphy, and the cultural history of books. Students also avail themselves of course work in Studio Art, English, Library Science, and History. Our student body is made up of Certificate Students as well as degree candidates in other areas listed above.
The letterpress area is the nucleus from which the program grew.
At present, letterpress facilities are used for classes and the work of our adjunct instructors, who maintain private press names.

HISTORY Printing has had a curricular roll at the University of Iowa since the 1930’s. In 1945 Wilbur Schramm, Director of the School of Journalism, created a Typography Laboratory with the intention of teaching students the history of printing as well as its technical aspects. Carroll Coleman, the founder of The Prairie Press, was appointed as its first director. Coleman was followed in 1956 by Harry Duncan, Cummington Press. He in turn was succeeded in 1972 by Kay Amert, Seamark Press, who continues to teach Typography and History of Printing in the School of Journalism.
In 1967 the University established The Windhover Press , directed by Kim Merker a former student of Harry Duncan. In the 1980’s the idea for an interdisciplinary Center for the Book was furthered by the arrival of Tim Barrett, papermaker, and William Anthony, bookbinder & conservator, establishing course work in papermaking, bookbinding, and calligraphy in addition to printing. In 1997, a Graduate Certificate in Book Arts/Book Studies was established which offers course work in both Book Studies and the Book Arts.
Kim Merker retired in 1998 and was succeeded in the Printing area by Shari DeGraw, Empyrean Press, who left the University in 2002.
The Center’s current director is Matthew P. Brown, professor of English and the Center for the Book.
Four to five printing courses are taught each year by adjunct instructors who have access to the facilities and produce work under their own press names as well as teaching the letterpress courses.
The question of whether to maintain a Center sponsored press or support the individual work of instructors and students is undetermined at this point.

RECENT PUBLICATIONS Since 2003, press production consists of work by students and instructors under private press names.
The most recent publications produced by the Center for the Book are
Original Monkey by Dean Young (Empyrean Press), All Things by Jorie Graham (Empyrean Press), and No Short Cuts by Barry Moser (printed by Sara T Sauers for the UI Center for the Book.

FACULTY Printing Faculty:Sara T. Sauers, Craig Kelchen, Sara Langworthy, Emily Wilson. Associated Faculty (bookbinding, calligraphy, papermaking, and historical/cultural book studies): Gary Frost, Julia Leonard, Penny Mckean, Emily Martin, Julie Smith, Cheryl Jacobsen, Glen Epstein, Matthew Brown, Kathleen Kamerick

FACILITIES We have two letterpress shops with three SP20’s, an SP 15 and Universal 1 Vandercook presses. There is an assortment of monotype book faces, wood display type, photopolymer plate maker and wash out unit. The letterpress shop also has a computer lab with 5 iMacs, a black and white laser printer, and a large format color inkjet printer. The Center also supports a well equipped student bindery, student and professional papermaking facilities. Students have access to and the opportunity to work in the Library’s Conservation and Preservation Labs. The Journalism Department maintains the Typographic Lab which is available to students in Journalism courses on Typography, Book and Publication Design.

CONTACT
University of Iowa Center for the Book
Matthew Brown:
Julia Leonard:

CENTER FOR BOOK UNIVERSITY OF KANSAS 

PROGRAM One class offered Fall and Spring Semesters: VISC 560 Special Topics, Letterpress, grad and undergrad, affiliated with Visual Communication (Graphic design and Illustration) in the Design Department, also a Printmaking credit in the Art Department. We are trying to implement an MFA in the Book Arts here at KU.

HISTORY The program was founded by Patrick Dooley, who worked in the Type Kitchen at the University of Iowa. Unfortunately, Patrick was unable to teach a class due to the heavy Graphic Design load he was given. I came back to Lawrence in 1994, and was invited to teach the class in 1995. So, I guess I really started the program, and have kept it going for the past 10 years.

COURSES One class offered in the summer: ADS 560 Papermaking and Book Strucures

FACULTY Linda Samson-Talleur (me).

FACILITIES We have about 30 cabinets of type: over 100 typefaces, including Univers in weights from Univers Light Extra condensed to Extra Bold Extended; 2 Vandercook Universal III cylinder presses; 2 Sp 15 Vandercook cylinder presses; 1 Golding Pearl clam shell press; Leads and furniture; 2 100 rack galley racks; Ornamental rule; 2 cabinets of dingbats; Assorted photo engravings; A large quantity of wood type; Floor Model Kuttrimmer paper cutter, 43 3/4” cutting capacity; Guillotine paper cutter, 30” width capacity; Drying rack; Papermaking equipment including a Reina Holander beater, hydraulic press, stack dryer (30 x 40” capacity), moulds, deckles, and equipment for hand-making Washi.

CONTACT
Linda Samson-Talleur:

PROGRAM Celebrated its 50th year with a symposium on 17-18 November 2006.

HISTORY The King Library Press began in 1956 when a group of librarians, working during their lunch hours, produced a small book. The influence of Carolyn Hammer, a founder and until 1976 the Press director, and the typographic tradition to be seen in the works of Victor Hammer provide inspiration for the work of the Press.

