PRINTERS OF THE TITANIC

I've just been pointed towards issue 34 of Voyage, the official Journal of the Titanic International Society (Autumn 2000). Contained within is what I've been searching for since Christmas, an article focusing on the printers onboard the titanic. The article written by Bob Richardson (London Branch Secretary of the British Printing Society) gives a great insight into their backgrounds, conditions of work, possible equipment used and likely onboard roles as printers ie. what they may have been printing on the ship in the days before it went down.


The chief printer was Abraham Mansoor Mishellany (born 1860) and his assistant was Ernest Theodore Corbin (born 1885). For their services for White Star Line they were paid £1.50 and £1 per week respectively. 'Both men earned a few extra shillings by printing private dinner menus, visiting cards and luggage labels for wealthy passengers.'

They were likely to have been kept busy on a boat the size of Titanic but because they were such skilled compositors, they 'would have made short work of restaurant menus which he (Ernest) could easily have been set up in 20-30 minutes. Printing each batch on an "Arab" treadle press would take perhaps anothter half hour.'

'... many items, particularly those bearing the vessel's name, were produced on board. There varied from menus and waiters' notepads for the many restaurants through to tickets for the Turkish bath. A large number of different menus were printed on board Titanic. Some were basic black text on white card but these were sometimes presented in an attractive folder decorated with a colour illustration of White Star training ships, one of which was the Mersey. These folders were reused with different inserts for each meal. A surviving second class menu was printed on white card which carried a coloured banner at the top featuring the British and American flags, surmounted by a pair of beaming white stars and framing a painting of the liner. Some others such as the first class luncheon menu on April 14th, were simple white cards with the company flag printed in scarlet and the gold embossed monogram of White Star's parent company beneath it. The full-colour printing was carried out onshore, and Albert and Ernest added only the black text when at sea.'

Other likely printing jobs consisted of 'raffle tickets, programmes of events on board, lists of pieces to be played in musical recitals and general stationery for the purser's office.'

A MUCH NEEDED UPDATE

It's been a busy few months researching the Titanic through books, films and online. I've recently got in contact with Mr. Timothy Trower, an avid Titanic buff and working letterpress historian. This has been a breakthrough as far as any narrative is concerned because Tim is hoping to publish an in depth review of the letterpress facilities on board the Titanic and has a lot of valuable information for me. The fact that my project will be printed letterpress and that the titanic had on board letterpress machinery shouldn't be overlooked. I will use this as my starting point when trying to create a narrative for the book. To sum up briefly what Tim has provided me with to date...


"Almost certainly the press(es) used were platen presses (or clamshell-style presses); these are commonly called a Gordon platen press and the type used on the Titanic was probably the English-manufactured Arab press or the USA-manufactured Chandler & Price press. Generally speaking, what was printed on board were the daily menus, invitations to private parties, and such oddball items as labels for crates of roosters that were being transported (none of the chickens survived the sinking), a press of a large size would not have been needed."

"Due to the look and feel of the menus that I've examined, I am confident that two presses were employed given changes in impression, transfer of ink, etc. between the examples I've looked at."

"That I am aware of, there are no photographs of the printing offices on board any of the Olympic-class liners."

"The Titanic did not have a daily newspaper.  At this moment, I can say with certain authority that even the Olympic did not have a newspaper until up into the summer of 1912."

Here's a working Chandler & Price press I found on Briar Press

Here's a working Chandler & Price press I found on Flickr

Ghosts of the Abyss

Today's research has thrown up this 2003 documentary. A bit of weekend film watching is to follow I'm sure. Here's the trailer.

Ghosts of the Abyss is a documentary film released by Walt Disney Pictures and Walden Media. It was Disney's first film produced in 3-D and was directed by Academy Award winning filmmaker James Cameron after his Oscar winning film Titanic. It consists of Cameron and a group of scientists sailing out to the wreck of the Titanic, and then going down to get closer than anyone has before. With the help of specially created cameras, Jake and Elwood, the audience too can see inside the Titanic and with the help of CGI, people can see how it would have originally looked.

Also along for the ride Cameron invites friend and actor Bill Paxton who played Brock Lovett in the 1997 film. He narrates the event through his eyes. The film itself was produced for IMAX 3D during the Summer of 2003. It was also nominated for a BFCA award for Best Documentary. The submersibles Mir 1 and Mir 2 carried the Ghosts of the Abyss team on twelve dives.

Masters in Design Symposium at NCAD

It was great to see some projects from the Masters students in the various areas of design yesterday. For me it was interesting to see how many different approaches are being taken. The influences and directions are being fed from so many areas, from medical instruments and customisation to design incubation and fine art. This consideration of broad areas of art and design (having also been mentioned by my tutors) is a direction my own research will take. I had my camera with me and got the above shot of some poster type in the letterpress workshop before heading home again.

TYPEFACE (Kartemquin Films)

In rural Wisconsin, a lone employee waits in a cavernous old museum for visitors to come. A few individuals straggle in every few days and then, come Friday, the museum fills with life. Machines hum, presses print, artists buzz about. One weekend each month, the quiet of Two Rivers is interrupted as carloads of artisans drive in from across the Midwest. The place comes alive as printmaking workshops led by, and filled with, some of the nation's top design talent descend on the sleepy enclave.

In a time when people can carry computers in their pockets and watch TV while walking down the street, Typeface dares to explore the twilight of an analog craft that is freshly inspiring artists in a digital age. The Hamilton Wood Type Museum in Two Rivers, WI personifies cultural preservation, rural re-birth and the lineage of American graphic design. At Hamilton, international artisans meet retired craftsmen and together navigate the convergence of modern design and traditional technique. But the Museum¹s days may be numbered. What is the responsibility of artists and historians to preserve a dying craft?


See the trailers on youtube

TITANIC: THE MISSION (Channel 4 documentary)

Episode 5 (final episode) of the current series will air on Monday night next at 9pm. It's been quite an informative series about the construction of various elements of Titanic. Episode 4 has been my favourite to date, it dealt with the interior design of the 1st class smoking room and a third class cabin.

The episodes are available for a while on 4OD and on youtube.

STAR OF THE SEA by Joseph O'Connor

Just about to finish this book as it was recommended to me as a good starting point for realising the conditions and previous history of emigration from Ireland. Although fiction and based 65 years before the Titanic set sail it gives a very energetic account of what conditions were like for emigrants during the famine. Some in dire poverty and some with much to lose. Conditions which I'm sure also prevailed on board Titanic and which I'd like to touch upon through the narrative of my book.