Circular Logic is based on a series of nineteenth-century circulars housed in the Chicago, Burlington, and Quincy Railroad archive at the Newberry Library. Railroad managers routinely received circulars listing terminated employees and the reasons for their dismissal. The text for this book is taken directly from these lists, with the exception of employee names, which have been altered. A worker's name is printed on the verso of each spread with his job title on the recto, which folds out to reveal a silhouette representing him, alongside the reason for his dismissal. The cover depicts a CB&Q route map printed from polymer plates. The interior images are artistic representations based on anonymous nineteenth-century photographic portraits, and are printed from metal ornaments and polymer plates created from handcut rubylith negatives. The text is printed from handset Bulmer and Antique Condensed typefaces. Each book is bound in a paper case and housed in a three-flap portfolio.
This collection features both the work of Audrey Niffenegger and work from her own collection of artists' books. None of the work is for sale, but it is for view!
Saturday Nights in Marietta
Robert Bly with Various Artists, 1999
Letterpress, tipped in prints (various methods) Post-hole binding, handmade box.
17 of 125 ed.
A Modest Proposal
Leonard Baskin, 1969
The Door in the Wall
H.G. Wells and Alvin Langdon Coburn, 1911
Letterpress printed on French hand-made paper with tipped in photogravures.
Meet the Art Students
Les Coleman, 2002
The Original Wild Girls
Ellen Wall, 1997
Letterpress, tipped in elements.
3 of 12 ed.
Memoire d'un Voyage en Oceanie
Francois Deschamps, 1995
Me and God Poems
Michael Skau and Robert Schenck, 1990
Letterpress, hand sewn binding
150 of 150 ed.
Anke Feuchtenberger, 2002
Safety Gear for Small Animals
Bill Burns, 1994
Ann Fessler, 1992
Q (Quare and Mad-Like)
M. N. Kennedy, 1993
The Adult-Child Abcedarium
PatE C., 1999
Blake Butler, 2009
First Aid for the Wounded
Ann Fessler, 1987
Kenneth Gerleve, 2009
Various Artists, 2003
Various print media, hand made
124 of 150 ed.
The Exquisite Horse
Various Artists, 1997
Various Print media, hand made box.
21 of 100 ed.
Audrey Niffenegger and Marilyn Sward, 1993
Lithography and letterpress on paper handmade by Marilyn Sward, handsewn binding.
61 of 100 ed.
(B)NS Box #56/Spriit Destined to Become Conscious
Walter Hamady, 2005
Mixed media assemblage
Poisonous Plants at Table
Offset, giclee, hand binding.
64 of 75 ed.
Treading the Maze - An Artist's Book of Daze
Susan E. King, 1993
Offset, spiral binding
Ambar Past and others, 2005
Screenprinting, offset, handmade
90 of 200 ed.
written and bound by Alex Appella
A collection of poems about the river, the seasons and the people that reflect life in the sierra valley in Central Argentina I call home.
Hardback, flat back binding.
Limited edition, numbered.
6.5 x 8.5 inches
Temptations of the Frijolera Pot
written and bound by Alex Appella
illustrated by Silvana Gonzalez de Appella
Writings from having travelled overland from Alaska to Costa Rica.
48 full color illustrations of over 20 poems, color off set printing.
4.75 x 8.5 inches.
Limited, numbered edition.
Hardback bilingual binding housed in hard back slip case.
A rigid page book with text and natural specimen artifacts recessed into each page. Strap bound across the spine. Housed in a custom box with removeable lid.
Materials: Book - wood, book board, plain and pasted papers, museum board, laser print, moths, epoxy casting resin, mica, acrylic paint, wenge wood, wax, book cloth, brass. Box - book board, shellac, pigment, wax, book cloth, magnifying lens.
box dimensions: 4.5 x 5 x 3.75 inches (closed)
This book was begun during a summer when my studio was over run with those plain brown moths we always called Miller moths. One morning I found a moth floating on the top of an open glue pot; that beautiful moth reminded me that even the peskiest of critters have their engaging moments. Inspired, I began to draw, then did a bit of research, then figured out ways to present moth snippets and specimens in book form. I wrote the text, recruited friends to gather specimens and designed the book and box. One of my favorite features is the detachable lid with magnifying lens built in, so one can roam around and examine other pesky critters more closely. Bio: Alicia Bailey is a studio artist working across multiple disciplines. Since the mid-nineties her primary focus has been on book arts and box works. Bailey's work has been featured in dozens of solo and group exhibits throughout the world and is held in numerous public, private and special collections. An archive of her work in the book arts field is under development at University of Denver, Penrose Library, Special Collections.
The Innocents Abroad, 1998
Set in Monotype Bell and printed letterpress on Johannot. Non-adhesive binding with exposed spine sewing. Two volumes in a black and white linen-covered hard-case wrapper with black leather straps over brass studs. Interior design by Bob McCamant; printed by Martha Chiplis; bound by Trisha Hammer. Edition of 200.
Saving His Life, 2008
Set in Monotype Ehrhardt and printed letterpress on handmade Twinrocker Taupe. Photoetchings from family photographs printed on Hosho, inset into the book in debossed panels. Hidden crossed-structure binding in Nigerian goatskin with end papers of Japanese silk, housed in a silk drawstring bag. End paper map drawn by Deborah Reade. Interior design and printing by Martha Chiplis; binding by Trisha Hammer. Edition of 50.
Sound Horn OK!
In India, transportation can be surprising. Old tractors drive on the street and auto rickshaws are stuffed with school children going to school. Motor scooters are often seen carrying a family of four, and the road is shared with bicycles, pedestrians, stray dogs and cows. Sound Horn OK! is one of the various signs that are often painted in bright colors on the backs of lorries. This is meant to indicate a particular style of driving in which one beeps their horn in order to say “I’m here and I’m passing you”. This limited edition rhyming children's book tells the tale of the various wheeled vehicles seen on the roads in India. Read to the last page to encounter the cacophony of sound that is the quintessential Indian driving experience.
