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Re: [BKARTS] Calligraphy AND Letterpress



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          CENTRAL NEW YORK BOOK ARTS: TRADITIONAL TO INNOVATIVE
           See The Exhibition Online, And Order Your Catalog.
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--- Alice Simpson <Apeachw96@AOL.COM> wrote:
>
> ***********************************************
>           CENTRAL NEW YORK BOOK ARTS: TRADITIONAL TO
> INNOVATIVE
>            See The Exhibition Online, And Order Your
> Catalog.
>                       <http://www.philobiblon.com>
>
> ***********************************************
>
> Dear Susan-
> I appreciated your letter describing what has moved
> your spirit forward in=20
> books, and identify with your love of the line.=20
>
> It is possible to find satisfaction in the
> experience of pen to paper AND=20
> letterpress. Polymer plates can be made from the
> calligraphed line and then=20
> reproduced in the delicious depth of letterpress
> printing, which can hold al=
> l=20
> of its best dimensional and sensual qualities.=20
>
> Alice
> <apeachW96@aol.com>
> <<A HREF=3D"http://www.geocities.com/tangobook">
> http://www.geocities.com/tangobook</A>>
>
> << Date:    Mon, 13 May 2002 10:52:40 -0400
> From:    "Susan K. Gaylord"
> <skgaylord@MAKINGBOOKS.COM>
> Subject: Re: Trends and Influences
>
>  Dear Friends
>
>     I am just getting around to responding to the
> conversation on Trends in=20
> book arts,
> content, etc. I don't know if I would call it a
> trend but I am meeting peopl=
> e=20
> who are coming into the book arts from other areas
> of art, in particular=20
> photography. They are attracted to the book for its
> capacity to involve=20
> sequence, to add text, and to bring separate images
> together into a cohesive=
> =20
> whole. I think one approaches new material
> differently when one comes from=20
> another field.
>      My first entry into the world of visual art was
> calligraphy. When I=20
> discovered
> letterform and the pen, a whole new world opened to
> me. I was primarily=20
> self-taught the first few years and later took
> workshops. I was interested i=
> n=20
> learning everything. I worked my way through all the
> hands, read all the=20
> background history that I could, studied books of
> manuscripts as well as=20
> collections of contemporary work. I was like a
> sponge. As time went on, I=20
> started to become more interested in the gesture and
> movement of the=20
> calligraphic stroke than in the form of the letters
> and I began to write my=20
> own texts. I came to feel I wanted more than what
> was happening on the flat=20
> page and turned to the book.
>      When I came to the book arts, I was not the
> same person who discovered=20
> calligraphy. I had content in mind and a sense of
> what I wanted to say, and=20=
> I=20
> was looking for a new vehicle for that content. I
> was much more selective in=
> =20
> what I wanted to learn. I was drawn immediately to
> the simpler forms. I had=20
> no desire to make a hardbound multi-signature
> bookand I still don't today.=20
> The simpler structures allow me to think about the
> content in a more=20
> three-dimensional way.
>      One of the things that I loved about
> calligraphy is its immediacy. You=20
> put pen to paper
> and you make your mark. While it takes lots of
> practice (I was a driven soul=
> =20
> with pen and
> paper for years) to make the marks you want, the
> results are immediate. I=20
> find that working with the simpler book forms also
> offers a certain=20
> immediacy. I think it=E2=80=99s also why I was never
> interested in trying le=
> tterpress=20
> but have been intrigued by the possibilities first
> of copier and now of=20
> digital printing.
>      As always, I appreciate these conversations.=20
> in good spirit
> Susan
> --
> Susan Kapuscinski Gaylord
> Newburyport, MA>>
>
>
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> book arts.
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> other related
>             resources and links go to the
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>
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            BOOK_ARTS-L: The listserv for all the book arts.
      For subscription information, the Archive, and other related
            resources and links go to the Book_Arts-L FAQ at:
                      <http://www.philobiblon.com>

        Archive maintained and suppported by Conservation OnLine
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