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Tag Archives: polymer plates

Book of the Week — The Tower of the Winds

06 Monday Aug 2018

Posted by rarebooks in Book of the Week

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Tags

Adobe Herculanum, Aratus, Arches, Electra, Hacker, Lawrence G. Van Velzer, letterpress, Maia, papyrus, Peggy Gotthold, Pleiades, polymer plates, scroll, Zerkall Book


Near his left knee the Pleiads next are roll’d
Like seven pure brilliants set in ring of gold.
Though each one small, their splendour all combine
To form one gem, and gloriously they shine.
Their number seven, though some men fondly say,
And poets feign, that one has pass’d away.
Alcyone — Celoeno — Merope —
Electra — Taygeta — Sterope —
With Maia — honour’d sisterhood — by Jove
To rule the seasons plac’d in heaven above.
Men mark them, rising with the solar ray,
The harbingers of summer’s brighter day —
Men mark them, rising with Sol’s setting light,
Forerunners of the winter’s gloomy night.
They guide the Ploughman to the mellow land —
The Sower casts his seed at their command.
–Aratus (b. ca. 260BC)

The Tower of the Winds
Lawrence G. Van Velzer and Peggy Gotthold
Santa Cruz: Foolscap Press, 2002
N7433.4 V368 T68 2002

Designed and letterpress printed from polymer plates on a Hacker hand press by the authors. The type face is Adobe Herculanum. Papers are Zerkall Book and handmade Egyptian papyrus. One scroll presented in a cylindrical case with
metal clasp. The case was produced from dyed, hand-shaped Arches paper. Edition of 200 copies.

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Book of the Week — Remember the Light

08 Monday May 2017

Posted by rarebooks in Book of the Week

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8th century, acrylic, Arches BFK, bamboo, Barcham Green Mill, bas-relief, California, Coleman Barks, concertina guards, copper, Dante, debossing, earthquake, egg tempura, Egypt, etchings, Florence, gouache, Goudy Engraved, Italy, Japanese, Jelaluddin Rumi, laced-cords, laser print, Laura Wait, Leonard Cohen, letterpress, light, mantras, Mary Laird, Michael Burke, Murshid, Nefertiti, ostrich, polymer plates, Quelquefois Press, relief roll etching, religion, Rosicrucian Museum, San Jose, sepia, Somerset, Sufi, sumi, Tibet, Valley of the Kings, Wisconsin, wooden board binding, Xerox

Yellow
“Thus shall ye think of this fleeting world:
A star at dawn, a bubble in a stream,
A flash of lightning in a summer’s cloud,
A flickering lamp, a phantom, and a dream.”
— Buddha Shakyamuni

REMEMBER THE LIGHT
Mary Risala Laird
Quelquefois Press, 2007

Artist’s statement in an email to the curator: “My best friend was diagnosed with non smokers lung cancer in 2005 and given 3 months to live. I asked myself what I would want to do if given the same. I had always wanted to make an artist book. So I spent two years letting an edition of 7 Remember the Lights come to fruition. I chopped up some etchings I made called Earthquake, the one of 1989 when I moved to California from Wisconsin.

Earthquake

And put another relief roll etching (when Murshid sings) in the back of the book, writing over it with acrylic matte or glossy, mantras of the world religions. The Mantras are written throughout the book. I incorporated 7 quotes on Light, and 6 poems I wrote when I went to Tibet with a Sufi group in 1986. The title page has a plate from the Rosicrucian Museum in San Jose. Another one from them appears as the image of the Valley of the Kings in Egypt, which is printed twice in grey, right side up and upside down, doesn’t matter where we are in space. Little holes of light, like Leonard Cohen suggested, let in the light, in this case by using Japanese hole punches. I had always wanted to add color to my traditional book making. So I brushed gouache on the pages with cotton balls. I also loved using colored pencils and straight lines to connect the pages, as well as printing blocks of wood used in printing, making them type high so the wood grain would shine through. Lobsong’s Mother’s page has a sumi painting I did of Japanese ink, of bamboo; I had a polymer plate made and printed it pink, because it is a color I don’t often use and I wanted to experiment.