Gules, meaning reddish, begins with a quote from Nathaniel Hawthorne’s Scarlet Letter, “On a field sable, the letter ‘A’ gules.” I was inspired by the novel and especially by this quote, to create an artist book with the theme of adultery. The concept of this limited edition artist book marries text, taken from the answers to a questionnaire on current thoughts regarding adultery, with photos of subjects wearing an embroidered scarlet letter. In order to capture precise expressions I used a photo transfer process to print the image onto linoleum blocks for carving. Both block printed images and letterpress text are bound into separate books and hinged together in a do-si-do binding with oak covers. Made possible with support from the Caxton Club of Chicago.
My Curiosity Overwhelmed My Trepidation
The title of this work is taken from a quote by Keith Cheng, who said this when asked about his experiments isolating the color gene in zebra fish and the possible repercussions related to race and skin color. This series of prints, bound into an oversized book form, melds the language of the circus poster, both verbal and pictorial, with current events in science. The pages of this artist book are a visual history of the way animals are being used for scientific purposes. Innovations in science are some of the top stories in the news. Just yesterday, scientists were creating copies of mammals, today they create new genetically altered animals, and tomorrow the unthinkable will be made real. The form of the circus poster, with its capacity to attract attention and exaggerate reality, displays and highlights today’s scientific curiosities. The original wooden block matrix has been repurposed as the cover of this unique artist book.
Individual posters available at 250
Frog 3 of 6 available
Goat 3 of 6 available
Mouse 3 of 6 available
Maggie's Text Poster 7 of 10 available
Billboard 72 x 80 made of six posters $800 4 of 6 available
Richard Zeid - Fractured
Fractured Vivian Meier represents who Meier was as a person, photographer and artists as well as the Vivian Meier project itself. This piece was letterpress printed over a platinum print produced from one of her original negatives.
Melissa Jay Craig
Edition / Installation, 24 of 99 copies
Handmade paper: cast and hand-shaped abaca embellished with cotton rag
each copy approximately 14” -18”H x 15”W x 16” - 18”D
800 per copy, 2000 per group of 3
Handmade paper: cast flax and locally harvested milkweed bast processed three ways
27”H x 7 ½”W x 12”D
The Building of Our Nation
Altered book of same title, lokta paper, granite, sand, reproductions of brass U.S. government corpse tags.
table, bible, milk, shellac, and handmade paper
30” x 18” x 20”
Heilig is a part of a larger, ongoing body of work called Freezing of the Failure Situation, in which I experiment with milk as an artistic medium. In 2011 I set up several scenarios where an apparatus containing milk provided a continuously dripping source for mark making onto substrates such as cloth, wood, paper, and books. I meticulously recorded the results, altered my methodology, and apologized to my very patient studio mates for the pervading odor of experimentation.
“Freezing of the failure situation” refers to developmental psychologist D. W. Winnicott’s theory about regression, characterizing an individual’s compulsion to repeat situations of failure again and again, in the hopes that new environmental conditions will allow for a successful situation. Often the original failure situation, experienced as a child, is identified as a maternal failure. By repetitively and ritualistically dripping milk on surfaces such as books, I am illustrating the psychological tendency to return over and over to an abstract memory of loss as an attempt at resolution. Heilig, the German word for holy or sacred, refers not only to the bible itself as a holy text, but to the sacred ways that we relate self to mother, self to other, and self to self.
Simple pamphlet bound book using four folded pieces of Arches Text Wove paper. Materials include sumi ink applied with ruling pen, handmade pen and brush. Text by Lorna Mulligan.
Variations on Water Music
Variations on Water Music is an artist book that focuses on my sensory experience of discovering the topography and native ecosystems of Lake Michigan, as well as the region’s sensory similarities to the art of papermaking. Research for this project, in order to experience sensory phenomena, included my ritual-based practice of making paper, organizing a native-plant community garden called The Papermaker’s Garden, and circumnavigating Lake Michigan by bicycle. I used wax, ink, and locally sourced handmade paper from recycled fabrics and native plants grown in the Chicago’s Papermaking Garden instead of information to created a tactile and sensory experience on each page for the viewers. An example of the interactivity include the sound of the pages turning, and are reminiscent of the waves and wind of Lake Michigan as well as the splash of pulpy water in the process of paper production.
Maneater is an artist book in which four stories, in terms of both physical and narrative structure, nestle within one another like Russian nesting dolls. Every time a new character’s name is spoken, the reader is able to remove and read a separate book that follows that character’s life story. The first book’s protagonist is a wealthy shut-in who becomes obsessed with an exotic deity; the three enclosed books reveal the retired businessman’s colonialist past and the history of the deity’s native land. With every book, the narrative as a whole moves backwards chronologically in time. The visual style echoes that of 19th century childrens’ mass-market hardcover adventure books, whose bright and captivating illustrations belied the troubling imperialist messages conveyed within.
Maneater is a limited edition of 50 copies, which, with funding from the Caxton Club and the Albert P. Weisman award, were completely hand screen-printed at Spudnik Press in Chicago. The books were then hand-bound by the artist. For more information or inquiries, please visit hannahbatsel.com.
correction fluid, lint from U.S.A. flags on lint roller sheets, book form; 7.125” x 16.75” (closed); 7.125” x 33.5” (open)
Two letters are reproduced in this handmade book--one written on 14 July 1861 and the other on 22 April 2003. Both were composed by soldiers contemplating the possibility of their deaths in upcoming battles; unfortunately, that is how they were killed. Their poignant final thoughts to their families are paired with lint from the standard representing their national allegiance.
letterpress on paper; artist book, edition of 10; 9.125” x 5.875” (closed)
A Bugandan proverb uses termite wings as a coded way to speak of being given nothing; it contrasts their worthlessness with the food value of their bodies. This unbound artist book surrounds three versions of the proverb and three quotes on nothingness with printed images of African termite wings.
