tag:blogger.com,1999:blog-20551771731931796242024-03-05T00:29:40.275-08:00Gaspereau Press ¶ Printers & PublishersAndrew Steeveshttp://www.blogger.com/profile/11419326535390211322noreply@blogger.comBlogger216125tag:blogger.com,1999:blog-2055177173193179624.post-19582131788935318652014-09-02T08:46:00.002-07:002014-09-02T08:46:29.506-07:00Plans for WAYZGOOSE on October 25th<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBeGJf-t4hYARp2zsYNN7g7ynfzVSC5W2gryuIih40nzxbCsfF5GuFIUdef2JjtORZyyTSq4bRvzpJY0WegJIiRQki2M-cTjpbFU3kbn0O5m_JT9N-agiL0PeWNDegwj_cWHA1YA4x5bTT/s1600/_DSC0059.JPG" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBeGJf-t4hYARp2zsYNN7g7ynfzVSC5W2gryuIih40nzxbCsfF5GuFIUdef2JjtORZyyTSq4bRvzpJY0WegJIiRQki2M-cTjpbFU3kbn0O5m_JT9N-agiL0PeWNDegwj_cWHA1YA4x5bTT/s320/_DSC0059.JPG" /></a><br /><br />
It’s fall, and that means that it’s time to start preparing for the 2014 Gaspereau Press Wayzgoose and open house. The all day event will take place on Saturday 25 October. Posters will soon be circulating, but here’s the line-up as it presently stands.<br /><br />
This year’s guests of honour are JAN & CRISPIN ELSTED of Barbarian Press in Mission, BC. Internationally, the Elsted’s are arguably Canada’s best-known and revered fine press book publishers, and are particularly well known for their ongoing series of books on wood engraving called Endgrain Editions. The press’s other publications range from new English translations of poetry and prose from various languages and new poetry in English to bibliography, illustrated classics, and typography. If you come to the wayzgoose for no other reason than to meet these two and see their gorgeous books in person, we’ll forgive you. As well as printing in the shop through the day, The Elsteds will give the Douglas Lochhead Memorial Book-Arts Lecture in the evening.<br /><br />
But wait! There’s more. We’ll also be joined by the letterpress printer STEPHEN SWORD of stiff’n’sore in Stouffville, Ontario. Stephen’s approach to printing is a playful one which explores the typographical realm. He also has a keen interest in nineteeth-century printing technology, particularly machines with a Canadian connection. Stephen will be our Albion wranger this wayzgoose.<br /><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirZEUA-PbgVUOzX8QkHvPt8mZvtRr_l6tT2V7S_crWK5prHLcs3CX4L0DvC9SM7AL-Cv-ui2DTlDWH9tsd-RxieET1nS5PbI165U9z9jY3vojowpNNmXd1w8uAO_hftiTfXPn_tziMy8Xu/s1600/WAS_4185.JPG" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirZEUA-PbgVUOzX8QkHvPt8mZvtRr_l6tT2V7S_crWK5prHLcs3CX4L0DvC9SM7AL-Cv-ui2DTlDWH9tsd-RxieET1nS5PbI165U9z9jY3vojowpNNmXd1w8uAO_hftiTfXPn_tziMy8Xu/s320/WAS_4185.JPG" /></a><br /><br />
Jostling with Stephen for floor space will be local letterpress poster printer Laura MacDonald of Deep Hollow Print. Laura was formerly an intern both here at Gaspereau Press and Hatch Show Print in Nashville, and has recently set up show near Port Williams, NS, where she has been cranking out everything from coffee bags to gig posters for the local market. Last I checked, she was planning to print a multi-colour linoleum cut during the day.<br /><br />
Still inky but pressless, the Toronto calligrapher KEVIN KING will also be in the shop through the day to show off his astonishing knowledge of and love for letterforms.<br /><br />
Gaspereau Press authors Shalan Joudry and Sylvia Hamilton will also be on hand for the literary salon in the morning and in the evening will read from their recent books.<br /><br />
Our staff will also be running presses and casting metal slugs – the usual wild and crazy mix of wayzgoosery.<br /><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0ejSNbEbi1vRPPI4OT-DbiyOrDFz1NvCwL9ShREL6JbiS48lLyW-Id9tRQI7kbB4fkUIzmyFsvkr0DWpuYv7Kdwy4sGNTzPffep8I4pIc3RCQVxZvrS0VeQGlYyj5wK7oGX6jn99lrgcb/s1600/WAS_4231.JPG" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0ejSNbEbi1vRPPI4OT-DbiyOrDFz1NvCwL9ShREL6JbiS48lLyW-Id9tRQI7kbB4fkUIzmyFsvkr0DWpuYv7Kdwy4sGNTzPffep8I4pIc3RCQVxZvrS0VeQGlYyj5wK7oGX6jn99lrgcb/s320/WAS_4231.JPG" /></a><br /><br />
Times and locations will be posted later this month, though generally speaking it will be like this:<br /><br />
MORNING<br />
Salon<br />
Set-up at the shop (keeners welcome to join us)<br /><br />
AFTERNOON<br />
Open house at the shop<br /><br />
EVENING<br />
Readings and Lecture<br /><br />
Hope you can join us!<br /><br />
ANDREW STEEVES ¶ PRINTER & PUBLISHERAndrew Steeveshttp://www.blogger.com/profile/11419326535390211322noreply@blogger.com2tag:blogger.com,1999:blog-2055177173193179624.post-17918438287890350802014-04-26T09:44:00.000-07:002014-04-26T09:44:08.647-07:00Gaspereau Wins Awards for Book DesignGaspereau Press had another incredibly successful year at Canada’s national competition for excellence in book design, The Alcuin Awards. This was the 32nd year that the competition was held, and this year’s awards were adjudicated by Susan Colberg, Seth (the single-named cartoonist), and Jessica Sullivan. They awarded 37 prizes in eight categories. Books I designed for Gaspereau Press took first prize in two of those categories, and I won five prizes in total.<br /><br />
You can find the official press release and a full list of winners at the <a href="http://blog.alcuinsociety.com/2014/04/the-winners-of-alcuin-society-awards.html">Alcuin Society website</a>.<br /><br />
Here’s a list of the Gaspereau Press books that won:<br /><br />
