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Journal articles on the topic 'Letterpress printing'
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AnDong, Li, and Fang JianJun. "Letterpress Reproduction——Information Visualization Design." E3S Web of Conferences 236 (2021): 05079. http://dx.doi.org/10.1051/e3sconf/202123605079.
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At present, with the rapid development of society, digital media has become the mainstream of vision. Digital vision makes people form a new reading form of “Super-Attention”. The visual performance of letterpress printing conforms to this new form of visual reading very well. It is different from the tactile feeling of ordinary printing that further packages and shapes the original information and improves the expectation of information interpretation and experience to a high level. At the same time, the manual culture highlighted by letterpress printing is also one of the best means to cushion the tension of inconsistent technology and culture in modern society. We don't know the result of the confrontation between paper and digital media, but letterpress printing in digital society has shown its unique “Paper-Based” feelings. Through detailed analysis of the historical evolution of letterpress printing, the comparison between traditional letterpress printing and modern letterpress printing, this paper presents clearly the development of letterpress printing for readers, so that readers can truly understand this unique traditional process; and then it elaborates on the application of modern letterpress in creative products and the development status quo of modern letterpress at home and abroad. This paper probes into how to popularize the new nirvana letterpress once again, thus providing a set of modern application attempt of letterpress printing - Rejuvenation of Letterpress information visualization design, and from practice, looking for letterpress regeneration after integrating new design ideas in the new media era.
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Solek, Vivian Lea. "Karen Nipps. Lydia Bailey: A Checklist of Her Imprints. University Park, Pa.: The Pennsylvania State University for the Bibliographical Society of America in association with the Houghton Library, Harvard University, and the Library Company of Philadelphia, 2013. xiii + 310 p. $79.95 (ISBN: 978-0-271-05571-8)." RBM: A Journal of Rare Books, Manuscripts, and Cultural Heritage 15, no. 1 (March 1, 2014): 77–78. http://dx.doi.org/10.5860/rbm.15.1.418.
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From a review of the earlier published scholarship in the field of printing history, an inquiring reader would surmise that women were not a significant part of commercial letterpress printing during the handpress period. Scholarship in the last 20 years, however, has revealed that this is not the case. In fact, many recent studies document women’s high degree of involvement from the earliest days of printing in the Western world.Lydia Bailey: A Checklist of Her Imprints is an important addition to the study of the history of the book and of women’s roles in letterpress printing. It is a . . .
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Squire, Victoria, and Sophie R. Homer. "Under pressure: Psychological perspectives on letterpress, craft and well-being." Craft Research 11, no. 1 (March 1, 2020): 97–114. http://dx.doi.org/10.1386/crre_00017_1.
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Abstract Arts and crafts are widely considered to be psychologically beneficial. Letterpress, as a traditional method of printing, was made redundant by computers in the later twentieth century but has enjoyed a 'rebirth' in recent years. There are a growing number of independent presses, and universities who are recognizing its potential as a pedagogical tool. As a printing method, it is no longer a necessity, so what is its role going forward? The techniques are not lost, but their value has changed. As a craft, letterpress has several distinctive qualities, particularly when compared to digital alternatives. When working with letterpress, students are no longer alone at their desks. Rather, the letterpress workshop is a social, communal space. In this article we reflect on the resurgence of letterpress as a celebration of culture and heritage: a coming together of like-minded individuals in a community of action. What is the value of enabling students to immerse themselves in letterpress, and what are the effects of this immersion on the practitioner and their well-being? There is a shift in focus of letterpress from output ‐ mass-produced printed media ‐ to process. We analyse the unique qualities of this process ‐ its physicality, the restrictions it imposes and the latitude it allows ‐ and explore links to mental and physical health and well-being. This position paper explores the practical, conceptual and emotional dimensions of letterpress as a craft. It draws upon personal reflection, observation and anecdotal accounts collected over years of teaching (V. S.), while offering psychological perspectives on the links between letterpress, craft and well-being (S. R. H.).
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Casson, N. "Rheology and the Letterpress Printing Process." Journal of the Society of Dyers and Colourists 69, no. 13 (October 22, 2008): 576–82. http://dx.doi.org/10.1111/j.1478-4408.1953.tb02800.x.
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Petrushevski, Andri. "USE OF THREE DIMENSIONAL PRINTING IN THE PRODUCTION OF TEXTILE PRINT FORMS." Fibres and Textiles 29, no. 2 (August 2022): 3–9. http://dx.doi.org/10.15240/tul/008/2022-2-001.
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Since the invention of woven fabric, various types of artistic printing on fabric have been used. One of the most ancient and widespread methods is letterpress and gravure printing. Besides printing, it is also widely used in industrial textile production. The creation of industrial printing plates is a very expensive process today. For this reason, for small editions more economical technologies are used, such as silk-screen printing. However, gravure and letterpress methods have several advantages over screen printing. Reducing the cost of production of printing plates of this type will be an undoubted progress. The relief on the surface of the printing plate is a three-dimensional construction. Therefore, it can be formed in the form of a digital three-dimensional model. Modern methods of three-dimensional printing make it possible to form a printed form based on such a digital model, suitable for use in the textile and printing industries. The introduction of this technology will definitely reduce the cost of manufacturing forms for textile printing. The article describes an experiment that confirms this assumption.
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Butler, Angie. "Visceral Language: A Phenomenological Approach to Contemporary Letterpress-Printed Artist’s Book Practice in the UK." Arts 8, no. 4 (November 15, 2019): 151. http://dx.doi.org/10.3390/arts8040151.
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The decline of commercial letterpress printing and technological advances in industry were major influential factors with respect to the establishment of independent small presses in the United Kingdom (UK). Although unlike work from commercial, private or fine press printers, utilisation of the letterpress process embedded a phenomenological approach to artist-led publishing where physicality and experience of using the letterpress process was reflected within the practice of making artists’ books and printed matter. Major concepts and inclusion of tools, equipment, technologies and studio methods used in historical small publishing practice can be considered in relation to today’s practitioners making letterpress-printed artists’ books to understand how skills are learnt and developed to support the evolution of a reflexive approach within contemporary practice.
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Tokyo Kikaz Seisakusho Ltd. "Light-Weight Keyless Rotary Letterpress Printing Press." JAPAN TAPPI JOURNAL 39, no. 7 (1985): 641–45. http://dx.doi.org/10.2524/jtappij.39.641.
