Wayzgoose 2016


Follow the Goose to St Bride Wayzgoose

On Sunday 15.5.16 St Bride Foundation hosted the second Wayzgoose. The hundreds of people who came to enjoy the-print-and-type-lovers’ get-together all left with full bags of goodies, tummies and good vibes.

This year we were fortunate enough to have the  sponsorship of Paper Mule and Commercial Type – their generosity is much appreciated.

What was on offer?

wayzgoose edited

We had something going on in each part of the Foundation – from the basement bar to the Passmore Edwards café – and in between stalls, exhibitions, and hands-on activities.


Passmore Edwards’ refreshments stall

For the first time visitors learned about the history of Fleet Street, the delightful Salisbury Room – bedecked with newspaper equipment and ephemera – providing the perfect backdrop to Len Friend’s fascinating insight on the area as an iconic hub of newspaper production.

len at the salisbury room1

History of Fleet Street told in the Salisbury Room

Building on the success of last year, the Bridewell Hall, Farringdon Room and Library reading room, were buzzing with activity. The special ambience of meeting like-minded people with shared interests from all over the country and indeed abroad was summed up in one participant’s comment: “It is one of the few chances a buyer has to actually browse what is on offer, as these products are normally only available to buy online.”


Justin Knopp

browsing 2

Browsing up close


Bridewell Hall – perfect setting for selling and buying




Richard and Molly Caslon in the Farrington Room

The ever-popular print workshop combined demonstrations with hands-on experience of letterpress printing including the production of a Wayzgoose coaster and a printer’s paper hat.


Steve Linehan showing how the Wooden Hand Press works


Zoe Chan making her first Printers’ Hat with Barry Felsted’s guidance in the Workshop

The raffle prizes this year were particularly appealing with a first prize of a one-day Adana print course (White ticket 160), a second prize set of limited edition London Labour and the London Poor prints, proofed from original 19th century wood engravings held here at St Bride (Yellow ticket 177) and the third prize Fleet Street Apocalypse print by Stanley Donwood (Yellow ticket 243). All winners have been contacted and prizes sent.

We are already looking forward to, and preparing for next year’s event.




Fleet Street Apocalypse – Stanley Donwood’s Limited Edition Prints.

As we embark on another year at St Bride Foundation, the team are busy planning an array of events to ensure that 2015 will be an even greater year than the last. Whilst this has been going on, there’s been some activity around our online shop, reminding us of a very exciting project that happened here back in 2008 with Stanley Donwood.

dan and press


Stanley Donwood (the pseudonym of artist Dan Rickwood) is perhaps most widely recognised for creating the artwork for Radiohead’s records and posters. This creative partnership officially began in 1994 after Thom Yorke, lead singer and Dan’s friend since they met at The University of Exeter, asked the artist to illustrate the cover for My Iron Lung.

dan inking

Among the vinyl record sleeves and posters, Stanley has been behind a number of other creations. One of these, titled London Views, is a series of fourteen prints that depicts famous areas of London being taken over by smoke and fire. In 2008, Stanley came to St Bride Foundation to create large, limited edition prints of the very landmark where we are located, Fleet Street.

running bed in

Printing was seen by Stanley as an opportunity to create large scale works and consequently deliver a greater impact. The vision is also entwined with a personal goal of St Bride Foundation, which is to preserve the printing heritage of Fleet Street.

The print was made from two sections of linoleum, each made to fit our Albion Press. The individual halves were then printed seperately. Aligning the two halves was achieved by creating pinholes in the first printed sheet and then using these holes as a guideline for the second part. A benefit from this technique is that each print is unique with a single one being ever so slightly different to the other.

dan and presses

dan examining print

There are still a few of these limited edition prints left on our online shop here. We hope to have many more projects such as this in the future.

A tout’s golden ticket

If you made your living from reselling tickets to punters in any age, these tickets would have made your day.

The Royal Albert Hall opened on Wednesday 29th March 1871 and at St Bride we have three tickets, of varying importance to the event – it’s just a shame that opening night was 143 years ago!


Our first ticket, admittedly, wouldn’t have been much use to a tout. The ticket itself was printed from an engraved copper plate onto the finest vellum, with the name Mr. Robert Hudson hand-written. We believe he was probably the deputy lieutenant for the county of Surrey, so he may well have been an important guest at the opening.

Our other two tickets aren’t quite so unique. Block C seat 171/172 would have placed the lucky attendee in the middle of the hall, luckily for them not quite up in the gods. Any self-respecting ticket tout would be able to turn some serious profit on these beauties…



Over the Moon with his discovery

Dr William Moon was born with a sense of sight; however, at an early age he lost the ability to see out of one eye and, by 21, was completely blind.


Determined not to let this faze him, Moon began to teach blind children how to read using existing embossed reading codes. None of the systems Moon used or taught were particularly user-friendly, so he set about creating a simple system that anyone would easily be able to pick up: Moon type, which was based on a simplified form of the Latin alphabet.

While Moon devised the type in 1843, it wasn’t until 1845 that it was published. These typefaces would have been printed in a different way to your standard letterpress print. Instead of the type being loaded into the press backwards and printed onto the front of the sheet, the type for Moon would be arranged in reading order, and printed onto the back, to create a negative. Soft paper was put behind the substrate to allow the pattern to be embossed.


When William Moon died in 1894, his daughter continued to promote Moon type, while his body of work was later donated to the National Institute of the Blind.

Although Braille is now the more widely known font for blind reading, Moon type still serves a purpose, as individuals that struggle with Braille can easily switch to Moon.

I don’t incline, to take you for my bawling Valentine

Valentine’s Day tends to split opinions; you either love it, or think it is such a waste of time that anyone who takes part in it is wasting oxygen. Obviously, here at St Bride Foundation we are impartial, but recently, these naughty little cards have come out of the woodwork…

If you were to receive a card or a gift, you would be correct in thinking that someone has a crush on you, right? If we were in the late 1800s, this would not necessarily be the case. Alongside our collection of neatly embroidered, lace-fringed labours of love are the ‘anti-Valentine’s’, a get out of jail free card, just in case your feelings didn’t match those of the unlucky romantic who sent you a card in the first place.


‘You gouty old fool, do you think I would wed, with a creature who scarcely can crawl from his bed?’

‘Then beast, don’t think I’d ever pine, to be an hypocrite’s Valentine’

Having the pleasure of opening one of these after pouring your heart into a Valentine’s card clearly wouldn’t be the happiest moment of your life but, thankfully, social etiquette has evolved slightly since then.

Finally, if you happen to receive one of these, do not blame us. On the flip side, if it has given you an idea, then Happy Valentine’s!