A new book from the Gold Quoin Press, 2013, printed letterpress in an edition of 200 copies. Now available for purchase. (signed and in hardcover box).
Directions Home is a collection of poems inspired by the names of specific streets, roads, avenues, lanes, and highways found in one Midwestern town. The poems were written by the Grandview Hotel Poets, based in Peoria, Illinois, who meet regularly to share and discuss their work. The group’s earlier collection is entitled Bluffs and Five Bridges: Poems from Peoria. The variety of items included in Directions Home seeks to engage the reader in a physical as well as a literary exploration of the complex feelings about traveling from—and returning to—home.
This book came to fruition through collaboration between the Grandview Hotel Poets and the designers and printers associated with Bradley University’s Gold Quoin Press, all of whom share a love of the printed word and the creative possibilities that spring to life under the caring hand of the craftsperson.
Poems by Barbara Clevenger, Jannett Highfill, Mark Liebenow, Janeil Page, Thomas Palakeel, Burt Raabe, and Elizabeth Klise von Zerneck
Design by Sharon Conlee, Joe Fitzanko, Becky Krohe, Kevin McGuire, Lisa Nelson Raabe, and Robert Rowe, design coordinator
Production Notes: This book was a collaborative effort between the Grandview Hotel Poets and Gold Quoin Press. Working together, the authors and designers printed and assembled this book at Bradley University’s book arts studio in four very busy weeks in July and August, 2013. All printing, with one very small exception, was done on a Vandercook Universal One and an SP-15 press using photo-polymer plates, pressure printing, collagraph, and wood type. Special thanks to OSP Printing in Bloomington, IL for die-cutting.
The Gold Quoin Press at Bradley University is dedicated to promoting collaborative endeavors between writers and designers, with an emphasis on experimental letterpress printing and hand binding. The press provides instruction and studio facilities to students and the community. Other titles published by Gold Quoin Press include Unclose the Door by Madeline Wiseman (2012) and Great Day for a Run by Kevin McGuire (2011).
Gold Quoin Press © 2013 Peoria IL ISBN 978-0-9839535-1-7
This book was printed in an edition of 200 copies.
Poet Laura Madeline Wiseman will read and discuss her work Unclose the Door and other poems at the Bradley University Library from noon to one pm on Monday, March 25. Visit her web site at http://www.lauramadelinewiseman.com/. The reading is free and open to the public. The poems recount the life of Matilda Fletcher, a 19th century Illinois-born suffragist speaker, inventor, and author. This reading is being held as part of Women’s History Month.
Well, it is official. The Gold Quoin Press will be setting up a table at the Mission Creek Festival in Iowa City on April 6th at The MIll in downtown Iowa City, IA from 11 AM to 6 PM. We will be showing and selling books and prints including Great Day for a Run and Unclose the Door, as well as broadsides of Madeline Wiseman, Katey Schultz and others.
The publishers fair is held at The Mill, which is a Pizza and Beer Hall establishment. I went last year and it was a blast; a great place to meet writers, small press publishers, and generally have a great time.
Check out the web site for the literary part of the festival: http://www.missionfreak.com/
The festival goes on all week with music, readings and other performances. I would love to go there Friday night for the Lit Crawl, but that is our symposium day at Bradley University- Check it out the schedule for the the Inland Center Symposium http://inlandvisualstudiescenter.wordpress.com/2013-2/
Christine Huggins puts the finishing touches on some of the 100 hard-bound books produced by the Department of Art at Bradley University and the Gold Quoin Press. To purchase a copy, see the “shopping” link on this site. The book is for sale at $75 per copy.
Almost all of the run of 100 copies of “Unclose the Door” by Madeline Wiseman, are completed. Designed, printing and bound by students, faculty and studio staff at the Bradley University Books Arts center and the Gold Quoin Press, these books are 36 pages, hard bound, letterpress printed in two colors, and trace through a cycle of poems the life and career of Matilda Fletcher, an Illinois-born 19th Century traveling speaker and advocate for women’s rights.
I just tried out a new device for punching signatures for our edition of 100 copies of a book of poems. It consists of a pin-bar with a triangular profile that has a hinged top bar comes down on top of it. The pins are set into drilled-out holes in the lower bar. Holes are drilled in the top bar directly above the pins. A folded signature of the book is placed over the pin bar and the top bar is pressed down. We punched forty books in a few minutes with this and all were perfectly aligned. I caught a glimpse of a similar device in a bookbinding video on YouTube, but cannot remember where it was. If anyone knows of it, let me know.
A holiday greeting from the Bradley University Letterpress workshop. Invited by FeltandWire.com to contribute a Thanksgiving holiday themed print, we came up with an image reflecting both celebration, thankfulness, and the beautiful fall sunsets we have this time of year in the Midwest.
Bradley University’s letterpress and book arts studio regularly produces seasonally-appropriate prints and cards, and having just finished up a run of “spooky” cards for Halloween, we were more than excited by the invitation to create a Thanksgiving-themed print. Jake Guzan a senior art student at Bradley, and Kevin McGuire, who works by day as an employee of at a printing establishment, worked with Robert Rowe , professor of art at Bradley University, in making these Holiday greetings.
The studio has large south and west-facing windows, giving anyone operating a a glorious view of the colorful autumnal sunsets that descend through reds, ochres and golds. So a split fountain was a logical choice for a fall-themed print. Brilliant fall sunsets last a few minutes and are gone, but not before Jake Guzan, Bradley University student lab assistant, and I got some of the colors mixed and onto the ink rollers of my SP-15—Pantone yellow, some leftover, pre-mixed Pantone 194 deep red, with just a dollop of black at the upper register.
