Books Illustrated -- General Thread

Forthcoming 2026 Publications --

Pan’s Labyrinth
Director: Guillermo del Toro - Author: Cornelia Funke / Illustrator: Tom Roberts (British)
Pre-Order : February

Life of Pi
Author: Yan Martell / Illustrator: Andrea Serio (Italian)
Pre-Order : March

The Vampire Lestat
Author: Anne Rice / Illustrator: Jason Mowry (American)
Pre-Order : June/July



Not a big fan of Life of Pi -- for me it was a read it once and that was enough book, but that illustration looks wonderful. I loved Pan's Labyrinth, but it was of course a movie written and directed by del Toro. Also, the art above looks very uninspired and simplistic - no offense intended but that does not look appealing (and is Pan's pinky broken?) I've honestly never read any Anne Rice. Obviously she's very popular -- anyone can comment on her novels? Also that illustration look superb.

I really like Jason Mowry's work, but I don't like Anne Rice (anymore, I used to long ago), so that's not for me. I haven't read the other two - I already have editions - but if I like Pan's Labyrinth enough I'll likely go for it. I really like the sample illustration.

>1 astropi:
The Vampire Lestat is a sequel to Interview with a Vampire, which they did previously with a different illustrator. Also good, but the style is very different. The tone changes quite a bit between the two novels, but in the end they're both vampire stories. It would probably be best to read Interview, then make a decision, though you'd have an incomplete set unless you find book 1 second hand.

We are very pleased to have been selected as finalists with the two titles we submitted to this years British Book Design and Production Awards:

Anne Rice's Interview with the Vampire (Deluxe Edition) in the category 'Fine Binding'; which we we won last year with The Starless Sea
https://boddington-royall.myshopify.com/products/interview-with-the-vampire-delu...

Beowulf (The Morris edition) in the category 'Excellence in Printing'. This is the first time that this award will have been issued and we are very proud to have this letterpress edition recognised. Nomad Letterpress and all concerned did a very fine job.
https://boddington-royall.myshopify.com/products/beowulf-the-morris-edition

>3 Books-Illustrated: Kudos on the selections, and I can attest the Beowulf does indeed deserve the plaudits.

>3 Books-Illustrated:

Congratulations! Speaking for Beowulf, which I have, this is well deserved.

>3 Books-Illustrated: Congratulations!

Thank you all for your kind comments. The fine press world is looking very healthy at this year's awards and we wish all of the many fine books the best of luck. It is an honour to be included among the finalist!

Got the pre-order email for Pan's Labyrinth (having bought the Beowulf). It does look lovely, but another out of my range at the moment like the latest Suntup. Still, should be a treat for the deep-pocketed here!

>8 Shadekeep: I ordered the Artist edition. Not as nice as the higher levels but feel like it justifies the price and interested in the book. BI books are always lovely.

>9 RRCBS: Ah, my bad! I had only noted the Director's Edition from the pre-order email. There are indeed more affordable options like the one you selected. Thanks for bring it up.

What is your opinion about a 3500 euros book with a text block printed offset on Munken Pure paper?
I would expect this paper more for a sub 500 euros book.

>11 David_Mauduit: The phrase "beyond the pale" springs to mind. Not even a signature from Guillermo del Toro justifies that price for that execution.

I genuinely missed that all states are printed offset, which I attribute to "expectation blindness" that these would be letterpress. Of all states I really only consider the Artist Edition to be worth the money, being comparable in price and appearance to an offset Suntup AE.

EDIT: The top tier edition is $4,145.00 USD, which is boggling. That's more expensive then pretty much any work by Mindy Belloff (Intima Press), Claire Van Vliet (Janus Press), or the astounding output of Shanty Bay Press. It's more than a year's subscription to Arion Press. It's equal to or more than many titles from the current Limited Editions Club. Normally I don't like to side-by-side fine press books, but I am at a loss to see the justification for this price.

>11 David_Mauduit:
>12 Shadekeep:

For fairness sake, you get a book bound in vellum in a case bound in leather and a folio with signed fine art prints, which usually sell quite dearly, especially if they're printed in high quality, which I would expect. All that appeals to me a lot more than letterpress, which I can take or leave and prefer the latter if it drives up the price too much. That being said, I wouldn't spend 3000 Pounds like that even if I could. I wouldn't consider it a bad deal if I really wanted those fine art prints, though.