Of Simple Men: Operation - Maintenance - Parts
2015 | Digital Laserjet, 2-Prong Fastener, Plike
11" x 17", 54 pages, limited edition of 17
(display pedestal is part of original installation, made out of salvaged lumber, the same lumber used for the machine the manual references.)
Of Simple Men: Operation - Maintenance - Parts is a machine manual as artist book, a critical component of the kinetic sculpture and performative installation, Of Simple Men. The book addresses a number of themes: the machine as cultural and aesthetic object; the history of technology, processes of production/reproduction and their impact on land and culture; an examination of rural life past, present, and future; the land, the body, and value of labor in everyday life; and how these themes are intrinsically linked to one another. Most importantly, Of Simple Men: Operation - Maintenance - Parts asserts rural America as the site for these investigations—both maintaining and affirming its place in historic and contemporary cultural discourse. A carefully constructed complex web of poetics, prose, didactic and theoretical text, this operator’s manual addresses the origins of these ideas, and their contemporary ramifications.
• Seldom Rest is available for sale, $35
• Of Simple Men: Operation - Maintenance - Parts, $150, book only
Of Simple Men: Operation - Maintenance - Parts, $150, book only
2014 | offset, letterpress
4.25” x 11”, 60 pgs, ed. of 100Seldom Rest is a series of poems that work in concert with original material as written by John Perry Hanna II between May 4, 1941 and May 7, 1942 in Diary of an Illinois Dairy Farmer 1941-1947. It is a contemporary distillation of the profundities of life’s seemingly mundane events, the ghost of rural life in the 1940s in Midwestern America. It is a conversation with history; a poetic reenactment of a way of life that we can only understand in fragments. As such, Hanna’s original entries have been fractured, edited, broken up, and synthesized in a purely poetic voice under my own influence, and in rare moments meld with my own new material. The fusing of the historic with the contemporary allows for a more cyclical understanding of history. Hanna speaks to me, and I speak back.
Made possible with support from the Caxton Club of Chicago.
TRAVERSE is a 14-page artist’s book cut and folded from a single press sheet. It includes a non-adhesive cover that slips on. It was letterpress printed with five colors and blind de-bossing. TRAVERSE chronicles a family vacation by presenting names of destinations explored and mountain trails hiked. It uniquely engages the form of the book by allowing the content to straddle the mountains and meander through the valleys of the accordion structure.
The inspiration for this piece came from synergy with deadlines, vacation, hand made paper and a new letterpress facility. My intention was to create a letterpress artist’s book or broadside utilizing an 18”x24” sheet of hand made paper to be donated to a fundraising event. An unusual starting point, I let the dimensions of the paper guide my thinking about artist book forms and creative content.
I built models from other paper of the same size by cutting and folding into an accordion structure. Upon reflection, I made notes about which pages were connected by folds, and changed direction of content that was right reading to up- side down, and back again. Content was solidified once the mountains of the accordion showed themselves.
The final letterpress artist’s book showcases a recent family vacation through California, Idaho and Wyoming by presenting names of trails, peaks and destinations along the way. Content marries form as these names meander through the pages and straddle the mountains of the accordion structure.
Sheltered in Middle America (2014)
Both a plea for refuge and a call to action after experiencing her first hurricane, Sheltered in Middle America is a Midwesterner’s response to the devastating signposts of global warming. Hand-cut archival pigment inkjet prints of original graphite drawings on lokta and Hahnemühle bamboo papers in an accordion fold binding with double detachable spines. 5.75" x 4.875" x .5" closed. Edition of 12. $325
She dreamt of a house with five rooms (2007-8)
She dreamt of a house with five rooms is a non-linear tale told in objects, a fluid portrait of person and place. Inside its handmade, archival inkjet printed shoebox container are five found and altered domestic objects, some wearing letterpress printed narrative labels, another sporting hand embroidered text and others residing in letterpress printed, handcrafted packaging. These artifacts of dreams and desires are the repositories of a coming-of-age tale, portals into a place and time existing only in recollection and imaginings. Mixed media. Shoebox: approximately 4” x 11” x 7” closed. Edition of ten. $835.
She’d had no premonition… (2007-8)
Etched into a cloud of smoke billowing from a small town’s aerial map, the dream texts of She’d had no premonition… chronicle the artist’s nocturnal visits to the site of her lost childhood home. Undoubtedly, “To that house, she could travel in her sleep.” Hand-cut intaglio prints, mixed media pop-up construction. Open: 11” x 13” x 11”. Closed: 11”x 13”. Edition of six. $1,100.
Fear of Spiders (1989)
Ten aquatints and accompanying text move the reader through a darkened bedroom, alternately on the spider’s hairy legs or from behind the child’s fear-crazed eyes — this is a scary bedtime story that explores the titillating qualities of obsessive nighttime fears. And, ultimately, nocturnal imagination takes over. Accordion-fold binding in clamshell box lined with original, hand-etched decorative paper. Letterpress, intaglio. Box: 13 1/4" x 11" x 1 1/4". Edition of ten. $900
Melody Chang Snyder
I Am More Than Meat
Ten page lasercut acrylic and monofilament.
Printing, design and binding by Sara Parkel, Filter Press
Paper: printed on Neenah Papers Environment Quest White, 100% post consumer fiber.
Cover: 1/8” natural bamboo with silk screen title.
Ethiopian-style link stitch binding.
In edition of 40 with 5 artist proofs.
