Victorian Book Design And Colour Printing

Queer books, like LGBTQ+ people, adapt heteronormative structures and institutions to introduce space for discourses of queer desire. Queer Books of Late-Victorian Print Culture explores print culture adaptations of the material book, examining the works of Aubrey Beardsley, Michael Field, John Gray, Charles Ricketts, Charles Shannon and Oscar Wilde. It closely analyses the material book, including the elements of binding, typography, paper, ink and illustration, and brings textual studies and queer theory into conversation with literary experiments in free verse, fairy tales and symbolist drama. King argues that queer authors and artists revised the Revival of Printing's ideals for their own diverse and unique desires, adapting new technological innovations in print culture. Their books created a community of like-minded aesthetes who challenged legal and representational discourses of same-sex desire with one of aesthetic sensuality.

First published in 1988, this encyclopedia serves as an overview and point of entry to the complex interdisciplinary field of Victorian studies. The signed articles, which cover persons, events, institutions, topics, groups and artefacts in Great Britain between 1837 and 1901, have been written by authorities in the field and contain bibliographies to provide guidelines for further research. The work is intended for undergraduates and the general reader, and also as a starting point for graduates who wish to explore new fields.

First published in 1988, this encyclopedia serves as an overview and point of entry to the complex interdisciplinary field of Victorian studies. The signed articles, which cover persons, events, institutions, topics, groups and artefacts in Great Britain between 1837 and 1901, have been written by authorities in the field and contain bibliographies to provide guidelines for further research. The work is intended for undergraduates and the general reader, and also as a starting point for graduates who wish to explore new fields.

This is the story of printing between 1800 and the early 1900's, a period that brought great changes to the trade. The wooden hand press was replaced by the iron press, it in turn to be supplanted by platen and cylinder machines which afforded precise reigister and colouring working. The plain Roman types of the eighteenth century gave way to characterful fat faces and Egyptians, and with the art-printing movement of the 1880's tyography became ever more complex. In decorative printing the century began with the engraved copper plate supreme, but by mid-century engraving was in decline, supplanted by lithography, which was to facilitate colour printing of great quality through the chromolitho process. The printer of 1800 could be jack of several different trades, printer of everything from handbills to books and newspapers, and likely as not grocer and travel agent as well. But the new century brought increasing specialism, so that by c. 1860 book, newspaper and jobbing printing were virtually separate trades, and it is with the last - the printing of tradesman's cards and billheads, music covers, playbills, greeting cards and other ephemera - that this book is chiefly concerned.