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Monday, November 26, 2012

Cowboy Pride 1880

I joined a project called Book Art Object, an informal group of book artists scattered around the globe. Under the BAO banner they make small editions of handmade artists' books in response to texts, sharing them with each other and the world.

Edition Four comes from Sarah Bodman's book An Exercise for Kurt Johannessen, in which 100 short story titles are the kicking-off point to make a book. The story title that I chose is "Now I'm a Cowboy."





The accordion was printed on Stonehenge and Bhutan paper using handset Centaur, Arrighi, Onyx and wood type with a couple old cowboy zinc cuts. This is an excerpt from The Young Manhood of Dave Chamlee, written by my dad about the pride that a cowboy has for his boots.


Tuesday, July 3, 2012

The final book


The Young Manhood of Dave Chamlee coming-of-age story of David Samuel Chamlee, born in 1857, told by his grandson (my father) in a Humanities term paper written while attending Claremont Men’s College in the 1950s.

The story begins with Dave Chamlee’s boyhood on a homestead in Tennessee, his travels as a young man to work on the docks of the Mississippi River and on to his years as a working cowboy in Texas. It concludes with his arrival in California where he spent the remainder of his days.

The text is accompanied by research notes supported by public records and census data, a map and photographs from the family archive.

The Young Manhood of Dave Chamlee is letterpress printed with hand set Centaur and Arrighi, Massey Initials and ornaments on handmade Khadi paper. The map background is a suicide linoleum block; the map details and photographs are printed from polymer plates. The signatures are sewn into a bison leather cover with a wrap band, ties, tackets and deer horn buttons.









Printing the map

The map I'm including with the new book is printed using a "suicide" linoleum block in the background with the detail printed using photo polymer plates.

After doing an overall print of light tan, all the states were cut and printed in a darker color


Then all the states except Tennessee, Missouri, Arkansas and Texas were cut away and the final layer was printed. The route and type was printed with polymer plates.

The title block

Inside the front cover is the pocket for the folded map.


The final map unfolded.



Wednesday, May 16, 2012

Binding Prototype

The binding of the new book is long-stitch sewn into a limp bison leather cover with sheep leather head and tail ties and deer horn buttons. There is a strip of leather on the spine that helps it to hold its shape. There is a pocket inside the front cover to hold a map. The binding takes parts of the ancient Nag Hammadi Codices where the cover is bound with a wrap band as well as ties on top and bottom and tackets in the corners for reinforcement. Very little, if any, adhesive will be used in this binding.



Various colors of bison and dark brown sheep leather for the ties and tackets.


This shows the wrap band and the ties at the head and tail.



The inside pocket that holds the map.



Here you can see the long stitch sewing and the spine reinforcement with deer horn buttons.

New Type!

My new Centaur and Arrighi type finally arrived from M & H Type Foundry in San Francisco. This type is for my new project The Young Manhood of Dave Chamlee, a coming-of-age story about my great grandfather told by my father, William Zane Chamlee, in a Humanities term paper he wrote while attending Claremont Men's College in the 1950s. The main text is 12pt Centaur with 10pt Arrighi footnotes.




It took an entire day to put it all away.





Here's all the set type for the first signature.

Wednesday, May 2, 2012

Paper marbling in the backyard

I'm teaching a marbled paper workshop on Saturday at UCLA and figured I'd better practice. I haven't done it in awhile.


Here's the set up. It's far too messy to do it in my pristine studio. There's carrageenan in that tray, the size that you float the color on.


Here's the paint floating on the surface of the carrageenan size. This is the stone pattern. You just splatter paint all over the place.


Here's a closeup of the stone pattern on the paper after it's been pulled.



Tuesday, March 20, 2012

New excerpt from "Study for the Possibility of Hope"


I gave my Book Making Projects class Dennis Phillips' poem to select an excerpt for a chapbook. I decided to do one, too, because I wanted to try out pressure printing with shapes cut from my new digital cutter. That's the birds on the spread image. The cover was printed in four colors without cleaning the press. It's a fun game to play, starting with one color, in this case the big blue-gray "2" and adding color as you go along. The second run was the green "birds" achieved by adding blue and yellow, then the brown "2" by adding red. I admit I had to take some ink off the drum for the final gray "rims" but then added transparent white and black. The color is nicely harmonious as one color leads to the next.




Rebinding of "Study for the Possibility of Hope"

I printed a new cover for "Study for the Possibility of Hope" on Crane's Lettra to rebind the book for entry in the Guild of Book Workers' member exhibition. The theme of the exhibition is "Horizon." The signatures are sewn through the spine using a pattern from Keith Smith's "Non-Adhesive Bindings Volume 2: 1- 2- & 3-Sectiion Sewings" called Contiguous X's (for an even number of X's). It's sewn using two needles and is much more complicated than it looks on the outside.





My Partial Tongue deluxe edition

I have finally found the time to bind the deluxe edition of "My Partial Tongue." The deluxe edition is printed on Somerset Velvet paper and bound in the separate board style with gold titling on a Harmatan goat leather spine and hand sewn silk end bands housed in a clamshell box with a suite of six additional prints.

Cover showing gold foil title on spine


clamshell box with book inside

Book moved aside to reveal the inset for the prints

Handsewn silk endband

Four of the six additional prints