 We are delighted to have our speaker here this evening, and he's going to give us a talk on what he does and how he does it. There'll be time at the end for questions. Then we take a fair chunk of time for just refreshments and a chance for people to chat with each other as well as ask questions of our speaker tonight. So that's it. Thank you very much. I'm going to talk about my work but indirectly, and I'm going to talk about basically the lineage of printing and how that has ended up in my lap. We are here in this Mechanics Hall where this Mechanics Hall was built to support the people making things in this town. It's just as important today as it was when they built this building. They built this building because they saw a loss of people actually using their hands to make things way back when it was built. We see the same thing today, I think. So this is a ridiculous title, but this is a lineage of the history of printing, but then it ends up in my lap. So this is a chart showing the history of printing. Well, the amount of time that we have been printing. So the first black line, the largest area is the time period. It's a timeline. So it's the first flint weapons to the first cave drawings. It's 230,000 years of human development. Then the second red line is cave paintings to the time of the cave paintings to the hieroglyphics, 15,000 years. The third, the black line, the smaller one as we're going down in size, hieroglyphics to Roman letters, 5,000 years. Then the smaller square red is Roman letters to the invention of printing, 1500 years. Then that little sliver down there at the bottom is the time it took for printing to spread throughout Europe as soon as it was invented. The time that we've been doing printing is only 570 years. So it's a fraction of that little red square. So let's go back. Yeah. So prior to the invention of movable type, books were printed from wooden blocks. This is a contemporary place in China where these are the pages of books. So a book is ordered and they pull these blocks, these are woodcuts and every woodcut is one page. So they pull them all off and print them, and you order a Bible and you get one, and they just print them out of these wood blocks. So Gutenberg is the beginning of movable type in 1450, and is the beginning of the technique that I use and printing as we know it. So basically what that is is a piece of metal lead that is in relief. You can see how it's used here. It's a small piece of metal and each letter is on its own piece, and you just compose them to the words that you want. Gutenberg came up with this system. He also invented printing presses and printing ink, and a number of other things that contributed to the beginning of movable type. And like I said, it only took a few years for that technology to spread throughout Europe. And you think about the time period that that was, 1450. What would it take, I mean people didn't have cell phones. How did it spread throughout Europe in that short amount of time? Gutenberg was best known for his 42-line Bible, of which this is one page of it. So prior to him doing this, this page would have had to be all carved out of wood, all in one piece. So this is the earliest, first known illustration of a printing press from Danse Macabre and from France, well printed by Matthias Huss in 1499. So the Danse Macabre was a series of prints that showed every station of life, of every job that people had, and each one of them had the death figure hovering over them. Just basically, I mean from the pauper to the king to the pope, every one of them had the death was close to them. So death comes to us all no matter how high we are, basically was the point. So it's showing the beginnings of these printing presses. I put this on here just to show you this, the printing press is in the middle and made out of wood with struts going up to the ceiling, and it was basically just a big screw press. So you pull the handle, the screw turns, and it pushes a flat surface down, makes the impression off the type. This is a press of Ascensius in 1507. It shows the press a little bit better in this illustration. So that's a really short history of printing, really short. But I just want to get the idea that this is part of my, what I do, it is a lineage all the way up to those of us that do this today. This illustration is, so why is there so much printing in Maine? I think that's an important thing to think about. This is a banner from the, it used to be owned by the Mechanics Hall, the Mechanics, and the Mechanics would host a parade. And I don't know how many of you have seen these banners. They're at the, they're at the Maine Historical Society now, aren't they? Yes, and they're beautiful. They're beautifully hand-painted, and so each station of life, again, would have had a banner and you'd march, and I guess they marched down the street and had a parade. This one was for the printer. And it's a little hard to see. There's a printing press on the left. And I think another printing press on the right. So Archimedes' Lever, and that's the front of it. This is the back of it. The tyrant's foe and the people's friend. So, so, you know, there was a lot