Letterpress printing as a heritage craft.

In 2017 the Heritage Craft Association launched the Radcliffe Red List of Endangered Crafts. As part of a wide consultation the HCA asked crafts people and organisations to identify specific industries that were in danger of being lost to history. The importance of this was to shine a light on the aspects of heritage that were often overlooked. Historically we have viewed heritage as buildings, places and objects, but it is as much about the intangible heritage that comes from the people.

In 2003 UNESCO produced a Convention on the Safeguarding of Intangible Cultural Heritage. However, it wasn’t until 2024 that the UK finally ratified the convention.

“Created in 2003, UNESCO’s Convention for the Safeguarding of the Intangible Cultural Heritage recognizes traditional craftsmanship, oral traditions and expressions, performing arts, social practices, rituals and festive events, knowledge and practices related to nature and the universe.”

How the convention works

The Convention promotes measures to identify, document, research, preserve, and promote intangible cultural heritage at the national and international levels. 

What the UK is doing

The UK is committed to:

• Increasing the inventory of the country’s traditions
• Better safeguarding of the most at-risk traditions
• Launching a public consultation to create a new register for communities to nominate their local traditions 

Threats to intangible cultural heritage

Common threats include: 

• Lack of regular practice or passing on to the next generation
• Closure of spaces where ICH takes place
• Lack of training and opportunities for learning
• Economic or market issues
• Negative attitudes or policies
• Environmental issues 

Looking at the threats to the letterpress industry it was clear that it was an endangered craft. Formal training in Letterpress is no longer available, the printing industry has changed significantly over the years, firstly it was the shift from letterpress to offset lithography, then more recently the rise of digital printing. The printing industry has also seen a drop in demand as less material is actually required. The internet, specifically email, social media and online advertising have replaced the mass production of leaflets in favour of a more nuanced marketing strategy that can target audiences more effectively. In an environmental sense this has the benefit of reducing the amount of paper wastage which has to be a good thing. Nevertheless, there is still a requirement for print.

The industry has reduced drastically, with less people. In 2004 the industry employed around 137k, but by 2023 this had dropped to 105k, looking back further, in 1965 the printing industry employed 220k.

Alongside the printing industry there was a need for dedicated education and training in the form of apprenticeships. Many colleges across the UK had specialist print schools covering all aspects from art working, compositing, finishing, printing, and bookbinding. From 2000 – 2003 I did a modern apprenticeship in machine printing at what was then called South Nottingham College. The facilities were great. There was a range of presses to work on including a two colour SRA2 Heidelberg, TOK’s, GTO’s, KORD’s and a proofing press. Most of these had been donated by local printing firms that had upgraded their equipment. There was also a small team of tutors that had previously had experience in the sector.

I was part of one of the last cohorts of students to be trained in that facility. The demand from companies to send their employees on apprenticeships had dwindled. Presses were increasingly more automated or were simply shifting to digital where mechanical skills were no longer required. This is something that I feel incredibly privileged to have experienced, and was even more proud that I won the student of the year award for my efforts.

As a potential employer as the Smallprint Company, I am disappointed that a potential apprentice would not have the same opportunity as myself. Instead the training would most likely be my responsibility. Although I do provide regular workshops in Letterpress printing it is not as rounded as a three year apprenticeship at a dedicated print college.

In terms of Letterpress as a heritage craft, I feel that it is my duty to develop and maintain my own skills as well as passing on that knowledge to others. Although the industry has changed significantly the importance of printing cannot be underestimated. My approach is more about the history and development of printing as well as exploring the artistic/artisan nature of a hands on approach to design.

The Smallprint Company, myself being the sole printer/designer etc, is a rather unique enterprise. There are very few letterpress practitioners in the UK, and as far as I’m aware TSC is the only letterpress studio of its kind in the Midlands region. Indeed, I have students that travel from across the UK and Europe to take part in workshops here. I have also delivered workshops at other locations including Somerset House, Kelham Island, and schools, colleges and universities. Being able to share this craft with others is a privilege and is always well received. There is an allure to letterpress with its tactile nature and hands on approach that seems completely alien in a world that is dominated by computers.

Being able to step away from the online world and spend time learning a heritage craft is a tonic, and I remain determined to continue to keep the craft of letterpress alive and well.

Illustrations are by Herbert J. Finn, and were commisioned for the ‘The House of Bemrose 1826-1926’