>13 SF-72: The materials are nice enough, but a bit of "lipstick on a pig" for me when they are wrapping the same text block as the AE. You make a fair point about the art prints, though the art to me looks very much in the digital comic-book style I see a lot of, so I personally wouldn't find prints of it especially compelling. If they were prints of actual paintings or woodcuts or watercolours I might be more persuaded.

>13 SF-72: the covers are beautiful for sure but when you buy a Ferrari you don't expect to get the engine of a Ford Fiesta.

>9 RRCBS: How exactly did you order? As far as I could see nothing is yet available.

>16 astropi: people with rights from earlier purchases can order now. General ordering starts 28 Feb.

>17 Chemren: Ah, thank you. Curious how many people are going to spend £750 on the Deluxe edition? Also, typically, we see things like book -> movie and in this case we have movie -> book. Not saying the book is not "good", and in fact it's received acclaim. However, I suspect much of that acclaim is from fans of the movie. Has anyone here read the book and can comment on it?

>16 astropi: I was a subscriber to their newsletter so got the link early

>18 astropi: I wonder if the novel is developed from, or fleshed out by, the script treatment and any possible "world bible" that was developed for the film.

It will also be interesting to see if the book makes any allusions to The General in His Labyrinth by Gabriel García Márquez.

>18 astropi:

I read it, and know the film, too. I think the book is beautifully written and adds some depth to the original story in that Funke wrote ten fairytales inserted into the novel which provide some background and explanations. She worked with Del Toro and it all fits seamlessly. The only thing that makes the film stronger than the novel to me is that it keeps the question whether or not Ofelia just imagines the fantastic aspects of the story more open. To me it felt like those were treated far more as fact in the novel. I really enjoyed the novel, which is beautiful in its own right.

Pan's Labyrinth is out, anyone ordered a copy or two?
:)

I'll probably pick up an artist addition if it is still available in a month or two. Can't really justify it at the moment.

Life of Pi is available for Newsletter members and will be on sale for everybody tomorrow. :)

Less than 300 pages, offset printed on mohawk. For ~2700 USD. What are we even doing here.

It feels that some of these presses are starting to just make fun of us with their prices, which have become completely disconnected from reality.

>25 Izdubar: Are you referring to the "Prestige Edition"? That is limited to only 16 copies
https://boddington-royall.myshopify.com/products/life-of-pi-prestige-edition
The Prestige Edition will be hand-bound in full Vellum and housed in an enhanced solander box with natural grain goatskin leather with tiger stripes. The spine has a black leather embossed label of the title in English and Hindi. The plush lined black interior has two quotes embossed in gold on the inside of the lid and the well, housing a signed folio set of fine art prints (signed by Serio) and the book itself.

The Collector's Edition is $405
https://boddington-royall.myshopify.com/products/life-of-pi-collectors-edition

The Artist Edition is $131
https://boddington-royall.myshopify.com/products/life-of-pi-artist-edition

Now personally, I agree that the Suntup edition which is printed letterpress and was $185 (for the Artist Edition) is a fabulous deal! That said, the Numbered was $675 and the Lettered $2500 so I think that's comparable.

>27 astropi: Yes but the Suntup edition was printed letterpress on mouldmade paper. That’s why its price is easier to accept.

>28 Izdubar: Oh for sure, I agree that letterpress puts works in a whole new ballpark. That said, the biggest cost is still associated with the binding and I do think that the BI edition has a beautiful binding with beautiful illustrations.

>29 astropi: The binding is nice, but if the textblock is something one would expect to find in a $200 artist version, it’s like putting lipstick on a pig. The binding might as well be gold and silver, it would still feel disappointing to have such entry level materials and methods used inside the covers.

>30 Izdubar: I'm a letterpress aficionado so you don't have to convince me about that :)
That said, I don't think I would call BI Life of Pi "entry level" -- it does look like an excellent book, albeit sans letterpress.

Remember that offset printing goes straight from computer to high speed, multi color press. An entire run of several hundred beefy books can be done in a few hours. Paper cost dwarfs the labor involved.