FIRST PLACE, POETRY<br />
<i>The Deer Yard</i>, by Allan Cooper & Harry Thurston<br />
THIRD PLACE, POETRY<br />
<i>Ocean</i>, by Sue Goyette<br />
FIRST PLACE, PROSE NON-FICTION<br />
<i>Jeremiah Bancroft at Fort Beauséjour and Grand-Pré</i>,<br />
by Jonathan Fowler, Earle Lockerby<br />
SECOND PLACE, PROSE FICTION<br />
<i>Petitot</i>, by Susan Haley<br />
THIRD PLACE, PROSE FICTION<br />
<i>Someone Somewhere</i>, by Dana Mills<br /><br />
Here are photos of the books and a few comments on their design.<br /><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhavCpvM4saL502ztHI_lZkmOGBWGW_AD4LM5l_sEiQAH35k2oP9FNpD3LJXXAwF7teekIxec1W1RVO1-c2gyUmXhzq-cG6HPVwZrnsUlCj7_2rbWTw6G-1_i8O1Ho4Yeb_4t0CucDQ-yqE/s1600/01+Deer+yard+jacket.JPG" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhavCpvM4saL502ztHI_lZkmOGBWGW_AD4LM5l_sEiQAH35k2oP9FNpD3LJXXAwF7teekIxec1W1RVO1-c2gyUmXhzq-cG6HPVwZrnsUlCj7_2rbWTw6G-1_i8O1Ho4Yeb_4t0CucDQ-yqE/s400/01+Deer+yard+jacket.JPG" /></a><br />
I was surprised at the selection of <i>The Deer Yard</i> for first in the poetry collection, but it only goes to show that you can’t predict a jury’s taste. The jacket is quite simple on this one, with an unusual salmon-coloured paper from the Saint Armand mill in Montreal. The type (Goudy’s Deepdene) is printed letterpress from photopolymer plates, but the image on each jacket is handprinted from an original wood engraving by Wesley Bates. I always worry about printing longer blocks of text in anything other than black ink, but the judges didn’t seem to mind. That oak leaf ornament is part of a suite of decorations designed by local calligrapher and illustrator Jack McMaster for the exclusive use of Gaspereau Press.<br /><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8JM0U3KoMM2o7U2uxatEruWjvN6NhwUmwsXL-x5ivpMPw1PSLuQtxUKwTfuxHLlshSsXESnkMk2-XtNdkZ7diefAEH6-8N_J7mMr2zg1iis5Af69XYxe6EbmbPH3-T8wqSb-kisdgT4zn/s1600/02+Deer+Year+spread.JPG" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8JM0U3KoMM2o7U2uxatEruWjvN6NhwUmwsXL-x5ivpMPw1PSLuQtxUKwTfuxHLlshSsXESnkMk2-XtNdkZ7diefAEH6-8N_J7mMr2zg1iis5Af69XYxe6EbmbPH3-T8wqSb-kisdgT4zn/s400/02+Deer+Year+spread.JPG" /></a><br />
<i>The Deer Yard</i> is a collection of poems written by Harry Thurston on the west coast (where he was doing a residency) back home to Allan Cooper on the east coast. Allan’s poems (set in italic), in essence, echo and respond to Harry’s (set in roman). The design of the book echoes the intimate sensibilities of this poetic conversation; it’s a small format, a slight book, and uses lots of white space to express the silences between the poems.<br /><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj45jbZ_ccQe-TU0SQD5ZCfUWbSOhJWNr1DCtzrVt-CsLm1XnL_R8JpPSiQiANV9K-apRNn89WHwekPlWJwIRylWEfThCVUxxPwSLoMvII5nfqEKLuHsKU1l1X1ZfizI_QBz2OoTuDw_H_s/s1600/03+Ocean+Jacket.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj45jbZ_ccQe-TU0SQD5ZCfUWbSOhJWNr1DCtzrVt-CsLm1XnL_R8JpPSiQiANV9K-apRNn89WHwekPlWJwIRylWEfThCVUxxPwSLoMvII5nfqEKLuHsKU1l1X1ZfizI_QBz2OoTuDw_H_s/s400/03+Ocean+Jacket.jpg" /></a><br />
Sue Goyette’s <i>Ocean</i> took third place in the poetry category, but I think it’s actually a better realized design than that of <i>The Deer Yard</i>. It again has a letterpress printed jacket using a ‘Canal’ paper from the Saint Armand paper mill. This book is presently shortlisted for the Griffin Poetry Prize.<br /><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg48Fz1PyGAD-2t3ldCUMLKhkPpel3qDf_GB-DbIfVV9mTEZATcsTC9xLS3xG-PkkWgBRF9zXybbitYIMvwviaJLFYVwBr80xiZWGNFg0UbpSLckHpiGMVlydAVmA7k1gr8-ROzBcL0cW7U/s1600/04+Ocean+cover.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg48Fz1PyGAD-2t3ldCUMLKhkPpel3qDf_GB-DbIfVV9mTEZATcsTC9xLS3xG-PkkWgBRF9zXybbitYIMvwviaJLFYVwBr80xiZWGNFg0UbpSLckHpiGMVlydAVmA7k1gr8-ROzBcL0cW7U/s400/04+Ocean+cover.jpg" /></a><br />
We tend to bind our trade paperbacks into a black cover stock and then enfold them in a letterpress printed jacket. Here is the wave motif repeated again from the jacket. The pattern comes from a suite of borders called Alexia designed by Philip Bouwsma and distributed by Canada Type.<br /><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUqZNGHNXN5Ip4cbsxNVX1w3WGxTeOXC5CTA7cZd30Ayfr6WQIUoDwKURIjXcZ28BaqvCKhPnSXh6Juc4lXevOg1IHhPFAxiFLVSXmfKcIs6coJJT26BIVxU71CJFq3_1hD0B3V1LmnJN1/s1600/05+Ocean+TP.JPG" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUqZNGHNXN5Ip4cbsxNVX1w3WGxTeOXC5CTA7cZd30Ayfr6WQIUoDwKURIjXcZ28BaqvCKhPnSXh6Juc4lXevOg1IHhPFAxiFLVSXmfKcIs6coJJT26BIVxU71CJFq3_1hD0B3V1LmnJN1/s400/05+Ocean+TP.JPG" /></a><br />
George Elliott Clarke observed in a review published in the <i>Halifax Chronicle-Herald</i>, “<i>Ocean</i> is muted in tone — like sea-buffed glass, with a cover texture like soft sandpaper; the title page artwork recalls that of Ralph Gustafson’s collection, <i>Rivers Among Rocks</i> (1960).” Well, yeah. I indeed was thinking about Frank Newfeld’s playful design of <i>Rivers Among Rocks</i> when I was working on this book.<br /><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGxN-vj3mblFYP9hR8Bzu1tXQXu-4FN1rLKnIcTcUrpfX7_oxb-A1z8xNqiQw2W8doCCg1tnilRd29db2-QM217_L76OlrpKK5SvTKg8uaPJoZu98707M0dNyuuL3x9TEiU1jspNqmDr2L/s1600/06+Ocean.JPG" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGxN-vj3mblFYP9hR8Bzu1tXQXu-4FN1rLKnIcTcUrpfX7_oxb-A1z8xNqiQw2W8doCCg1tnilRd29db2-QM217_L76OlrpKK5SvTKg8uaPJoZu98707M0dNyuuL3x9TEiU1jspNqmDr2L/s400/06+Ocean.JPG" /></a><br />
