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

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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 5.2. Advertisement for Heard and Sons, Heard and Sons [n.d.]. Images used with the permission of the Royal Institution of Cornwall, Courtney Library (Heard Collection). 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 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). Her business grew substantially over the years. She owned five or six printing presses and she had 25-30 employees. More than 400 different libraries worldwide have books printed by Guilliard.

The Woman Thoroughly Dominates’: Lene Schneider-Kainer (1885–1971) and Weimar Lesbian Erotica (Abbey Rees-Hales) CWIP is designed to create opportunities. The University of Hertfordshire offers a place on its creative writing MA course to the unpublished runner-up; Falmouth University offers a place to a second runner-up on its online MA in comedy writing. Our staff who are based in production roles haven’t been able to work from home but there has still been a need for more flexibility with working hours as people have needed time off for childcare, appointments and time to support family members who have been isolating. This flexibility will continue into the future and I suppose it could be argued that a more flexible way of working within production will create more opportunities for women if they have constraints on their working hours due to home life, but again, this is the same for men.

The acceptance of remote and more flexible working enforced by the pandemic certainly creates a working environment that women - as the most traditional carers of children and elderly parents - can thrive in. The 9-5 routine with daily commute has morphed into a more fluid work day where women can more easily balance the demands on their time. One can only hope that the tradition of full-time office working does not re-emerge and that more flexible arrangements will continue for women to stay in the workplace for longer and therefore further their careers.” It was her husband, who is English, who suggested she write about her family because “they’re just so out there”. “But every time I tried, the drama hit too close to home, and I wasn’t having fun writing it, I was getting stressed out. So I thought, well, what if I leaned into making it really, really ridiculous, and just threw in a dead body and saw what happened,” she said. “It turned out that was the ingredient that I was missing.” Dial A for Aunties is set in California, around a family of Chinese-Indonesian wedding planners. With the shift to remote working, now more than ever companies have been looking at technological solutions to aid their print procurement. We’re making the industry more inviting to all walks of life including women, younger people and those currently in other sectors. I think it’s a great opportunity for everybody, especially those who we have struggled to entice into the industry over the years.” 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.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.

The journey for a statue to be erected began in 2014 with The Womanchester Project; a campaign to get a new statue of a radical Manchester woman. In 2016 the public voted to commemorate Emmeline Pankhurst from a long-list of 20 important women. First in the Fight documents the lives of the twenty women who were long-listed in the campaign, who all made Manchester first in the fight for freedom, and feminism. The Book Films are judged for production, concept, delivery/performance, creativity, writing and overall funniness. The top 10 films are then viewed by an independent judging panel of top television and film industry professionals who will choose one overall winner and two runners up. The final three will be invited to attend the grand final in London on the 23rd September. Sutanto started out writing dark suspense, and says her friends would tell her that her characters were “too flippant about murder”. “The Aunties can be very flippant, as long as I have the main character as the normal person who is going out of her mind. So the comedy actually came very, very naturally, which was really great,” she said. After a bidding war, the novel is being adapted by Netflix, which describes it as Crazy Rich Asians meets Weekend at Bernie’s.

Lydia Bailey 

Leonard and Virginia Woolf likewise faced hostility from within the trade when they initially set out to learn how to set type. The ‘do-it- yourself’ ethos adopted by 1970s feminists echoed the early years of the Hogarth Press, which was set up by the Woolfs to be a small private press which they operated themselves. As the Hogarth Press output expanded and it evolved into the size of a commercial publishing operation, print production, and especially typesetting, turned out to be more time-consuming than the Woolfs had expected. Additional help was recruited through the Woolfs’ informal network of acquaintances. Nicola Wilson and Helen Southworth’s chapter, ‘Women Workers at the Hogarth Press (c.1917–25)’ explores the relationships between the Woolfs and the women who assisted them. Women in Print 2 reflects the efforts and expertise of many people. We hope that the publication justifies their commitment and not only provides ←xi | xii→ a reflection of the importance of women in print but also encourages further research into the history of women in the printing trade. The Unpublished Novel Winner is published by Harper Collins and receive an advance and huge attention. The Unpublished runner upper's win a place on an MA in Creative Writing at the University of Hertfordshire and an MA in Comedy at Falmouth University. Figure 4.2. Clara, ‘The Model Husband’, Olive Branch, 28 June 1851. Courtesy of the American Antiquarian Society.