In 1927, Victor Hammer built the wooden press described below with the help of local Florentine craftsmen. Based on a press in the Laurentian Library, it was first used to print John Milton’s Samson Agonistes. The book was set in Mr. Hammer’s second uncial and christened Samson. Punches for the type were cut by Paul Koch, Rudolf Koch’s son. Samson Agonistes was issued in an edition of 103 copies. In 1933 Hammer closed his studio in Florence and the press was stored. In 1954 it was moved to the University of Kentucky where it was first used by the King Library Press in 1959.

The Press was founded in the King Library and later moved to the new King Library North, now the Little Library. In the summer of 1999 the Press returned to the old King Library.

FACILITIES The basic tools are the wooden common press designed and used by Victor Hammer in Florence, Italy and four Washington presses, including one from Carolyn Reading Hammer’s Anvil Press on permanent loan to the K.L.P. and another endowed by Lucy Graves in memory of Joseph C. Graves, Sr. at whose Gravesend Press it had been used. More modern presses include a Vandercook SP15, a gift of the Harrodsburg Herald, a Vandercook Universal I, and several by Chandler & Price.

RECENT PUBLICATIONS
Old Episcopal Burying Ground. Joseph C. Graves. 2000.
Hagia Sophia and Thomas Merton. Victor Hammer. 2001.
Sonnets for Gerontion. Boynton Merrill, Jr. 2001.

COURSES 3-credit independent study. Also offering workshops & seminars; see website for schedule. Every other year a distinguished scholar or book artist of international reputation will be invited to the Margaret I. King Library at the University of Kentucky to lecture on printing, typography, illustration, bookbinding, graphic design, or some other aspect of the graphic arts.
 
FACULTY Paul Holbrook, assisted by press volunteers and apprentices

CONTACT
Paul Holbrook:

MACALESTER COLLEGE  

PROGRAM Undergraduate art department of a liberal arts college with a comprehensive
printmaking program featuring letterpress and relief processes in addition to other
fine art print techniques, such as screenprint, intaglio and lithography. The letterpress area at Macalester has prepared many trained students for jobs and internships at printshops such as Minnesota Center for the Book Arts, Lunalux press and Highpoint Center for Printmaking in Minneapolis, AK Press and San Francisco Center for the Book.

HISTORY Founded by Art Professor Jerry Rudquist withdonated equipment and type, the letterpress area has been a part of the Art Department Printmaking program since 1964. Rob Roy Kelly, the noted designer, historian and type collector, author of an influential book on the history of 19th-century American wood type was a friend of Professor Rudquist from their days at the Minneapolis School of Art and donated some type to the collection. Contributions from professional letterpress printer/artist Bob Battin and upgrades by Professor Ruthann Godollei have kept the equipment in fine repair, in use every semester. Beginning print students are introduced to various media including simple typesetting and are encouraged to use print processes appropriate to their concepts. Advanced students may use letterpress techniques alone or in combination.

FACILITIES Vandercook No. 2 Hand Proof Press. 3 type cases with 60 drawers of antique wood and lead type. For example, a complete set of wood Clarendon Double Extra Condensed Light c. 1859. Facilities for making photopolymer relief plates. Accompanying equipment such as chases, furniture, shim trimmer, compositors’ sticks, quoins, keys, etc.. A large collection of commercially made antique blocks and cuts such as the editorial cartoons for the Macalester Weekly student newspaper during the Vietnam War era, letterhead for 3M Company, St. Paul Pioneer Press newspaper, etc .

RECENT PUBLICATIONS & PROJECTS I Posters for Macalester College African Music Ensemble, posters for area bands, valentines, Bi-annual covers of student exchange print portfolios continuously dating back to 1964. “Say Hello To My Little Friend” print by Ruthann Godollei for SGC exchange portfolio acquired by Kohler Library, Madison, WI, 2006.

FACULTY Ruthann Godollei, Professor of Art maintains and directs the area.

CONTACT
Macalester College

THE MASSART PRESS MASSACHUSETTS COLLEGE OF ART AND DESIGN 

PROGRAM The MassArt Press offers an elective in letterpress printing and design, within the BFA and MFA curriculum, encouraging collaboration between graphic designers and artists. Advanced students may submit a plan for independent study. MassArt Press is educational and the courses are taught by tenured and part-time faculty, with the assistance of a Studio Manager. For working adults and non-matriculated students the Continuing Education Program offers evening and summer letterpress and book arts courses.

HISTORY The College has received letterpress equipment from Boston printers since 1960, but it was not until 1977 that courses were offered by Professor Al Gowan who previously taught letterpress at Indiana University, Purdue University and Boston University. In 2004, a new facility opened under the direction of Al Gowan and Instructor Keith Cross (BFA’96) designer/printer and past President of the Letterpress Guild of New England.
This new studio consolidates presses and type that previously existed in two separate campus buildings—administered by separate disciplines within the College (Communication Design and 2-D Fine Arts). The studio was officially commemorated on Oct. 19, 2005. Collaborators in forming the MassArt Press signed a keepsake.
Today’s studio accommodates classes and workshops of 12 persons and includes an adjoining Book Arts Center which facilitates interdisciplinary courses such as “Artists Books on the Vandercook Letterpress” (Instructors: Keith Cross and Peter Madden), Sculptural Books (Instructor: Stephanie Stigliano), and other workshops.

