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~ News from the Rare Books Department of Special Collections at the J. Willard Marriott Library, The University of Utah

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Category Archives: Recommended Workshop

We recommend — Book as Archive & Enclosure

04 Thursday Oct 2018

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accordion, Alicia Bailey, Aurora, Book Arts Studio, butterflies, Chester A. Reed, collage, Colorado, copper foil, Denver, drop-spine box, envelopes, handwritten, Hedi Kyle, J. Willard Marriott Library, mica, moths, Penrose Special Collections, photographs, rare books, Ravenpress, Rocky Mountain Chapter of the Guild of Book Workers, Ruth Wheeler, seed, thread, tyvek, University of Denver


“…the continued existence of these birds in the form of skins, specimens and eggs at museums worldwide is perhaps indicative of a human tendency to preserve remains rather than…to protect life. I also considered that both impulses are as much a part of contemporary endeavor as statistic gathering.”

Extinct Extant
Alicia Bailey
Aurora, CO: Ravenpress, 2013
N7433.4 B265 E98 2013

From the artist’s statement: “Photographs of birds digitally printed, envelopes are hand printed, labels and spine text laser etched. Book based on an enhanced accordion binding structure designed by Hedi Kyle.” Issued in a drop-spine box with paper title label attached to the top and colophon attached to the bottom inside. Envelopes are attached to an accordion spine, forming eight leaves. The first envelope contains the preface and bibliographic information. The remaining seven envelopes contain single folios printed with information about an extinct species of bird, with a photograph of a specimen of that species laid in. A cropped image of each species is collaged to the back of each envelope. The name of each species is laser etched to the spine and back side of each envelope. Each envelope is a repurposed commercial negative envelope. Edition of eighteen copies plus two artist’s proofs, signed and numbered by the artist. Rare Books copy is no. 13.


Book as Archive & Enclosure
Alicia Bailey

Cosponsored by the Rocky Mountain Chapter of the Guild of Book Workers and the Book Arts Program

October 26 & 27
Friday & Saturday, 10:00 – 5:00
Book Arts Studio, J. Willard Marriott Library

$185, register here

Alicia Bailey has developed various ways of adapting traditional binding and structures to create books designed to hold dimensional objects. In this workshop, participants create two books to showcase and house both dimensional objects and flat artifacts. With great flexibility at the spine and sturdy, rigid pages, these books work well when handled or displayed as traditional book forms or as sculptural objects. Bring personal images and artifacts to build enclosures that are sculptural narratives or archives of memory.

Alicia Bailey is a studio artist working across multiple disciplines. She has focused on book arts, box constructions and assemblage since the mid-nineties, producing artists’ books, sculptural books and limited-edition books that incorporate a broad range of methods and materials. She is particularly interested in box and bookworks that include elements beyond surface printed images and text; that move beyond traditional book forms and embrace presentation flexibility, innovative page folding tactics, rigid-page construction and use of alternative materials. Her work has been featured in dozens of solo and group exhibits throughout the world and is held in numerous public, private, and special collections. An archive of her work in the book arts is under development at Penrose Special Collections, University of Denver, Denver, Colorado.

Rare Books is pleased to support the Book Arts Program with its collections.



Animal Mineral vegetable Book #1
Alicia Bailey
Aurora, CO: A. Bailey, 2013
N7433.4 B22 A7 2013

Made with mica, copper foil, thread, tyvek with surface applied color, seed fluff, moths and butterflies.



Wildflower Identification
Alicia Bailey
Aurora, CO: Alicia Baileyu, 2013
N7433.4 B22 W5 2013

Texts from the handwritten notes of Ruth Wheeler. Photographs scanned from 1946 originals taken by Ruth Wheeler. Color reproductions from flower guide published in 1916 by Chester A. Reed.

— Photographs by Scott Beadles

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We recommend — The Book Restructured: Wire-Edge Binding

17 Thursday May 2018

Posted by rarebooks in Recommended Workshop

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Arthur Larson, Book Arts Program, Book Arts Studio, collage, Daniel Kelm, Easthampton, Garage Annex School for Book Arts, gouache, Granary Books, Greta Sibley, Horton Tank Graphics, J. Willard Marriott Library, Jane Sherry, Jill Jevne, Jospeh A. Osina, Korea, New York City, Philip Gallo, photographs, printing, rare books, Rives BFK, rubber stamps, Small Offering Press, Sonam Temple, South Cholla Province, Terence K. McKenna, The Hermetic Press, Timothy Ely, typography, Wide Awake Garage, wire-edge binding


“Everything corresponds. Sweet is easy: happiness. Tanginess is trickier: people going the wrong way and calling it right; the tendency not to complain while harboring envious and covetous feelings. Sourness is things you like and don’t like — woven together. Smokiness is slow vision, seeing gradually the good things in life. What we find distasteful? That’s bitterness.”