of printing. There always has been a lot of printing in Maine. And there is a lot of printing in Maine again, not on the massive commercial level that it used to be, but we have more letterpress printers in this town, in Portland, or in the surrounding area, than most, you know, large sections of the country. One of the reasons that we historically have a lot of printing here is because we had the resources. And so the wood, the resources, the paper. So this is the raw materials. This is a log drive in Island Falls in 1895. So the logs were being taken out of Maine, or were being produced into things in Maine. So we had lumber for building, but we had paper making and a number of other things that came out from the logs. Here's another interesting photograph. This is a log drive on the Soco River in 1894. So our rivers, the fact that Maine has the rivers that come, that feed up into that resource, the log, the trees. So the trees would grow, they'd cut the trees, they'd put them in the rivers, and they were brought down to the shore. And all along the coast is where the factories were, and the paper mills, and the ships that could carry them to other places. This is a beautiful, I had to show this. This is the companies that made paper in this area in Maine. This is the Continental Paper Company Anniversary Booklet, Rumpford Falls, 1905. So there's a pretty good size factory, a picture of one there. So just some samples of what was made. This is a picture of Rumpford in 1900. It shows these companies. The Rumpford Falls Sulfite Company, capable of producing 40 tons of sulfite pulp per day. Rumpford Falls Paper Company producing up to 60 tons of paper a day. That's a lot of paper. Rumpford Hill Chemical Company, Continental Bag Company producing one million paper bags per day in 1900. And that was that booklet that I just showed. International Paper Company and the Rumpford Falls Envelope Company, all in that complex right there in 1900. Here's a shot of the St. Croix Pulp and Paper Company in Woodland, which is now Bailliesville in 1920 from an old postcard. And here I put this in because you can see the rail line. So we used to have a lot of rail lines that ran through Maine because they were pulling all of this raw material and these resources out of where they were being produced and bringing them to where they were needed, where they were sold. So the shipping of the materials, we have that. We had the ships. This is sailing vessels in the Portland Docks. And this is the Grand Trunk Railroad in Portland in 1900. So I mean, that's a lot of trains. And so you can see this Y printing did well here. So here's some images of some of the print shops. It was a prime place for printing to thrive. This print shop is the print shop of the Sanford Weekly Ledger. The ledger ran from 1892 to 1895 and later became the Sanford Tribune. So you can see those big old presses. Those things weigh a lot. I should know. I've been moving them. And you can see in the picture, they would have probably been steam driven and they would have had a steam engine in the cellar or somewhere outside of this room. And they would have run a shaft, a rotating shaft into this room and you can see the pulleys up there on the upper right a little bit. So the shaft would come in and have pulleys on it and the belts would come down and run the presses. Or it was water driven. We do have a lot of water supply of dammed up water that would drive these presses also. This is a photograph of the Stephen Berry Print Shop. This is at 37 Plum Street in Portland, 1887. It's where the bank is now, one of the banks downtown. They tore all that stuff out. So in this picture, it's not only the Stephen Berry printer, but if you can't really read it from the slide, but there's a book binder also in the building which is often what would happen. So this was right in Portland. There's one, two, three, four, five, six, seven, eight people being, nine people being employed by Stephen Berry at least. This is the Tucker Book Card and Job Printing Office. And from 1859, it was located at 65 and 71 Exchange Street, Portland. It was burned in the fire of 1866 and was later replaced with a new brick structure for the First National Bank on the corner of Exchange and Middle Street. So what's there now? Tommy's Park, I think. There's still part of a bank there. So this is a huge operation right downtown Portland. Then this is an example of Tucker's printing, a call to arms for the Civil War. And this was a local poster that was just distributed locally. It was not national at all. Sons of Maine to join the 12th Maine Regiment in the fall of 1861. So Maine and Portland in particular has a long history of printing. As does New England in general. And I think, I mean, Boston has had a lot of printers, famous printers out of Boston. But I think, I theorize in my mind that the reason they were printers in Boston was because they could get paper from Maine. I mean, I don't know that for sure, but I think it makes sense. So now I'm going to jump up a lot and to more direct lineage to wolf additions. And I'm stretching it a bit here because I never met anybody who worked at this place. But this