FACILITIES The studio houses two Vandercook SP 15 presses, and one Vandercook Universal I (adjustable strokes, non-adjustable bed). There are approximately 350 cases of type, including foundry type, redistributed Monotype, wood type, as well as 19th and 20th century printer’s ornaments and standard & ornamented rule.

RECENT PUBLICATIONS & PROJECTS In 1988 student Samantha Wilder produced a booklet on the injustices of the witch trials which was purchased by the Houghton Library of Rare books at Harvard University. In 2006 student Justin Gonyea and Nick Sherman produced 200 posters for the exhibition For the Love of Letters. Justin interned previously at Hatch Show Print in Nashville during the summer of 2004. Student Nick Sherman produced a new wood type. In the summer of 2007 Nick completed a month long-residency at the Hamilton Wood Type & Printing Museum in Wisconsin. Each semester undergraduate students studying with Al Gowan or Keith Cross produce 15 copies of an exchange portfolio on a subject they collectively choose. In addition, students enrolled in the books arts/letterpress class produce one-of-a-kind artist books comprised of letterpress printed text and imagery.

EXHIBITIONS
2006 - For the Love of Letters: 30 years of letterpress printing, Tower Gallery at MassArt, August 7–19
1983 - The Joy of Lead, a 20 year letterpress retrospective, Overland Gallery at MassArt

CONTACT
Massachusetts College of Art and Design
Instructor Keith D. Cross -
Professor Emeritus Al Gowan -
Studio Manager Luanne Witkowski -

DOLPHIN PRESS & PRINT MARYLAND INSTITUTE COLLEGE OF ART 

PROGRAM The press is closely tied to the curriculum of the printmaking department
and offers students the opportunity to work collaboratively with established artists, writers, and printers. Each year an undergraduate student in the department is chosen as staff printer for Dolphin Press & Print; he/she takes an active role alongside the faculty coordinator in leading projects, maintaining the shop and archives, assisting classes and workshops, and representing the press to other institutions.

HISTORY Dolphin Press & Print is a professional printmaking and letterpress shop housed in the printmaking department at Maryland Institute College of Art (MICA). Established in 1998 by Hilary Lorenz and John Yau, the press was originally designed to bring visual artists and writers together to work with students in producing limited-editio n letterpressed books and broadsides. Throughout its eight-year history, the press has produced more than 40 such projects in addition to in-house posters and announcements. When master printer and papermaker Gail Deery took over the direction of the press in 2000, the mission statement broadened to include printed editions in a variety of printmaking media.

FACILITIES Vandercook No. 2, Vandercook No. 4, Vandercook SP20, Vandercook 325G, two Sigwalt Ideal No. 4s; Guillotine, board shears, paper cutter, & book press; screenprinting facilities; stone and plate lithography studio; intaglio/relief studio with three Charles Brands and one French Tool; papermaking studio with Eastern & Western moulds.

RECENT PUBLICATIONS Past projects have included editions with Grace Hartigan, Lesley Dill, John Yau, Linda Bills, Renée Stout, Henrik Drescher, Wu Wing Yee, Jeremy Seigler, Dae Sang Eom, Marcella Durand, Anne Waldman, Hillary Lorenz, Anselm Berrigan, and Justin Sirois. In fall 2006, the shop collaborated with New Orleans-based, African-American artist Willie Birch during his artist residency, and in the spring of 2007 printed an artist's book with illustrator Michael Bartalos.

FACULTY Kevin Auer (at left)

CONTACT

Dolphin Press & Print
Maryland Institute College of Art
1300 Mount Royal Avenue
Baltimore, MD 21217
410.225.2318

MILWAUKEE INSTITUTE OF ART AND DESIGN 

PROGRAM Undergraduate courses offered as a part of the Interdisciplinary Studio Arts Program of Study. Courses can also be taken for printmaking credits, in some situations Liberal Studies credits; also as independent study credit.

HISTORY New program, courses primarily taught at this point by Leslie Fedorchuk. Goals are to grow the program (ie., letterpress/bookarts); establish a rotation of classes; establish a small press within the college that would produce one project a year–perhaps with a visiting artist.

FACILITIES Vandercook 4 proof press / good collection of wood and lead type, other
necessary equipment.

FACULTY Leslie Fedorchuk

CONTACT
Leslie Fedorchuk:
Milwaukee Institute of Art and Design
Recent Book Arts Exhibit Website (Sacred Texts Contemporary Forms)

MISSOURI STATE UNIVERSITY

PROGRAM Undergraduate - with the graphic design and illustration department. This is a very small operation, but we are hoping to increase the collection of type and equipment to be able to teach students the history of their porfession. There are no official classes offered at this time, but we are hoping to offer this as a special topics class to students and hopefully even open it to the community.

