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Page history last edited by Patricia Fumerton 6 years, 7 months ago

Schedule of Readings and Assignments for English 236, "The History and Making of Print" (Fall 2017)





  • Wednesdays (11:00 am - 1:50 pm) and Fridays (1:00 pm - 2:50 pm)



  • First Class: South Hall  2510

  • Subsequent regular classes: Digital Humanities Commons’ Maker Lab (Music Building Room 1404)

  • Other classes by announcement will be in the Department of Art's Papermaking Studio (Arts 0254), and Print Studio (Arts 2235), and the CCS Print Room (Building 494, CCS Room 107) 


Office Hours:

  • Patricia Fumerton, SH 2506, Fri. 3-4:30 pm. & by appointment)

  • Harry Reese, Wed. 3 - 5 pm. & by appointment, Arts 2228




Class 1 (Fri. Sept. 29) — Course Introduction


Two thrusts of course—1) history and theory of print and 2) making texts from the ground up. Two perspectives of the instructors: 1) Then and 2) Now. Two halves of course: 1) learning and thinking as well as doing print from the paper to the printed page, and 2) team projects (groups of three).


Written/Project Assignments  


  • A critical paper (6-10 pp; or 10-12 pp.) about how your experience in making your printed artifact influences interpretation of the author/field/print-movement you focused on
  • In addition, an exhibit of your work and critique of it during extended scheduled exam period for the course (Maker Lab, Thursday, Dec. 14, 12-4 pm.; refreshments will be served).


Suggested Reading



Class 2 (Wed. Oct. 4.) — Overview of the History of Print





Class 3 (Fri. Oct. 6) — The History of the Printing Press: From the Common Pull Press, to the Cylinder Proof Press, to Linotype Press, to Digital Printing


Why invent a printing press and how did Gutenberg come up with the idea?


Bodily Matters: Parts of Pull Press; Parts of Movable Type 


Fumerton: A Brief History of the Printing Press from the Common Pull Press, to the Iron Hand Press, to Printing Machines

Reese: A Brief History of Movable Type and of Ink - Back to Gutenberg (Slides)


Guest Lecture (Tyler Shoemaker): "Introducing Linotype and 3D Printing”


Examining an Albion early 19th-century Pull Press in the Maker Lab and a Vandercook Cylinder Proof Press/Machine in the CCS Print Lab


Class 4 (Wed. Oct. 11) — Papermaking: Readings/Discussion/Lab-Tour-Instructions


Readings / Viewings

  • “How to Videos” on Papermaking,” in The Making of a Broadside Ballad, ed. Patricia Fumerton, Andrew Griffin, and Carl Stahmer (EMC Imprint, 2016), http://press.emcimprint.english.ucsb.edu/the-making-of-a-broadside-ballad/papermaking 
  • Phillip Cortes, "Unmaking Paper in Seven Axioms: An Account of Early Modern Papermaking" 
  • General recommendation is for each person in the class to consult the following online reader for beginning papermaking and read as much as possible. A Reader for Art 123, "Hand Papermaking." Harry Reese, Department of Art, UCSB. http://www.arts.ucsb.edu/faculty/reese/papermaking.php. Selections to focus on:
    • From Joseph Needham, Science and Civilisation in China, Vol. V:
      • “History of Paper and Printing” from Science and Civilisation in China, by Tsien Tsuen-Hsuin (New York: Cambridge, 1985), pp. 1-10
      • “Travel of Paper Westerwards” from Science and Civilisation in China, by Tsien Tsuen-Hsuin (New York: Cambridge, 1985), pp. 296-319.
    • From Dard Hunter:
      • "How the First Paper Was Made" and "Modern Papermaking from Rags," by Dard Hunter, from Paper-Making in the Classroom, pp. 23-47. 
      • "Ts'ai Lun and the Invention of Paper" by Dard Hunter from Papermaking: The History and Technique of an Ancient Craft (NY: Dover reprint of 1943 ed.), pp. 48-63.
    • "Invention": _Invention_OED.pdf
    • "Originality":_Originality_OED.pdf



Class 5 (Fri.  Oct. 13) — Papermaking Practicum #2 

 Supervisor  Harry Reese



Class 6 (Wed. Oct. 18) — Papermaking Practicum #3



Class 7 (Fri.  Oct. 20) — Approaching Texts as Type (based on course by Jentery Sayers, University of Victoria, BC)

Experiment with a selected text, no more than one page (ideally the text you choose will be the one you will work on in groups to reproduce a version of later in the course), but this is not necessary. Change its letterform. This includes changing its typeface at least once, but ideally two or three times, and then printing out copies of at least one iteration in one-page form for the instructors and students in the class to view (17 copies total).


