Recommended Workshop – Non-Credit Letterpress

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The Book Arts Program presents

Non-Credit Letterpress

Tuesdays, May 13 through July 1
5PM – 8PM
Book Arts Studio, Level 4
J. Willard Marriott Library
Workshop fee: $280 Materials fee: $60

This gem of a workshop introduces the fundamentals of letterpress, from paper selection and cutting to mixing ink and printing. Practicing a variety of techniques and using an array of media – miraculous moveable type, dazzling zinc cuts, luscious linoleum blocks, and precious pressure prints, among others – participants design and produce several projects with the jewels of the Book Arts Studio: its flatbed cylinder and clamshell platen presses.

Instructor Claire Taylor is the Studio Manager at the Book Arts Program. She received a BFA from the University of Utah in printmaking in 2007. Working mainly in letterpress and drawn media, she exhibits nationally.

Relicensure points are available from the Utah State Board of Education.

For more information: bookartsprogram@utah.edu or 801-585-9191

The Rare Books Division supports the Book Arts Program with its collections.

Vanity
Rebecca Chamlee Keeley
Los Angeles: R.C. Keeley, 1988
N7433.4 K434 V35 1988

Trapazoidal pages in which the top edge has been trimmed on an angle. Accordion structure bound in cloth covered boards. From the colophon: “The text was composed in Spartan, Futura and Baskerville types by Bell Type and Rule Co., printed on Roma paper, written, designed and bound by me. The zinc cuts were colored by a letterpress method invented by Dikko Faust of Purgatory Pie Press.” Edition of twenty-five copies. University of Utah copy is no. 25, signed by the author.

Phosphorescent Face Highlighter
Sarah Nicholls
New York City: S. Nicholls, 2010
N7433.4 N525 P46 2010

From insert: “Letterpress printed from handset type and linoleum blocks at the Center for Book Arts in NYC.” Edition of forty-five copies. University of Utah copy is no. 10, initialed by the author.

The Topography of Home
Macy Chadwick
Oakland, CA: In Cahoots Press, 2009
N7433.4 C414 T68 2009

Pages attached to a concertina with most pages having a circular silk tissue window so that the preceding and following pages show through. From the colophon: “[W]ritten designed and [letterpress] printed by Macy Chadwick…Printed with pressure prints and polymer plates on Mohawk [sic] Superfine and French’s Extra Blue Butcher paper…Window images hand-stenciled on Silk Tissue.” Edition of fifty copies, numbered and signed by the author/artist. University of Utah copy is no. 26.

Book of the Week – Fabvlarvm Ovidii Interpretation, Ethica, Physica,…

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Fabvlarvm Ovidii Interpretation, Ethica, Physica,…
Ovid (43 bce – 17 or 18 ce)
Cantabrigiae: ex officina Thomae Thomae, 1584
PA6519 M2 1584

The University of Cambridge was granted printer’s privileges through a Royal Letters Patent by Henry VIII in 1534. Although it held privilege, the Cambridge press did not actually begin printing until 1582/3, after the appointment of Thomas Thomas as University Printer. At the time, the Stationers’ Company in London held a carefully monitored monopoly on printing in England. So fierce was the Stationers’ Company sense of competition, it arranged to have Thomas’ press seized. Thomas, a fellow of King’s College and notable scholar, was the author of a Latin dictionary which was issued in at least eight editions from the Cambridge press before 1610.  He printed at least twenty titles for the press before his death in 1588 at the age of thirty-five. The University of Cambridge Press is the world’s oldest continually operating press and publisher. Its first book was printed in 1584, making this 1584 Ovid one of its first publications.

Recommended Workshop – Photopolymer Intaglio Printing

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The Book Arts Program presents

Photopolymer Intaglio Printing

Friday & Saturday, May 9 & 10
9:00a – 5:00p
Book Arts Studio, Level 4
J. Willard Marriott Library
Workshop fee: $160; Materials fee: $45

In this two-day printmaking powwow, Mare Blocker outlines methods for making images on transparencies as well as strategies for photopolymer intaglio printing and registration. Participants use black or tonal artwork on clear transparency to expose and develop a light sensitive photopolymer plate. By hand-wiping the photopolymer plate, participants create an original intaglio print using an etching press. Suitable for recreating an impression of a photographic image, rather than a highly detailed version. This method is ideal for those who want to reduce toxic materials in their studios. Discussion topics include ink, paper, and dampening choices. Open to all ages. Drawing experience preferred but not required.