Tea: Time in Korea
Greta Sibley
Easthampton, MA: Small Offering Press, 1994
DS904 S53 1994

Text and photographs based on three trips to Sonam Temple, South Cholla Province, Korea. Binding and box designed and produced by Daniel Kelm, Wide Awake Garage. Edition of twenty-five copies. Rare Books copy no. 14, signed by the author and the binder.


“The Book Restructured: Wire-Edge Binding”
A Book Arts Program workshop by Daniel Kelm

June 1 & 2, 2018
Friday & Saturday, 10:00 – 5:00
Book Arts Studio, J. Willard Marriott Library, Level 4

$215, register here

Wire-edge binding utilizes a thin metal wire along the hinging edge of each page. The metal wire is exposed at regular intervals, creating knotting stations where thread attaches one page to the next. The result is a binding that opens exceptionally well and provides the option of producing unusual shapes. This workshop presents various wire-edge structures useful for books, enclosures, and articulated sculpture. Participants produce both a simple codex and an accordion model that forms a tetrahedron. All levels of experience are welcome.

Daniel E. Kelm is a book artist who enjoys expanding the concept of the book. He is known for his innovative structures as well as his traditional work. In the mid-1980s, Daniel invented a style of bookbinding called wire-edge binding in order to explore the nature of the book as articulated sculpture. His expression as an artist emerges from the integration of work in science and the arts. Alchemy is a common theme in his bookwork. Daniel received formal training in chemistry and taught at the University of Minnesota and is known for his extensive knowledge of materials. Daniel teaches widely, and founded the Garage Annex School for Book Arts (GAS) in 1990. Most recently, with long-time collaborator Timothy Ely, Daniel co-delivered a lecture on The Alchemy of the Handmade Book at the Getty Center as a complement to the exhibition The Alchemy of Color in Medieval Manuscripts.

Rare Books is pleased to support the Book Arts Program with its collections.



“Decadence is sophistication severed from genuine feeling.”

Synesthesia
Terence K. McKenna (1946-2000)
New York City: Granary Books, 1992
N7433.4 M4285 S95 1992

Drawn and painted images by Timothy Ely. Typography and printing by Philip Gallo at The Hermetic Press. Paper is Rives BFK. Bookbinding by Daniel Kelm and staff, Wide Awake Garage. Edition of seventy five copies, twenty hors commerce. Rare Books copy is no. 47, signed by the author, printer and binder.



“I decide to go down the mountain to get a jar of fig sugar. The houses below feel very flimsy. I am greeted in one, by a cat that chases me barking like a dog back up the hill with an empty peanut butter jar.”

Venus Unbound
Jane Sherry
New York City: Granary Books, 1993
N7433.4 S418 V46 1993

The writer dreams. From the colophon: “The images were printed from metal plates made from the artist’s original paintings then treated with extensive hand-work: gouache, pen & ink, rubber stamps and collage…” Typography and printing by Philip Gallo at The Hermetic Press. Binding designed by Daniel Kelm. Box made by Jill Jevne. Edition of forty-one copies, eleven lettered. Rare Books copy is “A/P 2/2, signed by the author.



“The moon empties of light and is called new.”

Four Chambers, Five Nights
Greta Sibley
Easthampton, MA: Small Offerings Press, 1999
N7433.4 S5453 F68 1999

Text designed and composed by the author. Imagery created by Joseph A. Osina. Letterpress printed by Arthur Larson of Horton Tank Graphics. Binding and folders designed by Daniel E. Kelm at The Wide Awake Garage. Edition of twenty copies. Rare Books copy is no. 14.

