The Industrial Revolution changed the course of printing not only by mechanizing a handicraft but also by greatly increasing the market for its wares. Inventors in the 19th century, in order to produce enough reading matter for a constantly growing and ever more literate population, had to solve a series of problems in paper production, composition, printing, and binding. The solution that most affected the appearance of the book was mechanical composition; the new composing machines imposed new limitations not only on type design but also on the number and kinds of faces available, since the money required to buy a new typeface was enough to inhibit printers from stocking faces of slight utility. As a result, Victorian exuberance of design, which might use a dozen or more typefaces within a single book, was effectively curbed.

It is paradoxical that what became known as the Arts and Crafts Movement, with its roots in the romantic Gothicism propounded by the critic John Ruskin and by Morris, should have had a considerable influence on modern industrial design, including that of the book. An Englishman, William Morris was a fervent Socialist who believed that the Industrial Revolution had killed man’s joy in his work and that mechanization, by destroying handicraft, had brought ugliness with it. Morris was above all a decorator; his work in the decorative arts had added great lustre to the fame he had already achieved as a writer when, partly as a result of dissatisfaction with the editions of his own works, he decided to establish a press. In 1888 Morris attended a lecture given by the printer Emery (later Sir Emery) Walker and was entranced by Walker’s lantern slides of early types, greatly enlarged. He proposed to Walker that they cut a new font of type that would recapture the strength and beauty of the early letters, based upon medieval calligraphy. The Kelmscott Press, in its brief life (1891–96), printed 52 books that exemplified Morris’ standards of perfect workmanship. A firm believer that a return to the past would produce a better society, he commissioned handmade paper like that used in the 15th century, had new, blacker inks made, and used the handpress and hand binding exclusively; a few copies of each title were also printed on vellum. With Walker, he designed three types: a roman, based upon that of Nicolas Jenson, and two Gothics after German models; all were cut and cast by hand. Woodcut initials and borders were engraved to his own design, and wood-block illustrations were cut from drawings by Edward Burne-Jones and other of his friends.

The Kelmscott Press’s major book was its Chaucer, finished in 1896, a sumptuous folio whose rich decorations and strong black pages are reminiscent of the German incunabula Morris admired. A table book, meant to be looked at rather than read, it is one of the most influential books in the history of printing—a revolutionary book, despite its anachronisms, which caused a whole generation of printers and designers to be dissatisfied with the books they saw about them and to attempt to improve upon the badly made, weakly designed books that were common in the late Victorian age.

Private presses on the Morris model proliferated in England, on the Continent—especially in Germany and the Scandinavian countries—and in the United States. The best of these, notably the Doves and Ashendene presses in England and the Bremer and Cranach presses in Germany, published books of great style and strength. There were also poorer imitations, as the Roycroft Press in the United States.

The most influential of the private presses was the Doves Press, established in 1900 by T.J. Cobden-Sanderson and Emery Walker. Walker, who was one of the prime movers in fine printing for over half a century, also played an important role in creating type for the Ashendene and Cranach presses. Cobden-Sanderson was one of Morris’ circle at Kelmscott House and had become a bookbinder at the suggestion of Mrs. Morris. The bindings executed at his Doves Bindery are notable for their excellent craftsmanship and their clear, simple design, which often used Art Nouveau motifs (see below). The Doves Press books, which were printed in a type based on Nicolas Jenson’s 15th-century roman, were austere in their typography, eschewing all decoration and illustration and relying for their effect on the beauty of their type, spacing, and presswork. Occasionally a second colour, a splendid red, was used, and superbly drawn initials adorned many of the 50-odd books. A five-volume Doves Bible, issued between 1903 and 1905, is among the monuments of fine bookmaking, as well as one of the most influential modern books, a result of its virility, purity of design, and perfection in craftsmanship.

The third great English private press, the Ashendene, was conducted by C.H. St. John Hornby, a partner in the English booksellers W.H. Smith and Son. Hornby in 1900 met Emery Walker and Sydney Cockerell (Morris’ secretary at the Kelmscott Press), who encouraged and instructed him and helped in devising two types for his own use: Subiaco, based upon Sweynheim’s and Pannartz’ semiroman of the 1460s, and Ptolemy, based upon a late 15th-century German model. The Ashendene Press books, like those of Morris, were often illustrated with wood engravings, and many had coloured initials.

