View allAll Photos Tagged printing_press
On display was this 1900's print press and was still working fine.
Taken at Lake Goldsmith Steam Rally, Victoria in 2014.
A lot of soul searching went into whether to paint or not. The Kurust gave a mixed effect plus I have to paint the old aluminium replacement piece and those parts that went back to bare metal when rubbing down. It looked very miss matched so, end decision was satin black as gloss would be too 'new' and in your face. I think it has pulled it together and fits the age. Still need etching primer for the aluminium though.
This plaque in the lobby of the Alton Telegraph reads "Secton of the Lovejoy printing press: Destroyed by mob violence and thrown in the Mississippi River November 7, 1837. Recovered in 1915 by the Sparks Milling Company. This tablet is placed in memory of Elijah Parish Lovejoy and the valorous men who with him risked their lives in defense of free speech and a free press.
This is a picture of the new Industrial Revolution Printing Press scene from Spaceship Earth (4.0) at Epcot of Walt Disney World in Orlando, Florida.
Spaceship Earth is a slow dark ride through the history of communication.
National Museum of Scotland, Edinburgh. Columbian printing press of cast iron, designed by George E. Clymer around 1812 to print newspapers, named after Columbia, the female personification of America, with large counter weight in the shape of the American eagle. This machine was made by D. and J. Greig of Edinburgh, c. 1865, and bought by the museum for its own print shop and used until 1964.
Of course, school means education. Which in turn means the written word: books and newspapers. Meaning printing presses. Here is an erstwhile printing press from the early days with manual typesetting and manual proof reading and stuff. Took me back to an era about thirty years ago when I used to help a school principal friend proof-read his annual school magazine at a faraway printing press. (Ottawa, Canada, Dec. 2012)
ca. 1945-ca. 1965
Series/Collection: Bryant & May collection.
Visit our catalogue to download a hi-res copy or find out more about this image: handle.slv.vic.gov.au/10381/187815
Want to find more pictures from the State Library of Victoria's collections? guides.slv.vic.gov.au/pictures
Available:
www.selekkt.com/f/manufacturer/1061
Paper Color: White - Matt
Ink Color: Tan Brown
Edition: 25
Size: A3
Weight: 250g/m2
Artwork by Karl Addison
For More Information:
********************************************************************** **********
********************************************************************** **********
As Karl Addison’s art and vision evolves—from blank slate, to paper, to mural, to installation, to unoccupied public space—our understanding and comprehension of the world around us begins to unfold as well. We may not notice his input, infiltrating our subconscious—our everyday—but it’s there. A beautiful woman’s face composed of negative space watching peacefully over a cemetery in Wedding, a fragile old Jewish woman towering over a decommissioned factory in Berlin, an urban zoo of imagined creatures deposited all over the globe, an abandoned room filled with 4,500 fat babies…Addison’s art and commentary on history and culture are everywhere, becoming part of the collective unconscious.
Through his travels to Italy, Israel, Japan, throughout the US, and his current residence in Berlin, Addison’s overarching theme of people and the spaces they occupy and interact with has taken shape. By focusing on pieces, which work to become part of public space rather than interrupt it, his intent to create regenerative art through murals and other mediums is being actualized. He has achieved this both independently and collaboratively with other contemporary artists and painters, most notably James Boullough. Addison’s recent and current collaborative projects also highlight his more narrowed focus of interconnectedness, “connecting humanity around the world with different cultures from different places,” he wants us to value tiny lines, details, to appreciate a world view and hopefully, start extolling minute details of our own.
It takes an extraordinary person, one with talent, courage, and patience, to express himself the way Addison does. To project his voice and vision for the world to see—to rip it out of a sketch book or a blank page in his mind—and produce it. To take it beyond the two-dimensional and spray paint, wheat paste, bomb, the side of a building with an illimitable piece of art. To exhibit in public space—on walls, on clothing, in art galleries—what a beautiful fucking thing. Art—“a new mode of obtaining power of mind over mind” leaving the watching to the watched.