is the Marymount Press in Boston. And it was the beginning of the revival of fine printing in New England. So printing kind of went cheap. It was like big factories and, you know, it was bad paper and bad type. And it was just kind of done quickly. And with the revival of fine printing in England about the same time, in New England we started to do the same thing. So the Marymount Press is a very famous Boston printer. And it was Daniel Berkeley Uptyke. And this is a picture of him. And he was among the very few four or five printers at the time that really wanted to make printing better. And wanted to make. What was the time, David, when you talked about? When would, Scott, when would Uptyke have been? The teens up through the 40s? Teens up through the 40s, just as a guess. So you've got, so you've got the interest in fine printing growing. And we've, so this is some samples of the Marymount Press work. Beautiful compositions of these title pages. And he influenced many, many people. Just that he was successful and he was doing fine printing. And he was asking the question, how can we make it better? How can we do this in a better way? And he wasn't looking backwards. So the printing, early, early, early printing was really beautifully done and very carefully done. And it kind of went down. And he wasn't, he was reviving it just the interest in fine printing. It wasn't, he wasn't trying to bring back the old days. He was trying to say, all right, we have new machines, new technologies, and we can make fine books with this and do a better job. There's, this is Thomas Bird Mosier. And he's the, he was from Portland. And he was considered a publishing pirate. He didn't ask permission for, to publish people's works. He just, it was kind of prior to copyright laws and actually many, a lot of the push to get copyright laws were caused, came about because the work that he had done and people were complaining about it. And he was on Exchange Street. This is some of his work. So on Exchange Street, you know, this is right in Portland. Some of his beautiful designs, Art Nouveau, I was trying to find that word. And so then now we're going to get to a direct lineage for me and my friend Scott is, is Antholenson Press. No, Antholenson Press was a press that was on Exchange Street. It originally had been on Franklin Street and the building burned and they moved into Exchange Street because they were just junk storefronts and they could get them cheap on Exchange Street. And Fred Antholenson, this is him in 1940. He was a portlander and he started working at a place called the Southworth Press. And again, he was looking at Marymount Press, that Marymount Press preceded him a bit and he was looking at Marymount Press and saying, that's the work I want to do. I want to do really good work. So he started working at Southworth Press and then eventually bought it and turned it into the Antholenson Press and brought the level of printing in Portland up to a fine press level. Here's a letterhead from that. And so after the fire on Middle Street, it was moved to 37 Exchange Street. So this is when it was on Middle Street. And I could go on and show you tons of examples of this man's work, but I'll just show you this book that he wrote about types and bookmaking. And at the time of this book publishing, it was 1943, it was called the Southworth Antholenson Press. So he had bought it but he kept maintaining the old name a little bit for a little while and then he dropped the old name. I was hired by the Antholenson Press. That's what brought me to Portland. And I had studied fine art printmaking in art school in Baltimore, but I was really interested in this book printing thing, which in art school, I was not taught letterpress printing at all. And I came and swept the floor at Antholenson Press and learned letterpress printing there. We had that business was based on linotype machines. So this is a rather gregarious linotype machine. And this is about 4,000 pounds of cast iron and working parts. And I learned a lot there. That place got me started on letterpress printing. And that's where I realized that's what I wanted to do. And I wanted to make fine books, fine printing. That place closed and the general manager at the time and I opened the Shagbark Press, which was in South Portland. So that's a really picture of me setting up something in one of the presses. Here's kind of a shot of the shop. So it was me, Harry Millican, who was the general manager of Antholenson, and his wife, Gwen. And you can see in the background that big double magazine linotype, the one in the background, and then the smaller one that Harry's operating there. Harry had worked at Antholenson Press for 45 years and they were closing the place. And he said, do you want to open another place? And I said, yeah. So we ran this for a while. I won't show you tons of pictures of things that we did, but we did. I showed this one because it's local, the Tate House, in 1991. What year did Antholenson close? What roughly? 