Thursday, November 26, 2009

À Outrance--Ruscombe letterpress art edition

I'm thrilled to be a part of the group of 17 design binders chosen to create a binding for a special edition of one of Philip Pullman's stories. Published by Oak Tree Fine Press, the special letterpress edition has been printed on a Heidelberg Press on Ruscombe Mill handmade paper. The group of bindings will be on display at the Bodleian Library, Oxford University 15th - 18th December. The unique bindings, signed by the author, are available for purchase through a silent auction. All profits from the sale of these books go to organizations assisting children living with or affected by HIV/AIDS. View more information and bid on any of these fantastic books here.

And check out more photos of the binding I created here.

Tuesday, September 01, 2009

Letterpress Chapbook Covers

The new chapbook, Omnivore by Allan Peterson, will be released by Bateau Press in the coming month. I designed and printed the covers on the letterpress from photopolymer plates. I also digitally typeset the interior. Edition size is 300 copies. These are hand sewn with a simple pamphlet stitch.

Monday, August 03, 2009

Letterpress Packaging for Sedimental Records

I designed this concertina cd packaging structure for Sedimental Records' latest release from the band Area C. The concertina expands to allow easy access to two sleeved discs. The outer cover and sleeves are all printed letterpress with silver ink from photopolymer plates onto French Paper. Erik Carlson of Area C executed all of the artwork. The edition size is 500 copies. Paper engineering, printing and assembly by Shelter Bookworks.

You can now order a copy of this cd and listen to a track from the release at Sedimental's website

Wednesday, July 08, 2009

More pictures from 21st Editions

I posted a bit about this project I completed in February for 21st Editions. I just received these professional photos from the publisher of the work and wanted to share them. I was honored to work on these books which featured beautiful prints from artists like Sally Mann and Vik Muniz. I constructed 72 books and 20 boxes for the edition. Each book contained a nickel-plated photogravure plate as well as a photogravure print.

Wednesday, June 03, 2009

Bateau, Issue 2.2

This is the literary journal Bateau, Issue 2.2 for which I designed and letterpress printed a two-color cover from photopolymer plates using soy ink on Insulation Pink paper (one of French Paper's new FSC certified papers in their Construction line). Copies are available for purchase from Bateau. There are many great poems inside as well as drawings from the talented Joshua Vrysen.

Wednesday, May 27, 2009

Time Made Visible

This is a book designed by Neil Donnelly, a recent graduate student in Yale's graphic design program. The book documents the thesis presentations of a group of graduate design degree candidates. Each photograph in the book is sized according the the length of time it was visible in an individual's presentation. 1 second = .5 square inches. The resulting foredge of the book is subtly striking and thought provoking.

Monday, May 25, 2009

Canada Type

I've been doing some research on type for an upcoming wedding invitation I'm designing and printing letterpress, and came across the stunning digital typography of Canada Type. They often revive mid twentieth century faces, which is perfect for my client's taste. What I love about many of their faces is how many alternates they create. Where a typical digital font might contain 250 or so glyphs, some typefaces from Canada Type include 650 glyphs. Each capital might have 3 or 4 variations. The effect is killer--a single word could have many different iterations, simply by swapping out a letter for one of its alternate forms. As much as we all love metal type, the flexibility of digital type and printing with photopolymer or metal plates give a letterpress printer so many options.

See the above font called Memoriam. With those thin hairlines, I think this could look great printed with the letterpress and I can't wait to try it.

Friday, May 22, 2009

Jennie Nayton

Cut paper photographs, books and installations by Australian artist Jennie Nayton. You can see more of her work on her Flickr photostream. Her artist's book pictured here Smoke Unfolding is in the collection of the State Library of Queensland which has the largest publicly accessible collection of artist's books in Australia. Photos published with permission from the artist.

Tuesday, May 12, 2009

Wood Veneer Books

Custom books by Shelter Bookworks. Sewn boards binding with birch veneer covers. Terrarium and cinderblock not included.

Monday, May 11, 2009

Scenografi -- Nieves Books

I ran across these images from Nieves Books on the making of their latest edition Scenografi. It is a book that consists of outtakes from a film by Annika Larsson and Samuel Nyholm. The edition was handbound using the intensely colored perfect binding method shown here. View page spreads (thank you, Nieves) at their websites and more from their Flickr photo stream. Images used with permission.

Wednesday, May 06, 2009

Impractical Labor in Service of the Speculative Arts

Impractical Labor in Service of the Speculative Arts (ILSSA) is an organization formed by Emily K. Larned of Red Charming and Bridget Elmer of Flatbed Splendor to promote the making of experimental or conceptual work through the use of obsolete technology. Their mission is "As many hours as it takes." ILLSA will be producing a quarterly publication (with obsolete technology), and you can get the first installment, and become a member here.

Tuesday, May 05, 2009

Festival of Endless Gratitude

My work is in this group show in Copenhagen. Alas, I did not have time to take a picture of the work itself, but I was very pleased with the format I came up with and will be making more work like it in the future. For the past year I have been thinking about book hybrids--the piece I sent can be displayed like a book or hung on the wall.

Monday, April 27, 2009

Matt Shlian

Matt Shlian's paper engineering is both informed by and contributes to scientific understanding. His intricately cut and folded paper works can concretely illustrate what is usually seen only at a molecular level. He has over a dozen Youtube videos of his paper and book work in action. Visit his website to check out more of his work and read about his collaborations.

Tuesday, April 21, 2009

Anna Hepler

After checking out the site for Gouge: The Modern Woodcut at the Hammer Museum, I started looking for contemporary artists using the woodcut. I found this work by Anna Hepler. The floor project was done with students from Bowdoin College. The group of smaller prints is Hepler's own work which takes the woodcut in a nice painterly direction.

Friday, April 10, 2009

North Drive Press

I like this solution to digital content and physical object. North Drive Press has published five collections of work by contemporary artists. They exist as boxes which contain a loose grouping of multiples and text-based works and interviews. In addition, all of the text/interviews are online and viewable as PDFs.

Tuesday, April 07, 2009

Shannon Ebner

Apparently the web gods are not listening to my pleas to give me some page by page shots of artist Shannon Ebner's new book The Sun As Error. Until I get to see the book, here are some images of Ebner's work which usually consists of photographs of language-based sculptures she has created.

The current issue of Artforum includes an interesting essay by Ebner about the process of making her new book.

A pdf of an article and interview from A & P Quarterly which shows more incredible images is here.

Sunday, April 05, 2009

One from the archives: Ann Hamilton--Corpus

These are a collection of flickr photos I casually usurped from different folks to show how museum goers actually experienced one of the most successful art installations I have ever witnessed, Ann Hamilton's Corpus at Mass MOCA in 2003. A football field-sized room. Stacks of onionskin paper held up high, mechanically releasing one leaf at a time, drifting down. Large bullhorns shifting around the space, moving slowly up and down, speaking in a robotic voice. Figures (us!) shuffling through white crackly mounds of paper. Windows letting in pink light.

Literally 7 million 8.5 x 11 sheets of paper fell over the course of the installation.

"Gallerygoers apparently get the idea, spending around 20 minutes with ''Corpus,'' 19 minutes longer than people typically spend with one work of art"--NYTimes

Photo 1 from flickr user kellan, photo 2 from takomabibelot, photo 3 from shanevsevil, photo 4 from travisqclark, photo 5 from nogang