For comic inspiration, watch, SNL's Papyrus, https://www.youtube.com/watch?v=jVhlJNJopOQ



  • Robert Bringhurst, excerpts from The Elements of Typographic Style bringhurst-Robert-elements-typographic-style-1-24.pdf bringhurst-shaping-the-page-elements-ch8-129-62.pdf  
  • During reading Bringhurst, changing the letterform, and printing your materials, below are some questions you might find helpful. They build directly on Bringhurst's scholarship (see the page numbers next to  them):
    • How does the typography make visual sense? (9)
    • How does the typography make historical sense? With what historical period would you associate it? (9, 12-15)
    • Describe the stroke, slope, axis, and serifs. Consider terminology such as "abrupt," "adnate," "aperture," "lachrymal," and "modulated." (12-13)
    • How does the typography honor content? How doesn't it? (17-18) 
    • How does the typography creatively interfere, or not interfere, with letters? (19)
    • How is the typography an act of interpretation? (19)
    • What is the outer logic of the typography—in relation to the logic or aims of the text? (20)
    • How does the typography make visible the relationship between text and other elements? How doesn't it? (21)
    • What is a typeface that doesn't honor or elucidate the text? How does it read? What visual or historical features enable its disrespect for the text? (22)
    • How does the typography invite readers? How doesn't it? (24)
    • What are the incidental details that especially matter? (24)
    • If the typeface were a person, then who would it be?
    • What are three or four adjectives that succinctly describe the typography?
    • How does the typography read up close, in print? From a distance?
    • How does the typography read up close, on a screen? From a distance?
    • On screen or in print, how does the typography read upside down? Sideways? 
  • Typography Primer adobe-type-primer.pdf


Recommed Viewing:

Great documentary on Helvetica (1 hr, 20 miins, but mesmerizing)



Class 8 (Wed. Oct. 25)  — Setting Physical Type: Practicum #1





Class 9 (Fri.  Oct. 27)  — Setting Physical Type: Practicum #2



Class 10 (Wed. Nov. 1)  — Setting Physical Type: Practicum #3



Class 11 (Fri.  Nov. 3)  — Working an Albion Hand-Pull Press and Vandercook Flatbed Cylindrical Proof Press






Class 12 (Wed. Nov. 8) — Special Collections Visit: Typographical Greatest Hits

+ tour of Glass Box Gallery exhibit, Building 534 (Space 1328), featuring your classmate Lucy Holtsnider's art


No Class on Friday Nov., 10th (UCSB Holiday)


Class 13 (Wed. Nov. 15)  — Making Printing Plates from Digital Files


  • Tutorial on “Adobe Illustrator” and “Adobe In Design,” experimenting with the relation between type, form, and space.



Class 14 (Fri.  Nov. 17)  — Group Projects #1

Supervisor  Harry Reese



Class 15 (Wed.  Nov. 22)  — Group Projects #2


No Class on Friday Nov., 24th (Thanksgiving Holiday)


Class 16 (Wed.  Nov. 29)  — Group Projects #3



Class 17 (Fri.  Dec. 1)     — Group Projects #4



Class 18 (Wed.  Dec. 6)  — Group Projects #5

 Supervisor  Harry Reese



Class 19 (Fri.  Dec. 8)  — Group Projects #6 (optional)

 Supervisor  Harry Reese



Class 20 (Thurs.  Dec. 14)  — Exhibit and Critique

12-4 pm, Maker Lab, 12 - 3 pm


  • 15 minutes per student. This meeting time is a slight extension of the scheduled exam time for the course;. Note the different class meeting day and time. Refreshments will be served.



(Mon. Dec. 18) — Essay Assignment Due

Essay on Making of Exhibit Artifact Due, by noon in SASC Mailbox of Fumerton and CCS Mailbox of Reese AND as pdfs emailed to both Patricia Fumerton and Harry Reese. This essay should address the ways making and form change interpretation based on your individual projects (6-10 pp. for undergrads; 10-12 pp. for grads).



How might you follow your selected text to the printer? What paths would you take, what processes would be involved, and who (author, editor, typographer, publisher, printer, reader, librarian) might you speak to? What decisions or judgments do these people make?

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