87. So Harry wanted to retire and we wanted to sell the business because he was going to retire. And I got a job offer at another place to work and my friend Scott Vile bought the press from us. And so Scott's press, he named it the Ascensius Press. And I went off to work at the Steinauer Press. So you can start to see this line of people that, now it's a lineage, we're not related. We're related because we're all printers. And I never met Fred Antholenson. I worked at his shop, but he had died by the time I worked there. But I feel related to him. I did work with Harry Millick and I felt like he was a father figure to me. So there is this non-familiar thing that is this chain of people going forward. So I went to work at the Steinauer Press, which is a fairly well-known printing establishment in Vermont. And that's not me in that picture, but I kind of looked like that earlier. This is the composition room. Steinauer Press produced thousands of books over the years. They started in 1950 and they closed in 98 or something like that, somewhere in there. This is a book produced for the Grollier Club and the Houghton Library, printed by the Steinauer Press, a book about the Marymount Press. It's a little too much, but. Here's another title page of a book that they did beautiful composition in 1994. The Steinauer Press used a different kind of composition machine, which is called a monotype machine. This is a weird picture of one. And so when I decided to leave there, that place was closing. I don't think these places all closed because I worked there. But I don't know. So that place was closing and I moved back to Portland, worked for Scott for a little while, and then just opened up my own studio again. And when the Steinauer Press completely closed, they asked me if I wanted to buy their composition department. So it was one, two, three, four, five composition machines. This thing looks small, but that weighs about 2,000 pounds. 2,500. So now we get up to, so I had a print shop in Portland called Shagbark Press. But then I come back and I start Wolf Editions. So here it is. It's in the Calderwood building. I know this looks like the whole building's buried completely in snow, but the embankment goes up there. But it was a lot of snow. My interest in, I have a strong interest in fine art, and I've always had that. And so my shop combines fine art with the typography. And there are some other letterpress shops around, fairly close, and everybody has their own kind of niche. And they've got my friend Pilar, who is running the, is she here? Yes. In Portland, she's running the Pickwick Press, Independent Press. And that's more of an open access community print shop. And I can't describe everybody's place, but Scott's shop has a certain niche. And my shop has a niche. And we try not to step on each other's toes. We try not to. So the inside of the shop, this black and white photograph, just looks like it's all one big machine. But it's at 61 Pleasant Street. Here is Crystal running the Wessel Iron Hand Press. I forget what she was printing. And we have big cylinder presses, which are hand crank. There's some pictures of some big pieces of wood type that somebody was printing at some point. So I've been printing in Portland for almost 40 years, which it just scares me. But it's been one place and another place and another place. It's not. But I've been at Wolf Editions for 20 something. So some of the work that I do, rather than having shown you pictures of my work this whole time, I'm trying to give you a history. We've done a lot of posters for the Tides Institute up in East Port. I've had a strong connection to them. And so these are posters that are 20 inches tall. And this one's probably 12 inches wide. And it's wood cut. So the word East Port and the port of is cut in a plank of wood as well as the picture of the ship and as well as the solid piece of wood that is the gradation. And then it's a little hard to see in this light, but there's two paragraphs at the bottom explaining about how the port of East Port is over 100 feet tall at the dock and how they can pull container ships, huge container ships up, the downtown docks, they can just pull right up there. And so how do you explain that visually is just that was my answer. So the Tides Institute has done a lot of workshops. So this was a workshop about photography where they took a room in the museum and closed off all the windows and put a pinhole in the closure. And it projects the image of the outside into the inside. This is a poster about the St. Croix Island, which is in the St. Croix River, which divides Canada and the United States up near East Port. And in 1604, the French came and saw this island. It's really out in the middle of the river. It's a huge river. And it's got fresh water coming down and salt water coming in. And they thought this island would be great to colonize, to land there and build a little town there because they could defend it. And they did that. They brought all the stuff that they needed, the building materials they built there. They settled in for the winter. And in the winter, the ice comes down the river and builds up on the side. And they couldn't get off the island. And they ran out of water. And the coloration on the left is kind of a symbol that it was like 50% to 60% of the population died