— Photographs by Scott Beadles

 

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Looking forward to — Book Arts Program workshop, “The Practice of Ukiyo-e Woodblock”

28 Thursday Jul 2016

Posted by rarebooks in Recommended Workshop

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barrens, Book Arts Studio, brayers, brushes, calligraphy, Cleveland Museum of Art, Connecticut, copperplate engravings, Daniel Kelm, Fogg Museum, Francis Willughby, Franklin Nichols Woodworking, Gerald Lange, handmade, Harvard University, Henryk Goreski, ink, J. Willard Marriott Library, Japan, Japan Foundation, Japanese paper, John Wareham, Keiichiro Uesugi, Keiji Shinohara, kozo paper, Krystyna Carter, Kyoto, Library of Congress, Middleton, Milwaukee Art Museum, Osaka, pallet knives, Paul Shaw, poetry, Polish, polymer plates, presses, printing, printmaker, rag papers, Robin Price, triptych, Ukiyo-e, United States, University of California, Wesleyan University, William Everson, woodblock, woodcut

The Practice of Ukiyo-e Woodblock
Keiji Shinohara, instructor

August 5-6
Friday & Saturday, 10:00-6:00
Book Arts Studio, J. Willard Marriott Library, Level 4
Registration for this workshop is closed.

Leave the brayers, pallet knives, rag papers, and presses behind, and journey eastward. With brushes and barrens, master printmaker Keiji Shinohara guides participants gently through the traditional Ukiyo-e technique of woodblock printing on Japanese papers. As new practitioners, participants have time to carve small, simple blocks using one or two colors. The focus of the workshop is on observance and practice of process rather than on a producing a masterful print.
– – – – –
Keiji Shinohara was born and raised in Osaka, Japan. After 10 years as an apprentice to the renowned Keiichiro Uesugi in Kyoto, he became a Master Printmaker and moved to the United States. Shinohara’s nature-based abstractions are printed on handmade kozo paper using water-based pigment onto woodblocks in the ukiyo-e style–the traditional Japanese printmaking method dating to 600 CE. Though Shinohara employs ancient methods in creating his woodblock prints, he also diverges from tradition by experimenting with ink application and different materials to add texture to his prints. He is currently teaching printmaking at Wesleyan University in Middletown, Connecticut and has been a visiting artist at over 100 venues and 30 solo shows. He has received grants from the Japan Foundation and the National Endowment for the Arts and his work is in many public collections, including the Cleveland Museum of Art, the Fogg Art Museum at Harvard University, Milwaukee Art Museum, and the Library of Congress.

Rare Books is pleased to support the Book Arts Program with its collections.

N7433.98-A48-1996

Altar Book of Gorecki
Middleton, CT: Robin Price, Publisher, 1996

Inspired by a 1992 recording of Henryk Goreski’s Symphony No. 3. English translation by Krystyna Carter. Calligraphy of Polish lyrics by Paul Shaw. Bird illustrations are from seventeenth-century copperplate engravings by Francis Willughby. Photographed by John Wareham, the illustrations were digitally adapted and made into polymer plates by Gerald Lange. Woodcut designed and carved by Keiji Shinowara. Triptych structure with the consultation of Daniel Kelm. Box design and construction by Franklin Nichols Woodworking. Designed, printed and bound by Robin Price. Edition of sixty copies.

PS3509-V65-R38-1998-Bird-Spread

PS3509-V65-R38-1998-Socket-Of-Consequence

Ravaged With Joy
William Everson (1912-1994)
Middletown, CT: R. Price, 1998
PS3509 V65 R38 1998

A record of the poetry reading at the University of California, Davis, on May 16, 1975. Woodcuts by Keiji Shinohara. Issued in slipcase. Edition of one hundred and fifty copies, signed by the artist. University of Utah copy is no. 62.

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Looking forward to Book Arts Program workshop, “All Shook Up: Text & Image in Flag Books”

01 Friday Jul 2016

Posted by rarebooks in Recommended Workshop

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1954, American, Anchorage Museum of History and Art, artist, artists' books, Book Arts Studio, Brooklyn Museum, Canadian Bookbinders & Artists' Guild, Center for Book Arts, Designer Bookbinders (US), digital printing, flag book structure, Florence, Florida Atlantic University, Fogg Museum of Art, Glenview, Graceland, Guild of Book Workers, Harvard University, Hedi Kyle, history, Illinois, image, Italy, J. Willard Marriott Library, jig, Karen Hanmer, Kentucky Museum of Art and Craft, Les Amis de la Reliure d'Art du Canada, Library of Congress, military, New York City, non-adhesive, photograph, Photoshop, politics, science, Tate Britain, text, UCLA, University of West England Bristol

Text & Image in Flag Books
Karen Hanmer, instructor

July 7
Thursday, 9:00–5:00
Book Arts Studio, J. Willard Marriott Library, Level 4
Application for this workshop is closed.