HISTORY Equipment purchased about 20 years ago by Maria Michalczyk-Lillich (design department head) from various printers in the midwest. Equipment was used for a few years and then when the graphic design programme was moved to a new building, the equipment was moved and never properly set up again.

Most of the equipment spent the next 15 years in a pile in the corner of the design floor while computers took more and more space in graphic design. The equipment was in disarray and rusting when Doug Wilson, a BFA Graphic Design student, took the disgarded equipment and turned it into a working letterpress area in 2005 for his Senior Practicum project. After Doug left, Frank Chimero continued the work of organizing and making the letterpress area useable for students. Doug Wilson has returned to Springfield and in his spare time, he is continuing to organize and expand the collection for future students interested in letterpress.

FACILITIES Letterpress & related equipment/facilities: Vandercook No. 4 proof press in good condition, one small 1960's sign proof press from a local department store, about 40 fonts of metal type (including a good run of Cloister Black, Franklin Gothic, Garamond, and various Bodonis) and 4 different fonts of wood type.

RECENT PUBLICATIONS various posters and small annoucements

FACULTY Maria Michalczyk-Lillich - Graphic Design Department Head

CONTACT
Doug Wilson -
Maria Michalczyk-Lillich -

photos: Frank.

QUOIN OPERATED PRESS (subsidairy of BOZARDS PRESS) MONTANA STATE UNIVERSITY 

PROGRAM Undergrad affiliated with graphic design, and the (very) occasional fine arts grad student. No professional press association; the shop exists only for student use.

HISTORY There was letterpress printing at MSU in the late1960's, led by Jane Van Alstyne. When I arrived (I am Stephanie Newman, Professor of Graphic Design*) in Bozeman in 1985, the oldstyle C&P was in pieces in a stairwell, and the type cabinets were in various classrooms, padlocked shut with iron bars across the cases. Our department technician removed the motor which at some point had been added to the C&P, and put the press back together. We moved the press and type cabinets to one location. The goals are to "Keep Lead Alive at MSU," have students learn type and paper more deeply and sensitively than they do with 'all computer graphics all the time,' and to infect some students with the printing bug.

FACILITIES We have type acquired by driving around to old print shops in the state. We even have some type from a printer in Virginia City, an old west town if ever there was one. We also have type on permanent loan from Bozeman Public High School, where letterpress is no longer taught. Several years ago, Artcraft Printers in Bozeman donated an Asbern Proof Press. Presses: one 10"x15" C&P Oldstyle, one Asbern Proof Press which can handle a sheet approximately 14 1/2" x 20" Type: about 150 cases, fewer fonts, some complete and others not. One cabinet of beautiful old wood fonts, from 5" Vicksburg on down. The type area is in a nook in the back of the larger of 2 graphic design studios. In the summer, which is when our curriculum allows me to teach letterpress, the students and I bust out of that small space and letterpress takes over.

RECENT PUBLICATIONS Calendars: Starry Skies; It Ain't No Crime to Listen to Country Music, But Maybe It Should Be; Mysteries of the Numerals 3 and 4 Revealed; Exquisite Beast Perpetual Calendar. Poetry: Sum Sum Summertime. Ongoing: Specimen book of available fonts featuring quotes about art and creativity.

FACULTY Stephanie Newman

CONTACT
Stephanie Newman:

THE FINE ARTS PRESS UNIVERSITY OF NEBRASKA-OMAHA 

PROGRAM Established as an adjunct to Abattoir Editions in 1972, The Fine Arts Press is a typographic studio devoted to book arts education. The facility connects with intaglio and lithographic studios, and a self contained papermaking lab is on the same corridor. In 1988, the Fine Arts Press joined the Department of Art and Art History, expanding the curriculum from a single studio course to four studio offerings, which along with two academic seminar courses enable students to pursue an undergraduate book arts major. Courses in independent and thesis study are available as art deparment advanced studio offerings.

FACILITIES Located in the graphics wing of the Fine Arts Building designed by architect Malcolm Holzman, the facility houses four Vandercook proof presses, two iron handpresses, two treadle presses, two graphic arts saws, over 300 cases of monotype, foundry and wood type, several standing presses for bookbinding as well as other elementary binding equipment. The department has two electronic imaging studios and the capacity to establish polymer platemaking.

