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Tag Archives: typefaces

Ocean of Joy

04 Friday May 2018

Posted by rarebooks in Uncategorized

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cells, Crooked Letter Press, drum-leaf, Ellen Knudson, Florida, Franklin Gothic Condensed, Gainesville, gate folds, Mohawk, photopolymer plates, reduction linoleum, Spectrum, typefaces


“The nucleus of the Joy cell is buoyant and it can transfer invisibly into other cells without realization by the host. This is a most desirous outcome…The presence of other positive cells (Trust, Love, Curiosity, and Work) can greatly influence the production and hardiness of Joy. Exposure to nature is also imperative to the existence of Joy cells. Taking a daily walk is highly recommended.”

Made Up
Ellen Knudson
Gainesville, FL: Crooked Letter Press, 2015
N7433.4 K58 M43 2015

Written, designed, and letterpress printed by Ellen Knudson. Seventeen drum-leaf-bound spreads with eight gate folds in illustrated paper over boards with cloth spine. From the artist’s statement: “[A] non-scientific science book about the imaginary cellular composition of the human body. Fourteen cells are illustrated: Anger, Curiosity, Failure, Fear, Jealousy, Joy, Knowledge, Location, Love, The Past, Success, Talent, Trust, Work. The cell images are…multi-block and reduction linoleum prints with a diagram explaining how each cell operates…imaginary, emotional cellular structures…” Typefaces are Spectrum and Franklin Gothic Condensed. Printed from photopolymer plates onto Mohawk 100# text weight paper. Edition of fifty copies, signed. Rare Books copy is no. 18.


Joyful graduates! Keep on working! Keep on succeeding! Keep on walking!

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Book of the Week — Prologue to the Tales of Caunterbury

21 Monday Aug 2017

Posted by rarebooks in Book of the Week

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Arts and Crafts Exhibition Society, Bishop Fell, C. St. John Hornby, Chelsea, Cicely Barclay, Clarendon Press, Diamond Jubilee, Doves Bindery, errata, Fell, Geoffrey Chaucer, gilt dentelles, gilt tooling, Margie Le Lacheur, matrices, Maunciple, morocco, Oxford, Queen Victoria, Squire, T. J. Cobden-Sanderson, The Ashendene Press, The Tales of Canterbury, typefaces, University of Oxford, W. Skeat, William Caxton, woodcuts, zinc cuts

PR1868-P8-S5-1898-Horseman
“For hym was levere have at his beddes heed
Twenty bookes, clad in blak or reed,
Of Aristotle and his philosophie,
Than robes riche, or fithele, or gay sautrie.
But al be that he was a philosophre,
Yet hadde he but litel gold in cofre
But al that he myghte of his freendes hente,
On bookes and on lernynge he it spente,
And bisily gan for the soules preye
Of hem that yaf hym wherwith to scoleye.
Of studie took he moost cure and moost heede.”
— Geoffrey Chaucer

Welcome, scholars!

Prologue to the Tales of Caunterbury
Geoffrey Chaucer (1343-1400)
Chelsea: The Ashendene Press, 1898
PR1868 P8 S5 1898

This is the ninth publication of the Ashendene Press and the first illustrated work from the Press. It was printed by C. St. John Hornby and his sisters with the assistance of Cicely Barclay for private circulation only, amongst their friends and neighbors. The text is that of the Clarendon Press edition of The Complete Works of Chaucer edited by Dr. W. Skeat, Oxford, 1895. An Errata page, bound in at the front, announces “the lamentable mistake of the Printers the portrait of the Maunciple has been set in the place of the Squire and vice versa,” along with a second “the” on page 13, line 15. The colophon states that the printing began in July and was finished “in December of the year of the Diamond Jubilee of Queen Victoria 1897.”

Illustrated with twelve zinc cut reproductions of the woodcuts used in William Caxton’s 1483 edition of The Tales of Canterbury. Typefaces are Fell, cast, as a note “To The Gentle Reader” says, “from the matrices given in about the year 1670 by Bishop Fell to the University of Oxford.”

Rare Books copy bound by Miss Margie Le Lacheur, a student of T. J. Cobden Sanderson, in full green morocco with gilt tooling consisting of a blossom, leaf, and vine pattern on the front cover and spine, gilt dentelles, and boards ruled in gilt. Gilt letters “L” and “M” at the top and “L” and “E” at the bottom of the front board and rear boards. The inside of the back board, in gilt, indicates “M.L – 1900.” Apparently, the book was bound by Lacheur for a family member. All edges gilt. Lacheur was employed by the Doves Bindery. She exhibited at the Arts and Crafts Exhibition Society in 1899. Only three other bindings by Lacheur are known.

Edition of fifty copies, signed and dated by the printer. Rare Books copy is no. 25.

PR1868-P8-S5-1898-Cover

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Book of the Week – Valentines to the Wide World

10 Monday Feb 2014

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Cummington Press, Curtis Rag, Eldora, Fred Becker, Harry Duncan, Iowa, Iowa City, Jarvis Thurston, K. Kimer Merker, Lutetia Italic, Mona Van Duyn, National Institute of Arts and Letters, Northern Iowa University, paper, Perspective: A Quarterly of Literature, poem, Raeburn Miller, Romanee, St. Louis, typefaces, University of Iowa, University of Louisville, Washington University, Waterloo

Van Duyn, Valentines, 1958, Title Page
Van Duyn, Valentines, 1958, The Gentle Snorer
Van Duyn, Valentines, 1958, Paratrooper

Valentines to the Wide World
Mona Van Duyn (1921- 2004)
Iowa City: Cummington Press, 1958
First edition
PS3543 A563 V3 1958

Born in Waterloo, Iowa, Mona Van Duyn grew up in the small town of Eldora, Iowa (pop. 3,200) where she read voraciously and secretly wrote poems in her school notebooks from grade school to high school. In a 1991 interview she recalled a typical punishment in small town Iowa grade school: “One was made to stay after school and learn a poem.”

Ouch! Van Duyn earned a B.A. from Northern Iowa University in 1942, and an M.A. from the University of Iowa in 1943, the year she married Jarvis Thurston. In 1946 she was hired as an instructor at the University of Louisville when her husband became an assistant professor there. Together they began Perspective: A Quarterly of Literature in 1947 and continued it at Washington University in St. Louis when they moved there in 1950. Van Duyn lectured in the University College adult education program until her retirement in 1990. In 1983, a year after she had published her fifth book of poems, she was named an adjunct Professor in the English Department and became the “Visiting Hurst Professor” in 1987, the year she was invited to be a member of the National Institute of Arts and Letters. She was awarded numerous national prizes, awards, and fellowships.  She served as the first female Poet Laureate of the United States.

Printed by Raeburn Miller, K. Kimer Merker, and Harry Duncan with Romanee and Lutetia Italic typefaces on Curtis Rag paper. Edition of one hundred and eighty copies. University of Utah copy is no. 18.

alluNeedSingleLine

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Book of the Week – Wo/Men at Work

03 Monday Jun 2013

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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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