The 2016 Conference of the American Typecasting Fellowship was held in several locations in the "Finger Lakes" region of New York state. It was co-hosted by Richard Kegler and the Wells College (Aurora, NY) Book Arts Center (see also their blog), the Press & Letterfoundry of Michael and Winifred Bixler (Skaneateles, NY), the Cary Graphic Arts Collection of the Rochester Institute of Technology, and Geri McCormick and Virgin Wood Type (Rochester, NY). It was the 20th biennial conference of the group. There were 56 registered participants listed on the final revision of the program.
In addition to their official page for the Conference, the Wells Book Arts Center put together a Facebook page for the ATF and the Conference. It has been updated with numerous photographs from the Conference (including the group photo taken after the Saturday Banquet). See: https://www.facebook.com/ATypeF/
Stumptown Printers (Portland, OR; represented at the Conference by Rebecca Gilbert) has a good blog posting about the event.
Here's the final version of the program (less two pages listing the attendees and their contact information, out of regard for their privacy). My thanks to Rich Kegler for his permission to include it here.
Saturday was held at the Bixlers' Letterfoundry in Skaneateles (which, I'm told, is pronounced something like "skinny atlas" - but I never could get it right). This included a presentation by Michael and Winifred Bixler on the history of their press and foundry, presentations by the Swedish punchcutter Richard Årlin and the Texan typefounder Bradley Hutchinson, and impromptu technical sessions centered around the Super Caster.
What most participants in the Conference didn't see was the work that Richard Kegler put into organizing the two-week long Wells Book Arts Summer Institute just two/three weeks before the ATF Conference. (This Summer Institute included both training sessions at the Bixlers' Letterfoundry and a week-long class in Punchcutting by Stan Nelson.) Taken together, the Summer Institute and the ATF Conference represent an astonishing amount of work on his part - all well done.
Ed Rayher ( Swamp Press, Northfield, MA). "An Archaeology of Type."
Ed discussed several aspects of his new work, including engraving the matrices for, and casting, Russell Maret's face Baker, engraving matrices for metal type realizations of the Klilik "asemic writing" script of Barbara Henry, and recutting the Doves Types as Monotype Composition Caster large composition matrices.
Here is a PDF of the presentation in the form that it was given, embarassing typo on the final slide and all: nr-atf-2016-rev06.pdf
Bog answered his own question: of course there is. He acquired Sterling Type Foundry after the unexpected passing of David C. Churchman and is integrating it with his own Monumental Type Foundry. He'll continue his typecasting operations under the Sterling T.F. name while printing as Monumental Press.
R. Stanley Nelson (Atelier Press and Letter Foundry, Charles Town, WV). "Sorting Oneself Out, the Great 'Tugalong,' A Fan of Heavy Metal, or Pulling One's Weight; or Exploring the Fine Art of Shoehorning Too Much Stuff into Too Little Space."
William Welliver ( The Chestnut Press and Type Foundry, Wapwallopen, PA). "A Retro Approach to Automated Type Casting."
Patrick Goossens ( Letter-kunde Press, Antwerp, Belgium). "Saving the Dale Guild Typefounding Artifacts from Dispersion: A Story of Distance in Time and Space."
Richard discussed his methods of cutting punches (and displayed a fixture for driving punches with a press) and discussed and exhibited examples of his work over the years. Very impressive. He also has a Youtube channel at: https://www.youtube.com/channel/UCgDUAPFXSP9hNJPJytQ_61Q (or search Youtube for "stampoch press").
Bradley Hutchinson ( Letterpress.com, Austin, TX).
It is traditional, although by no means required, for participants in the Conference to provide keepsakes for their colleagues. Ususally these are printed items (though in the past they have included objects such as cast types). Here is a list of the keepsakes presented at the 2014 ATF Conference.
Mold gaskets were quite popular at the Conference; see also the packet of Monotype Composition Caster Mold Gaskets from the C. C. Stern Type Foundry, below .
Jason Dewinetz ( Greenboathouse Press, Vernon, BC). "Meditations." 8 1/16 x 11 3/8
Amelia notes that this piece was printed from the original type form set by Schiller in 1936. It survives as a standing form and is a part of the Cary Graphic Arts Collection. For more on the Schiller Archive at the Cary, see: http://library.rit.edu/cary/exhibitions/albert-schiller-genius-type-ornaments
Patrick Goossens ( Letter-kunde Press, Antwerp, Belgium). [Shakespeare's Sonnet 55 ("Not marble, nor the gilded monuments / Of princes, shall outlive this powerful rhyme") in Dutch ("Geen marmerbeeld, geen vorst'lijk grafgesteeni', / Dan dit mijn machtig lofdicht overleeft.")] 21 x 30.
