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Tag Archives: photopolymer plates

Recommended Workshop – Photopolymer Intaglio Printing

17 Thursday Apr 2014

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Asbern, Book Arts Guild, Book Arts Program, College Book Arts Association, Diane Fine, etching press, Gravel Press, gum bichromate prints, intaglio, Mare Blocker, Marnie Powers-Torrey, MKimberly Press, Moonkosh Press, National Museum for Women in the Arts, photolithographs, photopolymer, photopolymer plates, Twentieth Century Medium Italic, University of Idaho, University of Utah, University of Washington

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.

Powers-Torrey, A Casual Commentary, 1999
Powers-Torrey, A Casual Commentary, 1999
Powers-Torrey, A Casual Commentary, 1999

Powers-Torrey, A Casual Commentary, 1999

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

Fine, Sojourn, 2002
Fine, Sojourn, 2002
Fine, Sojourn, 2002

Fine, Sojourn, 2002

alluNeedSingleLine

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Book of the Week – Wo/Men at Work

03 Monday Jun 2013

Posted by rarebooks in Book of the Week

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AIGA, award, BFK, binding, Book Arts Program, Cheltenham Italic, Claire Taylor, Copper Ingot, Copper Ingot award, David Wolske, Emily Tipps, Franklin Gothic, Greg Thompson, Laura Decker, letterpress, Linotype, Marnie Powers-Torrey, pamphlet, paper, papers, photopolymer plates, Red Butte Press, Rives Heavyweight, sans serif, serif, typeface, typefaces, W-fold, W-fold pamphlet

Wo/Men at Work, 2012, Cover
Wo/Men at Work, 2012
Wo/Men at Work, 2012, Image

Wo/Men at Work
Salt Lake City: Red Butte Press, 2012
N7433.4 W65 2012

Three texts (“Consuming labor: a preface to Wo/Men at Work” by Matt Basso and Andrew Farnsworth, “Cooking from Scratch” by Judy Blunt, and “Everything’s dangerous: an essay from the 1941 collection Men at Work” by Ralph Powell) printed in a W-fold pamphlet. Titles printed on opposite covers. From the colophon: “…Book Arts Program staff contributors are Managing Director Marnie Powers-Torrey, Creative Director David Wolske, Laura Decker, Claire Taylor, Becky Thomas and Emily Tipps. David designed and typeset the text. The typefaces, evocative of the 1930s and ‘40s printshop vernacular, are as follows: bold titling is Hamilton, a revival of a popular 19th century wood type; bylines and colophon are Franklin Gothic, a workhorse sans serif found in printshops across America; italic subheadings are Cheltenham Italic, a ubiquitous early 20th century serif design; and the main body typeface is a version of Fairfield, released in 1939 and designed for the Linotype machine. Claire and Laura produced the saddle and pressure cooker drawings, respectively, in dialogue with the essays and one another…Andrew [Farnsworth], Dayna Kerns, and Chris Dunsmore, under the direction of Book Arts staff, letterpress-printed the imagery and text from photopolymer plates on Rives Heavyweight and BFK papers. Emily oversaw binding design and production of the W-fold pamphlet…Associate Director for Special Collection Greg Thompson provided the committed support that helped make this endeavor a reality.” Edition of twenty-six copies. University of Utah copies are letters ‘U’ and ‘V.’

Congratulations to the Book Arts Program and Red Butte Press staff for receiving one of 7 AIGA 100 Show Professional Copper Ingot awards for Wo/men at Work. The AIGA 100 Show showcases the year’s best design, advertising, and digital media. Of those pieces, a select few are awarded the Copper Ingot, one of the most sought-after communication awards in the Intermountain West. Visit http/aigaslc100show.com for information, to view pictures from the awards ceremony, and download the 100 Show Book PDF.

 

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