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Cut & Folded Books

Participants will make a variety of book structures that are multi-dimensional and versatile, all from cutting and folding paper and board. Then more design and material possibilities will be explored […]

Experience, Ephemera, and Environment in Artists’ Books by Irene Chan

A multidisciplinary artist whose conceptual works cross and push boundaries between print media, papermaking, installation, and book art, Irene Chan holds a B.Arch with a minor in English from California […]

Amongst the Shelves

For the last book edition overseen by Prof. Maryatt in the collaborative series started in 1986, we decided to examine the book as an icon. We looked at significant developments […]

Sixty Over Thirty: Bibliography of Scripps College Press Books

– Out of Print – The Scripps College Press has been making collaborative student books for thirty years, publishing one edition each semester for a total of sixty editions. This […]

Flecks of Light

Written and produced by the students in the Typography and the Book Arts class. Students researched medieval color pigments, because the names of the pigments are so evocative, and the […]

75th Anniversary of the Founding of the Scripps College Press: Goudy Symposium

  We have invited as speakers former Goudy Lecturers, Scripps faculty and Scripps College Press students and alums, along with new voices, to celebrate the anniversary of the founding of […]

Pulp Painting

Frederic W. Goudy Dinner

Please join us for dinner at Scripps College at 5:30 p.m. on Saturday, September 12, 2015. Cost $27.50

Power Trip

Everyone has love/hate experiences with automobiles, especially in sprawling Los Angeles. Since the students who created this edition are from many parts of the world, they decided to share their perspectives on the advantages and disadvantages of owning, driving, crashing, modifying, and caring for cars, both old and brand new. They drew upon the materiality and physicality of vehicles for inspiration.

The students who produced the book are: Melanie Biles, Lizzy Freedman, Genna Kules, Sherman Lam, Kai McDaniel, Allison Mis, Vivian Pham, and Niyati Shenoy. The size is 8″ tall x 6.75″ wide x 1″ thick and has 107 pages. The book was produced in an edition of 102 copies. The price of the book is $200 plus applicable sales tax.

The Founding of Twinrocker Handmade Paper

Please note that the Frederic W. Goudy Lecture is free and open to the public

Non Sense

Ten students at the Scripps College Press created, set metal type by hand, printed by letterpress and hand-bound this limited edition book on experiencing silence. Six colors of paper were chosen to suggest the way we might experience silence through the senses.

Seeing Through Letters

Watermarks have long been used to identify the paper mill where the paper was produced. They are usually logographic. In this workshop, you will make papers where letterforms form the watermark, creating short texts.

Ernst Schneidler and His Students

Ernst Schneidler was one of the most influential and beloved teachers of the letter arts in the twentieth century, whose students included Georg Trump, Albert Kapr, Imre Reiner, Walter Brudi, and Rudo Spemann. This talk will present a rich selection of the calligraphy, type design and book design of Schneidler and his students in a high definition show and tell from the collection of the Letterform Archive.

Good Data/Bad Data

The visual presentation of data has been extensively discussed by many in the emerging information design field, by Yale computer scientist Edward Tufte in his four books, and by various authors on visual complexity. Five areas of book design were first investigated: the choice and use of type, layout of double-page spreads, coordination of image and text (especially presentation of data), title page layout, and book structure. After researching these areas, students chose to present their reactions to big data sets, both good data and bad data.

Pochoir à la Française

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.

The Printed Page: Image and Sequence

Investigate the interaction of image and sequence while experimenting with monoprinting techniques on and off the etching press. Students will have the opportunity to develop a vocabulary of interchangeable printing components comprised of collagraphs, birch plywood and stencils.

Lost with the Poets

Approaching her work in printmaking and bookmaking with an attitude of exploration and experimentation, Pati has produced a sustained body of work since completing her MFA at the University of Wisconsin-Madison in 1984. This work investigates the interaction of concept and structure, as well as image and sequence.

Rules of Thumb

In this first book in the collaborative publishing series, the students were asked to write down rules of typography that they probably would not find in typography books.

Drop Dead Gorgeous: Pochoir Printing from the Renaissance to the present

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).