Mare Blocker has been making limited edition and unique books since 1979 and established the MKimberly Press in 1984. She earned a BFA in Ceramic Sculpture at the University of Washington and an MFA at the University of Idaho. Her work can be found in over 85 public collections and museums including The Victoria and Albert, the J. Paul Getty Museum, The University of Washington Special Collections, The Albertson Library at Boise State University, and The Library of Congress. Mare has been a Library Fellow award winner from the National Museum for Women in the Arts, Washington, DC and a Sally R Bishop Artist in Residence at the Center for Book Arts in New York. She is the President of the Book Arts Guild, and is on the Board of Directors for the College Book Arts Association.

The Rare Books Division holds examples of these techniques:

A Casual Commentary: front seat, u.s.a.
Marnie Powers-Torrey
Salt Lake City: UT: M. Powers-Torrey, 1999
N7433.4 P69 C37 1999

Typeface is Twentieth Century Medium Italic. Handset and printed on an Asbern letterpress. Photographs are gum bichromate prints, photolithographs, and intaglio prints from photopolymer plates. Edition of 15 copies, signed and numbered. University of Utah copy is no. 4.

Sojourn
Diane Fine
San Francisco, CA: Gravel Press; Plattsburgh, NY: Moonkosh Press, 2002
N7433.4 F55 S64 2002

 

You Are Invited – Student Readings

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Join students of Professor Lance Olsen’s fiction workshop (ENGL5510) as they present their short stories during a public reading.

One of the pieces being introduced will feature an illustration from Andreas Vesalius’ famous book of anatomy, De Humani Corporis Fabrica. The short story, inspired by Vesalius’ revolutionary depictions of the female anatomy, addresses the often taboo topic of female sexuality. Lyuba Basin, Rare Books student assistant, used our copy of the 1555 edition of De Humani Corporis Fabrica as reference for her work, specifically focusing on the wonderfully detailed illustration of the dissected female body.

Thursday, April 17 & Tuesday, April 22
2-3:30PM
Two Creek Coffee located in the Frederick Albert Sutton Building on the campus of the University of Utah.

Vesalius, De Humani..., 1555

Vesalius, De Humani…, 1555

Book of the Week – The Earthly Paradise

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Earthly Paradise
William Morris (1834-1896)
Hammersmith, England: Kelmscott Press, 1896-97

A series of twenty-four tales, two for each month. Twelve tales are from classical sources; the other twelve from medieval Latin, French, and Icelandic origins. Earthly Paradise became one of the most popular works of the Victorian era. It was morally acceptable and read as a means of relaxation and escape from daily cares. For this work Morris was offered the poet laureateship upon the death of Tennyson. Morris refused the honor. Morris himself oversaw completion of the first two volumes, while the remaining six were printed by the trustees of the estate after his death. Printed in Golden type in red and black. Illustrated with full-page woodcut borders and initials. The ten borders and four half-borders used in The Earthly Paradise do not appear in any other Kelmscott book. Bound in vellum with ties. Edition of two hundred and thirty-one copies.

Book of the Week – Types and Bookmaking: Containing Notes on the…

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Types and Bookmaking: Containing Notes on the…
Fred Anthoensen (1892-1969)
Portland, ME: The Southworth-Anthoensen Press, 1943

Frederick William Anthoensen was born in Denmark, but came to the United States as an infant. He attended school in Portland, Maine. He became interested in printing under the influence of D.B. Updike and Bruce Rogers, both of Boston, and both heavy hitters of early US twentieth-century typography. In 1901, Anthoensen began working as a compositor for Southworth Press. Seventeen years later he became its managing director. In 1934, the name of the press changed its name to Southworth-Anthoenson Press. After 1944, it became Anthoensen Press. Anthoensen was recognized as an exemplary craftsman in his day. Contains type specimens, typographic ornaments and flowers, and specimen pages, accompanied by a descriptive catalogue. Bound in full charcoal linen buckram with black morocco spine.  Issued in slipcase. University of Utah copy contains bookplate of book collector Estelle Doheny.

Book of the Week – De la Lingua che si Parla & Scriue in Firenza…

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De la Lingua che si Parla & Scriue in Firenza…
Pierfrancesco Giambullari (1495-1555)
Firenze: Torrentino, 1551

Printer Lorenzo Torrentinus (1499-1563) was a Dutch-Italian humanist and printer for Cosimo, Duke of Florence. He was born in the Netherlands into a wealthy family. After his studies, he began working for printers and booksellers in Antwerp, Basel, Lyon, Venice and Bologna. There, he worked as a bookseller with Arnoldus Arlenius, a well-known and well-respected Greek scholar. They imported books in Greek and Latin from France and Germany, selling them throughout Italy. They also acted as liaisons between authors and printers. After the death of Filippo Giunta, the great Florentian pressman, printing in Florence deteriorated from an art to a trade. Duke Cosimo I brought Torrentino to Florence to improve the quality of printing in his city. In 1577 Torrentino opened his own press in Florence. He produced nearly two hundred and seventy-five editions. His work was of high quality and his reputation and business flourished. In 1562 he became director of a type foundry. His press was managed by his sons. His careful and artful typographic skills enabled him to contribute to the development of Italian languages. Like the best printers of the era, Torrentino carried equally the roles of editor, translator and commentator. University of Utah copy gift of Ivie J. and Jeanne M. Nielson.