9 x 5.25” (26 x 5.25” open at largest spread)
Printed in Gordo, Alabama
About the book:
Hybrid Land is a limited edition artist book that revolves around ecological themes, bringing into question our culture’s manipulation of crops and our interaction with the environment. The book is letterpress printed, utilizing the effects of transparent inks through a collage-like layering of woodcuts, collagraph blocks, and pressure printing techniques. Dried corn and soybean leaves act as the first printed layer throughout the book, two main crops genetically modified in the United States. With vibrant colors and plant-based imagery reflecting the beauty in nature, the interwoven text by poets Joel Brouwer and Shin Yu Pai expresses the darker implications crop modification has in our lives. Brouwer’s text includes excerpts from Thoreau’s ‘Bean Field’ chapter in Walden, is printed on a series of fold-out pages. With reference to classical mythology and TV reality, this text is about the separation between nature and man, a loss of cultural knowledge and history. Pai’s text is interwoven throughout the book, acting as the final collage layer on top of plant imagery. Drawing a palpable connection between food and memory, Pai’s text asks us to recall food from the market and from our memories.
All materials used in this book are recycled or come from rapidly renewable resources. The binding is non-adhesive.
Sliver of Salt
Sliver of Salt Is a bi-lingual letterpress printed edition with poems by Slovenian author, Aleš Debeljak. Translation by Andrew Zawacki and the author.
Designed and printed by Sara Parkel of Filter Press
Size: 4 5/8" x 8 1/4"
Pamphlet-stitch, tri-fold accordion structure. Housed in a hand-sewn, natural linen bag with drawstring closure and letterpress label. Covers soaked in salt water.
About the book:
The book revolves around three poems: opening with Hymn to the Favorite City, a melancholic poem thick with memory, an anchoring or beginning point. Next is the moment of transformation with Metamorphosis of Pain, which oscillates between that of consciousness and inevitability. Angels, Close Relatives completes the triad, with a sense of lapsed time and lightness in being.
Printed drawings of a sinking boat, birds in flight, and a jacket hovering off the pages edge echo the lucid qualities of the text while a hand drawn river that transforms into air, connects the sections from beginning to end.
It is the quality of Debeljak’s writing, the bending of words that give magical qualities to the ordinary, transforming and blending the real with the magical, encompassing the general with the self-reflective.
The book can be viewed as a codex style, page by page, or extended into the triptych/accordion form as three interacting sections. The book is intended to be viewed differently depending on the viewer. One can solely focus on the text, the illustrations, or a combination of the two like a multi-section exquisite corpse.
Design and Illustrations for
Tucker Tiger and the Planby Ann Dunlevy
Tucker Tiger and his tiger friend Scrufless were happy that tigers had been voted the most popular animals at the zoo. But they were sad that zoo visitors now came to see only the tigers and ignored their other animal friends. What could they do to encourage people to appreciate ALL the zoo animals? Read “Tucker Tiger and the Plan” to learn what the animals decide to do and how zoo visitors react.
Ann Dunlevy rediscovered the joy of writing after retiring from a series of jobs in education. She renewed her creative self when her grandsons were born. “Tucker Tiger and the Plan” is her first children’s book.
Illustrator & Designer
Martha Chiplis is a letterpress printer and a designer, and is married to Ann Dunlevy’s son, John. She is coauthor with Cathie Ruggie Saunders of “For the Love of Letterpress: a Printing Handbook for Instructors & Students.” (Bloomsbury 2013)
Materials & Process
7 in. x 7 in., 42 pp., 19 illustrations. Printed by Blurb Inc., the self-publishing platform. The edition is unlimited. The paper is Mohawk Superfine, the printing process is Indigo digital, the binding is perfect, softcover.
Original Illustrations Materials & Process
14 in. x 7 in., pencil, ink, gouache
The illustrations for Tucker Tiger and the Plan are mostly based on photographs. I made the initial sketches, assembled the photos, and drew onto tracing paper with pencil and ink. I then scanned the line drawings and composed them in Photoshop, and printed them out onto paper. Then I painted with gouache on transparent drawing film, placed over the line drawings. After the painted overlay was scanned, the layers were re-ordered in Photoshop, so that the line drawingswere on top. The illustration process was like this because I was thinking about letterpress printing this book, and possibly hand coloring it. Although the book was ultimately printed digitally, I may still print letterpress broadsides using the illustrations and text from the story.
Blurb book 30 - Illustrations NFS
Seven Wonders of the Ancient World
Seven Wonders of the Ancient World is a new edition of a classical antiquity guidebook. Travel guides to view the Seven Wonders were popular during the 1st and 2nd centuries B.C. The book is in a small box. Included in the box is a map, souvenirs, and an addendum.
After the Flood - 13 Beasts
After the Flood – 13 Beasts is a fictional account of the strange births of thirteen mythic animals after the flooding of the city buildings in Waukesha, Wisconsin. An alphabet and bestiary book in an accordion book format. On the back of the accordion fold is the story.
Unbound, a limited edition artist book honoring the veterans of Prince Edward County’s 1959 school lock out. The book recounts the closing of the public schools in Prince Edward County, from 1959 to 1964. Unbound tells the story of these events with timelines, archival evidence and collected narratives from local veterans of the closings. Gold stars flow through each page with one star for each person whose life was permanently altered by the school closings. All 100 copies of the book were letterpress printed on handmade paper in a single month, produced as a true collaboration by community members, undergraduate students, Art & History faculty, and Bishop visiting artist J. Peterson, in Farmville, VA at Longwood University's Short Twig Press. Short Twig Press is a recently established fine print, limited edition book press at Longwood University. All proceeds go to support future press projects.
The key to staying healthy is never eating too much of one thing, Too much pie can make you sick! Balanced was created as a reminder to divide the day into equal slices of work, relationships and play. The sequence of images begins with an “m” and extends from buzzing flies to the fish (that is either kept or released). The cycle continues with the great blue heron and ends with a slice of blueberry pie. This accordion book contains copperplate etchings pulled on handmade denim/recycled cyanotype paper. The word ‘balanced’ is letterpress printed using lead type.
