By Ruth Artmonsky (Author)

‘The inter-war years saw a revival of interest in print, not merely as a technical means of reproduction but aesthetically as a medium for communicating meaning. The private press movement burgeoned, intent on moving printing towards being an art form. But at a more earthy level came the Monotype Corporation from America with its technical sophistication, and, after WWI, its publicist Beatrice Warde, a missionary nationwide for printers to become proud creative professionals. And alongside all this came a flurry of ‘little’ journals, specifically setting out to better the aesthetic standards of printing, whilst the main printing journal – the Penrose Annual – was shifting its focus from technical matters to graphic design.’