of scurvy the first winter. And so it's just a poster telling that. Sardine, maple leaf. So these are combinations of woodcuts of my design and metal type, typographic elements. Eastport Salmon Festival. So we do these posters. We do books. This is Allison Hildreth's imagery, who is a local artist. And Jonathan Alteridge, who is a local poet. The work that I'm coming out of is mostly book work. So at Intholenson Press, and at Shagbark Press, and Steinhauer Press, and Essentius Press, we did book work mostly. In the last 15 years, there's been hardly any book work. So we branch off into other things. But we're seeing more interest in the book work coming back. So my son and I are pushing back into that. So we're going to be doing more of that. But some of the other things that we've done, a rapper for a CD, a music CD. Remember, music used to come on these things? And certificates. This is the Baxter Society, which is a local book-collecting group. Not so much now, but in the past have done things like wedding invites and things like that. So one aspect of what I've done is teaching. So this was a bad color. This is a group. This is a master class from Bowdoin College. And these are art students at Bowdoin that came. And the woman holding the print is a fairly well-known artist. And she came. And the class altogether in my studio made the print with her. So they could learn that. You've got to teach. You've got to. I don't teach full-time, but I teach as much as I can. So another aspect that I've done at Wolf Editions is to have one-on-one teaching situations. So this was my first master printer training program. Some people get really wiggy about the name master printer. And they're like, well, who are you to call somebody a master printer? And whoever called you a master printer, I don't know. So there's Lisa Pixley. And she worked in the shop for three years, I think, to learn technically how to print, but also how to learn to work with other people. Because in the fine art printing field, a master printer is somebody who is a technician who works with the artist and helps the artist to realize their goal of what they want to make. And so to do that job, you have to understand people. You have to know when to make a suggestion and know when to back off and let them make their mistakes or whatever. So there was some technical training involved, but a lot of it was just working with other artists. One of the artists that we've been working with for a long time now is Charlie Hewitt. And he lives in Portland. And we do a lot of work for him. We've been working for him for a long time. There's a picture. No, that's not Charlie. That's Charlie up there. That's fearsome. So that's one thing that we've done. And Pilar, and I'm sorry, Pilar. I don't have a picture of you. But she's right there. She's right there. And Pilar came and worked for a number of years in the shop as in the master printer training program. So in the old guild system, which printing was, that's how printing was taught and how it was organized, you'd have an apprentice and you'd be a journeyman and you'd work your way up and you'd become a master. And a master was somebody who had their own place. That's really all it meant. Somebody who knew what they were doing, but you could have a really, really skilled journeyman. But they weren't a master until they had their own place, till they were the boss. And so both of the people that have done this program have their own place. Pilar has Pickwick and Lisa has print craft up on Danforth Street. And so I'm really proud of those people having done that and going out and both of them doing something on their own and becoming masters in their own right. Because we have these two-ton machines that we have to move around all the time and people give them to you, they say, here, take them. You've got to come get them. They're up on the fourth floor. But we've learned how to move stuff. And so I get called to move big equipment. Tomorrow I'm going to Connecticut and pick up an etching press and bring it up and deliver it to Bowdoin just for hire. And so other things come about. So somebody contacted Scott a little while ago, wanted to use an old printing press for a movie. And Scott was like, yeah, well, I think David Wolf got the one you want. So they called me. And I was like, yeah, I don't have too much going on right now. We'll do it. So they came up, they sent. I was like, well, who is this? I said, I think I told them I wanted to be paid in advance. Because I figured some college situation where somebody's making a movie. And it turns out it was Sony Pictures. It was Little Women, the production, the new production of Little Women, which will come out at Christmas. And they wanted a printing press. They set up a whole set that was from the time period. And they needed some actual printing presses. And they wanted somebody that could actually run the printing press and actually print. So I kind of got pulled into it. But it was kind of exciting. So we packed up one, two, three iron hand presses from the mid-dating from the mid-1800s, plus type cabinet and a bunch of other stuff. They sent a truck up. They picked