Vs letterpress: either from computer to hot metal compositor, which casts each letter individually one row at a time, or to a plate maker which will typically make 4 or 8 pages on a plate, a semi-manual process that takes up to 20-30 minutes per plate. Then these are printed 4 or 8 pages at a time, with setup time in between each run. Even a relatively short book is a multi day affair - I’m working on a 24 stanza poem, 2 stanzas to a spread. That’s 12 separate passes through the press, with setup time in between each run, plus a few more for the title page, colophon, and translators note. Now that it’s all dialed in it’s about an hour per pass. Minimum of about 16-18 hours of labor, for 50 copies of a relatively short poem. That’s not even counting the time we’ve spent on typesetting - it’s mostly hand set. We’re making plates for the front and back matter but the poem itself is set with cold metal.

Honestly, paper quality, binding quality and readability (eg clear text free from errors) (for me!) dwarf the idea of letterpress in buying decisions. But I am not a real collector of the art of fine press, but a collector of literary works. I'm happiest when the two intersect at an affordable price.

The issue isn’t with the materials used, I’m not enough of a curmudgeon to be spiteful towards offset printed books! The issue, as always, is with price. And it’s instructive to compare what $2-3,000 gets you from BI compared to other presses in the same range. And in my opinion, the comparison is very unfavorable.

>30 Izdubar: You took the words right out of my mouth!

If the beauty of letterpress is important to you we do have editions for you. Please look at Beowulf: The Morris Edition.

It was not only beautifully bound, like our other editions, but was recognised by the British Book Design & Production Awards this year in two major categories; Excellence in Print Production and the main accolade, Book of the Year. We are very proud to offer the type of book that some of you are referring to here.

While we believe that printing letterpress is desirable for some titles, its cost makes offset printing more sensible for others. Our more reasonably priced offset books not only allow fans of an author to enter this world of collecting, but, in time, may consider higher value and possibly letterpress editions.

We have two tasks at Books Illustrated:
1. To publish the most beautiful books we can keeping the art of illustration and artisan craftsmanship alive in the modern world
2. Have titles at price points that encourage all types of collectors - the seasoned and the new.

Please choose our letterpress editions, if the printing is most important to you, and our signed illustrated editions if you love your favourite author's book in fine bindings.

We aspire to have an edition in all of your libraries.

Mike Emeny

What a great response.

I have two deluxe/numbered BI books, The Night Circus (letterpress), and The Starless Sea (offset). The are very similar in material and binding (120 gsm Munken, goatskin leather binding by Ludlow, gilding on 3 sides, and Starless Sea has beautiful and complex die stamping).
Night Circus is letterpress, Starless Sea is offset. The difference is discernible, but to my taste, the letterpress isn't vastly superior. Both are gorgeous volumes, and I'm delighted to have them. My only quibble is the font is too small for easy reading with my old eyes.
I lust after Beowulf, but my brain doesn't do verse/poetry. Maybe I'll get it one way anyway since it's so lovely.

>38 AjaJin: I’ll join you on the font size quibble. I started The Night Circus with their edition but had to finish on Kindle, due to eye strain discomfort.

>36 Books-Illustrated:

I like your philosophy.

>38 AjaJin: Using the same exact paper for both letterpress and offset printing is not the way to go.

>41 Izdubar: I'm not an expert, but it seems likely there exist some nice papers that are versatile enough for either letterpress or offset use. Would they be "the best"? Probably not, but price and availability are things.

>38 AjaJin: I loved the BI edition of The Night Circus but skipped The Starless Sea because I thought they should have gone letterpress to match each other. I don't mind that BI prints both letterpress and offset but a set should match. To date all four of my BI purchases have been letterpress with my favorite be their recent Beowulf but I don't rule out purchasing an offset volume from them in the future.

We will do our best to choose a font and point size that is kind on eyes. I am now 68 so I fully understand some of the comments :)

For devotees of Letterpress, we do have two, possibly three editions planned in the next 18 months. I will be able to give you titles later this summer and we are very excited about them.

It would be good to hear any titles that you would like us to consider going forward.

It was at a fair in the north of England showing our early classic titles (The Wind in the Willows, Alice's Adventures in Wonderland) when someone told us we should publish 'The Night Circus'. We did, and it was a major success that changed for our company. I wish I could thank that person!

>45 Books-Illustrated: One of my all time favorites is The Long Ships by Frans Bengtsson. I first encountered it after spending a year studying in Sweden in the 1980s, where I had heard it described as Sweden's Gone With the Wind. When I got back home to America, I found it in a used book store, read it and loved it. I have since read it another three or four times with undiluted pleasure. Michael Chabon wrote a review of it in 2010 that describes its virtues better than I can: https://www.theparisreview.org/blog/2010/06/28/the-fly-leaf-the-long-ships/.