The foundation of Hedi Kyle’s deceptively small and simple book flag book structure is an accordion folded spine. Flaps attached to both sides of each of the spine’s mountain folds allow the artist to fragment and layer a number of complementary or contrasting images and narratives. When the flag book spine is pulled fully open, the fragmented images on the flaps come together to create a large, panoramic image. Participants experiment with complementary and contrasting text and images and discuss the effects of different spine and page dimensions, direction of motion, and which images are most successful. Students learn a tidy, non-adhesive method of covering boards and use a jig to facilitate quicker, more precise assembly. While this is not a computer class, digital printing and setting up Photoshop templates for pages, covers and spines is demonstrated.
– – – – –
Karen Hanmer’s artists’ books are physical manifestations of personal essays intertwining history, culture, politics, science and technology. She utilizes both traditional and contemporary book structures, and the work is often playful in content or format. Hanmer exhibits widely, and her work is included in collections ranging from Tate Britain and the Library of Congress to UCLA and Graceland. Solo exhibition venues include Florida Atlantic University, University of the West of England Bristol, and the Center for Book Arts (NYC). Curated exhibition venues include the Anchorage Museum of History and Art, Brooklyn Museum, Harvard University’s Fogg Museum of Art, the Kentucky Museum of Art and Craft; and traveling exhibitions sponsored by the Guild of Book Workers (US), Designer Bookbinders (UK) the Canadian Bookbinders and Book Artists’ Guild, and Les Amis de la Reliure d’Art du Canada.

Rare Books is proud to support the Book Arts Program with its collections.

N7433.4-H357-L48-2004-front N7433.4-H357-L48-2004-back

Letter Home
Karen Hanmer
Glenview, IL: K. Hanmer, 2004
N7433.4 H357 L48 2004

Hedi Kyle flag book structure. One side of each flag has text, the other side of each flag has a color image which is part of a family photograph. The family photograph becomes whole when the accordion folds are stretched and the pages fall open. Text is from a letter written from Italy in 1954 by a military wife to her relatives. Upper and lower boards are covered in reproduction of a photograph of an American woman [the artist’s mother] on a balcony overlooking Florence, Italy. Issued in an artist-made phase box of green map folder stock with fabric hook-and-loop fasteners.

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We recommend — Book Arts Program workshop, “Letterpress Printing: Text + Image”

07 Tuesday Jun 2016

Posted by rarebooks in Recommended Workshop

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acrylic, artists' books, book arts, Book Arts Program, Book Arts Studio, bookbinder, collographs, Colorado State University, Crane Giamo, creative writing, Delete Press, design, edition, hand-painted, handbound, image, imprint, ink, iron oxide pigment, J. Willard Marriott Library, Japanese stab-stitch, letterpress, linoleum blocks, metal type, paper, papermaker, photopolymer plates, Pocalypstic Editions, poetry, pressure prints, printer, printing, prints, publishing, Red Butte Press, relief, text, Tuscaloosa, University of Alabama, University of Buffalo, University of Utah, Vandercook #4, wood type, zinc cuts

Letterpress Printing: Text + Image
Crane Giamo, Instructor

June 14—August 2
Tuesdays, 5:00—8:00
Book Arts Studio, J. Willard Marriott Library, Level 4
$340, register here.

Get a handle on what it takes to crank out an edition of gorgeous letterpress prints. This active, eight-week class introduces the fundamentals of letterpress, from paper selection and cutting to mixing ink and printing. Guided by Crane Giamo, participants design and produce several individual projects using a variety of relief techniques and tools including metal and wood type, zinc cuts, linoleum blocks, pressure prints, photopolymer plates, and collagraphs.
– – – – –
Crane Giamo is the studio manager and faculty instructor in the Book Arts Program at the University of Utah, and the lead printer for Red Butte Press. He is the co-founder of Delete Press, a poetry publishing outfit for which he works as letterpress printer, bookbinder, and papermaker. Crane’s own artists’ books can be located under the imprint Pocalypstic Editions. He holds an MFA in Book Arts from the University of Alabama, an MFA in Creative Writing from Colorado State University, and an MA in Poetics from the University at Buffalo.

N7433.4-G474-P73-2014-coverN7433.4-G474-P73-2014-image

Psalm 13-20
Crane Giamo
Tuscaloosa, AL: Pocalypstic Editions, 2014
N7433.4 G474 P73 2014

Text printed from photopolymer plates on a Vandercook #4 letterpress. Red paint slashing across the book is hand-painted using iron oxide pigment mixed with acrylic medium. Handbound in Japanese stab-stitch structure. Edition of twenty-five. University of Utah copy is no. 8.