COURSES The Hand-Produced Book: An Introduction to Typography; The Hand-Produced Book II: Letterpress Printing; Book Structures: An Introduction to Bookbinding;Pattern Papers; Papermaking; Manuscript Books; Printed Books

ABATTOIR EDITIONS UNIVERSITY OF NEBRASKA-OMAHA

PROGRAM Founded by Harry Duncan in 1972 as the literary imprint of The College of Fine Art, Abattoir Editions releases limited first editions of contemporary literature hand printed from hand set type. These editions strive to maintain fine letterpress standards, often include original prints as illustration, and are always hand bound. A co-ordinate concern is to market these books competitively with commercial literary publications.
From 1972-1985, Director-printer-editor Harry Duncan produced over fifty titles by such notable American poets as Gerald Stern, John Logan, Robert Hahn, Frances Golfing, Norman Dubie, James Merrill, Weldon Keyes, and John Hollander. His editions also featured illustrations by Keith Achepohl, Ruth Fine, Barry Moser, James Mall, Paul Otero, and Michael McCurdy.
In 1985, Bonnie O'Connell (The Penumbra Press) assumed the directorship of Abattoir Editions. Her editions have featured the writers Lynn Emanuel, Ann Deagon, Sam Pereira, Brenda Hillman, Ron Hansen, and Ted Kooser, her own prints as illustration (as well as those of Louise LaFond and Karen Kunc), and were all bound in house by the printer.

UNO EDITIONS UNIVERSITY OF NEBRASKA-OMAHA

PROGRAM UNO Editions is an imprint of The Department of Art and Art History established in 1992 for non-literary bookworks: contemporary print portfolios, visual artists' books, and bound editions of photographs. It serves as an adjunct to the UNO Print Workshop, a residency program which brings four artists to the department each year to produce an edition print or series. Students witness and often assist in the production, with the sale of resultant prints sustaining the program. Since 1976, the program has extended residencies to over 60 artists, among them Ed Paschke, Vito Acconci, Philip Pearlstein, Deborah Remington, Byron Burford, Warrington Colescott, Margo Humphries, Richard Monk, William Walmsley, Karen Kunc, and Fay Jones. Fifty separate artist's editions are in print and a listing is available on request.
In a Remote Place, a portfolio suite of mezzotint prints by Chinese artist Wu Wubing is the first UNO Editions title. The imprint also appears on Generatrix, a letterpress /offset edition of paper sculptures by Terry Rosenberg. A collaborative artists' book by Susan King and Bonnie O'Connell is forthcoming.

THE NEBRASKA BOOK ARTS CENTER UNIVERSITY OF NEBRASKA-OMAHA

PROGRAM The Nebraska Books Arts Center was established in 1989 to advance critical appreciation and knowledge of the arts of book production. The goals of the Center are:
• to educate the public and students in the history, theory, and practice of typography, presswork, illustration, papermaking, bookbinding, and publishing;
• to provide information to printers, book artists, and authors;
• and to market fine press books, especially literary first editions.
In addition to sponsoring and mounting book arts exhibitions, The Center also conducts workshops taught by local and visiting artists, maintains outreach art education programs through the Public Schools and The Omaha Children's Museum, and distributes a catalog of titles available from regional fine presses. To date, it represents Abattoir Editions, bradypress (Denise Brady), Blue Heron Press (Karen Kunc), Buttonmaker Press (Don Knoepfler), The Cummington Press (Harry Duncan), Lyre Press (Joseph Ruffo), Nosila Press (Alison Wilson), The Penumbra Press (Bonnie O'Connell), The Pterodactyl Press (Floyd Pearce), Swing Bridge Press (Jim Cox),
and The Yellow Barn Press (Neil Shaver).
The Center is supported by the College of Fine Arts, by the sale of books, and membership donations. In 1989 it sponsored a national book arts conference to celebrate the 50th Anniversay of the Cummington Press.

CONTACT
University of Nebraska-Omaha
Omaha, Nebraska 68182

For more information concerning The Nebraska Book Arts Center book distribution service, contact Denise Brady, Coordinator:
Nebraska Book Arts Center

For more information concerning Abattoir Editions or The Fine Arts Press, contact Bonnie O'Connell, Director
The Fine Arts Press WFA124

402-554-2787

For more information about the UNO Print Workshop, or Visiting Papermaker Program, contact Gary Day:
Department of Art and Art History

402-554-3763

OREGON COLLEGE OF ART & CRAFT 

PROGRAM The Book Arts department at the Oregon College of Art & Craft offers several tracks of study: a BFA program, a post-Bacclaureate program (many people enter this short program before applying to graduate school to build their portfolios), a Certificate program, and Studio School/Adult Education courses.

HISTORY FOCAC traces its origins to 1907 when Julia Hoffman founded the Arts and Crafts Society to educate the public on the value of arts and crafts in daily life. Today OCAC is a private, accredited, independent college. The department head is Barbara Tetenbaum and Inge Bruggeman is the main supporting faculty member. The Book Arts department works towards facilitating excellence in art through craft with courses in letterpress printing, printmaking, papermaking, bookbinding and structural considerations, design concepts and more. Students explore the full scope of the book as an object and an idea.

FACILITIES Full bindery. Letterpress shop with 4 vandercook proof presses and 2 table top clamshell presses. Printmaking facilities include 2 etching presses and 1 litho/etching press, photopolymer platemaking equipment and resources for wood block, linoleum, etching, lithography, some silkscreen, monotype, collagraph, pressure printing, photopolymer, and other related printmaking techniques. Helen Heibert teaches papermaking courses, these facilities include a Hollander Beater and basic papermaking setup for sculptural work and basic sheet forming.