Media: Handmade paper(cotton/abaca, denim), letterpress (wood type A), french knots, helvetica stencils
The phrase "Mind your Ps and Qs" refers to giving advice to printers' apprentices to avoid confusing lowercase Ps and Qs. Printer's should also mind their Bs and Ds, for setting type can be time consuming and handmade paper (at one point in time) was an expensive commodity. One might outgrow the phrase, but in today's day and age one one should still mind his/her manners.
A short visual fable about a magic apple and the inherent dangers of berry picking in the woods. (String of handmade paper pages in a small wooden apple)
The totally true story of how I got my black cat Hannah. (Multi-media accordion book nestled in a custom plush box.)
The Fachis Books
This artist's book is a new memory about my grandfather Fachis who i remember as a compulsive smoker and a man who read a lot. He died when I was very young but his scent is unforgettable. Using his relics : books about, medicine, poetry and French I made another book encapsulating smells mixed with phrases and letters as well as the seams of his books.
Private Performance: Treehouse
Intaglio on knit linen paper yarn, 53 x 9.5". Laid as an accordion in a black custom box, 7.5 x 11 x 1.5".
This is the fifth generation of a performance seen only by the camera done in the snow at Ragdale, which was videotaped. The video still was photographed. The photograph was drawn. The drawing was etched. Three of the etched plates were printed in sequence onto knitted paper, which refers back to the snow. This piece uses direct printing techniques onto knitted paper, and manifests several generations of performance work.
Pencil on handmade paper, edition of 10, 5.5 x 4.25 x 0.75" closed.
The story of a book
Pen and pencil comic on handmade slippery elm paper, slippery elm-dyed hanji yarn corded and woven, kon'nyaku-covered covers. 3.25 x 3.25 x 0.5" closed.
The sculptural flag book is an artist book with image and text attached as strips of paper (flags) to the accordion spine. When opened, the image fragments combine into a panoramic spread. The Offering was inspired by the sounds and sights of Bali. Both the text and imagery are musical in nature, the images featuring the instruments and dancers of the Balinese gamelan orchestra. When the book is fully opened, the moving flags create an additional flapping sound.
7 x 5.25 x .675 inches (expands to 26 inches); Mohawk Superfine Cover 100 lb., handmade cotton rag paper (by D. Widmer), Canson Infinity Rag Photographique 220 gsm paper, grey/white archival board, Scotch 415 tape, ink; flag book structure, ink-jet printed. Edition of 20.
Images courtesy of Tropenmuseum of the Royal Tropical Institute (KIT) and Wikimedia.
3 ½ x 4
watercolor & text / bound postcards
Box w/letters in glassine envelopes and ephemera 5 x7
5 x 5 inches
text w/ transparent image overlay
Christina de Almeida
Divide Sort Understand
7.5 x 10 inches, 16 pages
Digital prints on Curious LightSpeck Cover
Edition of 6
It is well known among behavioral scientists that the number three has powerful persuasion qualities. Elements organized in triplets are easier to remember and appreciate. In Roman numbers, three is the largest number still written with as many lines as the number represents. And early peoples in various parts of the world had words to describe quantities of one, two and three; beyond that, any quantity was simply called “many.”
This book is a typographic exploration of the many triadic systems that we use to divide, sort, and thus understand the various areas of our daily life: language, art, science, and society among others.
Loyal to the theme, the arrangements were distributed into three sets of relationships, identified by the patterns printed on their verso: Sequential, implying continuity and linear order among the elements; Complementary, reinforcing each other’s qualities through mutual support and contrast; and Hierarchical, evincing differences of importance or status between the different parts.
Letterforms and Latinisms
Cristina de Almeida
7.25 x 9.5 inches, 37 pages
Digital prints on Wausau Exact Matte Coated
Edition of 4
This book explores the similarities and contrasts between letterforms and architectural styles. These were drawn from Brazilian vernacular structures and patterns found in the built environment. Each image was paired with an English word of Latin origin—a Latinism. The resulting lettering treatment constitutes a hybrid visual vocabulary of functional structure and decorative ornament that is present in the construction of both letters and buildings. Accompanying small cards contain the definitions, origins and dates for each Latinism, and invite the reader to peruse the book in a non-linear manner, as a matching game of image, word, and meaning.
Sue Carrie Drummond
I am interested in the way clothing “receives us: receives our smells, our sweat, our shape even […] holding our gestures” (Stallybrass). In this book I contemplate the tattered clothing I have held onto over time, its functionality long gone and consider the way it retains memory but also a ghostlike presence.
The book is offset lithography, printed in the Borowsky Center for Publication Arts at The University of the Arts, Philadelphia, PA
Edition of 83
Digital offset printed facsimile wallpaper collages on coated card stock in plastic case
2.5 x 3.5 x .75 in
Playing House is a collaboration between poet, Carley Gomez, and book artist, Levi Sherman.
Playing House is a non-linear collection of moments from the life of the protagonist as he struggles to reconcile his past – a failed marriage, a complicated childhood, and the necessity of keeping up appearances – with his new life as an openly gay man in a tumultuous relationship. Fifty-two cards, which can be read in any order, feature prose poetry on one side and collage on the reverse. The collages serve as non-representational meditations for their respective text, and are created from wallpaper fragments to further reference the facade of domesticity and the fragmented patchwork of identity. The wallpaper patterns help situate the narrative within 1950s middle America.
Closed 4.5 in. x 8 in. Open 18 in. x 24 in.
Inkjet on French Dur-O-Tone - Map Fold
1668, named for the year coffee made it to the New World, examines commodification of labor. The interior spread juxtaposes ledgers from coffee auctions with ledgers from slave auctions. On the reverse, historic depictions of of coffee slaves are conflated with imagery of coffee laborers from contemporary advertising. This temporal interplay continues in the text, which presents two heavily romanticized descriptions of coffee country – one from contemporary ad copy and one from a 19th C. European traveler.
