TLDR: NO REPLY PRESS IS A PUBLISHER OF LETTERPRESS AND HAND-BOUND LIMITED EDITIONS.

No Reply is the private press of Griffin Gonzales, who strives to publish an eclectic array of titles using centuries - old crafts. Each book is printed letterpress on a hand-operated machine, then painstakingly bound by hand. Nothing essential in the No Reply workshop plugs into an outlet. When you hold a No Reply book, for better or worse, you hold an object made with human hands and storied machinery. The result can be thrilling, as hours of work and years of hard-won craftsmanship come together in an object with soul.

¶ What is a private press?

A private press is a small publishing concern operated by a craftsperson - proprietor. Every book has a publisher (responsible for its editorial content) and a maker (responsible for its manufacture). At a private press, both roles reside with one person. In No Reply’s case, that person is Griffin Gonzales, a sometimes - green - sometimes - blue - haired Zillenial who, besides making books, gardens and shoots darts poorly. Private presses usually place literary and artistic endeavor before a profit motive, often producing extraordinarily unique limited edition books. There are over a hundred such presses across the globe. Well - established examples include the Allen Press, Tallone Editore, Midnight Paper Sales, Greenboathouse Press, or Foolscap Press.

¶ Who is No Reply?

Griffin is joined by his extraordinarily talented assistant bookmaker Claire McArthur, whose work focuses on bindery execution and papermaking. In addition, Griffin’s wife Valeria sometimes lends a hand. That’s everybody!

¶ What is a limited edition?

It’s simple: When we say “Only one hundred copies made” we mean “Only one hundred copies made.” Our editions are never reprinted and, ultimately, their rarity increases. Because of this, they tend to become sought after over time, and often accrue in value.

¶ Who is No Reply?

Griffin is joined by his extraordinarily talented assistant bookmaker Claire McArthur, whose work focuses on binding and paper making. In addition, Griffin’s wife Valeria sometimes lends a hand. That’s everybody!

¶ How are No Reply editions made?

We use some splendid machines, from our 1 9 5 9 Vandercook proofing press to our 1 8 8 9 Challenge stack cutter. These machines are all manually operated – none are automated or electrically driven – and the vast majority of the work actually involves only hand tools. Call it “handmade,” call it “manually made,” call it “slowly made” – each book is made with care.

¶ How is a book printed letterpress?

While other methods of printing can be superb, nothing approaches letterpress. It is a difference in kind rather than a difference of quality. Letterpress printing achieves rich colors, a deep resonance of type on paper, and, of course, its signature impression. Traditionally, small pieces of metal type are hand-set, then inked, and pressed against paper. You can see and feel the impression of the type on the page. There is some debate in the letterpress community about what constitutes desirable impression; some think it should be as light as possible (kissing) while others believe it should be heavy (biting). While we fall somewhere in the middle, we think that letterpress which doesn’t boast noticeable impression loses a quality which should be embraced, not eschewed.

We use a variety of typesetting methods, and often different typesetting methods within a single project. From photopolymer and magnesium plates to Intertype and hand - setting, the great variety of methods results in an ability to embrace a broad degree of design potential.

No Reply has two presses. The first is a manual tabletop 8 ’’ by 10 ’’ Excelsior. The second is a Vandercook Universal I proofing press (specifically, No. 2 0 6 7 3).

¶ How is a book hand-bound?

By hand! No electricity is used in the binding of our books. Even the simplest tasks like folding paper are done by hand (hamburger, hotdog, hamburger, hotdog…). Bookbinding is a centuries-old craft and a form of artistic expression. As a craft, the thousand steps that go into binding must be mastered — from something simple, like folding paper, to something complex, like tooling leather. As an art form, the binder must inspire but not distract. The relationship between a book’s design aesthetic, paper, printing, binding, artwork, and literature is key to the reader’s interpretation and comprehension. We bind books by hand out of the pure joy of doing so, but also to endow readers with the feeling that they are holding a living, breathing text. In our bindery, nothing is done on an assembly line, and every step involves human hands. 

We use a one-of-a-kind oak and iron screw press, which was made in the Civil War area and originally used as a wine press, and a 1 9 ’’ Challenge iron stack cutter (specifically, No. 4 1 5 1) which was made in 1 8 8 9.

¶ What materials do you use?