LobsongsMother

I had fun drawing ladders into my etchings, connecting things, like thoughts, of planes of consciousness.
And stringing along the trajectory of human experience, you know, birth, life, death birth, life, death.

Life

In the signature where I have iconized my mother, and also did Xerox of her and me, I used end signatures I had left over from an edition of poems from a Rumi book I printed for Coleman Barks.
I like using Xerox and commercial papers in conjunction with the hand made papers (blue green) I made in Wisconsin many years ago.

Faces

I had learned a blanket stitch from Michael Burke and used that around the hole I cut with the hand showing through (One Handed Basket Weaving/Jelaluddin Rumi. Versions by Coleman Barks.)

Stitch

On the colophon page I started each line with a cap, spelling out my name, vertically as you read down.

Colophon

And hiding at the end of book is another poem about being on retreat in a hut, with an etching printed relief rolled and worked into, based on a courtyard in Florence, Italy, from a sepia print I inherited from my Grandfather who got it there in 1896.

The stories go on. My friend lived 5 years longer.”

Colophon: “Resurrected and transmogrified etchings form the basis for this Infinitesimal edition, primarily printed letterpress. Actual copies: Seven, using Dante and Goudy Engraved. Text papers include Arches BFK, and Somerset. Endpapers & concertina guards: Nefertiti, Long ago made by hand at Barcham Green Mill, and hoarded by me Awaiting the right project! Overprinted relief-roll etchings When Murshid Sings and Earthquake, may include laser-print, egg tempura, Assorted colored pencils, polymer plates, Xerox, cut-outs, sewing & Reticulated energy patterns. The laced-cords wooden board binding You are holding, is based on an 8th c. model. Hand-planed covers, Laboriously covered with deer or goatskin, are fitted with brass Ornaments. Thanks to both Laura Wait & Michael Burke, models of Undying inspiration. Copies are hand numbered.” Rare Books copy is no. 2.”

Artist’s addendum to colophon: “Maple and cherry covers are not covered. Bas-relief of right and left hand, carved into the front and back covers.

Hand

Books come enclosed in drop spine boxes. Trays are black calf or goatskin lined with white deer or golden elk skin. Outer covers: there are two purple ostrich and two of teal ostrich; two more of lime green bovine; and one in lime green goatskin.

Cover

Leather straps match the outer covers, and attach to brass hand-filed knobs on the fore-edge. A copper disc is inlaid on the front cover, a debossed crescent moon at its base. My Opus.”

Photographs by Scott Beadles

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Book of the Week — The Temperamental Rose

24 Monday Oct 2016

Posted by rarebooks in Book of the Week

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Arches Cover, Arthur Rimbaud, Barbara Hodgson, BFK Rives, Black Stone Press, British Columbia, Claudia Cohen, color wheels, colors, Da Vinci, Daler-Rowney, David Clifford, Francoise Giovannangeli, Heavenly Monkey Editions, Holbein, Johann Wolfgang von Goethe, Kroma, letterpress, M.-E. Chevreul, Monotype Fournier, pigments, polymer plates, Seattle, Vancouver, watercolors, Winsor & Newton

n7433-4-h625-t4-2007-covern7433-4-h625-t4-2007-title

A Black, E white, I red, U green, O blue: vowels,
I will someday speak of your unseen births:
A, black corset bristling with glittering flies
That buzz around cruel smells,

Gulfs of shadow; E, innocent vapours and tents,
Lances of proud glaciers, white kings, frissons of an inflorescence;
I, crimsons, spit blood, laughter of lovely lips
In anger or drunken penitence;

U, cycles, divine thrill of a viridian sea,
Peace of pastures sprinkled with animals, peace of wrinkles
Imprinted on broad, thoughtful brows of alchemy;

O, Supreme Clarion full of strange strident cries,
Silence traversed by Worlds and Angels:
—O Omega, violet ray of Her Eyes!

