An independent, not-for-profit journal that is run out of New York State since 2003. “It was formed to provide an unmediated forum through which artists, writers, musicians, and other creative people can make a direct connection with the general public.” The journal is a refreshingly unconventional take on an artist’s journal, experimenting with representation and tactile qualities. “Previous projects have taken the form of removable posters, booklets, foldouts, and hand-assembled sculptures, and have often utilized complex printing processes, unique paper stocks, and specially formulated inks.” (And a fun sidenote, the interns only get paid in lifetime subscriptions.)
Hand Papermaking magazine was founded in 1986 by Amanda Degener and Michael Durgin. Two issues of the magazine have been published every year since, resulting in a unique repository of information and inspiration on the art and craft of hand papermaking. Each issue features articles on a variety of topics within the field, including: contemporary artistic approaches, craft techniques, historical topics and reference, international development, and educational initiatives. Articles are written by experts in the field, many of them practitioners, and each magazine includes at least one unique sample of handmade paper.
Our mission is to engage with the field of artists books by means of critical discourse and creative exploration of the intersections of book arts, artists books, poetry, photography, experimental literature, printmaking, graphic design and other book-related creative endeavors.
Parenthesis, The Fine Press Book Association
The Fine Press Book Association (FPBA) is an organization of individuals interested in the art of fine printing, formed with the goal of promoting the appreciation of beautiful books and printing skills.
It publishes Parenthesis, a journal devoted to fine printing and book-making, issues an occasional e-newsletter, organizes events for members and non-members, and has run competitions in book design. Parenthesis is published twice a year and is free to members. To bring vitality and variety to Parenthesis, its production alternates between North America and the UK. In the Americas, Robert McCamant of Sherwin Beach Press brings out the Fall issue, while production of the Spring issue is led by Sebastian Carter of Rampant Lions Press.
Each issue typically is 64 pages of articles and illustrations, many in color. Up to 90 de luxe members receive a special limited edition of Parenthesis, which is case-bound and presented in a slip case with a parcel of items specially printed by presses from around the world. For example, past parcels have included wood engravings by Gaylord Shanilec, Frank Martin, and Simon King, printing from Henry Morris and Nicolas McDowall, pochoir by Peter Allen and Ian Beck, and a poster for the Pennyroyal Caxton Press edition of the Holy Bible.
The NewLights Press is an independent publisher of experimental writing and artists’ books, concentrating on where the two can and do overlap. Use the links in the sidebar to view and/or purchase any publications.
Betty Bright’s blog. The project is, ” a blog I launched to gather and document the state of letterpress printing since 1980. This blog supplements my research underway since October 2008, which considers the growing interest in letterpress printing, not just within the book art world, but also as it participates in the larger contexts of art and literature, politics and publishing, and other influences that affect how artists make art.”
Felt & Wire is about the universe of design, paper and print — from posters to packaging, from memorable mail to beautiful books, from invitations to artistic innovations. Felt & Wire reveals the fascinations, avocations and professions of the people who inhabit this continually expanding and evolving universe. It is a community, by and about those of us who are paper-obsessed.
Blog by Studio Fludd. They feature a wide range of publications with accompanying writing that is perfect for a blog–clear, concise, and colorfully informative.
A well curated blog on book arts. They feature “artist’s books, illustration, book binding, typography, sketch-booking, scrap-booking, print-making, paper making, altered books, how to guides, zines, paper engineering and more!” An enthusiastic blog that has many useful links.
BookArtObject is a loose collective of artists who sometimes work in the medium of artists’ books and who come together occasionally to make small editions of work in response to text. Participants don’t pay a membership fee and there are very few obligations… they can dip in and out of the editions as they please.
Turning old books into art. One post reflects on an artist finding an old dictionary from 1886 and letter pressing some definitions found onto small cards. A lovely revitalization of words.