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Neder, Rafael, and Gisela Belluzo De Campos. "DOS LIVROS AOS TIPOS: um inventário gráfico da Tipografia do Zé | FROM BOOKS TO TYPES: a graphic inventory of Tipografia do Zé." InfoDesign - Revista Brasileira de Design da Informação 13, no. 3 (October 4, 2016): 230–44. http://dx.doi.org/10.51358/id.v13i3.508.
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Este artigo tem como tema o resgate da impressão tipográfica na contemporaneidade pelo design gráfico brasileiro e como objeto a produção do designer Flavio Vignoli e da Tipografia do Zé. Buscou-se portanto, identificar e analisar as características da produção do designer, bem como discutir as motivações relacionadas ao seu envolvimento com a impressão tipográfica.This work has as theme the letterpress printing revival on modern times in BrazilianGraphic Design and as object the production by the Designer Flavio Vignoli and“Tipografia do Zé” (Zé’s Letterpress Workshop). The research focused in to identify andanalyze the designer’s production characteristics, as well discuss the motives tied to hisinvolvement with the letterpress process.
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Horrocks, Jamie. ""An Organ of Their Own": Victorian Print Trade Journals and the Evolution of Graphic Design Thinking." Victorian Periodicals Review 56, no. 2 (June 2023): 205–43. http://dx.doi.org/10.1353/vpr.2023.a912318.
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Abstract: In 1895, Victorian printer and letterpress historian George Joyner reflected upon the change that had been wrought in the character of British job and book printing, calling it "little short of a revolution!" He is correct; the second half of the nineteenth century saw the transformation of printers into designers. Central to this transformation was the explosion of print trade journals, which fueled the nineteenth-century revolution in British letterpress print design. These journals—more than one hundred of which were founded during the period—became energetic remediators of design reform theory, using this program of ideas to articulate some of Britain's earliest theories of graphic design.
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Tschudin, Peter F. "Basle letterpress printing: The cradle of Agricola's main works." GeoJournal 32, no. 2 (February 1994): 169–71. http://dx.doi.org/10.1007/bf00812502.
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Brown, Celia. "We just aim to print well: The University of Sydney Library Printer in Residence." Art Libraries Journal 46, no. 3 (June 22, 2021): 70–77. http://dx.doi.org/10.1017/alj.2021.11.
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At a time when space in any academic library is at a premium, when we sometimes need to argue for shelf space rather than computers and group work pods, the University of Sydney Library has decided not only to keep and maintain its nineteenth century printing press, but to feature it through a printer in residence program.Now in its third year, the program brings together a printmaker and a letterpress for eight weeks during semester. The intent is to engage with the library and its users, to bring the print workshop to life, to draw inspiration from the library's collection and to create a publication for the Artists’ Book Collection within Rare Books & Special Collections.In an era of instant layout, digital word processing and electronic publishing what does the slow and laborious process of letterpress printing bring to a twenty-first century academic library? This residency demonstrates that understanding the process of making a publication can be just as vital and alive as the content of that publication - one letter at a time.
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Biszewski, Charlotte Emma. "TYPA, Innovation in a Museum Context." Pós-Limiar 4 (August 16, 2021): 1–11. http://dx.doi.org/10.24220/2595-9557v4e2021a5011.
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How do print museums develop an innovative approach to their collection while providing their visitors with historical context? Using artistic printmaking to keep the heritage of print alive, many ‘working museums’ promote the global knowledge of letterpress, relying on international collaborations to generate innovative and creative approaches. The the International Council of Museums’ guidelines, only refers to a ‘working museum’, but does not offer a clear definition of what this is. How can an operational print museum demonstrate innovative practices and retain the existing knowledge of letterpress? This paper will examine the ‘working print museum’, how it can be not only a site for reimagining the past but provide new forms of research and pioneering adaptations of old technologies. This research is inspired by the concept that as the initial infatuation with certain technologies has passed, we have entered a relationship with them in expanded artistic adventure. The paper promotes the idea that printmaking and letterpress allow for a collaborative approach which not only serves to strengthen communities but can be more than a mere reproduction of a historical process and allow for expanded experimentation. Through an in-depth look of the contemporary practices, ethos, and developments of printing museums in Europe, this paper raises questions surrounding the role of museums in this post-digital world. It will look at the future of the ‘working print museum’ and suggest how letterpress practices can extend through international and European collaborations.
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Gallagher, A. Mattson. "Knowing/showing/doing." Journal of Illustration 6, no. 2 (December 1, 2019): 327–39. http://dx.doi.org/10.1386/jill_00017_1.
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Abstract In this visual essay, I present a body of work surrounding and investigating the letterpress workshop as a site of knowledge production. Print practice generates a sort of performative, embodied knowledge about and expressed by the objects and materials of printing. Ornament, alongside the alphabet, participates in the printing process, and may be extended from a form of 'enhancement' into an active site of communication. The printed matter presented here uses ornament to illustrate and record aspects of print practice that cannot adequately be communicated through or represented in text. In the article, I use theories of technology and documentation from Flusser and Gitelman to provide context and critical reflection on the printed matter. Together, writing and printing engage in a 'feedback loop' that records on and extends a developing printing practice.
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Miller, Stephen Kent. "Letterpress Printing: A Manual for Modern Fine Press Printers. Paul Maravelas." Papers of the Bibliographical Society of America 102, no. 1 (March 2008): 123–24. http://dx.doi.org/10.1086/pbsa.102.1.24293768.
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Wyble, David, and Andreas Kraushaar. "The theoretical basis of multicolor letterpress printing, Hans E. J. Neugebauer." Color Research & Application 30, no. 5 (2005): 322–31. http://dx.doi.org/10.1002/col.20135.
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Lewis, Dylan. "Creativity, Experimentation, and Failure: Queering Letterpress Printing in the Humanities Makerspace." Papers of the Bibliographical Society of America 118, no. 2 (June 1, 2024): 257–69. http://dx.doi.org/10.1086/730511.
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Jones, Ruth Ann. "Leila Avrin. Scribes, Script and Books: The Book Arts from Antiquity to the Renaissance. Ill. by Malla Carl and Noah Ophir. Chicago and London: American Library Association and The British Library, 1991; reprinted 2010. xxxii, 356 pp. ISBN 978-0-8389-1038-2. $50." RBM: A Journal of Rare Books, Manuscripts, and Cultural Heritage 12, no. 1 (March 1, 2011): 58–61. http://dx.doi.org/10.5860/rbm.12.1.350.