The text of <i>Ocean</i> is set in Canadian designer Ross Mills’ Huronia type, distributed by Rosetta Type in the Czech Republic. The display type, Dokument, was designed by the late Jim Rimmer and is soon to be re-released in a completely remastered form by Canada Type. One of the things that I talked the author into dropping all page numbering from the book and instead numbering the poems. This worked wonderfully.<br /><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0UvM1ZILqbKxShipXM5LkwPSPyRRN2r5qFQuOxXgADIh9CtcsosmiBP1fn4DWKW3wXGDEVmlCNndKfbNcA2AklViOTSMKkE0sGHgcjk0cS6Gv_kjzlLvNAQndgeWOyAYupi9NH6BOV8BP/s1600/07+Bancroft+cover.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0UvM1ZILqbKxShipXM5LkwPSPyRRN2r5qFQuOxXgADIh9CtcsosmiBP1fn4DWKW3wXGDEVmlCNndKfbNcA2AklViOTSMKkE0sGHgcjk0cS6Gv_kjzlLvNAQndgeWOyAYupi9NH6BOV8BP/s400/07+Bancroft+cover.jpg" /></a><br />
I was particularly pleased to see the Bancroft diaries get an award. This is the first in a series of historical journals we hope to publish in the coming years under the editorship of Fowler and Lockerby. The cover (no jacket) is clean and simple and (hopefully) has enough flexibility to serve the requirements of the various volumes in the series. The types are Adobe Caslon and Matthew Carter’s Big Caslon.<br /><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgu5M0n320wSZBl-Sd8eU9RFvYvvx2dalRu0K1-QXrtldHFFyuwtlPzGoyvlJCaiY5r4w0k4_tcn3Xcdu5TuSW7EopOnjRTi_VcWXXuxsxIA_fGIz8kGhQ96IqfL543Qwea2-KvQbuwCtBn/s1600/08+Bancroft+map.JPG" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgu5M0n320wSZBl-Sd8eU9RFvYvvx2dalRu0K1-QXrtldHFFyuwtlPzGoyvlJCaiY5r4w0k4_tcn3Xcdu5TuSW7EopOnjRTi_VcWXXuxsxIA_fGIz8kGhQ96IqfL543Qwea2-KvQbuwCtBn/s400/08+Bancroft+map.JPG" /></a><br />
A book of this sort poses many interesting elements to be worked out by the designer, including footnotes, captions and maps.<br /><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9jO-hbg5T3GruRIxP1nveCxEORiEhRRQXqxVbXYKHwtLAF9o_PqoH0nzLRl3KVpITfoqf2e2VG4DuJ0Be80FFx4EWKWTDJhKKuu7AsVisMEIzzsUuTCBdde0Mc9AESNzup-nmjVAXjuv4/s1600/09+Bancroft.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9jO-hbg5T3GruRIxP1nveCxEORiEhRRQXqxVbXYKHwtLAF9o_PqoH0nzLRl3KVpITfoqf2e2VG4DuJ0Be80FFx4EWKWTDJhKKuu7AsVisMEIzzsUuTCBdde0Mc9AESNzup-nmjVAXjuv4/s400/09+Bancroft.jpg" /></a><br />
The main event in this book is the diary. Be produced the text of the diary on recto pages with the corresponding annotations on the facing versos. This way, the editors’ intensive work elucidating the text was immediately accessible to the reader, stressing its value and importance to the experience of reading the primary text. The notes are set in Martin Majoor’s Scala Sans. This book posed many interesting design problems and it was a lot of fun to work out their solutions. This book is also shortlisted for an Atlantic Book Award.<br /><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqjZTtd1yfyXleuJmc2bLA4eKanOf91-twmGgGRS7lazkexTPYgSTLIB80qNhF3h1nlfS37R3qnRZbVcrVSTxtQwhb5kN554Mq8AtJlqzSbelRp5zSkUzzGtn5k1OU4LZJjzdcBQ-bbAKo/s1600/10+Haley+jacket.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqjZTtd1yfyXleuJmc2bLA4eKanOf91-twmGgGRS7lazkexTPYgSTLIB80qNhF3h1nlfS37R3qnRZbVcrVSTxtQwhb5kN554Mq8AtJlqzSbelRp5zSkUzzGtn5k1OU4LZJjzdcBQ-bbAKo/s400/10+Haley+jacket.jpg" /></a><br />
The jacket of Susan Haley’s novel <i>Petitot</i> – because it was based on the story of a real-life Catholic missionary in northern Canada – used a sketch made by the real-life Petitot and transformed his actual signature into the title.<br /><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixVMdadRfZmK_cNbTaNW1xIVchf0plOpagbMQkxdUMwAuRe6P5MUDYIUtohVj2P63RLjZcfDu_hTSB8D6bx2ZQ4cYAqyJHgAorbOKauA1-QTMAMXxbjfjrCSaqwhCHsJlKHnENXtzFQNxh/s1600/11+haley+TP.JPG" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixVMdadRfZmK_cNbTaNW1xIVchf0plOpagbMQkxdUMwAuRe6P5MUDYIUtohVj2P63RLjZcfDu_hTSB8D6bx2ZQ4cYAqyJHgAorbOKauA1-QTMAMXxbjfjrCSaqwhCHsJlKHnENXtzFQNxh/s400/11+haley+TP.JPG" /></a><br />
Because this missionary had published books about his time in the north, I borrowed from the aesthetic of those nineteenth-centry French books when thinking about the typography.<br /><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBcRsSRqJuMBfPt4irM7hDtZgn2pbIdHhah1HHR2RD3adNnZLEtI62sgsX7ijNb-cc8punocUX2MkjlwVnOlQTmGBO9zmzTYz54uvtOGJnCHRiL_N_kNaeFpM4QGPjyXrg2_4dGmF9O8xK/s1600/12+haley.JPG" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBcRsSRqJuMBfPt4irM7hDtZgn2pbIdHhah1HHR2RD3adNnZLEtI62sgsX7ijNb-cc8punocUX2MkjlwVnOlQTmGBO9zmzTYz54uvtOGJnCHRiL_N_kNaeFpM4QGPjyXrg2_4dGmF9O8xK/s400/12+haley.JPG" /></a><br />
The type I selected for this book was Fournier, a digital revival based on the French neoclassical types of the Pierre-Simon Fournier (1712–1768).<br /><br />
And last but not least, Dana Mills’ <i>Someone Somewhere</i> was also selected by the Alcuin jury. I’ll have to add a post for this one later as I have not yet made photographs of that book and I don’t have a copy of it in hand (I’m posting this while I am away from the office and don’t tend to travel with the complete Gaspereau Press catalogue in my suitcase).<br /><br />
ANDREW STEEVES ¶ PRINTER & PUBLISHER<br />