>45 Books-Illustrated: I find very few decent, let alone fine press, versions of Steinbeck’s East of Eden or anything by Milan Kundera. Unbearable lightness of being would be my (obvious) pick.
No idea if these are any interest, but I am suggesting them to any and all publishers who ask for suggestions.

I have become somewhat obsessed with Alan Garner, and his work has never received the fine press treatment. His work also has the advantage of brevity.

>48 Another_Bibliomane: The Weirdstone of Brisingamen . . . oh, yeah! And the others . . . .

>49 Glacierman: I just started Strandloper. It’s tough to find his work in the US - I had to use Inter Library Loan to get a copy

True fine press (my preference would be letterpress, priced comparatively to the deluxe/numbered letterpress editions that other fine press publishers like CTP, CK, Suntup release) of the Iliad and the Odyssey would be excellent.

There are some great suggestions here, thanks. It would interesting to see who of our illustrators you think would best illustrate the edition. Or a suggestion of another.

>48 Another_Bibliomane: I read Owl Service in junior school and it imprinted itself on me. I’ve got the nice Folio society volume, but a fine press version would be wonderful.

>51 Extrasolarian: Well, there's the Nonesuch Press issues of these two classical works.

>51 Extrasolarian: Can't argue with that. Which translations would you want?

…

>55 Shotcaller: To be honest, I'm not well versed in all of the different translations. I've read Pope, and felt it was a little too dry and old fashioned, so probably not that one (I have some vintage Odyssey and Iliad books published in 1891, which are pretty cool!) Fagles interests me because it seems to be described like it's accessible, yet also very poetic and cinematic. I've heard some people say Lattimer is great, and it seems the recent one by Wilson is quite divisive. Would be grateful if anyone who has experience with the others wanted to suggest another one for me to try!

>54 Glacierman: Thanks for that, I wasn't aware of those. They look pretty great, though again the Pope translation was perhaps not the easiest for me to get through.

>57 Extrasolarian: Caroline Alexander's Iliad is wonderful and is my favourite Homer translation thus far. Sadly she has no interest in translating the Odyssey. I am constantly wishing for a fine or even just decent edition of her Iliad. Sadly even the hardcover 1st edition was perfect bound.

There is a an interesting tool here that compares excerpts from a large number of Iliad translations. I don't know of an equivalent one for the Odyssey. https://www.iliadtranslations.com/

https://www.iliadtranslations.com/compare/pope-vs-alexander

edit: I personally wouldn't be very excited for a Fagles edition as Folio already did very nice editions for his translations. No its not fine press but they are quite nice and have great illustrations in the style of Mycenean frescoes.

>49 Glacierman: The Weirdstone was recently recommended to me by a very close older friend, who said it was one of his favourite childhood books. I read it right away but found it a real slog… had to force myself to finish it. What am I missing? :/

>59 BorisG: 'What am I missing?' Probably you're just too old. I also had very fond memories of reading it as child and tried it again a couple of years ago. That was a mistake, and I had a similar experience to the one you described. It seems to be one of those books which should be read when young, perhaps as an initial foray into the fantasy genre. I do find it interesting how some children's books can be read at any age - The Wind in the Willows, for example, I loved just as much, if not more so, as an adult - but this doesn't seem to be one of them.

>46 Chemren: Absolutely! The Long Ships is for sure one of the most underappreciated and underread historical novels out there, at least in the Anglo-Saxon sphere. It's absolutely epic in scope and one learns so much about the Viking world. I often hear people requesting the likes of Lonesome Dove (rightly so), but rarely this one - and it's certainly up there with it.

>59 BorisG: I had a similar experience re-reading it a few years ago.
The owl service, however, still captivates me, and feels much more adult.

>58 zorg2099: Thanks for this! I will check out those comparisons

>60 Levin40: OTOH I only discovered Garner a few years ago and just read the Weirdstone Trilogy in the last six months or so. Boneland was another one that was difficult to track down in the US, not having received an edition here. I enjoyed them a great deal. I’m sure I would not have gotten as much out of them if I’d read them as a lad.

>58 zorg2099: I’ve never heard of Caroline Alexander’s translation so I’ll probably pick it up. Pity there’s no nice hardcover. I’ve got seven different translations of The Iliad in my library; Pope, Lattimore, Fagles, Mitchell, Lombardo, Green, and Wilson.