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In Scribes, Script and Books, Leila Avrin has provided the rare book world with a nearly comprehensive review of the history of writing and hand-bookmaking, from the earliest evidence of logographic symbols up to the eve of letterpress printing in Europe. The text is lavishly illustrated with 350 black and white photos, figures, and maps, and has an extensive bibliography. The work was originally published in 1991 and is now available as a reprint.In the introduction, Avrin clearly states that her intent is to synthesize the work of the many historians preceding her, not to present original research. This . . .
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Majnarić, Igor, Marko Morić, Dean Valdec, and Katja Milković. "The Effect of Applying UV LED-Cured Varnish to Metalized Printing Elements during Cold Foil Lamination." Coatings 14, no. 5 (May 10, 2024): 604. http://dx.doi.org/10.3390/coatings14050604.
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The coating process involves applying a thin material layer to a surface to engender it with specific desirable properties or enhance its performance. In the production of print media (labels, packaging, printed textiles, and promotional materials), the standard functions of the coating process include visual decoration, which involves the addition of appealing colors, textures, and patterns. A pertinent issue in the printing industry is that at present, the predominant coating process uses printing and coating technologies (gravure, flexo, letterset, letterpress, screen printing, inkjet, and electrophotography) and lamination (i.e., attaching decorative layers of materials, such as films or fabrics). In this paper, we present a new method for testing the efficiency with which different-sized metalized printing elements (using gold foil) may be applied to paper substrates; to do so, we gradually vary the amount UV-cured inkjet varnish (or adhesive) that is applied. To test the effectiveness of this method in producing metallic visual effects, we utilize seven different thicknesses of UV-cured varnish with the aid of modular piezo inkjet heads (KM1024 iLHE-30) and three different printing speeds. Our research shows that to achieve optimal production of cold metalized foil, a 21 µm layer should be deposited, and the substrate should move at a speed of 0.30 m/s.
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Uno, Yusuke. "About the Transfer of the Letterpress Printing Machine from Cazzusa Collegio to Amacusa Collegio." Journal of Asian Culture Society International 16, no. 16 (2009): 133–44. http://dx.doi.org/10.6031/jacsi.16.133.
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Miller, Scott M., Sandra M. Troian, and Sigurd Wagner. "Direct printing of polymer microstructures on flat and spherical surfaces using a letterpress technique." Journal of Vacuum Science & Technology B: Microelectronics and Nanometer Structures 20, no. 6 (2002): 2320. http://dx.doi.org/10.1116/1.1520554.
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Kowalski, Paweł. "Cartographic Methods and Their Correctness on Maps in the Polish Press Since the mid–19th Century." Miscellanea Geographica 13, no. 1 (December 1, 2008): 277–88. http://dx.doi.org/10.2478/mgrsd-2008-0028.
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Abstract On the background of the conditions of functioning of the Polish press since the mid–19th century, the paper describes cartographic and graphic methods used on press maps, with the emphasis on the quantitative methods of information presentation. The qualitative methods were mostly used in a proper way. The factors determining the level of press mapping were the skills of map makers and the limitations resulting from the letterpress printing technology. The application of computer technology and the shift to offset printing in the last decade of the 20th century overcame these obstacles. New possibilities of the creation of maps with richer content and more graphically effective emerged. Despite these new possibilities one still needs at least basic knowledge on cartographic methods and map graphics in order to be able to prepare the cartographically correct maps. The maps presented in this paper focus on the presentation of the most common mistakes, with less emphasis put on the cartographic methods and map graphics.
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Elwan, Ahmed Ahmed. "Case Study on the Quality Improvement of Dry Offset Letterpress Printing on Aluminium Collapsible Tubes." مجلة التصميم الدولية 7, no. 3 (July 2017): 115–21. http://dx.doi.org/10.12816/0044129.
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Groß, Christoph. "Vom Klagen der Stimme und dem Schweigen der Schrift." Poetica 53, no. 3-4 (December 23, 2022): 209–30. http://dx.doi.org/10.30965/25890530-05301009.
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Abstract Renaissance poetics tend to promote the illusion of oral proximity over the distance of written or even printed texts. Orality evokes a notion of communicative closeness that results in a direct transfer of affects between a lyrical speaker and his/her addressee. In Maurice Scève’s Délie (1544), the lyrical persona employs orality in order to amplify his emotionally charged rhetorics of lamentation and thus to elicit the addressee’s compassion. In contrast, all references towards writing appear to be deeply intertwined with the notions of absence, silence and distance. In the light of the emerging practice of letterpress printing in the city of Lyon, Scève’s poems reflect their own status as a material artefact, while they interrogate in the same time their potential to forge a bond with a spatially distant but emotionally close reading public.
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Gabrí, Carla. "Dóra Maurer: Proportions & Timing." KronoScope 21, no. 2 (January 5, 2022): 132–56. http://dx.doi.org/10.1163/15685241-12341497.
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Abstract This paper aims at re-evaluating two of Hungarian artist Dóra Mauer’s films, the video work Proportions (1979) and the 16mm film Timing (1973/80). Both films follow a rigid structure. In Proportions, Maurer uses a paper roll to compare her own body measures repeatedly; in Timing, she repeatedly folds a white linen to compare the rhythm of her arm movements. Through her use of paper and the gesture of folding, the two films can be read as references to the very origin of the term format, as coined in early letterpress printing. When the notion of format is understood as a determination of a ratio and, as such, as an indexical reference to given social relationships (Summers, 2003), these films unfold sociocultural and political meanings. The present paper traces this spectrum of meaning through the pointed inclusion of historical discourses surrounding early motion studies, the art scene in socialist Hungary in the 1970s, and early time experiments before the advent of precision clocks.
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Janku, Andrea. "Gutenberg in Shanghai. Chinese Print Capitalism, 1876–1937. By Christopher A. Reed. [Vancouver, Toronto: University of British Columbia Press, 2004. xvii, 391 pp. ISBN 1206-9523.]." China Quarterly 182 (June 2005): 443–45. http://dx.doi.org/10.1017/s0305741005290264.