Andrew Steeveshttp://www.blogger.com/profile/11419326535390211322noreply@blogger.com1tag:blogger.com,1999:blog-2055177173193179624.post-49241014316360965242014-02-21T10:51:00.000-08:002014-02-21T10:51:06.232-08:00Have you Liked Gaspereau Press on Facebook?Gaspereau Press is taking a crack at ramping up its social media presence by reviving its long-dormant Facebook page. I’ll still be making posts to this blog from time to time when the subject matter calls for a longer format, but to keep up with things here in the printshop and with our author events, follow the Gaspereau Press Facebook group.<br /><br />
ANDREW STEEVES ¶ PRINTER & PUBLISHERAndrew Steeveshttp://www.blogger.com/profile/11419326535390211322noreply@blogger.com1tag:blogger.com,1999:blog-2055177173193179624.post-79305683293479399572013-11-04T15:31:00.000-08:002013-11-04T15:31:07.925-08:00More Wayzgoose PhotosHere are some more wayzgoose photos, these ones taken by Thaddeus Holownia of Anchorage Press, Jolicure, NB. <br /><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfPrWn1g5-FC1wYKRlAvN4QDdcZGRwV8bJ9-nKiGi2xRAiNBvJkPb2Mm7X1KAnyN6E8UW4y_7-jYrYSRm775CW09QunJLN9z3NHXot66irlFgSuc9xdpg8Ydk9DGVTZjdxhccrP3z0lIUT/s1600/BLOG+5S1A7745+copy.JPG" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfPrWn1g5-FC1wYKRlAvN4QDdcZGRwV8bJ9-nKiGi2xRAiNBvJkPb2Mm7X1KAnyN6E8UW4y_7-jYrYSRm775CW09QunJLN9z3NHXot66irlFgSuc9xdpg8Ydk9DGVTZjdxhccrP3z0lIUT/s400/BLOG+5S1A7745+copy.JPG" /></a><br />
Andrew Steeves demonstrating the art of hot metal typecasting on a Ludlow caster. <br /><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKZHspVoeFO-Inm8VDqkaOpD77jE-SVoJWX7Fk8s8wX3MthCFl_0e34W_1G62gPHU92YOrwqnKfcKTP_WfCzerQ6DKZXAp9HOz_WUcTdDsrenkB-45NmK1hp_gaNQu9VptIQPDbCGM5yS8/s1600/BLOG+5S1A7748+copy.JPG" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKZHspVoeFO-Inm8VDqkaOpD77jE-SVoJWX7Fk8s8wX3MthCFl_0e34W_1G62gPHU92YOrwqnKfcKTP_WfCzerQ6DKZXAp9HOz_WUcTdDsrenkB-45NmK1hp_gaNQu9VptIQPDbCGM5yS8/s400/BLOG+5S1A7748+copy.JPG" /></a><br />
Type designer Rod McDonald sporting a vintage Gaspereau Press T-shirt. <br /><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJ_xasjnMKrmE9vnHlqR9qzeTQ0wVPbskoWa-uJJqG1lWdv5LtgMq_tes5I1roiTFzFiSqrEpa4cWE44Okn5p2EZHbRAr4sqPUYL7seF7bC9zaATBXYvOwLE6U2mvtghWwdtlnuCE2aWnm/s1600/BLOG+5S1A7750+copy.JPG" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJ_xasjnMKrmE9vnHlqR9qzeTQ0wVPbskoWa-uJJqG1lWdv5LtgMq_tes5I1roiTFzFiSqrEpa4cWE44Okn5p2EZHbRAr4sqPUYL7seF7bC9zaATBXYvOwLE6U2mvtghWwdtlnuCE2aWnm/s400/BLOG+5S1A7750+copy.JPG" /></a><br />
Sewing booklets in the bindery. <br /><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNyo0XP6ybS-1Qpzirf-TFhE3JXoD9dgUiJxDt9UEoK5ZYYC4dJPbDoie5vYcZTexhoQcxkuXtSDgHULGIM78Hm2Pf2yK3jkItZAAEaqcDbJkafypaSKnpdc9hrZbTbuVtyjWSiVr1dFCt/s1600/BLOG+5S1A7774+copy.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNyo0XP6ybS-1Qpzirf-TFhE3JXoD9dgUiJxDt9UEoK5ZYYC4dJPbDoie5vYcZTexhoQcxkuXtSDgHULGIM78Hm2Pf2yK3jkItZAAEaqcDbJkafypaSKnpdc9hrZbTbuVtyjWSiVr1dFCt/s400/BLOG+5S1A7774+copy.jpg" /></a><br />
George Walker pulling the devil’s tail on the Albion iron handpress.<br /><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnlFeT7DdxTPbKTEFLZL8avD-5VQcPEOGdE0P4_MEOwUyxrBzY6GcbpqNN6hunD74UAOQGtrufbD4Wv8qtwOO8m_NBHENW8muKUavrj4Ozr3bJgiYQaUJi9F43SsAgIU379gR4svehPgUi/s1600/BLOG+5S1A7781+copy.JPG" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnlFeT7DdxTPbKTEFLZL8avD-5VQcPEOGdE0P4_MEOwUyxrBzY6GcbpqNN6hunD74UAOQGtrufbD4Wv8qtwOO8m_NBHENW8muKUavrj4Ozr3bJgiYQaUJi9F43SsAgIU379gR4svehPgUi/s400/BLOG+5S1A7781+copy.JPG" /></a><br />
George Walker hamming it up for an appreciative audience of wayzgoosers. <br /><br />
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Amos Kennedy printing posters. <br /><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicxWZRxitv_DT8g8WhUsVAn_0ryreIS5d-aOC0D-UgIgMx14m_BfBxii03f6GVXW0TNmibQd_0dy09iO9ld3qwqqIULsdkXARiidMGbtFfl4TFAmJv3gBjgtl4xskUiehHqaiF6mWtCEU6/s1600/BLOG+5S1A7792+copy.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicxWZRxitv_DT8g8WhUsVAn_0ryreIS5d-aOC0D-UgIgMx14m_BfBxii03f6GVXW0TNmibQd_0dy09iO9ld3qwqqIULsdkXARiidMGbtFfl4TFAmJv3gBjgtl4xskUiehHqaiF6mWtCEU6/s400/BLOG+5S1A7792+copy.jpg" /></a><br />
Hillary Savage printing slugs hot off the Ludlow caster. Steven Slipp in the background. <br /><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjD95GFfG7p0QZ8vury_0n52Tf-KM2t1U7PZmrXdgealC0eDgKQFL89jbNAA1cN1Ao6RkYbZdK9hA9MtFf9pW9Kwq_0HVFYX51jHNU-5jsBygysX-Q5MplF57UwLfEJCH39wiGmoRKUUMww/s1600/BLOG+5S1A7799+copy.JPG" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjD95GFfG7p0QZ8vury_0n52Tf-KM2t1U7PZmrXdgealC0eDgKQFL89jbNAA1cN1Ao6RkYbZdK9hA9MtFf9pW9Kwq_0HVFYX51jHNU-5jsBygysX-Q5MplF57UwLfEJCH39wiGmoRKUUMww/s400/BLOG+5S1A7799+copy.JPG" /></a><br />
A gaggle of Wayzgoosers. <br /><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9A0_A2CoU_lKU_4gO0KWcxkLozABgAx9myaLZL_qb5oBgKtDG6o2R7qtprNm28AEge6J8nntm8oZ0Jp8dlZ0lJuVQm5COUuiRTRpOPRJU_vCrFMCnV1J7rv-1_CfvwSnvzRPf_vC2T0tm/s1600/BLOG+5S1A7800+copy.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9A0_A2CoU_lKU_4gO0KWcxkLozABgAx9myaLZL_qb5oBgKtDG6o2R7qtprNm28AEge6J8nntm8oZ0Jp8dlZ0lJuVQm5COUuiRTRpOPRJU_vCrFMCnV1J7rv-1_CfvwSnvzRPf_vC2T0tm/s400/BLOG+5S1A7800+copy.jpg" /></a><br />
Adam Steeves (left) showing a press sheet to wayzgoosers. <br /><br />
ANDREW STEEVES ¶ PRINTER & PUBLISHER <br />Andrew Steeveshttp://www.blogger.com/profile/11419326535390211322noreply@blogger.com51tag:blogger.com,1999:blog-2055177173193179624.post-24341507034306157112013-11-04T15:10:00.001-08:002013-11-04T15:10:52.529-08:00CBC Radio Halifax Kid's Book Club<a href="http://www.cbc.ca/informationmorningns/2013/11/04/td-kids-book-club-visits-gaspereau-press/">Here’s a link </a>to this morning’s short documentary piece about the visit of CBC Radio Halifax Kid’s Book Club to the printing works at Gaspereau Press. It’s a nice little piece. Thanks to everyone at CBC Radio Halifax for helping to make the visit possible.<br /><br />