The symmetry of the V and A in “GIVING THANKS” begged for graphic emphasis. Mounting a type-high linoleum cut of praying hands made a perfect substitute for the “A”, and the “V” became, with the aid of another linoleum-cut hand, a celebratory libation. Highlighting the V and tying the two lines together was a simple matter of moving the “V” to the lower line, rotated upside down, while inking the gradient, and then replacing it into the upper line when printing. The linoleum cuts were inked with a brayer off the press (saving clean-up time), and placed into the V and A slots, (after a re-inking of the type) and the paper reloaded for a second impression, creating a double hit of color on the type and a solid black that obscured any overlap of the color. In initial prints, the letter V in this font has such a shallow counter shape that the “glass” effect was less obvious, so we substituted a cut linoleum “V” without the counter for the original letter.
While disassembling the original lock-up, Kevin McGuire came in with another sketch of an idea using the same 30-line (or 5 inch) letters and a surround of 60 and 30 point airport lead type, listed a host of things for which to be thankful this season.
Happy accidents are always a great way to get ideas for the next generation of prints. In running this print, missed trip lever resulted in a print on the mylar draw sheet of the press. The next piece of paper on the press then picked up that ink, in a wonderfully mottled and misty reverse impression. I am dying for a chance to repeat this “mistake” on a piece of translucent vellum paper, so the image, printed in reverse on the back of the paper, would be right-reading through the paper and still have the same inimitable mottled, gritty texture.
The studio—equipped with two vandercook presses, an SP-15 (used on this print) and a Univeral 1— offers regular undergraduate courses in letterpress and book arts, offers mini-workshops open to the public, and also plays host to regular gatherings of a community letterpress group. The facilities have wood type of various fonts and sizes, lead foundry type, and polymer plate-making capabilities.
The prints are on Mohawk superfine eggshell, 100 pound cover and 100 lb text, printed in two runs of pantone 194, warm red, pantone yellow, and black. The wood type is a 5 inch (60 line) gothic. The prints were made on an SP-15 Vandercook.
This book was created as a group project in the fall 2010 book arts class. We printed an edition of 18. Five students and I each created a quarto sheet 13 x 19 printed one side which remained untrimmed in the final book. The copy shown was presented as a gift to Bradley University President Joanne Glasser on November 11, 2010. This was a beginning letterpress and book arts class and the students- graphic design junior and seniors – were able to do an admirable job of both hand typesetting and a variety of imaging techniques, including pressure printing, photo polymer, “sandragraph” prints, and other relief printing techniques.
More images of the book can be seen at http://www.flickr.com/photos/portfoliolab/sets/72157625221458222/
Wood type continues to draw interest as the film Typeface, about the revival of the Hamilton Wood Type Museum, premieres around the globe. And on April 22nd, it was screened in Peoria, with a talk by director/filmmaker Justine Nagan. It also provided an opportunity to make use of our own collection of wood type, creating a poster using collagraph textures and some metal type printed on our Vandercook SP-15.
Letterpress and other tactile media continue to garner more attention these days from designers and clients alike. People respond to the very qualities that differentiate these objects and processes from the plethora of digital media. Designers find the the hands-on processes refreshing after working exclusively in virtual space for so long.
At the recent College Book Arts Association meeting (Oregon College of Art and Craft, January 8-10th, 2010) one of the more exciting discussions was on digital media in book arts. I wish it could have continued. While I have a dual appointment in the both art and interactive media, I share some of the misgivings over the “digital blessing” that have been bestowed upon us, and I council students on how and when to make use of them as practical tools. I spent a recent sabbatical doing hand bookbinding and letterpress printing.
Slowing down to the pace of handwork gives more time for reflection and observation. I sometimes liken it to the difference between walking and driving a car (and all the extensions of that metaphor). Perhaps the Pacific Crest Trail versus the Pacific Coast Highway.
Do digital and hand work mix? I have to say NO!
From teaching drawing, I found over and over it was not good to teach perspective systems at the same time I taught responsive observation—different parts of the brain, I suppose. Some people can intuitively do both simultaneously, but most, particularly students, trip up in the process. .
A better approach is to keep distinct times and places for each process. Certain environmental cues can facilitate the shift to a slower more reflective kind of work. I would suggest for individuals, set up a special desk or work area specifically for hand media. Different ergonomics, including lighting and chair configuration are required for sustained handwork versus digital work. Don’t try to keep your sketchbook beside your computer. Instead, clean off that old drafting table, pull out the cutting mat, sharpen some pencils and (for God’s sake!) open the blinds and get some daylight in, or get a good lamp.
This approach can apply to classroom settings and offices as well as the individual studio. We have reduced the size of desks and increased the amount of clutter: usually centering on them a keyboard and monitor. This makes it all but impossible to do serious manual work. Drawing, cutting, handwork of any kind, requires a more meditative and fluid workspace. I don’t want to go too far with the notion of “chi” here, but there is a body of thought that holds that to do any craft work (draw, cut, carve) you had to be physically rooted and balanced: feet on the floor and aware of your physical and emotional center.
When to teach digital media? To be a responsible educator, I have to equip my students with what they need; teachers and practicing craftspersons need to know digital media. But I find most undergraduates hungry for digital media; and I have to satisfy that hunger before I can expect some of them to appreciate the alternative. (Note “SOME”—not all will be able to or want to loosen their grip on the mouse.) That said, it is terrific that there are places, the OCAC, perhaps, for people who are ready to make that leap; where they can go and embrace the craft aesthetic and process. One of the great things about the American educational system is that there is room for programs that cover the full spectrum of possibilities.
My most recent bookwork came out of digital media. The little cast of characters in my most recent book projects (http://www.flickr.com/photos/portfoliolab/sets/ ) were created originally for some fun flash animations. (http://designwriting.info/indexl2.html)