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Gutenberg in Shanghai is a book about the industrial revolution in China's print culture and the ensuing rise of print capitalism ‘with Chinese characteristics.’ It offers a coherent and unique account of the introduction, adaptation and eventual imitation of modern, i.e. Western, print technology in China, with the aim of establishing the material basis on which to study the transition of China's ancient literary culture into the industrial age. It reconstructs the history of print technology from the first cast type matrices to the adaptation of the electrotype process, from photo-lithography to the colour-offset press, from the platen press to the rotary printing press, and tells the stories of three of the most dominant lithograph and letterpress publishers of the late Qing and the early Republican period respectively. This is a worthwhile undertaking, exploring an aspect of modern publishing in China, which hitherto has not received the attention it deserves. The study is based on missionary writings, personal reminiscences, collections of source materials, documents on the early book printers' trade organizations from the Shanghai Municipal Archives, and oral history materials (interviews conducted during the 1950s with former printing workshops apprentices). The bibliography also lists a couple of interviews, but unfortunately it is not clear how relevant they are to the story told in the book.The introduction of lithography into Shanghai by Jesuit missionaries in 1876 plays a pivotal role in this account. Lithography, especially photolithography coming a few years later, was a technology particularly suited to Chinese needs and cheaper than traditional wood-block printing.
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Sezonov, Viktor, and Krystyna Dikevych. "COMPONENT COMPOSITION OF INKS, PAINTS AND DYES AS AN IMPORTANT COMPONENT OF DOCUMENT PROTECTION AGAINST COUNTERFEITING." Criminalistics and Forensics, no. 68 (July 3, 2023): 381–91. http://dx.doi.org/10.33994/kndise.2023.68.38.
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This article analyzes the component composition of inks, paints and dyes, and also gives a general description of one or another type of ink or dye and a classification of some of them. The historical aspect of the manufacture of inks and their components is highlighted. Writing ink was first made in ancient Egypt and China around 2500 BC. The features of paints depending on the type of printing (high, gravure, flat offset, screen) are studied and examples of their application are given. Flat offset inks used in newspapers are usually simple in composition. As for letterpress, although this type is gradually being replaced by other printing processes, it is still used in the production of money, most paper-based forms in printing serial numbers, etc. Gravure inks are similar to flexographic inks, except that ketones and aromatic hydrocarbons can be used as solvents, allowing much greater freedom in the choice of binders. This type of ink for inkjet printing, such as solvent ink, is considered in detail. Solvent ink is a complex physical and chemical system for inkjet printing, consisting of pigment, polymer, film former, solvent and special additives. The structural composition of solvents is characterized, which, getting on paper, undergoes a number of changes over a fixed period of time, as a result of which the dye dries on paper. Ethanol, benzyl alcohol and many other solvents can also be used as carriers. The choice of solvent or solvents often depends on the properties of the writing instrument. The so-called «invisible» ink (UV ink, thermosetting ink, etc.) was studied separately as a kind of protective element. This type of ink is mainly used in steganography, anti-counterfeiting and currency security features, packaging authenticity indicators, brand protection, and secret messages. Conclusions are drawn, emphasizing that understanding the principle of operation of one or another element of protection allows forensic experts of forensic technical examination of documents to effectively identify forgery.
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Gamalinda, Carla. "Contributing to the Identification of Publications from the Dominican, Jesuit, and Franciscan Presses through a Study of Graphic Art in Manila, 1604-1815." Philippiniana Sacra 56, no. 168 (May 1, 2021): 409–41. http://dx.doi.org/10.55997/2004pslvi168a3.
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This article demonstrates the use of graphic art as a source of information. This information, gathered through non-verbal methods, and not available through other methodologies, contributes to the identification of anonymous publications by supporting or prompting reinvestigation of claims by previous scholars. The information was gathered through a chronological cataloguing of various graphic art elements from each press from the start of letterpress printing in the Philippines to 1825. The elements are categorized into (1) iniciales grabadas or decorative initials, (2) viñetas or printers decorations, (3) orla bordadas or border decorations (4) risos xilográficos or xylographic headers, and (4) laminas or copperplate prints. Organizing these graphic art elements in this manner presents the frequency of use of distinct elements over time. The article provides a timeline of the arrival and use of art movements that influenced decorative graphic art in Manila. Based on the catalogue, a narrative of the use of graphic art elements of the Dominican, Jesuit, and Franciscan press is presented, along with comparisons of elements from known presses to prints from unidentified presses.
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Budeeva, M. L. "Technical and Technological Changes in the Field of Letterpress Printing in St. Petersburg Art of the XXI Century and their Impact on Modern St. Petersburg Woodcut Printing." Университетский научный журнал, no. 63 (2021): 76–85. http://dx.doi.org/10.25807/22225064_2021_63_76.
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Ares, Fabio Eduardo. "Las letrerías de Antonio Espinosa en la Real Imprenta de Niños Expósitos (1790-1802). El caso del «Telégrafo mercantil», primer periódico de Buenos Aires." Cuadernos de Estudios del Siglo XVIII, no. 23 (October 20, 2013): 35–66. http://dx.doi.org/10.17811/cesxviii.23.2013.35-66.
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El presente artículo brinda un panorama sobre la Buenos Aires finicolonial, la Real Imprenta de Niños Expósitos y sus ediciones para comprender el marco contextual de la provisión tipográfica. Luego se concentra en las letrerías llegadas desde España en 1790 y, por último, y por intermedio de estas, en la composición del primer periódico porteño: el Telégrafo Mercantil, Rural, Político, Económico e Historiógrafo, un verdadero paradigma del periodismo y las artes gráficas argentinas, que en este caso sirve de modelo para el estudio de los usos tipográficos que realizara la Real Imprenta de Niños Expósitos a partir de los caracteres ibéricos cortados por Antonio Espinosa de los Monteros.PALABRAS CLAVETipografía, tipos móviles, imprenta, impresos, ediciones, bibliografía material, Virreinato del Río de la Plata, Antonio Espinosa de los Monteros.This article provides a view of the «finicolonial» Buenos Aires, the Real Imprenta de Niños Expósitos (Royal Orphan Children Printing Office) and its editions in order to provide a typing provision reference framework. Then it focuses on Spanish wich arrived at the country by 1790 and finally by them, their use in the making of the first «porteño» newspaper: Telégrafo Mercantil, Rural, Político, Económico e Historiógrafo, a real paradigm of Argentine journalism and graphic arts, in its case used as reference of the study of typing done by the Royal Orphan Children Printing Office using Antonio Espinosa de los Montero’s iberic types.KEYWORDSTypography, movable type, letterpress, antique prints, editions, library science, Viceroyalty of the Río de la Plata, Antonio Espinosa de los Monteros.