it all up, took it down to Franklin, Massachusetts, and set it up in a studio, a big, huge studio. And so that's, and then they dressed me up. And so I don't know if I'm going to be in the movie or not. But my hands might be. My hands might be. So I keep my mind open to different things to do. Plus, this paid so much, I couldn't not do it. Yeah, thanks, Sony. So I've always tried to keep the doors open and keep my mind open to doing what seems interesting. Because if I just sat there and printed raffle tickets for the rest of my life, I'd go berserk. So my son, Sean, who is right there, decided that he wanted to do this. He wanted to continue in this lineage. And it's ironic that the lineage up to this point hasn't been through my family at all, but at least the one that I'm picturing in my mind. But now it is. And so this is a picture of a studio that we set up up in Eastport. Well, we moved in before the real estate situation was settled. And it got sold out from underneath us. So we started moving up there two years ago. And then we just moved it back to Portland. So back in Portland. And we're working together. And I think he's going to do some great things. And his approach is different than mine. But the ball's moving into his court. So it's up to him to figure out how this stuff goes forward from here. I'll help as long as I can. So here we are back in Portland. And that's all I got. Oh, Scott. One of the interesting things that I was just thinking about with lineage is the fact that last year when I moved, I started remelting a lot of lead that I have. And it's interesting that you and I now own the lead from Steinauer, Anthos, and Shagbark, Sunhill Press, and Firefly Press. We have probably 15 or 20 tons of hot lead, hot metal, that we use to print books from. And this is continually recycled. So we have the lead that's been used to print all the books over the last 125 years from these fine presses. It's true. I hadn't thought of that. When I'm in the shop and I got people watching me, we're casting type. And we take the old slugs that we're done printing from and we put them into the pot and they melt. And I always tell them, the old idea is being melted into new ideas. And that's, you're right, the metal itself goes back a long way. Yeah, yeah, yeah. Yep, Jay. I have a question, because you talk at all about it. And I don't know that much about printing, except that I met you. And I think I met Scott when you guys were both at Anthos and I was upstairs working in main color service, two floors above you. And my first experience with Lutterpress was seeing all the guys standing on the sidewalk, smoking and drinking coffee in their ink stain aprons. And what is the connection between ink and print? I mean, really quite frankly, did the printing presses change the development of ink? Or was it actually truly ink and printing drinkers? Yeah, it has to do with the drinking. I mean, how did the creation of presses change because ink obviously was around well before that? Well, all right. So Gutenberg, one of the things that Gutenberg, other than the movable type, was ink. He did develop some of the ink. He changed paint into ink. And you make ink a different way for different kinds of printing. So etching ink is very oily, but really full of a lot of pigment. Printing ink has a lot of varnish in it and less pigment. Paint has no varnish. It's almost like mayonnaise. So it is. And so yes, when printing, so Gutenberg, I wish I knew more about Gutenberg, but when he decided we're going to use movable type and he came up with a press for making the impression, he also had to come up with an ink that would, how do I get the ink onto that raised surface? Because you're printing from the raised surface. And how do I make it sticky so it sticks? And how do I make it go into the paper? All of that changed as technology changed, as paper changed. Originally, they were printing on skins, animal skin. So it would change as the materials they were using changed, but it all developed basically at the same time. We have a press. Sean and I have a press that's gone that's over 200 years old and it was developed by this man named John Wells. So the original presses were a screw press. So it's a great big giant screw in the middle and you grab hold of the handle and pull and it just turns partway and it pushes the platen down and makes the impression. So John Wells was an ink maker. And they had presses for crushing linseed for making linseed oil. So for pressing linseed oil and it was a toggle. So you take a bent toggle and you straighten it out and it's pushing down. So he took that idea from pressing linseed and applied it to making a printing press and made a printing press that was something like 80 times stronger than the screw press. So all these developments and so then somebody comes up with a different kind of paper and then somebody's got to make the ink doesn't quite work the same and so they got to, it all worked together. They were, printing press was like the invention of the printing press was like the invention of the airplane or like the invention of the computer. They're these really major or the invention of the linotype