FACULTY
Full time faculty: Barbara Tetenbaum
Core faculty: Inge Bruggeman
Adjunct faculty: Diane Jacobs
Adjunct faculty: Helen Heibert
Regular Studio School faculty include: Julie Chen, Marilyn Zornado, Rebecca Wild, Abra Ancliffe, Rory Sparks, Lisa Onstad, and more

CONTACT
Phone: 503-297-5544
Email:

PROGRAM Post-graduate teaching for the English Faculty’s MSt (Master of Studies) students, and more informal training for staff, trainees and volunteers. At present the presses are used only for teaching, but there may be an expansion of the programme in the near future.

HISTORY Founded in 1949 by F.P. Wilson and Lars Hanson as a bibliographical/teaching press. Carried on (successively) by Wilson, Hanson, Herbert Davies, Don Mackenzie, Michael L. Turner and Paul W. Nash. Now being operated by Turner and Nash. We have recently bought some new 14-point Caslon to replace the old type which we have been using for teaching since 1949!

This press was number 5 in Philip Gaskell’s list in his ‘The bibliographical press movement’ in JPHS 1, 1965, pp. 1-13.

FACILITIES A range of Caslon, Bell, Perpetua and other types; three Albion presses (including the Daniel and Moss presses), a Columbian, an (eighteenth-century?) common press, and several Adanas; three seventeenth-century frames from OUP; miscellaneous blocks, including the archive of the Samson Press.

RECENT PUBLICATIONS Single-sheets, keepsakes and pamphlets, none recently for general distribution.

FACULTY Kathryn Sutherland, English Faculty

CONTACT
Paul W. Nash:
8 Fairfield Drive
Witney
Oxon. OX28 5LB
England

BLACK CATFISH PRESS ST. AMBROSE UNIVERSITY

TAMPA BOOK ARTS STUDIO UNIVERSITY OF TAMPA 
UNIVERSITY OF TAMPA PRESS UNIVERSITY OF TAMPA

PROGRAM The Tampa Book Arts Studio operates as a functioning component of the University of Tampa Press and adds letterpress elements to its book projects. While it complements the publishing programs of the press, it also offers students demonstrations and hands-on experiences with letterpress technology, and involves community volunteers. It maintains strong affiliation with the College of Arts and Letters and the Department of English and Writing. There are no regular classes, workshops, or tours at the present time.

HISTORY The Tampa Book Arts Studio carries on the goals of letterpress craftsmanship from Konglomerati Press and the Konglomerati Foundation for Literature and the Book Arts, a nonprofit book arts foundation that began in St. Petersburg, Florida, in 1971. Much of its equipment moved to the University of Tampa with Richard Mathews in the 1980s and has been used informally by students and volunteers over the years before being placed in storage for a time. The Tampa Book Arts Studio was officially established in 2005. It is directed by Richard Mathews, Dana Professor of English and Director of the University of Tampa Press. Its Advisory Board includes Nicholas Basbanes,Terry Belanger, R. C. H. Briggs, J. B. Dobkin, Leland Hawes, Lee Harrer, Richard L. Hopkins, Richard Kegler, Mark Samuels Lasner, Steve Miller, Stan Nelson, Ruth Pettis, Barbara Russ, and Greg Timko.

FACILITIES Letterpress equipment includes an 1848 Hoe Washington handpress once belonging to the American woodcut artist J. J. Lankes (on loan from the University of Richmond), an 1868 Hoe Washington handpress, Vandercook 4, Monotype sorts caster, Ludlow caster, Intertype, hundreds of cases of type, two paper cutters, and other appropriate tools and resources. The Studio also has a collection of books about books and printing, private press books, and related book arts items.

FACULTY Ephemera from the Tampa Book Arts Studio has been privately distributed, has appeared in the bundle of the American Amateur Press Association, and most recently a hand printed block from the Studio is included in an edition of THE IDEAL BOOK by William Morris, published by the University of Tampa Press in celebration of the 25th anniversary of the Florida Bibliophile Society.

FACULTY Richard Mathews, Dana Professor of English and Director, University of Tampa Press
 
CONTACT

Tampa Book Arts Studio
University of Tampa Press
401 West Kennedy Blvd.
Tampa, FL 33606

KRANZBERG BOOK STUDIO WASHINGTON UNIVERSITY SCHOOL OF ART 

PROGRAM We offer 3 courses each semester in addition to independent study for both undergrad and graduate students. Our most direct affiliation historically has been with the department of Visual Communications in College of Art, but students from the entire campus take our courses. We have a very strong affiliation with the college of Architecture with courses each semester specifically for architecture students.
We don’t currently publish limited editions, but plan to initiate a new edition publication program in fall 07. Director of the Studio, Ken Botnick, has worked with the College of Arts and Sciences and the College of Architecture on design and production of trade editions issued under the heading “the Press at Washington University”. Discussions are underway about beginning a design-oriented university press at Washington University and it is understood the Kranzberg Book Studio will be a major part of that effort.