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Voeste, Anja. "Spelling variation and text alignment." Zeitschrift für Sprachwissenschaft 40, no. 3 (November 1, 2021): 279–95. http://dx.doi.org/10.1515/zfs-2021-2032.
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Abstract In the 15th century, at a time when codification via dictionaries and grammars had not yet taken effect, printers, editors, and compositors were already producing pamphlets and books that had to meet the new requirements of the letterpress, especially as regards the arrangement of white space and uniform line justification (even-margined on the left and right). The following analysis investigates five German editions of the Mirabilia Romae (Marvels of the City of Rome), a well-known pilgrim guide, all printed in 1500 for the contemporaneous Jubilee year and thus for short-term sale. The results show that compositors used different means for text alignment: In addition to deviations in line counts and the repositioning of lines, they chose extended or contracted spelling variants, predominantly on the second half of the page. The most frequent variants are abbreviations in the form of tildes. However, just a few spelling patterns with tildes were used. With respect to explanatory processes in a historical perspective, the results call for a closer consideration of page format, text layout (mise-en-page) and line justification when evaluating spelling variation in early book printing.
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Couch, Nena. "THE AMERICAN SHOW PRINTER: CURTISS SHOW PRINT AND HATCH SHOW PRINT." Theatre Survey 48, no. 2 (October 22, 2007): 339–52. http://dx.doi.org/10.1017/s0040557407000725.
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The history of American popular entertainment is documented in many different ways, ranging from materials such as correspondence, diaries, scrapbooks, company records, oral-history interviews, and autobiographies that directly tell the story of performers, business managers, and behind-the-scenes crew, to material created by others and used for the promotion of the artists. In this second category fall the subjects of this article, two letterpress show printers, Curtiss Show Print of Continental, Ohio, and Hatch Show Print of Nashville, Tennessee. There were many show printers across the country from the late nineteenth through the twentieth centuries, but the majority of these companies have closed, and their type and printing blocks have been discarded or dispersed. Although other printers altered their operations because of changes in technology that allow work to be done in less laborious ways, Curtiss Show Print and Hatch Show Print are still working and using the old equipment and techniques. Both Nyle Stateler, owner of Curtiss Show Print, and Jim Sherraden, manager of Hatch Show Print, realize the historical and research value of their show-print materials, and both have taken steps to save those materials, forging institutional relationships that are commitments for the preservation of their show-print work.
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Shamriz, Lior. "Photography of indenture." Journal of New Zealand & Pacific Studies 12, no. 1 (June 1, 2024): 55–72. http://dx.doi.org/10.1386/nzps_00187_1.
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The 1882 photography book by British photographer Colonel Henry Stuart Wortley, Tahiti: A Series of Photographs, features an image of a family of service workers. Wortley, who only briefly passed through the island, refers to the couple in the photograph as his ‘servants’. This article traces the margins of the journey of Wortley, as well as that of Lady Annie Brassey, an ultra-wealthy traveller and photography enthusiast who visited Tahiti in 1876 and who contributed the letterpress to Wortley’s book. By analysing the text and images of the book and looking at the historical context of Tahiti at that time, and the place European military personnel, travellers, entrepreneurs, royals and local workers had in the island’s economy and society, this article argues for the incentives and implications of trivializing and invisiblizing Tahitian labour. Looking at our engagement with a photograph as a transtemporal performance, beginning in the photograph’s commission, through the moment of encounter and until its printing and viewing years later, this article considers as a beginning of an entanglement the encounter between Wortley and the Tahitian family. I discuss how, by travelling in 2022 to Tahiti and revisiting Wortley’s photographs in different locations around the island, I aimed to influence those entanglements.
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Budeeva, Mariia L. "Original article Letterpress Printing Techniques in Leningrad Graphic Art of the Second Half of the 20th Century. Interaction of Woodcuts and Linocuts." Университетский научный журнал, no. 66 (2022): 123–30. http://dx.doi.org/10.25807/22225064_2022_66_123.
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Budeeva, Mariia L. "Original article Letterpress Printing Techniques in Leningrad Graphic Art of the Second Half of the 20th Century. Interaction of Woodcuts and Linocuts." Университетский научный журнал, no. 66 (2022): 123–30. http://dx.doi.org/10.25807/22225064_2022_66_123.
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Meder, Stephan. "VII. Schriftlichkeit, Papier und Recht. Zum Wandel der Speichermedien in Moderne und Postmoderne – eine Skizze." Zeitschrift der Savigny-Stiftung für Rechtsgeschichte: Germanistische Abteilung 132, no. 1 (August 1, 2015): 219–50. http://dx.doi.org/10.7767/zrgga-2015-0110.
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Writing, Paper and Law. Concerning the Transition in Storage Media in the Modern and Postmodern Eras - a Sketch. At present, certain fields of law experience a media transformation, which is well underway. As at the threshold of the late Middle Ages and the Early Modern era, the transfer of money and payment plays a leading role. But what is, intrinsically, this media transition? Legal history proofs that principles of the written form had taken effect already in the ancient world rather than only in the Early Modern era. The invention of letterpress printing was neither cause nor trigger of the written form, while influencing the theory of the close of writing: The “demise of writing” is not to be expected, as the current transition does not concern the writing itself but rather the storage medium. New legal development stems from the emancipation of writing from paper. Today, the role of the printed book in the future, or whether there will still be bank notes, or bank statement printers, and how notaries will certify marriage contracts, or last wills, or company agreements, is uncertain. Surely, the “materiality” of paper has a wider time horizon than electronic storage media. Paper can be restored. It stays without continuous new formatting. As for literacy, the enhancement of the mobile phone on keyboards and screens (“the eye’s victory over the ear”) is also a victory of writing over the spoken word. Therefore we may expect paper to stay important, but within a diversification of information storage media.
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Meijer, Rob, Peter Thomson, and Lysbeth Croiset van Uchelen-Brouwer. "The History of the Lithographie Royale, 1818-25." Quaerendo 31, no. 4 (2001): 281–306. http://dx.doi.org/10.1163/157006901x00173.
