Latest Book: Rock · Paper · Book (2013)
Elizabeth Eisenstein wrote a scholarly two-volume tome on the printing press as an agent of change. For this class, we decided to look at how paper was also an agent of change, by researching various papermaking methods as paper moved from its beginnings in China to the rest of the world. By making paper themselves, the students developed a new understanding of the complexities of papermaking: gathering the pulp, figuring out how to fibrillate it, experimenting with several kinds of moulds and even hand-beating of the pulp with rubber hamamers. In this way, students' attitudes about paper in general, and about the paper we would be using for the book, were changed. As a result, they decided to develop the theme of paper and ideas for this semester-long book project. To deepen their understanding, we invited John Risseeuw to give the Frederic W. Goudy Lecture in September on how paper has meaning. He demonstrated in the workshop how the even the choice of pulp can impart meaning to the paper. Snippets of the students' own handmade paper are presented on the Rives BFK paper that wraps each of their sections.
Fourteen students developed the ideas for this book. The texts and images were printed on Rives Heavyweight using four Vandercook presses. Images were hand-cut into linoleum, or paper itself was added to act as an image. Drawings and cuttings were added to enhance meaning. Each student chose a typeface to present their ideas. The front and back matter are tyepset in 12 and 14 pt. Ehrhardt Roman and Italic. The binding continues the theme of paper and ideas by using Rives BFK gray wrapper paper to complete the covers. A Coptic-style sewing pattern was used to hold all the sections together using linen thread. The class was effectively aided by teaching assistant Chris Yuengling-Niles. Size: 9.5 x 5.5 inches. The book was printed in an edition of 105 copies.
Goudy Lecture: Drop Dead Gorgeous: Pochoir Printing from the Renaissance to the present
September 27, 2014
Scripps College Humanities Auditorium
Julie Mellby is the graphic arts curator within Rare Books and Special Collections at Firestone Library, Princeton University. She is the author of several catalogues including The Author’s Portrait (2010) and Splendid Pages: The Molly and Walter Bareiss Collection of Modern Illustrated Books (2003).
Goudy Workshop: Pochoir à la Française
Julie Mellby and Kitty Maryatt
September 27, 2014
Scripps College Press
Stencilling has been around since cave painters blew pigment around their hands to make prints on cave walls. Every culture has some kind of stencil technique. The Japanese method of katagami uses smoked persimmon paper stencils cut in elaborate patterns and strengthened with silk threads for coloring kimonos. Photographs of these kinds of stencils were published in 1878 in Paris by architect, Th. Lambert. Pochoir is the name given to the French iteration of the process, which ﬁrst ﬂourished in Paris in the early 20th century, especially for colorizing fashion plates and book illustrations.
Scripps College Old Style
Scripps College has its own font, designed in 1941 by master type designer Frederic W. Goudy. To learn more about this unique and impressive font, click here.
Scripps Press Staff