Elements from coffee technical manuals carry on the rigid organization that characterizes the interior composition. This aesthetic of opaque objectivity and control that once abstracted the institutionalized disgrace of slavery persists today to obfuscate the commodity chain by which our coffee comes to the global North. The global aspect of this chain is further referenced by the piece’s structure, which is scaled and folded like a map.
Various Effects of Coffee on the Body
Closed 2 in. x 2 in. x .125 in. Open 16 in. x 2 in.
Offset on Mohawk Superfine - Accordion
Various Effects of Coffee on the Body explores the idea of labor while comparing and contrasting consumption and production. Coffeehouse images of hard manual labor are used to illustrate a narrative surrounding coffee’s (and caffeine’s) physiological and psychological impact on the consumer, drawing analogies between personal addiction and cultural dependency.
To discuss availability.
Fathoming explores the origins of nautical terms, many familiar such as “anchors aweigh” and others that have evolved into new usage, like “bitter end.” Bound in an adaptation of Hedi Kyle’s flag book structure, vintage tobacco cards depicting vessels sail across the book’s interior while the back displays 1945 Japanese maritime maps. The front and back covers incorporate portholes which reveal prints of nautical terms and imagery. Fathoming was letterpress printed with handset Latin Condensed and Bernhard Gothic. The edition includes a varied copy for each of the seven seas
2.75 x 6.5 x .75” closed, 10 x 6.5” open
enclosed in a clamshell box
I See the Moon
The song "I See the Moon" has many variations, but this one credited to Meredith Willson, is what I heard while falling asleep at my grandparent's house on the record player. The moon (or record) shape is surrounded by hundreds of vintage ornaments. Composed tightly, and not in a linear fashion, they conjure the night sky and a dreamscape where moonlit magic is possible.
11 x 14” print, edition of 31 printed on handmade Arch Paper
Architect and urban designer Daniel Hudson Burnham (1846-1912) directed the construction of the 1893 World’s Columbian Exposition, known as the White City. His 1909 master plan for Chicago focused on the stunning lakefront and put every resident within walking distance of a park. His words, letterpress printed with handset type on an expanding origami form diagrams the print: "Make big plans; aim high in hope & work, remembering that a noble, logical diagram will not die, but long after we are gone be a living thing, asserting itself with ever-growing insistence."
3 x 3" square folded print. Letterpress printed with handset type on bright, durable red paper using silver ink and vintage printer's ornaments. The hand-scored and folded print expands to 6 inches square.
15, unnumbered edition
The first in a three-volume set of letterpress printed artist's books with original linocut illustrations based on Herman Melville's Moby Dick.
Letters Inspire explores a book format and lettering style that are not intuitively obvious, referencing the mystical power of language. The text is a quotation from Heloise: "What cannot letters inspire? They have souls; they can speak; they have in them all that force which expresses the transports of the heart; they have all the fire of our passions." Fishbone fold book structure invented by Hedi Kyle; sumi ink on Arches Text Wove. Manuscript book edition of 5.
6" x 9" x .5"
Full-cloth case binding with 96 pages of letterpress and laser printed content
Edition of 25
Catholics is a limited-edition memoir that makes use of illustration, collage, and letterpress-printed typography to explore the psychic cathedral built by my Catholic traditionalist upbringing. Beginning with an anti-clerical quip by Tallulah Bankhead, the book takes on a range of subjects including Catholic-Masonic tensions, the fervency of converts, the legacy of the Legion of Decency, and the spiritual significance of revelatory shrouds. In Catholics, the sacred and profane, the humorous and tragic, the zine and literary fine-press all end up as strange bedfellows in desperate need of confession.
Cinderella Ever After
Digitally Printed on Whatman Wove, Binder Board, Linen Cord, Linen Thread, Laval and Asahi Book cloth, Silk Dye. Design, printing and fabrication by Miriam Schaer, text by Mary Florio, Shaped Drum leaf Binding, 7.5 x 4 x 2.75 (hwd) 62 pages, 2012.
Photography: Stephen DeSantis
Cinderella Ever After is a revisionist version of the oft-told tale. Housed in highly decorated heart-shaped covers and digitally printed interior pages featuring collages based on Schaer’s suburban childhood — a world of idealized women and imaginary perfect homes. The images do not illustrate the text, but serve as counterpoint for the imagery in the poem.
The book is covered by wrapped cords, resembling arteries that crawl over the laser cut, heart-shaped covers. The densely packed cords twist and turn in and out of the covers in a manner both embracing and strangling, an effect that could have only be produced by Schaer’s intensive handwork.
The shape of the book refers back to medieval codex structures, in which heart shaped books were often used for prayer, and to reflect a love of god. Cinderella Ever After contains a different sort of prayer by a narrator who urges Cinderella to flee from her prescribed path, and to change into “someone you can recognize.” Florio’s text contrasts the myth of happily-ever-after against the reality of finding one’s self.
Bridgette Guerzon Mills
paperclay, encaustic, mixed media
7 ½ x5 ¾ inches
Walking The Earth
Encaustic mixed media, found natural materials
Book of Trees
collaboration between Bridgette Guerzon Mills, Seth Apter, and Jen Worden
plaster, collage, encaustic
Letterpress printed text from handset metal type, blank 35mm film, paper film holders, plastic REEL
3-D viewer, cloth covered clamshell box
Box: 5” x 5 1⁄2” x 2 1⁄2”
Film holders: 4" x 1 5/8"
REEL 3-d viewer: 4 3/8" x 2 3/4" x 2 3/4"
Edition of 15
This piece uses text to describe funny, awkward, and odd found photographs. When we rely only on our memory to describe a photograph to someone who hasn't seen it, what the viewer is left with is a distilled and somewhat flawed version of the original image. Included in the box are 5 different photograph descriptions and one REEL 3-D viewer.