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AbstractFrom 1816 lithographic businesses began to develop in Western Europe. Use was made of a printing technique, lithography - based on the repellent working of water and fat - which was catching on especially in Germany and France. The Low Countries remained behind: early in 1818 only small lithographic printing offices were to be found in Brussels, Amsterdam and Rotterdam. At about that time the Frenchman MJ.V. Duval de Mercourt, calling himself an architect, presented himself in the Netherlands. Stimulated by the Dutch envoy at the court of Paris, Baron Fagel, he requested King William I to be permitted to found lithographical offices in The Hague and Brussels and to call himself Royal Lithographer. This was permitted by Royal Decree of 16 July 1818. Added to it was, highly unusually, that the establishment of Duval was greeted with approval, and that the hope was expressed that he might succeed in his attempts. The background of all this was the industrialisation policy that was pursued more in particular by the king himself. Indeed, Duval set about his business with great expectations and fervour. Probably he officially opened a - for Dutch standards - large lithographic printing office which consisted of at least two presses, which he called the Lithographie Royale'. He focused in particular on government commissions and especially on making autographs of written documents which up to that time had to be copied by hand. This technique, where writing was done with fat ink on prepared paper, after which the text was transferred to the stone and printed, seemed a godsend indeed. This autographic technique also had the king's interest: for, would it not be possible to introduce it and subsequently discharge clerks at the ministries? The future seemed to favour Duval, but alas, reality was different. It appeared that government as well as private institutions would provide him with hardly any work, possibly because of his high prices. It is also remarkable that some ministries did not want to have anything to do with this new printing method. After half a year he was already threatened with financial downfall, also through a loss he had personally suffered and the downward turn of the Dutch economy. The king then intervened with a number of measures in favour of Duval, of which the most important was that he was allowed to work for the Ministry of Water Management. An attempt was also made to accommodate him at the Algemeene Landsdrukkerij in The Hague, a government printing office with a monopoly on all government printed matter. The directors, however, confirmed letterpress printers, did not believe in this new printing technique which, according to them, could have no future because it would always be more expensive than their own beautiful printing. Because the locations of the ministries were changing between The Hague and Brussels about every half year, Duval was forced to follow the Ministry of Water Management to Brussels and to found a lithographic printing office there as well. Although he was supplied with more work there, he appeared to be at the end of his tether half way through 1819 due to a lack of financial resources. His financial situation was such that he was even refused a government advance because it was feared that he would not be able to reimburse it. Thereafter he was forced to make a disadvantageous contract with a private person, after which he left for The Hague, a destitute man. Although work from the Ministry of Water Management was also given to him there, things continued to go downhill for him. He now also lost his premises in The Hague so that he could no longer accept commissions. True, some time later a new place was found, but he had to agree that his co-worker, D. Abrahams, was to be appointed as his partner. Halfway through 1820 there arrived at last a reply to the many petitons and pleas he had sent to the king. This was, however, negative, because it was feared that a financial contribution from the government might slow down the downfall of his enterprise, but would not prevent it. Even damages were not granted because he was supposed to have given a false impression of things. He then left first to go to Brussels and later on to France, leaving his lithographic printing office in The Hague to Abrahams. The latter succeeded in getting the enterprise off to a good start within a few years, notably by making lithographs and trading in lithographs and sheet music, the main aim of the business. From about 1823 the number of commissions for lithographs increased, with a marked improvement in the quality of his work. This resulted in an honourable mention in the second industry exhibition held in the Netherlands in the summer of 1825. During this exhibition he was appointed first lithographer at the Algemeene Landsdrukkerij! This was because the king had intervened anew in the field of lithography and persevered against the advice of his minister in having an autographic printing office there, an office that was to be closed in 1832 due to lack of work and with great losses. The Lithographic Royale subsequently stopped its activities after Abrahams had received a compensation in his salary for it. Finally, the lithographic activities in The Hague were continued by his brother, A.M. Abrahams, on a modest scale.
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İPEK, Alper Raif. "ÖZGÜN BASKIDA TİPO PROVA BASKI MAKİNALARININ KULLANIMI." Turkish Online Journal of Design Art and Communication, March 6, 2024. http://dx.doi.org/10.7456/tojdac.1413527.
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USING LETTERPRESS PROOF MACHINES IN PRINT MAKING
ABSTRACT
Many materials and methods have been developed for writing. Slow, difficult and expensive manuscripts have been replaced by printing. Although the first printing took place in the Far East with wooden blocks, Johannes Gutenberg's development of the movable type and printing press in Europe in the 15th century led to a technical and cultural revolution. Taking proofs of works to be printed has been an ongoing practice since the early days of printing. Proof printing has become a method used to prevent errors and obtain customer approval. While the first proofs were made on the printing machine, they were later made on simple hand presses and in 1909, the first proof printing machine was developed by Robert Vandercook. With the desktop publishing era, which started with the integration of computers into design and printing, typography became digital and letterpress printing was replaced by offset printing. Letterpress proof printing machines, which are not seen throughout Asia but are out of use in Europe and especially America, have found new experimental, creative and artistic uses in printmaking by artists, in artisan production by designers and in graphic and typography education in educational institutions.
Keywords: Printmaking, Proof press, Letterpress, Graphic design, Typography
ÖZGÜN BASKIDA TİPO PROVA BASKI MAKİNALARININ KULLANIMI
ÖZ
Yazı altı malzemesi olarak birçok malzeme ve yöntem geliştirilmiştir. Yavaş, zor ve pahalı el yazımının yerini baskı almıştır. İlk baskı tahta kalıplarla Uzak Doğu’da gerçekleşmesine rağmen Avrupa’da 15. yüzyılda’da Johannes Gutenberg’in hareketli hurufat ve baskı presini geliştirmesi teknik ve kültürel devrime yol açmıştır. Basılacak işlerden prova almak basımcılığın ilk günlerinden beri süre gelen bir uygulaması olmuştur. Prova, hataların engellenmesi ve müşteri onayının alınması için kullanılan bir yöntem olmuştur. İlk provalar baskı makinasında alınırken sonrasında basit el tezgahlarında alınmıştır. 1909'da Robert Vandercook tarafından ilk prova baskı makinası geliştirmiştir. Bilgisayarın tasarım ve basımcılığa entegre oluşuyla başlayan masaüstü yayıncılık dönemiyle tipografi sayısallaşmıştır ve tipo baskı yerini ofset baskıya bırakmştır. Asya genelinde görülmemekle birlikte Avrupa ve özellikle Amerika’da kullanım dışı kalan tipo prova tezgâhları ve makinaları sanatçılar tarafından özgün baskıda, tasarımcılar tarafından artisan üretimde ve eğitim kurumlarında grafik ve tipografi eğitiminde deneysel, yaratıcı ve sanatsal yeni kullanım yeri bulmuştur.