ANDREW STEEVES ¶ PRINTER & PUBLISHER<br /><br />Andrew Steeveshttp://www.blogger.com/profile/11419326535390211322noreply@blogger.com0tag:blogger.com,1999:blog-2055177173193179624.post-68237619202648971792013-11-02T16:32:00.001-07:002013-11-03T07:33:40.284-08:00American Houseguests & A Visit from CBC Radio’s Kid’s Book Club<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5IS7O4p605TlUKjazj8og-2PcvENEWc8bonqrQy27ticB2afV56AzjZJ84XmLDD_ka2CLCF0BjaCIcJle4Bksd897rOpyxRl8QSqUVoni2KPVHt3cY3P1SuAeltGLW2eXCa9r6kV12gV6/s1600/01BLOG+Holownia+photo+Wayzgoose+2013.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5IS7O4p605TlUKjazj8og-2PcvENEWc8bonqrQy27ticB2afV56AzjZJ84XmLDD_ka2CLCF0BjaCIcJle4Bksd897rOpyxRl8QSqUVoni2KPVHt3cY3P1SuAeltGLW2eXCa9r6kV12gV6/s400/01BLOG+Holownia+photo+Wayzgoose+2013.jpg" /></a><br />
<i>This is a digital rendition of the photograph Thaddeus Holownia made at the Gaspereau Press Wayzgoose on Saturday.(Front, left to right) Julie Rosvell, David Brewer, Michelle Walker, Sue Goyette, George Walker, Andrew Steeves, Amos Paul Kennedy, Jr, (back, left to right) Joe Stevens, Stephen Quick, Adam Steeves, Gary Dunfield, Hillary Savage, Jason Dewinetz, Ceri Sloan, Connie Sheppard.</i> <br /><br />
After an extraordinarily busy wayzgoose weekend, you’d think that we’d be anxious to kick back and relax, or at least to draw the blinds, bar our doors and put out the ‘do not disturb’ sign for a few weeks while we recovered from the shock of over 200 visitors. Nope, not to be. <br /><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLrWGNMj-8kx9nrwFzosv9uK2NO4QuX5UdaKm8OFm2pKB_-B012v43bZXovyMsY29dTmZAIa96j9amMrgg_NV1hk175ASSezqK-HC8siOA7ZXNwW5nWtxi18ZdH56Lo_YsiM7iJtsNbnvT/s1600/02BLOG+Hillary+inking.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLrWGNMj-8kx9nrwFzosv9uK2NO4QuX5UdaKm8OFm2pKB_-B012v43bZXovyMsY29dTmZAIa96j9amMrgg_NV1hk175ASSezqK-HC8siOA7ZXNwW5nWtxi18ZdH56Lo_YsiM7iJtsNbnvT/s400/02BLOG+Hillary+inking.jpg" /></a><br />
When I invited Hillary Savage to be one of our guests at the wayzgoose, I sweetened the offer by insisting that she stay and work in our printshop for the week that followed.<br /><br />
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And we had a great week. Hillary managed to handset and print two different broadsides during her stay with us, despite the many worthy diversions I threw in her way – like an afternoon excursion to study old books at the university archives or coffee with a reporter from the local newspaper. (Hillary’s day job is at a small weekly newspaper in Maine.) In this photo, Hillary is adding a rusty tone to the bottom of one of her broadsides. When we were casting around for a way to achieve the effect she desired, I suggested that she roll it on with a tooth from a spring harrow which I uncovered years ago from the site of my great-grandfather’s abandoned farm in New Brunswick. She rubbed the ink into the pitted surface of the rusty harrow tooth and then rolled it across the sheet. It looked fabulous. Holding the sheets in this photo is Kings County municipal counsellor and housing activist Emma Van Rooyen. I thought Emma might find it interesting to hear some stories from Hillary about the relationship between the local press and the county government in small-town Maine. <br /><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJ1QOdB1FXvcnQFV6i38W_wCkv0mfuW8P6vJtA-VWsWZiR75QrgRAibzsLEMOghaCUDM5m7f3yCe7c-NAuP1jPTfT04MwDIGmEzkd4CcsXf16psY0WX_ZM9uRc0BtgRJtnFA6udrqAMTn3/s1600/04BLOG+kids.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJ1QOdB1FXvcnQFV6i38W_wCkv0mfuW8P6vJtA-VWsWZiR75QrgRAibzsLEMOghaCUDM5m7f3yCe7c-NAuP1jPTfT04MwDIGmEzkd4CcsXf16psY0WX_ZM9uRc0BtgRJtnFA6udrqAMTn3/s400/04BLOG+kids.jpg" /></a><br />
On Saturday morning, as Hillary packed up to head for home, we had a visit from three of the four young participants in CBC Radio Halifax’s most recent kid’s on-air book club. Emma (and her sister Molly), Cassidy and Aidan were accompanied by CBC Radio host Carmen Clausen who recorded much of the visit for broadcast on CBC Halifax’s Information Morning this coming Monday. <br /><br />
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We showed the kids how modern books are made. We also helped them cast their names in metal on a Ludlow caster, print their own two-colour covers and then handsew some little blank notebooks. I knew it was going well when Carmen swung the microphone over to Emma part way through the morning and asked what her impression of the printshop was so far. “Impression!” guffawed Emma, “oh, that’s funny!” Clearly, they were into it. <br /><br />
With the travel and visiting of October behind me, I intend to revert to my usual somewhat elusive habits and get some work done. Over the next few months I will be editing books for our spring list and enjoying the relative solitude that task requires.<br /><br />