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Looking Forward to Book Arts Program Workshop, “Up-cycled Stories: Books as Process”

20 Friday May 2016

Posted by rarebooks in Recommended Workshop

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Arches Text Wove, artists' books, Big Caslon, binding, blind-embossed, Book Arts Program, Book Arts Studio, bookmaking, books, Boston College, Bugra, Center for Book Arts, collage, College Book Arts Association, color, Emily Tipps, English, Granary Books, handmade, Harvard, High5 Press, ink, J. Willard Marriott Library, Julianna Christie, letterpress, literature, Marnie Powers-Torrey, New York City, photograpy, photopolymer plates, pochoir, Red Butte Press, Salt Lake City, shape, Stonehenge, storytelling, text, texture, University of Alabama, University of Colorado, University of Utah, Utah, Vandercook SP-15, Wellesley College, Wesleyan University

Rare Books is proud to support the Book Arts Program with its collections. For more information about the Book Arts Program and future workshops, visit their website or like them on Facebook.

Up-cycled Stories: Books as Process
Julianna Christie, Marnie Powers-Torrey & Emily Tipps

May 28 
Saturday, 10:00–6:00
Book Arts Studio, J. Willard Marriott Library, Level 4
Free spots are limited; please apply here. The application deadline is April 14.
Additional spots: $110, register here.
Registration is closed!

Bring a personally challenging story to retell in a new light or a daily routine to reconsider and reframe. With a focus on finding joy and beauty in the everyday, participants stamp out insecurities, recontextualize shortcomings, and re-imagine the self in book form. In this workshop, employ ink, brushes, stamps, mark-making tools, text, and re-collected common objects to produce process pages. Through a reimagining of the past, reinvent present perspective with an open heart, mind, and eyes toward gratitude and compassion. Instructors demonstrate a binding to be completed post-workshop from produced sheets. Come with a willingness to play with color, shape, narrative, and texture.
– – – – –

Julianna Christie graduated from Wellesley College and holds a BA in English Literature and Studio Art, with an emphasis in bookmaking. Upon graduating, she worked at the Center for Book Arts and Granary Books in New York City. She has been making books for over 20 years, with books held in Special Collections libraries at Wellesley College and Harvard. She incorporates collage, photography, sewing and love into her books. Julianna is also a life coach, specializing in personal growth and transformation. In her coaching, she invites clients to explore the art of storytelling, using words and imagery to examine and ultimately re-conceive a happy life.

Marnie Powers-Torrey holds an MFA in photography from the University of Utah and a BA in English and Philosophy from Boston College’s Honors Program. She is the Managing Director of the Book Arts Program and Red Butte Press, an Associate Librarian (Lecturer), and academic advisor for minor and certificate students in Book Arts. Marnie teaches letterpress printing, artists’ books, and other courses for the Book Arts Program and elsewhere. She is master printer for the Red Butte Press, harnessing the mighty printing power of a full staff of excellent printers. A founding member of the College Book Arts Association, she served as Awards Chair for three years and currently serves on the board of directors. Her work is exhibited and held in collections nationally.

N7433.4-P69-E8-2000-Front
N7433.4-P69-E8-2000-back

Evidence
Marnie Powers-Torrey
Salt Lake City, UT: M. Powers-Torrey, 2000
N7433.4 P69 E8 2000

Edition of ten copies. University of Utah copy is no. 4, signed by the author.

Emily Tipps is the Binding Instructor, Program Manager, and an Assistant Librarian (Lecturer) at the Book Arts Program at the University of Utah, as well as the proprietor of High5 Press, which publishes innovative writing in the form of handmade artists’ books. She holds a BA in English from Wesleyan University, an MA in Creative Writing from the University of Colorado, and an MFA in Book Arts from the University of Alabama. Emily’s work is exhibited and held in collections nationally.