>59 BorisG: Can't say. I read the Weirdstone and The Moon of Gomrath in my college days and thoroughly enjoyed them. I might find that if I read them today, I, too, would no longer find them as enjoyable. Tastes change with time: when I saw 2001: A Space Odyssey upon its initial release, I loved it, but when I watched it again many years later, I found it boring as heck.

>60 Levin40: >62 lawrencegough: >66 Glacierman: Thanks for your thoughts! I was thinking the same, that I probably needed to read it as a kid. I have quite a few nostalgic childhood books / games / tv series which haven’t stood the test of time.

I have the FS Owl Service, will give it a try.

It has been a big week of signing. Guillermo del Toro has now added his signature to Cornelia Funke's for Pan's Labyrinth. The pages are now on their way back to us for Tom Roberts, the Illustrator, to sign. Tom, by the way, is up for a Hugo Award for Best Professional Artist this year. Guillermo is now writing a short foreword to this edition and Cornelia has already written hers.

Yann Martel has also signed his pages and today they arrived in Italy for Andrea Serio, the illustrator of Life of Pi, to sign. It is always worrying to have these valuable pages flying around the world. I hope one day to drop them off personally. It would not be cost effective, but a lot more enjoyable.

Today we are off to the printers for a Press pass of Life of Pi. We find that being at the presses is vitally important when publishing our illustrated limited editions. It is often the last opportunity to check the book will be printed before the full production run begins. This is particularly important when reproducing illustrations where subtle tones can easily be lost.
It also puts our minds and the minds of our binders at ease when we know that the grain of the paper is running correctly

I have recently had an email from a customer who is very impressed with his Prestige edition of Anne Rice's The Witching Hour, which we had to publish in two volumes bound in vellum due to its massive word count.

His comments had me considering the fine press world and where we are placed in it. I know that there are a number other great publishers vying for everyone's valuable bookshelf space and it has had me considering what is that we do that makes us different. We all publish great titles bound beautifully, so there is no difference on that point, although I do think we push our binders to the limit.

I have come to the conclusion that we, as our name suggests, are devoted to promoting not only the artisan craftsmanship of the printers and binders but also the art of illustration.

It takes a long time to publish a book for us because we feel that a book to be truly illustrated, it should have more that 10 illustrations in it. Many other publisher have only 6-8 illustrations where we normally have 14-21. I know the reason, art not only takes time to produce but also you double the back and forth approval time with the author.

It is not the easiest route to take, nor the quickest. However, we believe the result is worth the effort. Our aim is not simply to reproduce a text in an attractive binding, but to create a complete artistic interpretation of the work—one in which illustration, design, printing, and binding come together to enrich the reader's experience and honour the story itself.

In fact we are working on Alice's Adventures in Wonderland together with Through the Looking Glass which will have 42 full page illustrations for release around Christmas 2027. If you publish Alice you should take it to the highest level if you want to ever be remembered. The illustrator will be Christian Birmingham

>70 Books-Illustrated: Great to hear! and you deserve the praise :)

>70 Books-Illustrated:

I definitely appreciate your approach.

>70 Books-Illustrated: Wonderful choice of illustrator. For those interested in seeing some of the illustrations, they're available on Birmingham's website: https://christianbirmingham.com/alice_in_wonderland.php

>73 Shotcaller: I think they are standalone paintings, rather than illustrations for a book title (like Alice, Black Beauty &c) but the ones of Venice on the website are what impressed me most. Perhaps because they are principally architectural and aren't images of characters (like Alice) competing with memories of all those (Tenniel, Peake et al) that have gone before.

>74 duncjl: The webpage with the illustrations has a link to Books Illustrated’s edition (not yet active, of course).

>74 duncjl: Thank you! You may well be right.

We have worked with Christian Birmingham for over twenty years now and he is, through and through, an illustrator.

I once called him an artist and he very quickly corrected me on the point. I found it refreshing, as most people who call themselves artists are often horrified to be called an illustrator.

His life work to date has been dedicated to illustration and we alone have published four editions with him:
A Midsummer Nights Dream, Wuthering Heights, War Horse and Alice’s Adventures in Wonderland.

His association with Michael Morpurgo has not only seen War Horse published as a limited edition, but also The Butterfly Lion, The Wreck of the Zanzibar, Wombat Goes Walkabout and The Silver Swan and others.

