Terms & Conditions

  • Once your proposal submission is received, you will be sent an email to confirm receipt. If you do not receive a confirmation email within 7 days, please contact us to ensure your proposal has been successfully submitted. HKOP and IMPACT 11 team will not be liable for any non-arrival of proposal submission information.
  • If your proposal is selected, at least one representative from your group or organisation should be present at IMPACT 11 for the set up and presentation. If special arrangements or equipment is required, requests must be made clearly in the proposal submission for our consideration.
  • Registration fees should be settled via online payment. Cash and cheques will not be accepted. Registration will only be considered complete once the registration form and payment have been received. Payments not received in full prior to the event may result in entry being denied. No cancellation is accepted. Registration fees for IMPACT 11 are not refundable. If a participant is unable to attend and would like to transfer the registration to another person, approval will be determined by the HKOP & IMPACT 11 team on a case-by-case basis.
  • No responsibility is assumed by HKOP, the organiser or the speakers/authors for any injury and/or damage to persons or property as a matter of product, negligence or otherwise, or from any expectation regarding the event, use or operation of any methods, products, artworks, instructions or ideas presented at the event or contained in the notes.
  • By entering the event premises, you consent to being photographed or filmed by the HKOP and IMPACT 11 teams, and to the organiser’s use and publication of audio recording, video recording in any and all media for promotional and educational purposes. No recording or photography on the premises of the conference is allowed during the conference without prior written consent of the organiser.
  • In case of a person (delegate, exhibitor, visitor) infringing the overall interest/aim of the conference or infringing the interest of other delegates, companies or parties involved in the conference, the organiser is entitled to exclude the infringing person/company from the event after an oral or written warning by the HKOP directors show no adequate result. All respective costs in context of the infringement or exclusion are on the infringing person’s/company’s own responsibility. No liability in any way or any reason is taken by the organiser in this case.
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  • While every effort will be made to adhere to the published programme, it may be necessary for reasons beyond the control of the organisers to alter the content, speakers, and/or timing of the programme without prior notice. Please check the website for the latest version of the programme.
  • Personal information collected will be held on a database and used for communication purposes. In some cases, related to the funding support to the conference, your details may be made available to the funding bodies or its related department for record.
  • In addition to the provisions mentioned above, these terms and conditions are subject to the laws of the Hong Kong Special Administrative Region.
Acceptance of all of the above terms and conditions is required in order to register for and participate in IMPACT 11.

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Proposal Abstract

What does ‘Alice in Wonderland’ have to do with printing history? ‘Alice’ is one of the very few books to be in continuous production over the last one hundred and fifty years. ‘Alice’ and its sister publication ‘Through the Looking Glass’ are unique in that they have always been illustrated volumes, thus offering a great opportunity to compare developments in technology through the years.

The first publication of ‘Alice in Wonderland’ in 1867 was printed in letterpress and the illustrations by John Tenniel were engraved by the pre-eminent wood engraving company of the time the Dalziel Brothers. By 1907, the copyright had lapsed with Carroll’s death and a spate of colour editions appeared. Demonstrating the arrival of the four-colour separation half-tone.

By 1930, lithography was having a commercial presence. In 1930, the artist Marie Laurencin, produced a limited edition ‘Alice’ with six hand drawn coloured lithographs. A beautiful animated picture book illustrated by Julian Wehr in 1947 demonstrates the versatility that litho could offer.

In the 1970s, the British Pop Artist Peter Blake produced a series of 12 screenprints of ‘Alice’, with the London Screen Print Studio Kelpra. In 1982, intervisual communications designers of pop-up books, which were assembled in Cali Colombia, published their ‘Alice’.

By the 2000s, as cutting and creasing technologies improved, pop-up books became infinitely more elaborate. Pop-ups by Robert Sabuda and Jotto Seibold, which were printed and assembled in China, demonstrated the global printing trade. In 2018, Italians Irena Trevison and Nadia Fabris produced the first laser cut ‘Alice in Wonderland’.

This paper will present a more detailed printing history of ‘Alice’ including examples of leading artists of the day and how the printing process influenced their work.


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Academic Paper

An interpretation of the evolution of print technology, past, present and future, through the printed history of Alice in Wonderland

Stephen Hoskins
Printmaker, Academic
CFPR, UWE, Bristol