The Printing Office

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    •  230,00

      Éire was born from a survey of the territories of central Ireland carried out in 2021 translated into the language of engraving and art publishing. Inside, the book presents four panoramas depicted with the technique of relief printing on linoleum plates; the four illustrations are accompanied by the name in Irish Gaelic of the places where the artist has travelled, retracing the most important stages of the journey.

      The signs, colours and materials used to compose this artefact bring back the experience of losing oneself in the Irish rural land, captured by the most intimate and analytical method of representation according to the author’s vision. Bernabè uses the meditative gesture of engraving to investigate a rough and hypnotic land with a strong historical and landscape fascination, which has profoundly influenced the author’s artistic research.

      Project curated by Matteo Bernabè
      Artist’s book 23.5 x 23.5 cm
      Single Copy
      Leporello, 10 pages
      Fabriano Rosaspina paper 285 g
      4 prints 8 x 10,5 cm
      Texts embossed in movable type
      Flexible cover with handmade paper
      Hand-framed and screen-printed slipcase

    •  35,00

      A great return: A+A: the game of couples.

      How many times have you challenged friends in memory games?
      Finally now you can do it combining elements of modernist typography!

      The package contains a set of 54 cards with all the letters of the alphabet and a liar with the indications of name, typography and place of origin of each single character.  Each paper was printed with a wooden letter preserved from the Anonima Impressori typeface collection!

      Cards:
      Matt coated carat paper 350 gm
      Painting with wooden characters and original friezes.

      Booklet:
      Lito-offset printing
      Shiro Echo Favini paper 130 gm

      Print run:
      300 pieces

    •  20,00

      Have fun challenging friends and family with a simple and challenging game, suitable for all ages.

      Many will know it as the classic “names, things and cities” that is now available in this fresh and original graphic design made entirely by Anonima Impressori.

      «Carosello» is a Bellacopia product, a line of craft stationery for incurable lovers of printed paper.

      The box includes an alphabetic wheel with indicator and a block of pre-printed sheets to play right away.
      On the back of the block are the rules of the game in Italian and English.

      Print run:
      500 copies

    •  25,00

      The first issue of the series «Inhabited Alphabets» is entitled Juan in the typographical forest and is illustrated by Massimo Pastore.

      It is a book-poster printed in typography with movable characters from our collection and original illustrations engraved on linoleum by the artist.  Inside you will also find historical-technical information about the movable characters used and a small caption dedicated to the illustration.

      35 x 50 cm
      folded into four parts

      Paper:
      inside – Biotop Next 120 gm
      exterior – Fedrigoni Materica Clay 360 gm

      Typographic printing with movable wooden characters and original 3-colour engravings.

      Graphic Design:
      Massimo Pastore, Anonymous Impressori

      Print run of 300 copies

    •  25,00

      The second issue of the series “Inhabited Alphabets” is entitled Milan 1935, is illustrated by Alberto Fiocco and accompanied by a text by Paolo Rusconi.

      It is a poster printed in typography with movable characters from our collection, original illustrations engraved on linoleum by the artist and a small octave containing an unpublished story, accompanied by information on the characters used.

      35 x 50 cm
      folded into four parts

      Paper:
      inside – Biotop Next 120 gm
      exterior – Fedrigoni Materica Clay 360 gm

      Typographic printing with movable wooden characters and original 2-colour engravings.

      Graphic Design:
      Alberto Fiocco, Anonymous Impressori

      Print run of 300 copies

    •  80,00

      Aldo Novarese was the greatest Italian typeface designer of the post-war period of the 20th century.

      In 2020, Anonima Impressori decided to celebrate the 100th anniversary of his birth by creating a commemorative poster dedicated to him, printed in the summer of 2021.

      For this special project he asked for the collaboration of Fabio Marangoni, an artist from Padua who made linoleum engraving, designing and creating a tribute poster where typographical characters and linographies could dialogue.

      The graphic composition wants to mention the cheerful and multicolored visual harmonies created by Aldo in his career as an advertising graphic designer, characterized by bright flat colors enriched by overprints then joining them to the tradition of artistic engraving of relief matrices (and insert figurative parts in the typesetting).

      35 x 50 cm

      Printing with typeface, linocut and rubber matrices

      Paper Freelife Kendo 120 gm

      Print run of 50 copies.

    •  70,00

      Project by Giulia Garbin, Stefano Riba and Anonima Impressori
      Produced by Griffo, la grande festa delle lettere

      A limited edition book, drawn, printed and bound by hand. Tipi di Bologna tells, through the linocut illustrations by Giulia Garbin, the texts by Stefano Riba and the technical skill of Anonima Impressori, the fascinating stories of the characters who made the history of the Bolognese typography.

