There are groups that endeavour to promote research into printing history, exemplified by the Printing Historical Society (PHS), the National Printing Heritage Trust (NPHT), and museums dotted around the country with assorted printing exhibits.
Over the years, I have served on committees of the PHS and NPHT and have been disappointed by the lack of participation from industrial printers. Such organisations tend to be populated by academics, librarians, designers, historians, publishers, hobbyist printers, bibliophiles, and laymen with a fascination for printing.
On several occasions in the last few decades, a number of people have attempted to galvanise interest in the formation of a national printing museum, but the response from the industry has been mute, parsimonious, and characterised by indifference. Appeals by the late James Moran, the late Peter Whittaker, Dr Derek Nuttall and others have fallen on deaf ears.
It is scarcely necessary to point out that the industry has undergone transformation in the post-war period from a handicraft letterpress process to a computerised, digital, and automated amalgam of techniques.
With the changes countless artefacts have been discarded. Another source of regret is that those involved with the study of printing history display a deep reluctance to explore beyond the handicraft/letterpress period. It is modern heritage most at risk.
Lawrence Wallis has held international pre-press marketing positions and is now a respected author and print historian.
Heritage at risk of being erased
Printing history is a subject of immense interest and importance to me. Sadly, I realise that most people in the trade do not share the enthusiasm. That is partially explained by the unimaginative state of industrial training that has prevailed for a generation or more. Additionally, the little instruction that does take place concentrates on narrower and immediate operational functions.