HISTORY The Kranzberg Book Studio began in 1997 with a generous grant from the Kranzberg family to the University Libraries. The studio continues to be a joint venture between the College of Art and Olin Library, with a 2,500 sq. ft. facility in the newly built Walker Hall (designed by Pritzker Prize winner, Fumihiko Maki). The program was originally conceived of as being in direct partnership with the department of Visual Communications and was the inspiration of Douglas Dowd. The studio has been under the direction of Ken Botnick since its inception. Currently offering a minor in book arts, we are expanding to a graduate degree in publication design in the next year.

FACILITIES Two Vandercook SP-15s, one SP-20, one #4, two Takach etching presses, two board shears and one guillotine cutter, AV photopolymer plate maker, some silkscreen facilities.

FACULTY Jana Harper, Senior Lecturer in Book Arts. Ken Botnick, Associate Professor, Director
 
CONTACT
Ken Botnick:
314.367.3497 (studio)

BIG BABY PRESS WEBER STATE UNIVERSITY 

PROGRAM In a printmaking program, also graphic design students, classes, and some school projects.

FACILITIES Vandercook 219 AB, NuArc exposure system, also etching, lithography and screenprinting in a large new studio with 3 dedicated to printmaking darkrooms. Access to large digital media lab. Undergraduate program in 2D, 3D and Visual Communications.
 
RECENT PUBLICATIONS Professor Makov has printed collaborative letterpress broadsides with authors: Ray Bradbury, Margaret Atwood, Rudolfo Anaya, Tony Hillerman, Brian Aldiss, Joy Harjo, Charles Simic. Limited edition books with Roddy Doyle, Lewis Nordan, Cees Nooteboom and Terry Tempest Williams.

FACULTY Susan Makov, professor of Art
 
CONTACT
Susan Makov:
Ogden, Utah 84408

SILVER BUCKLE PRESS & TANDEM PRESS UNIVERSITY OF WISCONSIN-MADISON

PROGRAM Undergraduate & graduate

COURSES Art of the Printed Book & a few other letterpress classes

CONTACT
Carey Waters:

YALE UNIVERSITY

PROGRAM The Book Arts tradition at Yale University, with its emphasis on the artistic and bibliographical tradition of letterpress printing, is both unique and remarkable. Taken as a whole, this concentration, centered on Sterling Library’s Arts of the Book collection and drawing on the incomparable resources of the Beinecke Rare Book and Manuscript Library, comprises one of the most active undergraduate book arts programs in the world, yet one that has historically functioned for the most part with minimal institutional support or official recognition.
The Yale Library Art of the Book Collection
The Arts of the Book Collection (AOB) is a research facility housed in the Sterling Memorial Library. Located in room 177 amid wooden bookshelves with decorative carvings, and just to the left of the High Street entrance, the non-circulating collection contains both examples of, and reference materials about, the arts related to the book. The collection contains information on topics such as printing, binding, book history, illustration, calligraphy, graphic design, paper making and decorative papers, typography and more. Contemporary examples of artists' books and fine printing are housed alongside more traditional publications. Additionally, AOB is the home to several named collections relating to persons who have significantly contributed to the book arts, including those of Fritz Eichenberg, Fritz Kredel, Carl Purington Rollins, and the Overbrook Press. AOB is a non-circulating collection that serves both Yale and the wider book arts communities. AOB welcomes visits from groups and individuals.
The Bibliographical Press
Sterling Library is also the home of Yale’s Bibliographical Press, a letterpress printing facility that was established at the turn of the 20th century to support Yale’s Arts of the Book collection, keep alive the fine book arts, provide scholars with functional access to Yale’s irreplaceable collections of letterpress-related items, and foster Yale’s unique network of student presses. The bibliographical press is the repository of many collections of extraordinary historical value, including the world’s finest collection of Thomas Bewick wood engravings; all of the original letterpress cuts that illustrated the Merriam Webster dictionary; the unparalleled collection of bookbinding stamps and tools from the Riverside Press; and much more.
The Yale College Presses
From the beginning of Yale’s residential college system in the 1930's, several of the colleges set aside room for print shops which served to support literary works, hobby printing and fine-art projects, as well as special commissions for the colleges including keepsakes, programs and invitations for Masters’ events.
Over the years, various interested alumni and faculty, including August Heckscher, John Hay Whitney, John Hersey, Quincy Porter, Polly Ladamocarski and George D. Vail, helped the process along. By the 1970's, as the tide of commercial printing turned toward offset lithography and letterpress printing became the province of fine presses and graphic artists, Yale’s colleges became the beneficiaries of some of the 20th century's most influential private presses. The entire contents of Frank Altschul's Overbrook Press came to Yale (Pierson), as did Sherman Foster Johnson's Bayberry Hill Press (Trumbull), George D. Vail’s Bethany Hill Press (Branford), and several others.
With ten of the twelve residential colleges having dedicated letterpress shops, plus four additional university-related letterpress shops (at the Yale University Press, the Carl Rollins Printing Office of the Yale University Printing Service, the Yale Library's Bibliographical Press, and the Yale Art School's Graphic Design Press), there existed an educational infrastructure unmatched in the United States, and quite possibly the world. Each shop had from two to six presses, along with associated type and supporting equipment. When this was combined with supportive friends, faculty and alumni, Yale became a key part of the United States book-arts community. Commercial presses like the Stinehour Press, Meriden Gravure Company, and Connecticut Printers, Inc.; master printers like Joseph Blumenthal of the Spiral Press, Stephen Harvard, Harold McGrath and August Heckscher, and Yale-affiliated supporters including the late Greer Allen, Roland Hoover, Alvin Eisenman, Howard Gralla, and John McCrillis, all stood ready and willing to help the students.
With the supporting infrastructure in place, all that was needed was students, and their interest has come in waves during the past sixty-five years. One year, Jonathan Edwards College might have Lance Hidy (co-founder of David R. Godine, Publisher) who energetically made the J. E. Press the center of college life. Another year might see Con Howe (currently Director of City Planning for Los Angeles) leading a printing community in Pierson that was a centerpiece of the college. In between periods of activity, the printshop infrastructure would remain, fertile ground for the next enthusiastic generation of student printers.
Throughout the years, student interest begat interest and support from the colleges' Masters, and in periods where there was active student involvement in a particular press, that college often chose, with the university’s support, to sponsor credit-carrying courses in book-arts-related subjects, as well as raise funds to acquire additional equipment.