machine. They're really major things that changed how much the knowledge was spread. So you go from setting type where you have to take one piece out of a case, put it in, and you're going like this. Well then you come up with a machine where you go and you're typing it and it's making the lead type as you type it. And it's 13 to 15 times faster. Well it's 13 to 15 times more information that goes out and educates the world. Where can somebody see a lot of your work? Or anyone's work? Senseas, I mean does the library collect some of the work or do God forbid folks ever have exhibitions? For those of us, I mean I've always loved letterpress because I've had very little contact with it. And just to see. There are exhibitions here and there. Yes? The print room at Bowdoin is pretty good source. A lot of our work is up at Bowdoin. And so if you know what you want to look at or you don't know, you can always talk to one of the reference librarians and make a selection of things which they can then bring out. It may be a two-step process. They might show up one day and have them pull it all out. But it's a library, the print room at the library. No, it's called the Rare Book Collection at Bowdoin College. And it's in the library, second floor. Yeah, they have a pretty active. And the Portland Museum has a book arts collection, which is mostly artist books, but a lot of them involve printing. And the University of Southern Maine has. And the University of Southern Maine. So we have lots of resources, actually. But you have to kind of. As far as my own work, we have a gallery space that's in the building where we are. And the shows switch out, but I usually put up a show once a year, at least. I'm open to visitors if they call ahead and make an appointment. I have thousands and thousands of pieces of paper that people can look at. And if I can schedule it so that I'm open to people coming to see the shop. It also makes me think about the work of the printer. And that is, do you have a copy of everything you've ever printed? Here's what we're supposed to. I think different printers do things. Some printers make sure they still have one of everything they've ever done. I'm not that careful. And my career has gone up and down. And I've worked in some places where the product that I'd have a sample of was worth some money and I needed to pay rent. So I sold sort of my early collection of stuff that I had done before Wolf Editions to Colby. Now, I don't know what there was a gentleman up there collecting fine printers from Maine, but he's gone now. So I don't know what they've done with that collection. Was it for the library? Yeah, it was for the library. But I have a lot of, in trying to find images for this talk, I was looking for some of the stuff that I printed. I was involved in printing at Antholenson Press. And I don't have any more. I got rid of it. Like all those quarterly publications. A lot of the work that Antholenson did was quarterly publications. So we were printing a 100, 120, 30 page book four times a year. And we had five or six of those. When I started, it was a lot. That's a lot of typesetting. All those pages typeset with a machine, but all in lead. And it was years and years and years of the American oxonium. Well, Scott has all those now. I don't know if you're still keeping them, aren't you? Yeah, yeah. Type changes with the technology that it's being seen on. And the sensibility, the basic sensibility behind it changes also. When Gutenberg made the Bible, he used black letter, what I call black letter, the gothic text black letter. And you know what I'm talking about? That kind of type. So a lot of people call it German type. It looks very German. Well, people who read, that was what they were used to reading. And they could read that very nicely, very fluently. And how they learned to read was with that type. And when they started using Roman typefaces like we are used to, they couldn't read them. They had trouble reading them. So but that changed. People got more used to the Roman, and now people have trouble reading the black letter. And even a step further than that, I have trouble reading a book on a computer, but my kids, well, not my kids, but kids, have trouble reading a book and can much prefer to read it on a computer. So we have changed as much as the technology has changed. And I'm not saying it's for better or worse. I don't know. We get information a lot faster now. I don't know if that's good. But who knows? When they started, when they went from writing books by hand with a pen to typesetting it, picking the ones out one at a time, people thought it was the devil's work. They thought it was, they thought the end of the world was near, literally. And then the same thing happened when the typesetting was being done by hand, and they came up with a machine that would go 15 times faster. They thought that was the end of the world. And the computer is the same way. And then the computer, to this ridiculous thing, that's another step from this. And what's the next step? I don't know. There's no, I don't think one's better or worse than the other. It's just you've got to have an understanding of it.