In Germany Morris’ closest counterpart was Rudolf Koch, who gathered around himself at Offenbach, where he taught at the Arts and Crafts School and designed types for the Klingspor foundry, a community of craftsmen who painted, worked in metal, wood, and stone, printed, and wrote. Above all a consummate penman, Koch made the written word the basis of his designs in any medium, whether tapestry or woodcut. A devout Christian, Koch, like the medieval craftsmen he admired, saw the Gothic style as a supreme manifestation of religious spirit; he was no mere imitator but an artist who freely reinterpreted in his types and books the traditional Fraktur type of Germany. Koch also created a number of modern types, among them sans serifs and romans.

Cobden-Sanderson’s influence, however, far exceeded that of Morris in Germany. The most important of the German private presses, the Bremer Presse (1911–39), conducted by Willy Wiegand, like the Doves Press, rejected ornament (except for initials) and relied upon carefully chosen types and painstaking presswork to make its effect. The most cosmopolitan of the German presses was the Cranach, conducted at Weimar by Count Harry Kessler. It produced editions of the classics and of German and English literature illustrated by artists such as Aristide Maillol, Eric Gill, and Gordon Craig and printed with types by Emery Walker and Edward Johnston on paper made by hand in France. Kessler’s books did not attempt to imitate medieval or Renaissance models; they sought to create—using the same methods as the early printers—books modern or, rather, timeless, in spirit.

The most notable figures of the private-press movement in the Netherlands were S.H. de Roos and Jan van Krimpen. De Roos, like Morris a utopian Socialist, was an industrial designer who hoped to create a better society by improving the appearance of ordinary utilitarian objects. His first book, Kunst en Maatschappij (1903), was, significantly, a collection of Morris’ essays in translation. De Roos’s decorative style became simple and less florid under the influence of Cobden-Sanderson, whose work he greatly admired, although his ideals remained those of the Arts and Crafts Movement. Unlike Morris and Cobden-Sanderson, de Roos was a book designer, designing books for others, rather than a printer—one of the earliest of the new school of typographers, who provided layouts for the publisher or printer, specifying type, format, and overall design. Increasingly, as technology became more complex and shops more highly specialized and automated, design became more a profession; the typographer, trained in industrial design or graphic arts, succeeded the printer or the publisher in deciding how a book should look. De Roos, who drew a number of typefaces for the Typefoundry Amsterdam, designed books for the Zilverdistel, the Meidoorn, and other private presses, as well as for trade publishers.

Jan van Krimpen used little decoration in his work, which achieved its effect through a classic clarity of style and impeccable printing. His books, for the Enschedé firm for which he worked, for private presses, or for trade publishers, attempted always to interpret the author’s meaning as clearly as possible, to reflect it rather than to enhance it. Krimpen also designed a number of typefaces, all of which show his earlier study of calligraphy. Among them are Lutetia, a modern roman and italic of great distinction; Romulus, a family of text types that includes a sloped roman letter instead of the conventional italic; and Cancellaresca Bastarda, an italic notable for its great number of attractive decorative capitals, ligatures, and other swash (i.e., with strokes ending in flourishes) letters, elegant in appearance.

Another typographer working in the classic mode, Giovanni Mardersteig, spent most of his creative life in Italy, though he was born and trained in Germany. His Officina Bodoni utilized Bodoni’s types to print the collected works of D’Annunzio. Mardersteig not only used the handpress for limited editions (usually on handmade Italian papers) that rival 15th-century printing in their beauty of spacing and presswork, but also supervised at the Stamperia Valdònega in Verona long-run editions on high-speed presses, which are likewise remarkable for their craftsmanship. In addition, he designed several typefaces, among them Pacioli, Griffo, Zeno, and Dante.

The Art Nouveau movement was an international style, expressed in the consciously archaic types of Grasset in France; in posters and magazine covers by artist Will Bradley in the United States; and in initials and decorations by Henry van de Velde in Belgium and Germany. Van de Velde, the leading spokesman for the movement as well as one of its most skilled practitioners, in his essay “Déblaiement d’art” (1892) advocated the development of a new art, one that would be both vital and moral, like the great decorative arts of the past, but that would use contemporary modes. For a reprint of the essay, he designed a series of initials and typographic ornaments that express the characteristics of the style: decoration based upon natural forms; pages whose typography and decoration blend to make overall patterns; and a richness of texture reminiscent of illuminated manuscripts. Van de Velde’s most important book was an edition of Nietzsche’s Also sprach Zarathustra, which he designed for the Insel Verlag and had printed by the Drugulin-Presse of Leipzig and for which he created a series of ornaments printed in gold, as well as endpapers, title page, and binding; a small folio, conceived as an architectonic whole rather than a series of unrelated openings, it is a striking, if dated, volume.