It’s Hard to Tell a Lie


This quotation appeared on James Mosley’s blog, and it appealed to us as Caslon (used here) is our favourite face. 60 copies were printed for the 2009 open day, and for the Caslon Club, an esoteric group whose membership is

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Centaur


“Centaur is among the most elegant and legible of the twentieth-century romans. Designed by Brtuce Rogers and hand-cut in 1915 for casting into case, it was redrawn for Monotype and reissued in 1929, and used by Rogers for his Oxford

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When Caxton Discovered


Hilary Pepler is among the most colourful exponents of twentieth-century letterpress printing. Here he allows his gaze to fall (inaccurately, see footnote) on the origins and socio-religious history (a few references missing here) of the printed word. But his sheer

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The Master Printer


“The master craftsman is here at work, demonstrating elegant use of movable type . . . ” Enlarged from a  poster cut-out from Rudolf Koch’s Die Schriftgiesserie im Schattenbild, 1936, this poster was printed for the special copies of Matrix

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China 1953


Geoffrey Miller, for a while the printing partner of Edward Walters (see Matrix 00, pp. 00-00), was something of a mystery. Immensely talented as an engraver, but with a tiny output, nobody seemed to know anything about him until Sean

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Reynolds Stone’s Janet


When in Matrix 28 we printed Michael Harvey’s account of the digitising of Reynolds Stone’s Janet fount, we included a print from the original wood-engraving on which Reynolds had engraved each character, except for some reason the figure 5. He

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Le Tourbillon


This Matisse head appeared in the first issue of Verve, that feast of inspiration first published by Teriade in Paris in 1937. Le Tourbillon is from Truffaut’s film Jules et Jim of 1962. They first came together by chance in

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Types from Presses


This one was first printed as the frontispiece for Pages from Presses (2006). We decided this was the best way to show off the various types used by the earlier private presses from Kelmscott onwards that were the subject of

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Pastorale


Pastorale, a selection of wood-engravings by Lucien Pissarro (son of Camille), was printed on three of Joseph Batchelor’s hand-made papers made to William Morris’ specification, from the original blocks lent to us by the Ashmolean Museum in Oxford. Charles Ricketts

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A Vision of Order


Much of 2010 and 2011 were taken up with printing Andrew Anderson’s linocuts for A Vision of Order (2012). These striking images, some of which took up almost the entire 20 x 30-inch bed of the Western proof press, and

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The Workshop Press


When writing Mark Arman’s obituary (see Matrix 27, pp. 40-2), I was struck by the fact that he didn’t even begin to print until he was sixty-seven, the age that I happened to be at the time, when most printers

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Matrix 31


The design of the dust-jacket was intended to suggest marionettes and their strings, the engraving had come to us a Christmas card. Elizabeth Grice nicely caught the flavour of Fleet Street in the 60s when, as one was going home,

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