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Kitty Maryatt and Students at the Scripps College Press Johanna Drucker coined the term the artist book as an agent of social change to describe one of ten "zones of activity" in her book The Century of Artists' Books. For our newest publication, we decided to address the idea of advocacy through artist books. The Typography and the Book Arts class was first asked to develop a list of one hundred significant problems in America, and subsequently organized them into seven categories. After extensive in-class discussion, they decided to select addiction to media for their advocacy efforts because it is continually in the news as a growing problem. They all have extensive experience with the deluge of information on the internet and the latest social networking tools like Facebook and Twitter, and even have friends who are on the verge of addiction. Their goal became not only to promote awareness of the consequences of addictive behavior, but also to reveal the lure of new media that seduce us daily. The texts were presented on differing sizes of three papers, Nideggen, Frankfurt Creme and Frankfurt White, to reflect layering on the desktop with the deluge of information from the internet. All the type was hand-set from metal typefaces, which included Scripps College Old Style, Optima, Centaur, Univers, Garamond, Caslon, Goudy Modern, Fournier and Weiss Inititals and Forum Capitals. The SML code on the title page was written as a computer science class assignment to encode and decode RSA encripted messages; it was printed as a photopolymer plate. The printed colors are inspired by the RGB system, as might be chosen on a computer. Imagery was carved into linoleum and printed on four Vandercook presses. The book is bound in red bookcloth and has the proportions of a 17- inch MacBook Pro. Scripps College Press, Claremont, California, 2011. Edition of 103. 17.25 x 11.25 inches. 44 pages. Letterpress printed. Bound in cloth covered boards. To purchase this work please contact Laura at 23 Sandy Gallery. |
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Sold Out Titles from Scripps College Press |
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Kitty Maryatt and Students at the Scripps College Press Robert Bringhurst classifies type based on movements of the time period in which it first appreared. We looked at typefaces from that perspective, by listening to music and looking at artworks from the period. The myriad tiny details that make up a letterform have emotional impact on the entire typeface. Highlighting those rising emotions that are evident in the finished face became the focus of the book. Students selected digital typefaces from Bringhurst's classifications list to investigate but used the metal typefaces available at the Scripps College Press for the emotional descriptions. Weiss Initials were used for the titling and headings, while Scripps College Old Style was used for the front and back matter text. Various typefaces were used for the emotive texts. Colors of forest green, teal, electric blue and purple were used for the emotive type passages. The book was printed on Rives BFK with linoleum cut shapes printed in black. The type description section was printed digitally on silver Stardream Text with our HP Laserjet 9400. The binding structure is accordion-fold so you can stretch out the book and see the play of emotions. The boards are covered in silver Ginga bookcloth with images printed in blue. The size is 7.5 x 11 inches, and 95 copies were produced. 2009.
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*Roll over image for alternate view. Kitty Maryatt and Students at the Scripps College Press To One's Taste is about evoking the power behind spices. The eleven authors explored these ancient goods and sought to tell the story behind a seemingly lifeless object.The book itself is a small one, made with light Japanese Yatsuo paper, giving it a portable feel, much like the portability of the spices along the Silk Road, which inspired many of the spreads. Each quire is a different color of spice adding to the illusion that the book is synonymous with the spices themselves. Although the spices all have a rich history, each author portrays their own spice in different ways. Some used recipes and childhood memories to bring sensation to the spices. Others gave the spices a life, voice, and persona of their own. No matter what their methods, the result is a cohesive, spicy, artist book that not only sparks the reader's interest but also leaves them hungry for more. Imagery was produced with linoleum blocks, many of which were printed in white ink. The size is 9.5 x 6.5 and there are 109 copies in the edition. 2008. To purchase this work please contact Laura at 23 Sandy Gallery. |
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Kitty Maryatt and Students at the Scripps College Press Peter Mark Roget wrote his first list of synonyms in 1805 for himself as an aid to more lively writing and lecturing. After a lifetime as a biologist interested in classification systems, Roget expanded his rudimentary list starting in 1848. He attempted to organize all thought into classes: abstract relations, space, matter, intellect, volition, and affections. Roget's Thesaurus was finally published in 1852. His original strategy was for readers to search for useful words through related ideas within the classification system. Most people who use the thesaurus don't know about this aspect of its use, so we thought it would be a good touchstone to generate ideas for our texts. Our keen interest in visual typography led us to invite Ron King of Circle Press and artist Sam Winston from England to give a joint Frederic W. Goudy Lecture during the Spring semester. Inspired by the workshop and presentation, the fourteen visually talented students and their instructor explored many different ways that type could reflect the way we speak. Then they wrote and produced this hefty, limited edition book printed by letterpress on four Vandercook presses. The front and back matter were fancifully set in 12pt. Gill Sans. The opacity and printability of the Softwhite Somerset Book 175 gsm paper appealed to the students. Imagery emerged directly from the type cases rather than from the usual linoleum blocks. The evocative leaf between sections was chosen for its translucency and colorful visual qualities. It was made in the Philippines from finely spun fibers. The spine of the seventeen signatures exposes the copper-colored thread sewn over Tyvek-reinforced tapes attached to the black Japanese bookcloth cover. This book measures 9.75 x 6.5 inches; 94 copies were printed. 2009. |
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Kitty Maryatt and Students at the Scripps College Press Arch is a collaborative book from the Scripps College Press about the book as architecture. Architecture, like books, is a delicate balancing act between stability and motion, interior and exterior, aesthetic values and structural practicalities. Books, like buildings, are fundamentally inhabited spaces. They are incomplete without human interaction. The students developed structural imagery using only paper by thinking with their hands. The Heather paper chosen was exactly the right stiffness for cut-aways and pop-ups. The tops of the rising sections were hand-cut to suggest a natural landscape where built structures fit into their environment, which changes as you manipulate the book into different configurations. We saw this as an effort at building a community. Accordion fold, Heather Paper from China, printed letterpress on Vandercooks 88. 4 x 16 x 2 inches. 2010. Edition of 109. |
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© All images and text copyright the artist. All rights reserved. |
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