Nitel araştırma yöntemlerinden faydalanılan bu çalışmanın amacı tipo prova baskı makinası ile çalışan güncel birçok sanatçının özgün baskı alanındaki çıktılarını araştırarak geçmişten günümüze alan ile ilgili bir inceleme yapmaktır. Tarihsel süreç içerisinde tipo baskının dönüşümü ve tipo prova baskı makinası ile özgün baskı alanında üretim yapan birçok atölye incelenmiş, konuya dair literatür araştırması yapılarak sürecin karşılaştırılması ile bir değerlendirme ortaya çıkarılmıştır.
Anahtar Kelimeler: Özgün baskı, Prova baskı, Tipo baskı, Grafik tasarım, Tipografi
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Yu, Hong, and Ju Wen. "Women and letterpress printing 1920–2020: gendered impressions." Feminist Media Studies, May 24, 2023, 1–3. http://dx.doi.org/10.1080/14680777.2023.2214704.
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Machado, Graciela, Marta Belkot, and Sandra Costa Brás. "Gillotage. Exploring a mid-nineteenth century relief printing technique." IMPACT Printmaking Journal, April 13, 2022, 20. http://dx.doi.org/10.54632/22.5.impj2.
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Gillotage, a relief printing method used in nineteenth century commercial industry, consists of using a lithographic transfer of an image drawn and processed on stone to a metal plate, while avoiding undercutting the raised areas of the design needed to obtain a relief printing plate. Gillotage was a first option when it came to reproducing an illustration in a commercial sphere, being a cheaper alternative to relief printing methods such as wood engraving. This article wrestles with a fundamental problem: is it possible to recreate the material conditions, interpretations and successful printing outcomes as present in original gillotage? How to contend with the unfortunate demands of historical and unfamiliar technologies of reproduction and adapt them to a contemporary practice? Can a project based on an obsolete printing technique used with letterpress printing demonstrate how to engage researchers and students in new printing approaches?
Our technological reconstruction helped us to better understand the materials and components of gillotage, the aesthetic and tactile qualities achieved by these methods which have not entered a printmaking studio. Nevertheless, such operational circumstances may thus be understood as an invitation to experiment, contradicting the original use of making a print as a means to reproduce. We aim to get closer to an alternative printing matrix compatible with letterpress printing while developing methods to involve print practitioners in printing history and experiment with materials in their creative practice.
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Brueggemeier, Jan, and Neal Haslem. "These three words; community activation, knowledge sharing and collaboration through letterpress printing." Journal of Public Pedagogies, no. 7 (November 7, 2023). http://dx.doi.org/10.15209/jpp.1295.
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Commoners Press is a small, newly established experimental letterpress studio in North Coburg,Australia. As part of the 2022 Melbourne Design Week, Commoners Press presented the project thesethree words in response to the festival’s theme of ‘civic spaces’. This article discusses the project as anexample of a mode of public pedagogy (Charman & Dixon, 2021) which enables moments of collectivereflection, inclusiveness, community activation, local knowledge sharing as well as collaborativemaking, creative exploration, social aspiration and being together. The project asked participants torespond to the provocation: Thinking about the future liveability of your community, what three wordscome to mind? Participants set their ‘three words’ in type and they were letterpress printed in a momentthat externalised and materialised participants’ concepts in ink and paper. Thus the redundanttechnology of letterpress introduced – through its labour and slowness – a sense of mindfulness,achievement and ‘access to the means of production’ that elevated participants’ words into a publiccollaborative endeavour. As each participants’ printed words were revealed, they were celebrated anddiscussed within the group. A week later participants were given the opportunity to attend a roundtableto reflect on their own and others’ ‘three words’ as a collective imagining of possible futures, alldifferent, all together (Escobar, 2017). The pedagogy here brought participants together to form an“interpretive community” (Santos, 2017) by allowing them to teach one another new things aboutcommunity, collaboration, creativity, and what the future may hold.
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Rathschlag, Thomas. "Colorants in printing applications." Physical Sciences Reviews, June 30, 2021. http://dx.doi.org/10.1515/psr-2020-0162.
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Abstract This review article is a summary of the current knowledge in the field of colorants in printing applications. Printing inks belong as well as paints, coatings, plastics, and cosmetic formulations to the most important application systems for colorants, both for pigments and dyes. Colorants have to meet increasing demands in printing applications due to the considerable number of printing methods and consequently of a large number of specific printing formulations. Crucial factors besides the specific properties of a certain printing ink are the processing method and the required quality of the final printed product. Amongst the most important printing methods are letterpress printing, offset printing, flexographic printing, gravure printing, screen printing, and digital printing. Different processing methods are used for coloring of the individual printing inks. The coloring processes need to be coordinated in accordance with the steps of the printing processes leading to the final product.
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Komatsu, Hayato, Wataru Yashiro, Xiaoyu Liang, Ayako Yoshida, Yasunori Takeda, Tomohito SEKINE, Daisuke KUMAKI, and Shizuo Tokito. "Development of printed X-ray grating and its application to an imaging system." Japanese Journal of Applied Physics, March 14, 2024. http://dx.doi.org/10.35848/1347-4065/ad33f4.
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Abstract The short wavelength of X-rays makes them good for high-resolution imaging system applying for the fields from medicine to industry. The thin-film grating required for X-ray imaging can be created using printing, which is a cost-effective method for large-area imaging. Since the grating resolution (line/space, L/S) influences the imaging resolution, it is crucial to enhance L/S through printing methods. In this study, thin-film gratings were fabricated from silver nanoparticles using letterpress inversion printing, achieving a maximum L/S grating resolution of 1 μm/1 μm (the highest resolution achieved through printing). Subsequently, the cross-section of a pine needle was successfully imaged.
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Ekojono, Ekojono, Luqman Affandi, and Dhebys Suryani. "METODE PEMANFAATAN COMMAND LINE UNTUK DIRECT PRINTING PADA APLIKASI BERBASIS WEB." Jurnal Teknologi Informasi, October 31, 2016. http://dx.doi.org/10.36382/jti-tki.v7i2.222.
