Women in Print 1: Design and Identities: 2 (Printing History and Culture)

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Relocating to Hong Kong from Dublin, Ava’s on a kind of inverse gap year. Teaching grammar to rich kids, she meets Julian (more than happy to support her financially, but there’s no such thing as a free lunch) and Edith, who provides a much-needed listening ear. Power, privilege and growing up are under the microscope in this excellent debut. V For Victory Figure 5.4. a. Advertising poster for T. Gerrans, Auctioneer &c, Heard and Sons, 1847; b. Advertising poster for W. Salter, Heard and Sons, 1839. Images used with the permission of the Royal Institution of Cornwall, Courtney Library (Heard Collection).

Figure 10.1. Untitled (lithograph), Lene Schneider-Kainer, Hetärengespräche [The Dialogues of the Courtesans], Lucian of Samosata and Christoph Martin Wieland (trans), Berlin: Verlag Julius Bard, 1920. Image reproduced with the permission of Gesche Kainer. Figure 4.1. Olive Branch, 12 November 1836, frontmatter. Image courtesy of the American Antiquarian Society Collection. Women in Print is a collection of essays in two related volumes which considers the diversity of roles occupied by women in the design, authorship, production, distribution and consumption of printed material from the thirteenth century onwards.

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The printing industry has historically been male-dominated, but there is now a far wider range of opportunities for women across print workplaces where roles and opportunities have been dramatically altered by technology. Dial A for Aunties beat titles including Dolly Alderton’s debut novel Ghosts to the prize, for which Alderton was named runner-up. “Ghosts is a marvellously accomplished, tender, witty and human story that should speak to women everywhere,” said Harris. At a time when funny books are needed more than ever, writers longlisted in the Published Comic Novel category are:

Figure 3.1. Plympton, Letitia Byrne (etcher) and Joseph Farington (painter), Memoirs of the Life of Sir Joshua Reynolds: With Some Observations on His Talents and Character, Joseph Farington, 1819, London: T. Cadell and W. Davies, frontispiece. Image courtesy of the Victoria and Albert Museum, London. One thing that I think Covid has done is make business leaders rethink the possibilities of working flexibly. Through my Victoria Print Network and the round table discussions we have, it often comes up that a barrier to women progressing in our industry is that it’s so difficult to balance having a family and having a career. Covid, whilst challenging, has allowed us the opportunity to leap out of the 90s and jump headlong into the 21 st century in terms of smarter working practices. Enforced home working, combined with the greater burden of childcare, has really road tested the opportunity for flexible working and proven that it is possible, although challenging, to do both roles. Figure 9.1. Advertisement for Votes for Women. Image courtesy of Schlesinger Library, Radcliffe Institute, Harvard University. ←x | xi→ Women (and men too) on the manufacturing side will see less change in their place of work but the workplace will have changed in that the emphasis on hygiene and environmental improvement is likely to be the legacy of the pandemic.”

Charlotte Guillard is the first woman printer with a widely recognised career. She worked at the famous Soleil d’Or printing house in Paris from 1502 until her death in 1557. From 1537 onwards, after the passing of her second husband, Guillard ran her printing business on her own. This was unusual for the time, as women were not allowed to own a business. They were, however, allowed to take over the business of their husband after their death.

Women in Print 1 reflects the efforts and expertise of many people. We hope that the publication justifies their commitment and provides not only a reflection of the importance of women in print but also offers opportunities for future studies of women in the printing trade. Figure 1.1. Fragment of a broadside on the Popish and Meal-Tub Plots and other events of the time; with eight of twelve scenes: Popish Damnable Plot against Our Religious and Liberties, Lively Delineated in Several of Its Branches, With an Account of the Manner of the Execution of William Viscount Stafford on Tower-Hill. London, 1680. Reproduced by permission from the British Museum. Although print is a fairly male dominated industry, I do think there are many opportunities for women, and it is an inclusive industry. I hope that more young women will look at print as a career and be welcomed into the industry just as I was nine years ago.” If you have a short film or sketch that you think is hilarious, then enter your work for our Comedy Shorts Award to be in with a chance of winning some life-changing support and mentoring from comedy professionals. These changes will impact on women in management, sales, support and administrative roles. If a woman is responsible for dropping off and collecting up school age children, the ability to work from home and for longer hours with no commute could be a great advantage. Equally, if men are asked to work from home more, they may be seen at the school gates more and that could free up their partner or spouse to work away or for longer.ACCOMMODATION: There is a variety of accommodation close to the University. Details of University of Birmingham B&Bs can be found HERE. A very popular alternative is the lovely Woodbrooke Quaker Centre which provides a great B&B and is walking distance to the University. If you would prefer to be in the city centre, there are a variety of hotels to suit all budgets a selection of which can be found HERE. The first exhibition launched at Rudy’s Pizza, Ancoats in 2016 and featured 16 prints, each one a creative response to a woman who had lived or worked in Greater Manchester or contributed to the area in someway including; Figure 3.2. Donnington Castle Taken from a Field Adjoining the Road to East Ilsley from Newbury, William and Letitia Byrne (etchers) and J.M.W Turner (painter), 1805. Image courtesy of Yale Center for British Art. ←vii | viii→ Figure 4.2. Clara, ‘The Model Husband’, Olive Branch, 28 June 1851. Courtesy of the American Antiquarian Society. Lucy Melville, Global Publishing Director and Head of Editorial at Peter Lang, has been an enthusiastic, helpful and responsive guide and her team have efficiently and effectively guided the project through from manuscript to final product.

PLEASE NOTE THE CHANGE OF VENUE: Day One, G33 Small Lecture Theatre, School of Education, University of Birmingham; Day Two, Lecture Room 3, Arts Building, University of BirminghamMeet Meddy Chan – her meddling aunties have set her up on a blind date, her suitor’s dead, and it’s only kind of her fault. As far as Meddy’s concerned, the aunties who got her into this mess will have to get her out of it. Mixing rom com with murder mystery, the plot is anything but predictable. Murder By Milk Bottle I feel like a lot of women are raised to be very humble, and when people give us compliments, we’re supposed to be like, ‘Oh, no, it’s not that big a deal’,” said Sutanto. “Yesterday, my husband said to our five-year-old, ‘Mama did an amazing thing, she is certified the funniest female author in an entire country’. And my five-year-old was like, wow, and I said ‘Oh, no, Papa is just exaggerating’. He said, ‘I’m literally not’, and then it hit me and I had to have a moment because that’s just too big. I needed to have a moment to let it sink in.” The day is marked globally on 8 March, and aims to celebrate the social, economic, cultural and political achievements of women. It also marks a call to action for accelerating gender parity. Dangerous Intruders’: Women Compositors and Nineteenth-Century Print Trade Unionists – the Case of Perth (Helen S. Williams) Christine Moog is a book designer specializing in monographs and catalogues on art and architecture. She received an MFA in graphic design from Yale University and an MA in art history from the University of Toronto. She is a professor at Parsons School of Design and has previously taught at Yale University, School of Visual Arts, the City College of New York, and Ontario University of Art and Design.