Spread from Hortus Conclusus a bilingual artist’s book by Leslie Smith.
This panel featured two book artists intent on having paper play a role in enhancing the meaning of their printed work. [Read more]
Paper on the Press, APHA’s Joint Annual 2014 Conference with the Friends of Dard Hunter is now accepting registration. Paper on the Press has something for you! From hand-made to machine-made to digital, from industry to education to the arts, we hope you will join us in examining the historical and contemporary ties that connect paper and press. Presentations, demonstrations, exhibitions, excursions, camaraderie, San Francisco, and Oakland all await you. Program information and registration are now available.
A roster of speakers guaranteed to promote lively discussion among colleagues both old and new has been assembled for APHA’s 2014 Annual Conference, Paper on the Press. This year the conference will be held jointly with hand papermaking group The Friends of Dard Hunter [Read more]
Detail from Gautier (d’Agoty) and Duverney “Muscles of the head” from Myologie complete en couleur et grandeur naturelle(Paris, 1746). Wikimedia
Why color? For keynote speaker Sarah Lowengard, whose research hangs at the intersection of scientific theories and technological processes in eighteenth century Europe, the answer is in its multiple meanings. Color is both concept and process, and is therefore a significant framework for looking at that modernizing culture’s art, materials, and technology of making. In a similar vein, Lowenberg posited an overarching question about aesthetics, technology, and science: How do we make something beautiful, but lasting? [Read more]
Seven color letterpress ruler from Maret’s forthcoming book, Interstices & Intersections.
Russell Maret makes letterpress prints that originate from his paintings, which he uses as sketches. His prints maintain a painted look—those subtle transitions in color and shading—through a painstaking process of scanning, drawing separations, preparing negatives and plates, mixing inks, and printing layer upon layer of carefully chosen and expertly registered hues. Maret shared his techniques, developed particularly since 2008 it would seem, when someone said about his muted color map in Mediaeval in Padua, “Nice book, Russell, but use more colors.” [Read more]