ANDREW STEEVES ¶ PRINTER & PUBLISHER. <br /><br />Andrew Steeveshttp://www.blogger.com/profile/11419326535390211322noreply@blogger.com1tag:blogger.com,1999:blog-2055177173193179624.post-31665912908320780332013-10-30T17:55:00.001-07:002013-10-30T17:55:41.140-07:00An Interview with Kevin King<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimNvwYm7X2LCKgDpw56z6wi53jxAqddBrSwL7oEk7bs7k4tokaeF_DYySEgSrCDEJ3viQ_NdIIi1a0rdZbeSlypTbbKYQreJ8TZXyYvm5PqG8STZFjgxW1gWVPD0mZNcS7MQQISO9si6py/s1600/BLOG+Kevin.JPG" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimNvwYm7X2LCKgDpw56z6wi53jxAqddBrSwL7oEk7bs7k4tokaeF_DYySEgSrCDEJ3viQ_NdIIi1a0rdZbeSlypTbbKYQreJ8TZXyYvm5PqG8STZFjgxW1gWVPD0mZNcS7MQQISO9si6py/s400/BLOG+Kevin.JPG" /></a><br />
While I was in Toronto at the beginning of last month working at Massey College, I recorded a short interview with the calligrapher and type designer Kevin King. This interview is now streaming on Susan Mills’ <i>Bookbinding Now</i> website and well worth checking out.<br /><br />
<a href="http://www.bookbindingnow.com/">Click this link</a> to find the interview on the <i>Bookbinding Now</i> site.<br /><br />
ANDREW STEEVES ¶ PRINTER & PUBLISHERAndrew Steeveshttp://www.blogger.com/profile/11419326535390211322noreply@blogger.com12tag:blogger.com,1999:blog-2055177173193179624.post-68515720890090149052013-10-28T08:51:00.000-07:002013-10-28T08:51:02.808-07:00Gaspereau Press Wayzgoose PicturesWell, Holy Smokes! (as George Elliott Clarke would say). We had an astonishingly, gratifyingly successful Wayzgoose this past weekend. We lost track counting the visitors somewhere north of 200 people. I barely had the door unlocked and the lights on Saturday morning when a yellow school bus pulled in front of the building and students from Halifax started to disembark. From that point on, the joint was rocking. We had four letterpesses, one offset press, and a hot metal caster busy all day long – making stuff! Here are some photos from the day. Thanks to all who helped to make the event a success. <br /><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQutaxKH59s82_SOo-x6kPM_-NblwYsbf_c3jIyCL_01t9vIIcsrlBNOkxsi15QSvUPz5yLyZxfFILVUaujVV7KoiqUJcdWIzn8uyOdn6iglK5D6qNekFQ7hOESfUQXTyKJkytCSGicmt9/s1600/01BLOG+APK2.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQutaxKH59s82_SOo-x6kPM_-NblwYsbf_c3jIyCL_01t9vIIcsrlBNOkxsi15QSvUPz5yLyZxfFILVUaujVV7KoiqUJcdWIzn8uyOdn6iglK5D6qNekFQ7hOESfUQXTyKJkytCSGicmt9/s400/01BLOG+APK2.jpg" /></a><br />
Three of our guest printers at work: Amos Paul Kennedy, Jr, (in the overalls), George Walker (in the hat) and Jason Dewinetz (in the green shirt, in the back). <br /><br />
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Kennedy expounds! <br /><br />
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Kennedy Prints! Amos set up wood type on our Vandercook Uni 1 to create a punchy one-colour poster reflecting on our dubious relationship with progress. <br /><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiF72qQFvSwGdSBU11_ki37tZv4OqnCrAF4uBx8l2SgrvhdLutZSCh2Ho6iSPba5JveUfG4mO6OauzSjTlu-K9U1WxSkk7IRVDX1qe0nGkiO0cnsVwkMUbaf8o5QJVsKjT4nN9DmOTsdtQw/s1600/04BLOG+APK4.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiF72qQFvSwGdSBU11_ki37tZv4OqnCrAF4uBx8l2SgrvhdLutZSCh2Ho6iSPba5JveUfG4mO6OauzSjTlu-K9U1WxSkk7IRVDX1qe0nGkiO0cnsVwkMUbaf8o5QJVsKjT4nN9DmOTsdtQw/s400/04BLOG+APK4.jpg" /></a><br />
A waygooser cranks a sheet through the press. <br /><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbVDJNj0u2aUvyelSY0Br6QGqa8FrWe6Oc8DXWF5eYb_uLbvnI8kdiIw_mg7SWthZhZCBjiOPg5jC2jpGZYXXA16NE4oG9KAzGAxzjtQJeEEoFAGg197s1BJdWoZ7KdKVAW0uZnwbRG6O7/s1600/04BLOG+GW5.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbVDJNj0u2aUvyelSY0Br6QGqa8FrWe6Oc8DXWF5eYb_uLbvnI8kdiIw_mg7SWthZhZCBjiOPg5jC2jpGZYXXA16NE4oG9KAzGAxzjtQJeEEoFAGg197s1BJdWoZ7KdKVAW0uZnwbRG6O7/s400/04BLOG+GW5.jpg" /></a><br />
George Walker (in the hat) shows wayzgooser Emma Barr how to hand ink a wood engraving. <br /><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDxSf36DoCk-6Z7HjIW4Nd9ccpf8zVZWQ3_iLwNg51146WWuQ3OKUj9op5oGyVnzxuN_yfs1sOQpPatWgPstS1_N9Zew5CNON7GY9WTo8J7D8HdQBKWMnjvfqYLtTPZOZFBg-Af3urHcPJ/s1600/05BLOG+GW4.JPG" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDxSf36DoCk-6Z7HjIW4Nd9ccpf8zVZWQ3_iLwNg51146WWuQ3OKUj9op5oGyVnzxuN_yfs1sOQpPatWgPstS1_N9Zew5CNON7GY9WTo8J7D8HdQBKWMnjvfqYLtTPZOZFBg-Af3urHcPJ/s400/05BLOG+GW4.JPG" /></a><br />
George helps Emma pull the Devil’s Tail on the Albion handpress to print the engraving. <br /><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfRq8RwLOAhKvHQ6x01SpM74dTx3OQkmG80HkFt9Zh6MRe81J93Ivia-FaeSre7p4c4WtlWE4xyG2sszO4LM7Nt6PgL_AOdCi8AdugKMZxNYS7naKtlQjfvDFnMm9Pbn6HlSv2dG537LHD/s1600/06BLOG+GW+broadside.JPG" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfRq8RwLOAhKvHQ6x01SpM74dTx3OQkmG80HkFt9Zh6MRe81J93Ivia-FaeSre7p4c4WtlWE4xyG2sszO4LM7Nt6PgL_AOdCi8AdugKMZxNYS7naKtlQjfvDFnMm9Pbn6HlSv2dG537LHD/s400/06BLOG+GW+broadside.JPG" /></a><br />
George and I collaborated on this broadside. I set and printed the type and George cut and printed the block, with, in this case, some help from Emma. The broadside concerns the Halifax printer, journalist, politician and champion of the Freedom of the Press, Joseph Howe. <br /><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghSVvOnvGSmXwr0nLWlWmHMs2iF3bFjyfwCW-lN53WqdcTl1vR5arwRb3Y5i9f85V-bFXZopHKnQe6rlNSr1qiy0JHxIEJN6188YGjTnLIrjyHQtips9-XYuwY-LXwQPf4bvNhweq-Av8J/s1600/07BLOG+GW3.JPG" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghSVvOnvGSmXwr0nLWlWmHMs2iF3bFjyfwCW-lN53WqdcTl1vR5arwRb3Y5i9f85V-bFXZopHKnQe6rlNSr1qiy0JHxIEJN6188YGjTnLIrjyHQtips9-XYuwY-LXwQPf4bvNhweq-Av8J/s400/07BLOG+GW3.JPG" /></a><br />