N7433.4-T574-O73-2007-spread
N7433.4-T574-O73-2007-spread2

Orders
Emily Tipps
Tuscaloosa, AL: High5 Press, 2007
N7433.4 T574 O73 2007

Letterpress printed from photopolymer plates on a Vandercook SP-15. Paper is Arches Text Wove and Stonehenge. Text type is Big Caslon. Pochoir illustrations. Endsheets are gray Bugra paper. Handsewn binding in black Stone Henge paper covers. Front cover blind-embossed. Edition of sixty copies. University of Utah copy is no. 42.

alluNeedSingleLine

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We recommend – Women’s Studio Workshop presentation and lecture

16 Wednesday Sep 2015

Posted by rarebooks in Recommended Lecture, Recommended Workshop

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Ann Kalmbach, Book Arts Program, Book Arts Studio, J. Willard Marriott Library, Rare Books Classroom, Tatana Kellner, The University of Utah, Women's Studio Workshop

WomensWorkshop

Welcome, Tatana Kellner and Ann Kalmbach, Women’s Studio Workshop

Thursday, September 17

2PM – 5PM
Hands-on look at book work
Book Arts Studio & Rare Books Classroom, Level 4
J. Willard Marriott Library
The University of Utah

6PM – to 7:30PM
Lecture
Rare Books Classroom, Level 4
J. Willard Marriott Library
The University of Utah

Presentation and lecture sponsored by the Book Arts Program. Both events are free and open to the public.

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We recommend – Book Arts Program workshop

05 Friday Jun 2015

Posted by rarebooks in Recommended Workshop

≈ 1 Comment

Tags

50 Books/50 Covers, Adobe Illustrator, AIGA, American Institute of Graphic Arts, Book Arts Program, Book Arts Studio, broadside, Brooklyn, Center for Book & Paper Arts at Columbia College Chicago, David Wolske, digital lettering, Free Amos Kennedy, Hamilton Wood Type & Printing Museum, Herron School of Art & Design, Indiana University, J. Willard Marriott Library, Katharine Coles, letterpress, Louise Fili Ltd, Mary Toscano, New York, photopolymer plates, Proceed to Be Bold, Red Butte Press, Salt Lake City, Society of Typographic Arts, Spencer Charles, The Malby Globes, Type Director's Club, typographic design, University of Utah, Utah Poet Laureate, Whole Foods

Lettering to Letterpress: From Screen to Printed Page
Spencer Charles and David Wolske
June 11–13
Thursday & Friday, 9:00-5:00; Saturday, 10:00–5:00
Book Arts Studio, Marriott Library, Level 4
$270

Take digital lettering to new depths during this three-day intensive with Spencer Charles, one of the rising stars of contemporary typographic design. Participants learn the tools and techniques to make a curvaceous catchword, magnificent monogram, pithy phrase, or dynamite drop cap. Output finished vector drawings to photopolymer plates and produce letterpress printed in limited editions. Printing experience is not necessary, but a working knowledge of Adobe Illustrator is strongly recommended.
– – –
Spencer Charles is a typographic designer and letterer residing in Brooklyn, New York. After graduating from the University of Utah, his interest in hand lettering developed as a chalkboard/signage artist for Whole Foods. In 2011, he moved to New York to work as Senior Designer at Louise Fili Ltd, a design studio specializing in logo, food package, and book design. He is currently working independently and is expanding into typeface design and illustration.
David Wolske is Assistant Librarian (Lecturer) and Creative Director for the Book Arts Program and Red Butte Press. He has taught design, typography, and letterpress printing at Indiana University, Herron School of Art & Design, the Center for Book & Paper Arts at Columbia College Chicago, The Hamilton Wood Type & Printing Museum, and The University of Utah. David’s letterpress work is featured in multiple design and letterpress publications. He holds awards from the American Institute of Graphic Arts, Type Director’s Club, and the Society of Typographic Arts.


PS3553-O47455-M53-2009

The Malby globes
Katharine Coles
Salt Lake City: University of Utah, J. Willard Marriott Library, Book Arts Program, Red Butte Press, 2009
PS3553 O47455 M53 2009

From the colophon: “To commemorate the rededication of the J. Willard Marriott Library on October 26, 2009, the Book Arts Program and Red Butte Press produced this keepsake. Utah Poet Laureate Katharine Coles and artist Mary Toscano responded to the newly refurbished Malby Globes housed in the library. Designer David Wolske brought the elements together, and Program staff printed the broadside in the Book Arts Studio.” Edition of three hundred and seventy-five copies. University of Utah copy is no. 264, signed by the poet and artist.


Z256-F74-2011

Free Amos Kennedy
Salt Lake City, UT: Book Arts Studio, 2011
Z256 F74 2011

Broadside advertising the closing reception of the AIGA exhibition, “50 Books/50 Covers,” with a screening of the film, “Proceed and Be Bold.” From the colophon: “Design and letterpress printing by Spencer Charles and David Wolske…”

Rare Books is pleased to support the Book Arts Program with its historical, fine press, and artists’ books collections.