A great variety. No two editions use the same materials, and the press does not use any  standardized templates for the  size or design aesthetics of books. Each edition is built from the ground up. Oftentimes, novel or unique papermaking or other craft methods have been employed to give an edition exactly the zing it calls for. We often makes papers ourselves and therefore No Reply editions often boast papers found only on that edition.

¶ Are there any design or aesthetic principles to which No Reply adheres?

No Reply is an endeavour inspired by the art nouveau movement. Its base aesthetics are wonderful (such as the heavy incorporation of natural forms), but its aesthetic principles are our north star. Namely, the press does not believe in any distinction between the high and low arts and we do believe that “total art” is a worthy pursuit in and of itself. 

The high arts (painting, architecture, writing, etc.) are often contrasted with the low arts, or crafts (printing, knitting, cooking… bookmaking). The former is primarily a matter of self-expression, and the latter is primarily a matter of utility. It is abundantly clear that this distinction has as much to do with historic class and gender roles as it does with any intrinsic aspect of the arts it segregates. At No Reply, all aspects of a book – from the literature it contains to its printing and the making of the materials – are treated with equal reverence as matters of self-expression and, therefore, of art. We do not consider our bookmaking  as simply being in service to the literature or art which a book contains. Rather, we consider each aspect of a book – from its paper to its printing and back again – as vital parts of a whole and thus worthy of equal consideration.

This art is most exciting when approached as “total art” (or Gesamtkunstwerk) wherein each aspect is brought together with intention as a singular work. Therefore, the press strives to not allow any aspect to predominate. (For example, we do not choose a work of literature, and then choose a typeface to suit the literature, and then make a paper to suit the typeface, etc.). Rather, we try – sometimes in vain – to consider all aspects at once.

¶ Can I become a subscriber to the press?

At the moment, No Reply doesn’t offer standing subscriptions.

¶ How does No Reply decide what to publish?

Each edition has a unique origin and, ultimately, Griffin just goes with his gut. The literary output of the press has been described variously as eccentric, canonical, conservative, and populist. If you can find a rhyme or reason, let us know.

¶ Where is No Reply based?

Portland Oregon! Initially, the press occupied a slanted sun porch in Ladd’s Addition, a neighborhood near the city center known for its American elms and rose gardens. (The press’ imprint icon is based on the neighborhood’s eccentric layout.) In 2 0 2 0, at the beginning of the Coronavirus pandemic, the press moved to the upper right corner of Ladd’s into the historic Campa Building, which was built in 1911. Toward the end of 2 0 2 1, it moved half a mile south to the Brooklyn neighborhood. The press is now based in the large studio beneath a classic Victorian house built in 1 8 9 9 .

¶ Are No Reply books signed?

They are often signed by the craftspeople who made them (the printer, the binder, etc.) and by the author or artist when possible.

¶ These books are spendy!

A poster is to a painting what a typical trade book is to a private press book. The top-notch materials and immense time that goes into each copy drives the cost far beyond what you’d find at a typical bookstore. Still, while striving for the finest in bookmaking, No Reply publishes at least one edition per year which is reasonably accessible. After all, one of the joys of private press collecting is that, unlike much art collecting, it does not require an immense budget.

¶ Do you have an extra copy of “Jack” lying around?

Sadly, no. This is a common question. With only twenty-seven copies, the first No Reply publication has become highly sought after.

¶ Where does the name “No Reply” come from?

There’s an answer: but it’s a closely guarded secret.

¶ What other presses do you collect?

No Reply has a modest but growing collection of editions from a number of contemporary private presses, including near-complete collections of Allen Press and Aralia Press, and smaller but significant collections from St. James Park Press, Tallone Editore, Barbarian Press, Foolscap Press, Corvus Works, Greenboathouse Press, and Midnight Paper Sales.

If you are a private press proprietor interested in No Reply titles, let’s arrange a trade!

¶ Who collects No Reply books?

As of January 2 0 2 5 , No Reply books have gone to collectors in all fifty states and fifty-odd countries. No Reply collectors are diverse in every way — in age, profession, geography, and background. The greatest joy of fine press publishing is getting to know collectors and, through conversation and a shared passion, collaborating with them.

¶ Where can I learn more about the Press?

A good place to start is Griffin’s longform interviews with The Whole Book Experience (parts one and two) and Collectible Book Vault.