George the showman. <br /><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-eQq32IXotPXY4gy9mT_-nSSS614w5lo1cpH-IPCffsy9abtb0nYLTjokEUQJMN0H4bysOYvi7wgkFJ2MqsKqLNiE32X0HzBQGa_A_Nj4heo_LvtO7Mw5O2jgJKRmhPhpuztbANGDivHj/s1600/08BLOG+GW+Hand.JPG" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-eQq32IXotPXY4gy9mT_-nSSS614w5lo1cpH-IPCffsy9abtb0nYLTjokEUQJMN0H4bysOYvi7wgkFJ2MqsKqLNiE32X0HzBQGa_A_Nj4heo_LvtO7Mw5O2jgJKRmhPhpuztbANGDivHj/s400/08BLOG+GW+Hand.JPG" /></a><br />
George with his favorite parlour trick: writing backwards. <br /><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxtXNOvmdx-E2Ps-O3acgDvAxWeydKFK-r1Ny5qNIL1O3Z4pIbNznIp0LW4irRaNlgT74mYjbSvS2Ng35ZgRVzqjVucJAYIEmp-Ws6As9OoRN-xbACb2qUlnV894h-McC8k99uLKGUVtNZ/s1600/09BLOG+A1.JPG" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxtXNOvmdx-E2Ps-O3acgDvAxWeydKFK-r1Ny5qNIL1O3Z4pIbNznIp0LW4irRaNlgT74mYjbSvS2Ng35ZgRVzqjVucJAYIEmp-Ws6As9OoRN-xbACb2qUlnV894h-McC8k99uLKGUVtNZ/s400/09BLOG+A1.JPG" /></a><br />
Adam Steeves explaining the workings of the Heidelberg KORD offset press.<br /><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUeMGMvYa8yOmnRqdV7hYNo0c3nyHxkoaCcHtMzblKpNdC0JXJ7-8MtnOi48gnbxRVPPDtOxG810tGCl1jl5EMgT791UwkQ4bXOuAfkxq5na9vyiVclxce0rIEKQeVGrZYsR_rZhDKKD9O/s1600/10BLOG+A2.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUeMGMvYa8yOmnRqdV7hYNo0c3nyHxkoaCcHtMzblKpNdC0JXJ7-8MtnOi48gnbxRVPPDtOxG810tGCl1jl5EMgT791UwkQ4bXOuAfkxq5na9vyiVclxce0rIEKQeVGrZYsR_rZhDKKD9O/s400/10BLOG+A2.jpg" /></a><br />
Adam Steeves pulling a sheet off his press. <br /><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcW0UDUZqxRak2qWvSbKV1Hs7SR6WVgJkdSpRGSpvxa3TFX_HLf5YoI75wkM2L9HU5yY3qnM08ArHmayBy0-m7GlUTKfDAKrwQS_chUaJiCfC8YbBiK0Nua8saCHHn-d0hIKYQ0zIcyiSY/s1600/11BLOG+JD2.JPG" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcW0UDUZqxRak2qWvSbKV1Hs7SR6WVgJkdSpRGSpvxa3TFX_HLf5YoI75wkM2L9HU5yY3qnM08ArHmayBy0-m7GlUTKfDAKrwQS_chUaJiCfC8YbBiK0Nua8saCHHn-d0hIKYQ0zIcyiSY/s400/11BLOG+JD2.JPG" /></a><br />
Jason Dewinetz printing a two-colour broadside of the famous “This is a Printing Office” text which was originally written as promotional copy for the Monotype Corporation. Here he’s using the light of the window to check the registration between the two colours. <br /><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiO2xJmjHAIuOK4e3uPUexm3pWbQPoaN8yJ06bzFmLhJ86udE0t-BL0zh_o9gAkxQLleScc_62bVUOjxMZeOVWSajHwOvD9tLy__wVAQZbxHdwga8x8913ZcY79FXmBZjMJ-gk845cT0buE/s1600/12BLOG+JD1.JPG" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiO2xJmjHAIuOK4e3uPUexm3pWbQPoaN8yJ06bzFmLhJ86udE0t-BL0zh_o9gAkxQLleScc_62bVUOjxMZeOVWSajHwOvD9tLy__wVAQZbxHdwga8x8913ZcY79FXmBZjMJ-gk845cT0buE/s400/12BLOG+JD1.JPG" /></a><br />
Jason printing on our Vandercook 219 press. <br /><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9fXDnpiwmPSkjV6aOOqQPm1howFpE562kf6KrNm-wPMtJBbhdz5JKNihYWbwfyyOdIMvqfpuSeG8Rips-DEoPeFQw_vDEm58-p_Xq8qGuYaVqXTIekccx28RMgZVh0QGnbJB0c-tX2JPQ/s1600/13BLOG+JD3.JPG" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9fXDnpiwmPSkjV6aOOqQPm1howFpE562kf6KrNm-wPMtJBbhdz5JKNihYWbwfyyOdIMvqfpuSeG8Rips-DEoPeFQw_vDEm58-p_Xq8qGuYaVqXTIekccx28RMgZVh0QGnbJB0c-tX2JPQ/s400/13BLOG+JD3.JPG" /></a><br />
A wayzgooser helps Jason to print the second colour on his broadside. <br /><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIzDfU74icjyUJ1E-qWHttqx93m6OSiBJ0aCGPHl2Gc50IWTqTdZXtEV6BBvihJvlthLe4gHB_VpLn3sbl_SIjEZJjDwN6ZA_SmlgbGIiQarODI90oSVAatxG24lwRHClZDgsDhObB1AI0/s1600/14BLOG+GVD1.JPG" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIzDfU74icjyUJ1E-qWHttqx93m6OSiBJ0aCGPHl2Gc50IWTqTdZXtEV6BBvihJvlthLe4gHB_VpLn3sbl_SIjEZJjDwN6ZA_SmlgbGIiQarODI90oSVAatxG24lwRHClZDgsDhObB1AI0/s400/14BLOG+GVD1.JPG" /></a><br />
Gary Dunfield employing his stature to fish down one of Amos Kennedy’s posters for a wayzgooser. <br /><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUKrPCp7l7n4Kh2aXzPHyKpAuvEV4Hb7s44p9W21gDFglIDY9tZYLTsf5-ouGA4peHh3no7vbI2CGv6cpaWT9pZSctuED7J2oWryNjiR1Mqpf0uXufM-aCIWdsflFuP5LMQ8XqfnAycfzA/s1600/15BLOG+HS1+copy.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUKrPCp7l7n4Kh2aXzPHyKpAuvEV4Hb7s44p9W21gDFglIDY9tZYLTsf5-ouGA4peHh3no7vbI2CGv6cpaWT9pZSctuED7J2oWryNjiR1Mqpf0uXufM-aCIWdsflFuP5LMQ8XqfnAycfzA/s400/15BLOG+HS1+copy.jpg" /></a><br />
While I showed wayzgoosers how to cast slugs on our Ludlow hot metal caster, Maine-based letterpress printer & journalist Hillary Savage printed the slugs on a parlour press. <br /><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijJ1vszkCCxgJVgxp5eMUNp6ohidWkRdcQ4ygwBv8cT_fHMwe3vOHU87iDNjR3Opoi2wJfgx5ppzLVLYZIku8ACciALvFJ8oFjDczHI81IwMux_vmcRMEkn12_vZ7YgUXleErcJHkHj9hG/s1600/16BLOG+Bindery1.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijJ1vszkCCxgJVgxp5eMUNp6ohidWkRdcQ4ygwBv8cT_fHMwe3vOHU87iDNjR3Opoi2wJfgx5ppzLVLYZIku8ACciALvFJ8oFjDczHI81IwMux_vmcRMEkn12_vZ7YgUXleErcJHkHj9hG/s400/16BLOG+Bindery1.jpg" /></a><br />
Making simple blank books in the bindery. <br /><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhl1gpLrT4Nx8BaCL8QdxANpZIf1VCX6ScnuV6jsXrlRpcNOIWe-7Aq4GdEs5KWHAmdCt-WxyY-Q8ZWX9W2ot2n03WpYJPqr_3CkgCPrU38dpbzIqpd-39wujiEpLB9gAV8TWCGYc9qbxvk/s1600/17BLOG+Bindery2.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhl1gpLrT4Nx8BaCL8QdxANpZIf1VCX6ScnuV6jsXrlRpcNOIWe-7Aq4GdEs5KWHAmdCt-WxyY-Q8ZWX9W2ot2n03WpYJPqr_3CkgCPrU38dpbzIqpd-39wujiEpLB9gAV8TWCGYc9qbxvk/s400/17BLOG+Bindery2.jpg" /></a><br />
