{"id":215,"date":"2024-03-30T20:40:57","date_gmt":"2024-03-30T20:40:57","guid":{"rendered":"https:\/\/www.huronresearch.ca\/feministbibliography\/?page_id=215"},"modified":"2025-02-20T21:47:35","modified_gmt":"2025-02-20T21:47:35","slug":"wellsandfacesexhibition","status":"publish","type":"page","link":"https:\/\/www.huronresearch.ca\/feministbibliography\/wellsandfacesexhibition\/","title":{"rendered":"Wells and Faces Exhibition"},"content":{"rendered":"

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Wells and Faces was created by Lauren Stoyles for her capstone research course in History of the Book, 2024.<\/span> <\/span><\/span><\/p>\n<\/blockquote>\n

In letterpress printing, raised faces on the type create imprints of letters, words, and stories. However, it is the wells in the type, spaces that sit below the ink line, that give shape to the impression. If we look closely at these wells, we can often see the marks of the printers: fingerprints, smudges, and indents. What would close examination of a whole collection of books uncover? Whose stories sit just out of view below the ink line?<\/span><\/p>\n

Wells and Faces<\/em> uncovers the stories and work of women printers housed in the University of Western Ontario\u2019s special collections. The exhibition is composed of texts that span the historical timeline from 1542 to 2012. Arranged chronologically, the exhibition takes you on a journey through a history of women\u2019s print highlighting the shifts and continuities in themes of professionalism, ownership, and craft. Each of the texts included in the exhibition was printed by a woman or in the print shop of a woman printer. Wells and Faces <\/em>serves as a reminder of the often-quiet persistence of women\u2019s labour throughout history.<\/span><\/p>\n

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Learn more about the woman printers behind the texts included in the exhibition by clicking the boxes below.<\/p>\n

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Wells and Faces was created by Lauren Stoyles for her capstone research course in History of the Book, 2024. In letterpress printing, raised faces on the type create imprints of letters, words, and stories. However, it is the wells in the type, spaces that sit below the ink line, that give shape to the impression. […]<\/p>\n","protected":false},"author":368,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"

The art of letterpress printing is in the blank spaces\u2014the indented wells of the type that allow for the impression of the face that they support. It is in the blank space that we find the history of the letterpress as well; this time in the form of the hidden labour of the type setters, justifiers, and press operators who are behind the creation of the finished print. While holding a print in our hands, it is easy to forget the people behind it, to imagine that its history is as clear cut and black and white as the impression itself. However, to forget would be to warp our comprehension of the print as an artifact. If we look closely at these wells, we can often see the marks of the printers: fingerprints, smudges, indents. What would close examination of a whole collection of books uncover? Whose stories sit just out of view below the ink line?<\/p>

Wells and Faces<\/em> uncovers the stories and work of women printers hidden in the University of Western Ontario\u2019s special collections. The exhibition is composed of texts that span the historical timeline from 1542 to 2012. Arranged chronologically, the exhibition takes you on a journey through a history of women\u2019s print highlighting the shifts and continuities in themes of professionalism, ownership, and craft. Each of the texts included in the exhibition was printed by a woman or in the print shop of a woman printer. Wells and Faces <\/em>serves as a reminder of the often-quiet persistence of women\u2019s labour throughout history.<\/p>","_et_gb_content_width":"","_mc_calendar":[],"footnotes":"","_links_to":"","_links_to_target":""},"class_list":["post-215","page","type-page","status-publish","hentry"],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/www.huronresearch.ca\/feministbibliography\/wp-json\/wp\/v2\/pages\/215","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.huronresearch.ca\/feministbibliography\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.huronresearch.ca\/feministbibliography\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.huronresearch.ca\/feministbibliography\/wp-json\/wp\/v2\/users\/368"}],"replies":[{"embeddable":true,"href":"https:\/\/www.huronresearch.ca\/feministbibliography\/wp-json\/wp\/v2\/comments?post=215"}],"version-history":[{"count":0,"href":"https:\/\/www.huronresearch.ca\/feministbibliography\/wp-json\/wp\/v2\/pages\/215\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.huronresearch.ca\/feministbibliography\/wp-json\/wp\/v2\/media?parent=215"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}