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Dalam urusan cetak mencetak dikenal dan bisa dilakukan dengan empat cara yaitu Teknik cetak tinggi (Letterpress), Teknik Cetak Datar (Lithography dan Offset), Teknik Cetak Dalam (Rotogravure dan Intaglio), Teknik Cetak Saring (Screen Printing). Masing masing dari teknik tersebut digunakan sesuai dengan media dan tujuan dari pencetakan. Tidak diragukan lagi, direct printing masih menjadi andalan untuk urusan cetak-mencetak, terutama untuk program/aplikasi POS. Karena aplikasi ini membutuhkan kecepatan dalam melakukan cetak dokumen/struk. Kendala utama yang dialami adalah sulitnya mencetak data menggunakan direct printing melalui sebuah aplikasi POS berbasis web. Hal ini terjadi karena produsen printer biasanya hanya menyertakan API atau dll untuk program berbasis desktop. Dari kendala tersebut dapat diatasi dengan pemanfaatan perintah command line melalui PHP.Kata kunci: command line, direct print
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Liu, Yana, Tao Zeng, Chuang Liu, Xiao Fang, Shiqing Li, Xiuping Cao, Chunhua Lu, and Huanghao Yang. "DNA Origami-Based Letterpress Printing of Gold Nanostructures with Predesigned Morphologies." Nano Letters, December 11, 2023. http://dx.doi.org/10.1021/acs.nanolett.3c03307.
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Karwa, Anupama, Yu Xia, Daniel M. Clark, Thomas W. Smith, and Bruce E. Kahn. "Printable Electronics: Patterning of Conductive Materials for Novel Applications." MRS Proceedings 828 (2004). http://dx.doi.org/10.1557/proc-828-a5.29.
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ABSTRACTThe convergence of materials science, printing, and electronics promises to offer low cost and high volume production of devices such as transistors, RFID tags, wearable electronics and other novel applications. Although a number of “soft lithographic” techniques have been used to make these devices, they are slow and have a limited production volume [5], [14-15].Here high volume printing processes like rotary letterpress, flexography and offset lithography have been investigated for patterning conductive materials [1]. The synthesis and development of conducting inks using electrically functional polymers has been studied. The feasibility of using such inks in high volume printing processes has been studied. An attempt has been made to print conductive interdigitated electrodes using these inks to obtain uniform coating properties and appropriate electrical characteristics. Various process parameters like type of substrate, inking time and speed, printing pressure, printing force and ink formulation have been investigated.
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Baumgarten, Eliezer. "God as a Printer: On the Theological Status of Printing in the Kabbalistic Tradition of Israel Sarug." Zutot, February 28, 2022, 1–13. http://dx.doi.org/10.1163/18750214-bja10021.
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Abstract Recent decades have witnessed a broad scholarly discussion of the cultural influences of the printing press Invention. The core of this revolved around the new technological influence on the concept of knowledge, its methods of dispersion, and on social changes that it engendered in the 16th century, when it became an affordable widespread technology. This article presents the way in which the spread of the printing press influenced conceptual paradigms of Kabbalists in general, and Lurianic Kabbalists from Sarug’s tradition in particular. These Kabbalists exchanged the traditional conception of creation as an act of writing, within the conception of the world as a written text, for conceptions of creation as a printing act and the world as a printed text. I show how the professional term ‘letterpress printing’ entered these Kabbalists’ descriptions of divine emanation, alongside their conceptualization of printing as a divine activity, as writing had been conceptualized previously.
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Parsons, Marnie. "Letterpress Printing: A Manual for Modern Fine Press Printers, by Paul Maravelas." Papers of The Bibliographical Society of Canada 45, no. 1 (January 1, 2007). http://dx.doi.org/10.33137/pbsc.v45i1.18510.
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Sturm, J. C., P. I. Hsu, S. M. Miller, H. Gleskova, A. Darhuber, M. Huang, S. Wagner, S. Troian, and Z. Suo. "Three-Dimensional Electronic Surfaces." MRS Proceedings 636 (2000). http://dx.doi.org/10.1557/proc-636-d11.4.1.
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AbstractThere is an increasing interest in electronics functionality on surfaces which are not planar. This paper examines the critical technologies for fabricating electronic surfaces which have a three-dimensional shape. Two different approaches for achieving such a goal are examined. One can fabricate electronics using conventional technologies on a flat surface, and then after fabrication deform that surface into the desired shape (e.g. a spherical cap). In an alternative approach, one can directly fabricate onto substrates with an arbitrary shape. In this case one must address the issue of pattern formation and transfer on the curved surfaces. The scaling of letterpress printing to micron-scale features on flat and spherically curved surfaces is demonstrated.
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Gehl, Paul F. "Frank Barr: Avant-Garde Designer in Mid-Century Chicago?" Journal of Design History, June 21, 2023. http://dx.doi.org/10.1093/jdh/epad010.
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Abstract A popular 1941 gallery show in Chicago entitled “The Advance Guard of Advertising Artists” included five prominent European advocates of modernist design and four Americans who did daring and innovative work. All but one of these designers is today included in the mid-century design canon. The odd man out was Frank Barr (1906–1955), a Chicago letterpress printer with a modest, entirely local reputation both before and after the exhibit. This article explores Barr’s career to explicate the meaning of avant-garde design during at the period and shed light on the larger question of canonical status. Chicago was a major industrial and printing hub that nonetheless seemed provincial in design terms into the 1930s. Many design professionals educated there (like Barr) had remained content with the opportunities the city provided. The arrival of the New Bauhaus in 1937 injected new vitality into the local design scene and gave birth to a fresh sense of Chicago’s potentially international credentials. Barr’s career spanned the two decades of this transition and provides a useful case study of provincialism, avant-garde status, and internationalism.
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Farias, Priscila L., and Jeremy Aynsley. "Typographic Histories: Three Decades of Research." Journal of Design History, August 23, 2021. http://dx.doi.org/10.1093/jdh/epab030.
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Abstract This Virtual Special Issue includes twelve articles published in the Journal of Design History between 1988 to 2020 that focus on typographic histories. The selected articles address different aspects of the subject, ranging from designing letterforms and manufacturing typefaces to putting those letterforms to use—through typesetting and letterpress printing, typewriting, collage, lithography and photocopying. To provide a context for this selection of articles this Introduction begins by characterizing the place of typographic histories within the Journal of Design History and the broader field of design history. It then considers the methods, models and approaches available that offer a framework for understanding and interpreting typographic practices and objects. Recognizing that the historiography of typography has a trajectory that predates design history by many years, reference is made to other disciplines that have contributed to this longer history. We then give a brief overview of the various kinds of archives and collections where the materials, methods and objects of typography are held and can be studied. The Introduction concludes by detailing the contribution of the selected articles, grouping them and drawing out themes that become apparent by placing them together. Finally, the article offers suggestions for future research and scholarship.