Book of the Week – Vue de la Colonie Espagnole du Mississipi, ou des…

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Vue de la Colonie Espagnole du Mississipi, ou des…
Pierre Louis Berquin-Duvallon (1769 – aft 1804))
Paris : Imprimerie Expeditive, 1803
First edition
F373 B53

This work on Louisiana and the western part of Florida gives a general survey of the area, with special attention paid to the Mississippi River and New Orleans. The author writes of the climate; soil; flora and fauna; production of sugar, cotton, indigo, tobacco, rice and wood ; as well as trade, commerce, law and government. Berquin-Duvallon was a planter who lived in Louisiana from 1799 until 1802. A French colonist, he fled San Domingo in 1803, after slaves successfully revolted. The Haitian Revolution resulted in the abolition of slavery on Haiti.

Recommended Workshop – The Naked Book: Casebound Without Cloth

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The Book Arts Program presents

The Naked Book: Casebound Without Cloth

Saturday, April 12
9:00a – 5:00p
Book Arts Studio, Level 4
J. Willard Marriott Library
Workshop fee: $80; Materials fee: $25

Turn a hardbound book into an artist’s canvas with bookbinder and conservator, Chris McAfee. Make a cover for a pre-sewn text block and finish it – not with cloth, paper, or leather – but with acrylic modeling paste. Then texture, scribe, and wax the covers to create a personal design. While spinning traditional techniques into innovative processes, investigate how bookbinding materials react to moisture and how to counteract related problems.

The Rare Books Division holds an example of this technique:

THE BOOK OF THE APOCALYPSE
Christopher Mcafee
Springville, UT: C. McAfee, 2001
N7433.4 M257 B666 2001

Chris, who for many years taught the Book Arts Program’s bookbinding courses, received a BFA in printmaking from Brigham Young University and an MFA in bookbinding from the University of Alabama. He is Senior Conservator at the Church History Library.

The Rare Books Division holds many of his works:

JUNKYARD DOG
Christopher McAfee
Tuscaloosa, AL: Small & Simple Press, 1993
PS3563 A225 J85 1993

Edition of twenty copies. University of Utah copy is no. 16.

SPIRAL TRILOGY
Christopher Mcafee
Tuscaloosa, AL: Small & Simple Press, 1995
N7433.4 M257 S65 1995

Edition of ten copies. University of Utah copy is no. 5

RODENTIA ABECEDARIUM
Christopher Mcafee
Tuscaloosa, AL: Small & Simple Press, 1998
N7433.4 M257 R63 1998

Illustrated with acrylic, gouache, and ink. Bound in goat and rabbit with hemp cords and leather endbands.

 

 

Book of the Week – Calendarium

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Calendarium
Johannes Mueller, Regiomontanus (1435 – 1476)
Venice; Erhard Ratdolt, 1482
CE73 M8 1482

Regiomontanus’ Calendarium was first printed at his own press in Nuremberg in 1474. In 1476, master printer Erhard Ratdolt published it in Venice, the capital of Italian printing, followed by this edition in 1482. Regiomontanus was one of the first publishers of astronomical material. His Calendarium represents the first application of modern scientific methods of astronomical calculation and observation to the problems of the lunar calendar, such as Easter, and the accurate prediction of eclipses. Regiomontanus’ almanacs contained planetary positions for a particular year as calculated from astronomical tables, freeing astronomers from performing the laborious task themselves. This edition also contains verses by J. Sentius in praise of the author, and by Santritter in praise of the printer. Santritter would later become a printer himself. The last two leaves of this book are printed on four pages of thick paper pasted together to form astronomical instruments. The ingenuity of the instruments demonstrates Ratdolt’s technical skill in overcoming the challenges posed by early scientific publishing. This edition was not only technically innovative but artistically elegant as well. The title page is ornamented with an intricate border. The title-page initial is printed in red and black. Other woodcut initials are printed in black and white. Ratdolt included imprint details – that is, the information which tells us when and by whom the book was printed – at the end of the opening verses on the verso of the title-page.