— Arthur Rimbaud (1854-1891)

n7433-4-h625-t4-2007-goethe

The Temperamental Rose: And Other Ways of Seeing Colour
Barbara Hodgson & Claudia Cohen
Vancouver, British Columbia: Heavenly Monkey Editions, 2007
N7433.4 H625 T4 2007

From the Heavenly Monkey website: “A collaboration between author and book designer Barbara Hodgson, and bookbinder Claudia Cohen. The Tempermental Rose & Other Ways Seeing Colour was borne during the collaborators’ first meeting, in the summer of 2006, when they discovered mutual passions for color wheels and other systems for charting and codifying colors. Inspired by centuries of color studies, including those of Johann Wolfgang von Goethe and M.-E. Chevreul, the authors reproduce existing color wheels as well as create new and fanciful ways of seeing color. An introductory essay discusses the history of color, and each of the charts is accompanied by explanatory text.”

From the colophon: “This book was designed and set in digital Monotype Fournier by Barbara Hodgson. Francoise Giovannangeli edited it. It was printed letterpress from polymer plates by David Clifford at Black Stone Press, Vancouver, on Arches Cover and BFK Rives. The watercolours used in the charts are from Winsor & Newton, Daler-Rowney, Holbein and Da Vinci.” Edition of thirty numbered and five A.P. copies, each signed by the two authors. Each copy has been bound by Claudia Cohen in her Seattle studio. All hand colouring and other embellishments have been done by the authors. The six vials in each case contain fine artists’ pigments from Kroma, Vancouver.”

Black leather diaper-patterned embossed binding embellished with multi-colored geometric shapes on front and back boards. Spine is red leather with title embossed in gold. Issued in a clam-shell box.

University of Utah copy is no. 5, signed by the authors.

n7433-4-h625-t4-2007-ostwald

n7433-4-h625-t4-2007-euclid

n7433-4-h625-t4-2007-rauschenberg

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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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We recommend — Sustainability Book Group Discussion

11 Friday Mar 2016

Posted by rarebooks in Events

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abaca, Amy Brunvand, Arches, climate change, cotton, Elizabeth Kolbert, fossil fuel divestment, handmade paper, Illinois, J. Willard Marriott Library, Joanna, Paperboy Press, polymer plates, Shawn Wilder Sheehy, Sustainability Book Group, University of Utah

DgA6HQeoU3Jml5-SGWYRmEKn

Friday, March 11, 2016, 12 – 1pm
J. Willard Marriott Library, Rm 1726A

Join Amy Brunvand for a discussion of “The Sixth Extinction: an Unnatural History” by Elizabeth Kolbert

This is part three of a four part series of discussions about climate change and fossil fuel divestment, based on book readings.
For more information visit the Marriott Library’s blog: newsletter.lib.utah.edu

BrownfieldPigeon

Beyond the Sixth Extinction
Shawn Wilder Sheehy
Paperboy Press: Illinois, 2007
N7433.4 S5418 B4 2007

Constructed of handmade cotton/abaca paper, book board, Arches watercolor board and linen thread. Type set digitally in Joanna and printed from polymer plates. Edition of fifteen copies. University of Utah copy is no. 7, signed by the author.

Snapdragon
Rotrap
Dreadhead

alluNeedSingleLine

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Recommended Workshop – Non-Credit Letterpress

22 Tuesday Apr 2014

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accordion, Baskerville, Book Arts Program, Book Arts Studio, Center for Book Arts in NYC, Claire Taylor, concertina, Dikko Faust, French's Extra Blue Butcher, Futura, hand-stenciled, handset type, In Cahoots Press, letterpress, linoleum blocks, Macy Chadwick, Mohawk Superfine, moveable type, New York City, polymer plates, pressure prints, printmaking, Purgatory Pie Press, Rare Books Division, Rebecca Chamlee Keeley, relicensure points, Roma, Sarah Nicholls, Silk Tissue, Spartan, University of Utah, Utah State Board of Education, workshop, zinc cuts

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.


alluNeedSingleLine

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