The Ideal Sex Life
The Ideal Sex Life is from a series which I started about two years ago. They are based on vintage (early-to-mid 20th century) books found in thrift stores. Using ink-jet printer fabric and stiff felt, I reproduce the cover and spine of each volume. The interior pages are collages--also printed on fabric--based on the book, using text /images from the original source and from many other sources. (I have a large collection of paper ephemera, including vintage books and magazines, sheet music, greeting cards, postcards, album covers and miscellaneous items.)
I have mostly used instructional books; a sex manual, a cookbook, and volumes on relaxation, swimming, and flower arranging. My most recent work is based on a novel, Charles Jackson's THE LOST WEEKEND, the heavily autobiographical 1944 saga of an alcoholic, gay, failed writer on a five-day binge. Like the other books I have used, it suggests rich visual images ideal for collage, but it also presented the challenge of conveying a narrative to viewers who may not be familiar with the story.
There is certainly a vein of social and historical commentary that runs through my work, but I am equally--maybe primarily--interested in wit and beauty. I like to think of them as objets d'art intended for private ownership, objects of aesthetic and intellectual pleasure which reward close and repeated viewing.
To Serve and Protect: Containers, conveyances, and cosmic happenings
Sewn Boards binding. Pigment inkjet prints on Mohawk Superfine, covered in full, custom marbled paper by Pamela Smith.
32 pages. Edition of 100. 7 x 5 x .25”
To Serve and Protect: Containers, conveyances, and cosmic happenings began as a response to the theme “vessel.” Vehicles, containers for food, and other period receptacles provide a framework for the artist’s musings on life in the 1960s and 1970s. Ostensibly about banal period items such as the wicker-wrapped chianti bottle, electric frying pan and Chevy Nova, thirteen micro essays touch on Vietnam, fashion, the Cold War, cuisine, the economy, the women’s liberation movement, and other issues reflecting Americans’ perseverance, and our often misguided quest for peace and stability.
Letterpress Printed accordian books
Two accordion books bound into one cover and held in a slipcase covered in walnut paper. One side contains excerpts of found text in Spanish, on the other side is a translation of the text into English. The appropriated text is from the Arizona Daily post "Caminan con Dolor y Esperanza", written by Luis F. Carrasco about the Immigrant Walk held yearly in Tucson, Arizona." This passage is carried out in honor of the thousands of bodies that have been found from immigrants trying to cross the border and obtain better lives. For the purpose of the book, seven sentences from the text were picked out, translated and rearranged in order to conceptualize the reflections of those who have silently made the transition and are trying to carry on the dreams of those who have passed.
Underground, Undocumented, Unlistenable
Altered artist book from the original work Underground America by Peter Orner, 2015
Peter Orner tells the stories of men and women who have come to the United States seeking a better life for their families, only to be subjected to dehumanizing working conditions. The participants behind the narratives told their hardships through a series of anonymous interviews. This altered book form uses five cassette tapes to represent the original interview recordings. Each cassette hosts a summarized tape strip which allows for a slower and more personal experience with the reading.
children’s books, tape, fishing line
In Golden Totem, Parsell finds comfort in and gives meaning to both savored and discarded remnants of childhood--Little Golden Books. She stacks the found stories rich with images from her own innocent and carefree youth to create a sacred object shared by her generation. The tower of unrestricted dreams, though, is not solid. Like memory, it wavers over time, altered by new people and other narratives, becoming not only a symbol for the artist's history, but also for a shared mythic past.
manipulated children’s books
In Wavering Wonders, the pages of Disney picture books are manipulated to form undulating landscapes of color rich with the palette of childhood. But the text and images are unreadable, only existingthrough the artist's and viewer's memories of what should be there. The iconic childhood objects serve as mementos for all that was lost long ago and the complicated emotions that still pulse between that time and now. What were once idyllic dreams are now the artist's intentionally unfulfilled desires with which her generation and gender are in a constant battle.
Understanding Molecular Typography by H.F. Henderson
Offset printed, hand-bound artist’s book
6” x 4”, edition of 100
Molecular typography is the study of the chemical and physical underpinnings of letters. All characters are formed from seven basic atomic building blocks, known as typtoms. These typtoms come together in various combinations and configurations to form letters, numbers, and punctuation. Typtoms are not just theoretical tools for exploring the anatomy of type, but actual particles. Letters are molecules.
Understanding Molecular Typography is a book by H.F. Henderson, published in 1992, designed as an introduction to molecular typography for the layman. Part primer, part field guide, it lays out the basic principles, followed by detailed diagrams of the molecular formation of letters, numbers, and punctuation. A conclusion sums up the field of molecular typography to date, and a glossary and list of further reading provides valuable reference for the reader looking to learn more.
Understanding Molecular Typography is a work of fiction, from the science itself straight through the author who wrote the book. Rather than taking a narrative shape like most fiction,it takes the form of a textbook. But like all fiction, it employs the principle of “willingsuspension of disbelief” as a method to explore alternate reality. By co-opting the form of a scientific work, it serves to question the very authority of such a form to begin with. Though its core is solidly absurd, the questions the work raises are far from silly.
The Least Painful Compromise
The Least Painful Compromise is made up of six books (Nora 93, The Gutting, The Visit, The Decision, Dinner Party, The Eulogy) that are interconnected narratives. Twenty four offset printed pages of original text and images. Saddled stitched and wire bound.
A collaborative artist book with Joseph Lappie inspired by religious tracts. Two intersecting original narratives form a cross shape and explore issues of Christianity in America. Printed on an A.B. Dick and pamphlet stitched.
Sun Young Kang
1 3/4 x 1 3/8", Page number: 12, edition size: 400, inkjet printed hand drawn images, miniature book
“The material world was a place fragmented and constantly changing; this changing aspect of the universe came to be called Samara.” To visualize or perceive this hard to grasp idea in a book structure, 12 time based images of tree and water are set in a simple dos a dos structure that can be turned forever. Through the experience of holding this tiny book in a hand and turning the pages, I want to suggest the idea that there is no beginning or ending in the nature and nothing is stationary in the world.