His career in illustration happened rapidly when, straight out of college, he illustrated The Night Before Christmas, which has sold in the millions and is a favourite each year.

The other editions that have made him a favourite are his picture books, such as The Snow Queen, The Little Mermaid, The Lion the Witch and Wardrobe, A Christmas Carol, Oliver Twist and many more Hans Anderson stories.

I once had a chap offer me £25,000 for Christian to paint his children on the back of Aslan like the cover of TLTW&TW and he refused to do it as that would not be an illustration. It was a request I received often, with the same result.

>77 Books-Illustrated: It's a tricky one with artists vs illustrators. There are some remarkable illustrators but I've felt sometimes that genre illustrators can restrict the expansion of the visual development of a particular genre. Scifi is a particular genre I feel has suffered in many ways. Artists can sometimes open it up and take it to interesting places one wouldn't expect. They can also fantastically miss the mark. There are some illustrators with such a unique charm you want to see more.

>78 LT79-1: There are SF/Fantasy titles that I would have loved in fine illustrated editions but the artwork has left me cold. Dave McKean is one example. I can see the artistry but it doesn't vibe with me. Some of the artists that Subterranean use produce covers that I would not want on my shelves.

I miss the old days of Folio Society when Mervyn Peake was illustrating other author's titles.

>79 memeweaver: I think most scifi fans do prefer illustrators. I agree artists can miss the mark totally but illustrators can be very clichéd and present more of the same lurid art. Take CTP Solaris, I actually prefered the Kandinsky inspired chapter openers to the colour artwork because it was a slightly different and quite tasteful touch.

With Dave McKean I don't really follow his work so I can't comment but I did see his take on Roadside Picnic and thought it was the right one for that particular book even if it wasn't perfectly realised.

All this of course comes down to personal taste but i don't think I'm the only one who feels the artwork could go to more interesting places.

>77 Books-Illustrated: Will your new edition of Alice reuse illustrations from the previous edition?

I always liked that one, but was unable to purchase.

>81 Inceptic: We will be using the full page illustrations that were in The Alice's Adventures in Wonderland and creating 21 new illustrations for Looking Glass. Christian is using the same model as he used earlier as he made sketches and took photos in anticipation of this. Young girls grow up so fast!

The logic for using the Adventure illustrations in this new edition is twofold. The original portrait artwork was cropped square as we released the edition in a square format. People are excited to see the full illustration printed in this new Edition. The other reason and why it is hard to get your hands on our original release is that most of the books were damaged with a water leak and we lost about half of the edition. So now people can have an opportunity again.

I know I will get flack from a lot of people but we have decided to print this as a letterpress edition. We want it to be as special as our edition of Beowulf and think to make this edition stand out it requires the very best.

I am expecting a huge swathe of emails telling me they are heartbroken because they can't afford this type of book. Damned if you do, damned if you don't. I still think that this edition should be the best we can make it. I hope you agree.

>82 Books-Illustrated: Wonderful. This sounds like a book which will be treasured.

Alice does sound interesting, but it is somewhat unfortunate timing given arête are also working on an edition.

>84 EdmundRodriguez: I am sure they will do a great edition as they always do.

>82 Books-Illustrated: Letterpress is the beating heart of fine press. Without it a book can never reach the top of the mountain. I used to think otherwise but the more I reflect on it the more it seems self-evidently true. The collectors who complain about cost should prize quality over quantity as they present an obstacle to the upward aspirations of a press. It's rarely the case they can't afford it and more that they prize quantity. Too much automation removes depth and texture. It flattens everything like the screen does. The tactility is the main strength of a handmade book. If you want Alice to rise above the competition then it must be letterpress and your instincts are correct.

>8 Shadekeep: Agreed.

On a side note, it's a good time for Lewis Carroll admirers. Arion's Alice In Wonderland is due out this year, with art by Rupy C. Tut.

>87 Shotcaller: While not fine press, I am taken by the illustrations for the Jhambo Ink edition of Alice: https://jhamboink.com/alices-adventures-under-ground-in-wonder-land/ by the Brazilian artist Zansky https://zansky.com.br/

>86 LT79-1:

That's not my point of view, and the prices connected to letterpress can stop me from buying, too. Too often it doesn't even read as well unless the printing is perfect, which it often isn't.