      A journey to travel not on the tracks of nostalgia, but to the rediscovery of ancient traditions and techniques – but not past – the art of letters and the culture of the contemporary artist’s book.  Bologna is one of the capitals of Italian printing and in its territory there are hidden stories that deserve to be told and rediscovered, by Francesco Griffo, brilliant Renaissance printer and inventor of the cursive character that according to Umberto Eco, “has changed the history of publishing”, to more recent examples such as the Francesco Simoncini workshops that gave rise to many famous alphabets including the official character of Einaudi.

      And again Cesare Ratta, self-taught, apprentice, worker, composer, illustrator, engraver as well as refined typographer who believed that the values of printing and graphics should be within everyone’s reach or Ferdinando Negroni of the eponymous foundry – descended from the activity of the Amoretti brothers, engravers and founders of characters in the service of Bodoni and co-authors of his famous character – whose company was absorbed by the company Nebiolo of Turin at the beginning of the twentieth century. Alongside these past stories are the direct testimonies of printers, composers and engravers, still active or retired who have operated, or still operate, in the Bologna area.

      The book is actually two books inside each other. The first is a 14-ante concertina with the sequence of illustrations printed, like a long time line. Open completely the book reaches the width of 2.4 meters. Inside, suspended thanks to a magnetic system, is placed the book with the texts (fused linotype and typographically printed) of commentary to each protagonist of the Bologna typography illustrated in the concert.

      17 × 23 cm outer book
      11 × 16.4 cm inner book

      Fedrigoni Materica, Sirio, Century paper
      Printing

      Illustrations and engravings on linoleum:
      Giulia Garbin

      Text
      Cast lead from Linotipia Nettunia with Linotype Mint

      Graphic design
      Giulia Garbin, Anonymous Impressori

      Printed with
      Test press FAG, Platina T “Stella”

      Print run of 300 copies

    •  50,00

      «Maybe my mind is galloping»

      Engraving and printing by
      Massimo Spadari

      50 70 cm
      Paper Fabriano Unica 220 g
      Third footprint
      5 copies available

    •  50,00

      «The others will envy us»

      Engraving and printing by
      Massimo Spadari

      50 70 cm
      Paper Fabriano Unica 220 g
      Third footprint
      5 copies available

    •  95,00

      «It was nice to be there with you»

      Engraving and printing by
      Massimo Spadari

      60 80 cm
      Paper Fabriano Unica 220 g
      Third footprint
      5 copies available

    •  12,00

      Piero Barbera, the great 19th-century Florentine publisher, delights us with his thoughts and observations on the art of printing in the United States of America, where he visits the factories of the large and renowned ‘university presses’ and the printing works of Theodore Low De Vinne, the famous American publisher and printer. He provides interesting insights and observations on the technological advances overseas, while at the same time giving us an interesting account of the state of the North American printing art. A must-have book for fans of the history of typography.

      Published by Ronzani Editore
      110 pages
      Paperback
      Isbn 978-88-87007-43-5

    •  12,00

      “… we cannot place anything else but the Manualetto d’estetica tipografica by ‘Signor’ Giulio Pozzoli and the Manualetto d’estetica tipografica by ‘Signor’ Giuseppe Chiantore [1813-1902]. The latter work especially deserves praise as much for the beauty of its literary form as for the goodness of the teachings it contains”. (G. Bobbio, 1879, p. 168).

      Giuseppe Chiantore’s Dissertazione estetica sulla tipografia is a text that has never been reprinted since 1874, when it came out as an appendix to the Preface to Giambattista Bodoni’s Manuale tipografico, in the edition edited by Salvadore Landi and printed in Florence.
      Not much is known about Giuseppe Chiantore (1814-1902), but the Dissertazione estetica and the other writings collected in this book qualify him as an important figure in 19th century typography. He was an apprentice at the Turin printing house of Carlo Chirio and Carlo Mina. In 1839, he obtained a printer’s patent for the city of Alba. He entered into partnership with Gioacchino Sansoldi and in 1840 began operating under the name Tipografia Chiantore e Sansoldi. After about ten years he was in Pinerolo as printer to the Town Hall, and then to His Majesty. From 1873 to 1880 he went on to manage the Unione Tipografica di Torino founded by Giuseppe Pomba.