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Recommended Workshop – Sunlight on Paper: Prints of Blue

13 Friday Jun 2014

Posted by rarebooks in Recommended Workshop

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artists' books, Book Arts Program, Book Arts Studio, Boston College, College Book Arts Association, cyanotype, English, J. Willard Marriott Library, letterpress printing, Marnie Powers-Torrey, philosophy, photography, Red Butte Press, The University of Utah, Utah State Board of Education

The Book Arts Program presents
Sunlight on Paper: Prints of Blue

Saturday, August 16
1:30PM-5PM
Book Arts Studio, Level 4
J. Willard Marriott Library
Workshop Fee: $45
Materials Fee: $15

Produce vivid blue prints from opaque silhouettes, hand-drawn imagery, transparent photocopies, ortholithographic film, or digitally produced transparencies. With a simple set-up that can be repeated at home, expose hand-coated sheets to natural light for a unique, tactile photographic print. A thrilling new technology in the 1840s, the cyanotype is celebrated today for its hand-generated possibilities through low-tech practices.

Instructor Marnie Powers-Torrey holds an MFA in photography from the University of Utah and a BA in English and Philosophy from Boston College’s Honors Program. She is the Managing Director of the Book Arts Program and Red Butte Press, an Associate Librarian (Lecturer), and academic advisor for the minor and certificate in book arts. Marnie teaches letterpress printing, artists’ books, and other courses for the Book Arts Program and elsewhere. She is master printer for the Red Butte Press, harnessing the mighty printing power of a full staff of excellent printers. A founding member of the College Book Arts Association, she served as Awards Chair for three years and currently serves on the board of directors. Her work is exhibited and held in collections 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 through its collections.

Photographers in Arizona, 1850-1020: A History and Directory
Jeremy Rowe
Nevada City, CA: Carl Mautz Publishing, 1997
TR24 A7 R69 1997b

From the colophon: “This special edition…is limited to 100 numbered copies, each including an original cyanotype printed in 1996 by James Hajicek from a vintage dry plate negative in the collection of Jeremy Rowe…” University of Utah copy is no. 92, signed by the author.
TR24 A7 R69 1997b

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Recommended Workshop – Quarter Leather Flatback Lap-Case Binding

22 Thursday May 2014

Posted by rarebooks in Recommended Workshop

≈ Comments Off on Recommended Workshop – Quarter Leather Flatback Lap-Case Binding

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Acme Bookbinding, Alcoa, alum-tawed, aluminum, Austin, Ben Verhoeven, Book Arts Program, BookLab II, Bridgeport National Bindery, Brigham Young University, Cartier Magnani, Christopher Stern, cloth, Columbian handpress, Craig Jensen, Dartmouth College, Dearborn, Didot, Don Etherington, engraving, Environment Defense Fund Headquarters, flatback, Ford Motor Company, Gary Frost, Gary McLerran, Gaylord Schanilec, gold, Gregynog Prize, Harold B. Lee Library, Harry Ransom Humanities Research Center Conservation Department, Italy, Japanese, Jennifer Sorensen, Jensen Bindery, Jim Larsen, laid paper, lap-case binding, leather, lettering, letterpress, letterpress printed, Marnie Powers-Torrey, Michael Bixler, Michigan, Midnight Paper Sales, milling, Monotype Bembo, Monotype Univers, mould-made, National Design Award, Oxford Book Fair, paper mill, Paul Parisi, Peter Waters, Presidential Award for Sustainable Development, Provo, Rare Books Division, Red Butte Press, relief prints, Salt Lake City, San Marcos, slipcase, Smithsonian Cooper-Hewitt National Design Museum, sycamore, Texas, The Guild of Book Workers, The Library of Congress Restoration Office, tooled, trees, University of Texas, Utah, Utah State Board of Education, William McDonough, Winifred Bixler, Wisconsin, wood cuts, wood engravings, Yale University, Zerkall

The Book Arts Program presents
Quarter Leather Flatback Lap-Case Binding

Thursday, Friday, & Saturday, June 19-21
9PM – 5PM
Book Arts Studio, Level 4
J. Willard Marriott Library
Workshop fee: $240 plus materials fee

This workshop focuses on the construction of a flatback lap-case binding. The lap-case binding, sometimes mistakenly called a modified Bradel binding, has been used frequently over the years for editions bound by Jensen Bindery, BookLab, Inc. and BookLab II. The structure has continuously evolved through its many applications. This workshop tracks that evolution, specifically addressing structure, materiality, and the relationships between parts to make a beautiful looking and functioning book. Examples of various lap-case bindings are available for students to examine. Previous bookbinding experience required, preferably previous leather working skills.