Box Actaeon is a sculptural comic retelling the myth of Actaeon. Consisting of two nested boxes, the reader discovers the myth by turning each box. Risograph printed in two colors.
[Sappho] is an essay comic about reading Anne Carson's translation, If not, winter. Imagery transliterates Carson's work, with matching page numbers. Risograph printed in two colors. Edition of 36.
Untitled (Nightjar) reinterprets the word nightjar in an illustrated short story, paced by accordion fold pages. Letterpress, polymer plate, and screen printed.
Overlapping pages tell the layered stories of five lives.
Word Birthis a mixed-media piece that was produced in Brugges in 2010 while studying in the studio of Brody Neuenschwander [http://www.brodyneuenschwander.com/]. The piece is 33.5" x 24.5" (framed). It was exhibited in Exploration 2011 at The Newberry Library.
A hand-sewn 20 pp. book (5" X 7") of 10 etchings printed on Arches BFK, based upon nails, bolts, and screws, portrayed as architecture.
A hand-sewn 16 pp. book (4 1/2" X 3 1/2") of 13 etchings printed on Fabriano Tiepolo, focusing on neighborhoods and landscapes that typify "place."
Design binding for Neverwhere (by Neil Gaiman), 2011
Upcycled leather, upcycled mail carrier bags/garage rags, upcycled street cleaner bristles, handmade/hand-dyed paper, wasp-nest paper, linen thread, davey board, mat board; found paste paper end sheets; pop-up inclusions; block with original sewing
Gaiman’s characters wear scavenged clothing—multiple layers of soiled, thread-bare, mismatched garments. The binding reflects this scavenged, gritty aesthetic by attending to it literally. Unexpected doors and pop-up figures are embedded in the covers to reflect the female protagonist, Door, who is able to create doors that give access to incongruent times and places.
A Pop-Up Culinary Herbal, 2011
commercial cardstock, construction
A Pop-Up Culinary Herbal puts ancient medicinal theory into "modern practice." Using pre-scientific logic, it links twelve heirloom vegetables—illustrated in fully-dimensional, pop-up form—and their curative properties with 21st-century ailments.
Ravages of Time
Ravages of Time is an Artist Book created by black and white photographer Tom Lascell in collaboration with Drew Luan Matott, a paper and book artist. It is comprised of a series of twenty-four black and white photographs, plus cover and end pages, depicting the power of weather and time on man made structures and artifacts. Completed in the autumn of 2008, the artist book features both accordion and gate fold pages designed to be viewed one page at a time in a traditional manner, or by pulling out one of four accordion arrays, to view a 'gallery' or sequence of six images at a time. Viewers are also able to experience other arrays for viewing by selecting their own unique page fold options. The 8" x 8" x 1" square format is meant to be viewed closely in hand; the tactile feel of the handmade book and the unique page turns are as important as the images themselves. The images are from original silver gelatin prints, scanned to digital at SUNY College at Oneonta. A limited edition of thirty was printed on Stonehenge 100 pound paper in Canton, NY. The text was printed on a Universal Letterpress III at BluSeed Studios in Saranac Lake, NY and hand bound by the artists at St. Lawrence University in Canton, NY. The books are numbered and signed by the artists on the colophon.
We Float Like Dust
In the offset book We Float Like Dust, I explore how earth’s physical placement within the cosmos has changed throughout time through envisioning the various historic models of the universe. Each solar system was designed according to popular perceptions of the universe at that time. For centuries, our field of vision could not extend beyond what was visible to the eye and as a result, we were the center of a narrowly known universe. When astronomer Copernicus made drastic discoveries about the rotations of the sun, earth, and our surrounding neighbors, perceptions about the center were shattered and earth was no longer significant. As we continue to make advancements in space exploration, we learn we are merely a speck of dust, suspended amongst innumerable specks.
Letterpress printed with raffia sewing of an accordion spine. Made on order
Anatomia Botanica: Botanical Anatomies of the Sacred Lotus, Red Hibiscus and Southern Magnolia
Anatomia Botanica: Botanical Anatomies of the Sacred Lotus, Red Hibiscus and Southern Magnolia is a hand-printed book which explores the relationship I have come to develop with my natural environment, and takes the reader through my understanding of three species of flowering plants that had a significant impact on my childhood and early adulthood.
The book draws its inspiration from a variety of sources. Botanicals (sixteenth-to eighteenth-century European and American herbals), Mughal Indian ornamentation and anatomical flap books (16th-century) are the three primary sources that were a direct influence for me during the conceptualizing of this book. The imagery executed using reduction linoleum cuts, draws mainly from sixteenth-to eighteenth-century European and American herbals, and Mughal Indian ornamentation. The construction of the illustrations in Anatomia Botanica is based on sixteenth-century anatomical flap books that reveal the inner workings of each plant. The book reflects key elements from both these types of publications and presents itself as a hybrid illustrating three botanical anatomies of the Sacred Lotus, Red Hibiscus and Southern Magnolia.
Anatomia Botanica has been printed from hand-set metal Bembo type, reduction linoleum cuts, photopolymer plates and pochoir. Ten copies of the deluxe edition are printed on handmade paper and bound in a paper case binding. The fifteen copies of the standard edition are hardbound in a drum leaf structure.
Peeping Tom is a 3-panel, letterpress printed accordion-style book with pochoir. Measuring 5.5” x 16” when open, it forms a 5.5” square in its collapsed state. The folding for this book is based on Eric Gjerde’s Origamic tessellation.
Peeping Tom is made to resemble an apartment building anywhere in the world where the viewer looks through tiny windows and into the lives of the various inhabitants of the apartments.