      In addition to the Dissertation, it appears that Giuseppe Chiantore wrote only a few short occasional texts, all of which are reproduced here; the volume closes with a series of plates of Bodoni frontispieces taken from L’arte di Giambattista Bodoni by Raffaello Bertieri, Milan, 1913.

      Published by Ronzani Editore
      136 pages
      Paperback
      Isbn 978-88-87007-82-4

    •  22,00

      Ninety years after the first and only edition, Ronzani reproposes this small classic of typography in facsimile, which also allows us to visually appreciate the didactic vocation of the book.

      In Come nasce un libro (How a book is born) (1931) Raffaello Bertieri recounts in a flat manner, with didactic precision and a wealth of examples, all the phases of book production, from the typesetting of the texts to the actual printing and binding, showing in detail how interdependent the various phases are, and how accuracy and precision are essential to the realisation of the work. After decades of profound changes, concerning not only technology, publishing and graphics, but also the whole cultural and social phenomena behind book production, these pages – an expression of Bertieri’s ‘functionalist’ approach to graphic design – maintain their interest intact, both as a first-rate document on the state of the book art in the 1920s and 1930s, and for the topicality of the lessons and considerations on the qualities a book must have in order to satisfy, first and foremost, the reader’s needs.

      Ninety years after the first and only edition, Ronzani reproposes this small classic of typography in facsimile, which also allows us to visually appreciate the book’s didactic vocation.

      Published by Ronzani Editore
      256 pages
      Paperback
      Isbn 978-88-94911-60-2

    •  20,00

      Fra tipi e copie (Between Types and Copies) is a mine of memories, anecdotes, and considerations, a lively and well-written picture of the world revolving around the world of printing and publishing in the fifty years preceding the Great War. This book is a collection of about forty articles written by Giacomo Bobbio, printer, Garibaldian volunteer in Bezzecca and Monterotondo, inspirer and agitator of trade union initiatives, journalist and self-taught writer with a passion for the printing trades – all of them: from thirteen-year-old apprentice to director of the Senate Printing House, to (unfortunate) owner of a printing house.

      The articles were largely published in L’Arte della Stampa and, brought together in a volume in 1913, were so successful that a second edition was needed the following year. This too Fra tipi e copie, like other titles of 19th century typography, is rare to find on the antiquarian market, even at high prices. The Ronzani publishing proposal aims to make up for these difficulties by offering those interested in the world of books a new accurate edition in a beautiful and easy-to-read format.

      Published by Ronzani Editore
      382 pages
      Paperback
      Isbn 979-12-59600-26-4

    •  15,00

      This volume collects the headwords that Giacinto Carena dedicates to the technical terms concerning typography and the material aspects of the book in his Vocabolario metodico d’arti e mestieri (1853), a work that has long been a reference model for lexicographers, and was also admired by Alessandro Manzoni.

      Paper production, type casting, printing, bookbinding, every tool, every raw material, every aspect of the process is recorded and documented by Carena in good living language, verified on the spot at the artisans of the time in Tuscany, where he had travelled several times for long periods. Since that time, along with the technology itself for producing books, the possibility of establishing conceptual relationships between nomeclatures has changed profoundly, as has the way lexical links are graphically represented. But those interested in the world of typography will find in this work a valuable tool to pleasantly explore, and rediscover in its most concrete aspects, the book trade in the 19th century.

      Published by Ronzani Editore
      Edited by Giuseppe Càntele and Elsa Zaupa
      Introduction by Alessandro Corubolo

      160 pages
      Soft cover
      Isbn 979-12-59600-31-8

    •  16,00

      Not everyone is aware of the fact that Mallarmé, the most aristocratic of the Symbolist poets, was also a refined connoisseur of typography, very attentive to all material aspects concerning printing and books. The most emblematic text of this peculiar interest is the poem Coup de dés, but in the formal elaboration of his entire poetic oeuvre, the visual relationship between the printed word and the blank page, the prominence of type and ink on the blank sheet, as well as the incidence of every concrete detail on the aesthetics of the text, is essential.

      This book collects for the first time in an Italian edition the reflections, or rather the ‘digressions’ of Mallarmé’s ‘Book form’ (to be written with a capital letter, as the materialisation of the ‘great Work’: of a ‘total’ work), published by the poet under the title The Book, a Spiritual Instrument. Prose of great strength and suggestion, accompanied by three essays dedicated to how this specific interest of Mallarmé’s is expressed in his work and what repercussions it had in the subsequent avant-gardes.

      Published by Ronzani Editore
      Edited by Giuseppe Càntele
      Translations by Marco Cavalli

      176 pages
      Paperback
      Isbn 978-88-87007-97-8