Instructor Craig Jensen began his career in 1977 when he was appointed Library Conservator for the Harold B. Lee Library at Brigham Young University in Provo Utah. From 1977–1978 Craig served an internship at The Library of Congress Restoration Office under the direction of Peter Waters and Don Etherington. In 1981, Craig was recruited by Don to serve as Head of Book Conservation at the Harry Ransom Humanities Research Center Conservation Department at the University of Texas at Austin. In 1988 Craig became President and CEO of BookLab, Inc., a partnership with Gary Frost, Paul Parisi of Acme Bookbinding and Jim Larsen of Bridgeport National Bindery. BookLab expanded its offerings beyond edition binding and box making to include library repair services, and pioneered preservation photocopy and digital reproduction of out-of-print brittle books. BookLab was one of the first companies to digitize a book. Following the close of BookLab in 1998, Craig worked for Acme Bookbinding as Vice President for Imaging. In January 2003, Craig returned to his roots and predilection for hand work by forming BookLab II in San Marcos, Texas. He continues to produce custom designed housings and fine limited edition bindings for some of the best-known libraries and private presses in the world. In 2011 Craig received the Lifetime Achievement Award from The Guild of Book Workers.

http://www.oxfordamerican.org/articles/2014/feb/20/solost-most-beautiful-books/

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 through its collections.

Sylvae: Fifty Specimens Printed Directly from the Wood with Historical Anecdotes and…
Ben Verhoeven
Stockholm, WI: Midnight Paper Sales, 2007
N7433.4 V45 S9 2007

Artists’ statement: “Twenty wooded acres surround Midnight Paper Sales in western Wisconsin. This book documents the journey Ben Verhoeven and Gaylord Schanilec into the woods to create a work not only about these trees, but of these trees. In all, 24 species have been catalogued through image, historical anecdotes, and notes taken during the cutting, milling, engraving and printed. The 53 images consist primarily of long grain and end grain specimens which have been taken from this property. In each case the image is manipulated through either color, impression, engraving, or some combination of the above to emphasize a certain characteristic of a species. The text varies as well from tree to tree, focusing on what role each played in the local history and in this project.” Illustrated by Gaylord Schanilec with 53 relief prints (wood cuts and wood engravings) printed by reduction process engraving directly from the wood specimens; including two fold-out illustrations of the maple grove and a map of Farm 590 indicating where the wood was harvested. Letterpress printed by Ben Verhoeven and Gaylord Schanilec on Zerkall mould-made laid paper. Michael and Winifred Bixler cast the Monotype Bembo. Lapped case binding by Craig Jensen and Gary McLerran in quarter leather over bare quarter-sawn white oak boards, white alum-tawed goat skin spine with tooled title lettering in gold. Issued in a dark blue Japanese cloth slipcase, lined with black paper. Awarded the Gregynog Prize at the Oxford Book Fair, 2007. Edition of one hundred and twenty copies. University of Utah copy is no. 105, signed by the author and the artist.


 

Something Lived, Something Dreamed
William McDonough
Salt Lake City: Red Butte Press, 2004
HT167.5 W47 M33 2004

In 1981 William A. McDonough founded William McDonough + Partners which designs environmentally sustainable buildings and industrial manufacturing processes. He attended Dartmouth College and Yale University. His first major commission was in 1984 for the Environmental Defense Fund Headquarters. He re-engineered Ford Motor Company’s River Rouge Plant in Dearborn, Michigan, covering more than ten acres of the roof of the truck assembly plant with a low-growing ground cover. He is the only individual recipient (1996) of the Presidential Award for Sustainable Development. In 2004 he received a National Design Award from the Smithsonian Cooper-Hewitt National Design Museum. His essay, “Something Lived, Something Dreamed” was commissioned by the Red Butte Press. Printed with Monotype Univers and Didot on cotton paper commissioned from Cartier Magnani paper mill in Italy by Marnie Powers-Torrey and Jennifer Sorensen using an 1846 Columbian handpress. Illustrated by Christopher Stern (d. 2007). Bound at Book Lab II (San Marcos, Texas) by Craig Jensen in recycled aluminum donated by Alcoa, over sycamore boards. Edition of one hundred and twenty-five copies. University of Utah copies are nos. 34 and 47.


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