HISTORY As Yale celebrated its Tercentennial at the beginning of the new millennium, the university undertook an extensive renovation of all of the undergraduate colleges, which provided the impetus for each of the colleges revisit the presses and decide for itself what the role of letterpress printing would be. While a number of the colleges without currently active student printers made the choice to re-utilize their print shop spaces for other activities, several others took the opportunity to enlarge and improve their facilities. As student printer Matthew Underwood ’03 put it, “the sound of the Davenport Press is the heartbeat of the college.”
Among the colleges choosing to rededicate themselves to letterpress and the book arts were Pierson and Davenport, which combined their facilities into a stunning and substantially expanded Book Arts Center, raising the funds needed to acquire the presses and type of the world famous Yolla Bolly Press and install a complete book bindery to accompany the print shop. Jonathan Edwards College, which has been one of the most active and sophisticated presses on the Yale campus since a complete renovation in 1963, continued and expanded its active programming. And both Berkeley and Branford Colleges took the opportunity provided by the renovations to re-establish significant and well-equipped shops.
In recent years the undergraduate Honorable Company of College Printers, believed to be the world's oldest continuously operating student printing guild, has experienced a renaissance of activity; dozens of alumni, Fellows and supporters have stepped forward to reiterate their willingness to donate time and expertise in support of this student interest; the Masters of the colleges with print shops have organized to strongly support restoration of their presses; and the Yale Library has installed a new Curator of the Arts of the Book Collection with a mandate to revitalize the Bibliographical Press in Sterling Library and support the undergraduate book arts.

FACILITIES Each of the active undergraduate presses has, at a minimum, a completely equipped letterpress shop. Several also include binderies, computer platemaking equipment and other book-arts related facilities. The larger shops (including Pierson/Davenport, Jonathan Edwards and Branford) all have multiple Vandercook proof presses, 14 x 22 Colt's Armory platen presses, power and treadle-operated mid-sized Chandler & Price platen presses, and substantial quantities of foundry hand type. The Pierson/Davenport BAC, with well over 500 cases of stunning foundry type from presses including Overbrook, Yolla Bolly and Connecticut Printers, has one of the finest educational type collections in the country. Student printers at all of the college presses have access by application to a significant collection of hand-made papers maintained at the Beinecke Library, originally donated by Frank Altschul and since added to by other donors.
 
RECENT PUBLICATIONS In those years when credit-bearing courses are offered in letterpress printing and the book arts, each student usually undertakes to design and print his or her own limited edition (in a few years the class will work together on a portfolio). A near complete collection of publications, as well as ephemera, from 75 years of Yale college printing is housed in the Arts of the Book Collection at Sterling Memorial Library.

FACULTY As the entire Yale Book Arts program is unofficial, there has never been any dedicated faculty assigned. Over the years, letterpress and related courses, both for credit and extra-curricular, have been taught by Alvin Eisenman, Dale Roylance, Lance Hidy, John O. C. McCrillis, George D. Vail, Polly Ladamocarski, Charles Altschul, Nato Gibbons, David S. Rose, R. Raleigh D'Adamo and others. The closest the program has come to institutional support has been through the continuous involvement of the official Printers to the University, beginning with the famous printer Carl Purington Rollins who founded the program, and continuing through his successors Greer Allen, Roland Hoover and John Gambell, the current incumbent. The longest series of credit-bearing seminars on The Art of the Book, from the 1970s through the 1990s, were taught by designer/printer Howard Gralla. The current credit-bearing seminar is being taught by Richard Rose.
 
CONTACT
For information about the undergraduate presses at Yale, please contact the Scribe of the Honorable Company of College Printers, David S. Rose '79, at
Student Printing at Yale