Sonnet 55, translated into Dutch, overprinted in large type in red on a background of all of the sonnets, all in Dutch, printed in black in 6 pt. Garamond as composed on an Intertype C-4. Composed and printed as a part of an international project to commemorate the 400th anniversary of the death of William Shakespeare in 2016.
Gary Gregory ( The Printing Office of Edes & Gill, Boston, MA). "The True-born Sons of Liberty..." 8 3/4 x 6 1/4.
Bradley Hutchinson ( Letterpress.com, Austin, TX). "A Specimen of the Type Known as Andromaque." 6 1/4 x 9 1/2.
Bradley Hutchinson ( Letterpress.com, Austin, TX). "Stanzas Composed and Performed by Messer Pietro Bembo." 5 x 7 3/4, tri-fold.
Richard Kegler ( P22 Type Foundry). "Italian Oldstyle Thirty-Six Point." 8 1/2 x 11.
Richard Kegler ( P22 Type Foundry). Making Faces. DVD.
Richard Kegler. Jim Rimmer. "Droppings from the Pie Tree." [Showings of 60, 36, 24, 18 and 14 pt. Duensing Titling, cut by Rimmer, and a 14 pt trial cutting, by Rimmer, of Carl Dair's Cartier.] 11 x 14 1/2.
The late Jim Rimmer (Pie Tree Press, New Westminster, BC) printed this showing in silver on black tissue paper for the Type Club of Toronto. This reprint of it was done in black ink on regular paper by Coach House Books (Toronto). It was distributed as a keepsake by Rich Kegler. My thanks to Jason Dewinetz (who acquired most of Rimmer's equipment) for bibliographic details about this piece.
Note that this is also evidence that Dair's face Cartier was cut in metal (though not released). The excellent recent book on/by Dair, Epistles to the Torontonians (Toronto, Ontario and New Castle, DE: Coach House Press with Sheridan Collegte and Oak Knoll Press, 2015) is in error in this regard.
John Kristensen ( Firefly Press, Boston, MA). "Landscape" [composed of printer's flowers and ornaments] 12 1/2 x 13. Green ink.
Robert LoMascolo ( The Press of Robert LoMascolo, Union Springs, NY). Shakespeare's Sonnet 117 ("Accuse me thus: that I have scanted all"). 13x19.
Printed in Baskerville newly cast by the Letter Foundry of Michael and Winifred Bixler. With a four-color illustration printed letterpress, inspired by Elizabethan embroidery but featuring flora and fauna of the Finger Lakes region of NY.
Geri McCormick ( Virgin Wood Type, Rochester, NY). [Introduction card for Chromatic Ornate in wood type.] 3 7/8 x 9.
Mark Sarigianis ( The Prototype Press). "A Tribute to Cowboy Printer David Joseph Johnston."
David Johnston passed away suddenly, at a young age, in 2015.
This is a collaborative project between the type designer, Jen Farrell of Starshaped Press in Chicago, the type founder, Jessie Reich of 3 Ton Bridge Press (working at the Press & Letterfoundry of Michael and Winifred Bixler in Skaneateles, NY), and the matrix maker, Ed Rayher of Swamp Press in Northfield, MA.
Andrew Steeves ( Gaspereau Press, Kentville, NS). "The Future of Agriculture: An Essay by Wendell Berry." 11x19. Three color.
C. C. Stern Type Foundry (Portland, OR. Done by all of the principals of the Foundry; Rebecca Gilbert and Chris Chen were at the Conference representing them.) [Packet of Monotype Composition Caster mold gaskets]
See also the mold gaskets by Michael Bixler, above.
Gregory Jackson Walters. [Showing of 144 point Stymie Inline Titling, cast by him from ATF matrices with all three variations of 'A'] 14 7/8 x 19 7/8. Printed in blue.
Most keepsakes bore identifying information, but a few did not (and in some cases they were identified by the printer but not the contributor at the Conference). I do not know who contributed the following items:
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