- written by jennifer weitman
Discarded old office chairs and furniture in a small room off the main factory building.
Another reccie to an incredible old printing press
There was an old printing company in my extended neighborhood that recently went on the market. I was fortunate enough to be able to go to the open house and stumbled across a wealth of old printing gear. Most noteworthy were several old early 1900s letter presses, very similar to the one my dad had in our garage when I was a kid.
This and the other photos from Dimond Printers were taken using Hipstamatic.
I visited Gdansk earlier this year, and I felt a big gap in my knowledge of European History. So I'm presently reading A History of Germany 1815 - 1945, by William Carr, 1969. Picked up used in a local charity shop. Yellowed pages with a special smell of old paper, and a previous owner's signature. A Kindle can't recreate that. Long live the Printing Press!
Having a chance to purchase one of these top-of-the-line printing presses doesn't come up often, so like a couple of foolish kids we hopped into our small SUV and drove a 14 hour round trip to Huntington Beach, south of Los Angeles to pick up this Hohner Hobo-IV A5, the nicest model of this machine. I've been muddling along with an 8"x5" Adana, but have needed a stronger press for some projects that have been in the works for much too long. I've done a bit of rearranging in my overly-crowded shop, and hope to have some help unloading it. It is about the same size, but much beefier than a Chandler & Price Pilot, and probably weighs about 50 pounds more. It also has no hand-holds, so I have come up with a novel way of manually lifting it out of our vehicle. More photos to follow...
For More Info: idrawalot.bigcartel.com/category/a5-limited-edition-scree...
Paper Color: White - Matt
Ink Color: Soft Red
Edition: 25
Size: A5
Weight: 250g/m2
Artwork by Karl Addison
For More Information:
********************************************************************************
********************************************************************************
As Karl Addison’s art and vision evolves—from blank slate, to paper, to mural, to installation, to unoccupied public space—our understanding and comprehension of the world around us begins to unfold as well. We may not notice his input, infiltrating our subconscious—our everyday—but it’s there. A beautiful woman’s face composed of negative space watching peacefully over a cemetery in Wedding, a fragile old Jewish woman towering over a decommissioned factory in Berlin, an urban zoo of imagined creatures deposited all over the globe, an abandoned room filled with 4,500 fat babies…Addison’s art and commentary on history and culture are everywhere, becoming part of the collective unconscious.
Through his travels to Italy, Israel, Japan, throughout the US, and his current residence in Berlin, Addison’s overarching theme of people and the spaces they occupy and interact with has taken shape. By focusing on pieces, which work to become part of public space rather than interrupt it, his intent to create regenerative art through murals and other mediums is being actualized. He has achieved this both independently and collaboratively with other contemporary artists and painters, most notably James Boullough. Addison’s recent and current collaborative projects also highlight his more narrowed focus of interconnectedness, “connecting humanity around the world with different cultures from different places,” he wants us to value tiny lines, details, to appreciate a world view and hopefully, start extolling minute details of our own.
It takes an extraordinary person, one with talent, courage, and patience, to express himself the way Addison does. To project his voice and vision for the world to see—to rip it out of a sketch book or a blank page in his mind—and produce it. To take it beyond the two-dimensional and spray paint, wheat paste, bomb, the side of a building with an illimitable piece of art. To exhibit in public space—on walls, on clothing, in art galleries—what a beautiful fucking thing. Art—“a new mode of obtaining power of mind over mind” leaving the watching to the watched.
- written by jennifer weitman
This is in the basement of the building I work in. We used to have a gigantic press there. This is part of what remains.
Aktiebolaget Tryckfärger delivered one of the printing presses. Don't think they delivered to my father, because these were old when my father established his company.
This image is part of a series called Movable type: Equipment from my fathers workshop. The photos in the series are:
The training room we're using looks out over the press room, so tonight on go-live I hung my little point-and-shoot out over the window (hence the odd angle).
6 chases plus rollers and 1 truck, this is for you platen-printer as requested. There are no screws to fix the type.
Show the last form created in 1950 (sorry it is upside dowm)