The Pressbengel Project uses Ernst Collin’s Der Pressbengel, a 1922 dialogue between a bibliophile and bookbinder about the trade and art of bookbinding as a starting point for further discussions of the the German bookbinding tradition. I (Peter D. Verheyen) translated this work in 2009-2010 as The Bone Folder, originally in the Guild of Book Workers’ Journal. It is also offered in various versions for reading or downloading in signatures in the left sidebar. The site is also used for reports of my personal binding projects and other topics I find interesting.
My Place/Your Place is a collaborative artists’ book project devised by Angie Butler (Pet Galerie Press) and Philippa Wood (The Caseroom Press). In January 2012 we were asked by Karen Kinoshita (University of Minnesota) to participate in the forthcoming exhibition, ‘Sense of Place in Artists’ Books,’ to be held at the Architecture Library, University of Minnesota Oct-Dec 2012; to coincide with the International Conference ‘Mapping Spectral Traces’. : PLaCE Minnesota.
With this in mind, we began to e-mail each other our thoughts and ideas, trying to pinpoint shared interests, thinking how we could develop our ideas regarding the concept of ‘sense of place,’ and how to increase understanding towards, and empathy with our work through it’s publication.
Through our online conversations, we realised that, although we had met a number of times, through our academic and artistic practice: we had never been to, or seen each other’s houses. We have no knowledge of where we both dwell, or of the surroundings in which we each inhabit daily. Although we have a shared appreciation for nostalgia, letterpress, Delia Smith, typewriters and the histories and narratives of objects – we don’t know an awful lot about our respective pasts, present, or future selves, our hopes and dreams.
The Letterplace Etiquette Network. Here at the LEN blog we post updates, news, and tips from the Letterpress Studio at U.W.E (The University Of The West Of England). LEN sessions are held on Thursday evenings, for MA Multi-Disciplinary Printmaking Students and Staff: to to print together, show examples of work, swap tips, discuss our research, and support each other – developing practice both individually and collaboratively. LEN was founded by Angie Butler, PhD. student in Book Arts And Letterpress, at CFPR, UWE.
“The place to feed your curiosity, stretch your creativity and get your hands dirty! From the traditional crafts of papermaking, letterpress printing and bookbinding to non-traditional artmaking and self-publishing techniques employed by contemporary book artists, MCBA celebrates and supports the limitless creative evolution of the book arts.”
The Lunalux studio is located on the north side of Loring Park on the edge of downtown Minneapolis; we’re just a stone’s throw from The Walker Art Center, the Basilica of St. Mary, and Twin Cities Community and Technical College. Our address:
1618 Harmon Place, Minneapolis, MN 55403
“At Lunalux, we design and print everything in-house. This gives us tight control on the quality of our work, and nothing goes out the door if we are not happy with it! Most of our design work is done on the computer; graphics and type are converted to photopolymer plates for use in our vintage letterpress printing presses. Steel-backed plates mounted on super-strong magnetic bases give us a type-high, relief-style printing surface that we can use in one of our three machines.”
Center For Book Arts, NY.
The Center for Book Arts promotes active explorations of both contemporary and traditional artistic practices related to the book as an art object. The Center seeks to facilitate communication between the book arts community and the larger spheres of contemporary visual and literary arts, while being a model organization locally, nationally, and internationally within the field.
The Codex Foundation exists to preserve and promote the hand-made book as a work of art in the broadest possible context and to bring to public recognition the artists, the craftsmanship, and the rich history of the civilization of the book.
The College Book Art Association supports and promotes academic book arts education by fostering the development of its practice, teaching, scholarship and criticism. – See more at: http://www.collegebookart.org/Default.aspx?pageId=374824#sthash.xFWz3yv1.dpuf
The Center for Book and Paper Arts is dedicated to the research, teaching, and promotion of the interdisciplinary practices that support the book arts and hand papermaking as contemporary art media.
The Center is part of the Interdisciplinary Arts Department at Columbia College Chicago, and in addition to housing both graduate and undergraduate classes for that department, it publishes a critical journal and artists’ books, mounts exhibitions, hosts artist residencies, sponsors symposia and public programs, and provides advanced study through a workshop program.
Ida Applebroog on PBS Art21
Sarah Bryant. Process and Production.
Phillip Zimmerman Youtube Channel