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Tag Archives: Utah State Board of Education

Recommended Workshop – Sunlight on Paper: Prints of Blue

13 Friday Jun 2014

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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

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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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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.


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