Learning a simple chapbook stitch. <br /><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcr-qILAVO-8w2Plx1sOJ_bLJ1pbR5b9qO_MyJaRnPX3xIlgMQoKeriDcMf2XLQJ54Wcy_GdNNjY8ZvgMkRino5LfGywizZdzeTgie85omY8Seja5KMcOVgddhoMihD6CTYGdWM7PF7Lt4/s1600/18BLOG+AS1.JPG" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcr-qILAVO-8w2Plx1sOJ_bLJ1pbR5b9qO_MyJaRnPX3xIlgMQoKeriDcMf2XLQJ54Wcy_GdNNjY8ZvgMkRino5LfGywizZdzeTgie85omY8Seja5KMcOVgddhoMihD6CTYGdWM7PF7Lt4/s400/18BLOG+AS1.JPG" /></a><br />
A ‘wayz goose’ is a goose fed on the stubble after the grain has been cut. There was no goose, but I did have a stubbly hair cut. <br /><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuB_6riAksVRLC9WFSMyGK4u4Vqf6o2K7bz1nEFMF5F4kxEkP6DAJexeDFryR7mqJba4jUtq633NnNlEK9eUF8j-O-HY4rDgZdFVd1WE_1ksMDAgcKIxb8bDif0QjX83Tyt9n9CUo71vxV/s1600/19BLOG+TH2.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuB_6riAksVRLC9WFSMyGK4u4Vqf6o2K7bz1nEFMF5F4kxEkP6DAJexeDFryR7mqJba4jUtq633NnNlEK9eUF8j-O-HY4rDgZdFVd1WE_1ksMDAgcKIxb8bDif0QjX83Tyt9n9CUo71vxV/s400/19BLOG+TH2.jpg" /></a><br />
Just home from a trip to Paris, France, photographer Thaddeus Holownia showed up and made pictures of some of our guests with his 10 x 12 view camera. Here he is with George Walker and Steve Slipp. <br /><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizCCWpuWRw-efc1hM0iXNQKUIoFB-w8ilkRUJ_ZJ1853lM7H1XZiH-DYLPuN14HQnMzR_GPH_YesPdyrwfJlbkJW5RGOQhZwvDYJ2LY2KdlrYa1PWzhAP8As0-YGIEK5ND2WSLrXJ1a6WE/s1600/20BLOG+TH1.JPG" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizCCWpuWRw-efc1hM0iXNQKUIoFB-w8ilkRUJ_ZJ1853lM7H1XZiH-DYLPuN14HQnMzR_GPH_YesPdyrwfJlbkJW5RGOQhZwvDYJ2LY2KdlrYa1PWzhAP8As0-YGIEK5ND2WSLrXJ1a6WE/s400/20BLOG+TH1.JPG" /></a><br />
Thaddeus also made a group photo of some of the guests, staff and wayzgoosers. (Front, left to right) Julie Rosvell, David Brewer, Michelle Walker, Sue Goyette, George Walker, Andrew Steeves, Amos Paul Kennedy, Jr, (back, left to right) Joe Stevens, Stephen Quick, Adam Steeves, Gary Dunfield, Hillary Savage, Jason Dewinetz, Ceri Sloan, Connie Sheppard. <br /><br />
ANDREW STEEVES ¶ PRINTER & PUBLISHER <br />
Andrew Steeveshttp://www.blogger.com/profile/11419326535390211322noreply@blogger.com0tag:blogger.com,1999:blog-2055177173193179624.post-5031079706140341602013-10-21T12:31:00.000-07:002013-10-23T05:44:31.932-07:00Wayzgoose Weekend Nears!<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcMbOy-2qOt7jZ4Gu-HGXkWJUvstyu2Pv2iRa0pHXFCldAJ68LkJpcXHWSVsCe-waPaFjclzrCgEDjTD5VybdaH_HaJlR3XjUQrHi1d1q9BDGclDAwM6l-wgj-ch0hGgeq-zEvNHZwU4c1/s1600/Amos+2.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcMbOy-2qOt7jZ4Gu-HGXkWJUvstyu2Pv2iRa0pHXFCldAJ68LkJpcXHWSVsCe-waPaFjclzrCgEDjTD5VybdaH_HaJlR3XjUQrHi1d1q9BDGclDAwM6l-wgj-ch0hGgeq-zEvNHZwU4c1/s400/Amos+2.jpg" /></a><br /><br />
On <b>Saturday 26 October 2013</b>, Gaspereau Press will host its fourteenth annual Wayzgoose and open house. This event celebrates literary culture and the printed book and attracts bibliophiles, authors and readers from across the Maritimes and beyond. Most events take place in the Gaspereau Press printing works in downtown Kentville, Nova Scotia.<br />
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This year’s wayzgoose features four guest artists: typographer and printer Jason Dewinetz (Vernon, British Columbia), wood engraver and printer George Walker (Toronto, Ontario), printer Amos Paul Kennedy, Jr. (Gordo, Alabama) and Hillary Savage (Machias, Maine). These four printers will be onhand in the Gaspereau Press printing works throughout the day on Saturday, demonstrating their craft. The event also features readings by Gaspereau Press authors Sue Goyette (Halifax, Nova Scotia) and Dana Mills (Wolfville, Nova Scotia).<br />
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<strong>SCHEDULE OF EVENTS</strong><br />
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<strong><span style="color: #660000;">Literary Salon</span></strong> (10:00–12:00). An informal gathering which provides published and unpublished writers with an intimate opportunity to meet our featured authors and discuss the craft of writing. Hosted by Susan Haley and featuring authors Sue Goyette and Dana Mills. This event takes place at the Wickwire House Bed & Breakfast, 183 Main St, Kentville.<br />
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<strong><span style="color: #660000;">Printshop Chicanery</span></strong> (10:00–12:00). Wayzgoose morning is usually spent setting up equipment and preparing for the open house, but we open our doors to the keeners who want to lend a hand and visit with the guest artists and staff while they prepare. Offcut paper and books will also be available for sale. This event takes place at the Gaspereau Press printing works, 47 Church Avenue, Kentville.<br />
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<strong><span style="color: #660000;">Open House at the Gaspereau Press Printing Works</span></strong> (2:00–5:00). Take a glimpse into the fantastic world behind the production of the printed book. Jason Dewinetz, George Walker, Amos Kennedy, Hillary Savage and Thaddeus Holownia will join the Gaspereau Press staff offering demonstrations in printing, bindery, typecasting and papermaking. This event takes place at the Gaspereau Press printing works, 47 Church Avenue, Kentville.<br />
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<strong><span style="color: #660000;">A Wayzgoosy Evening</span></strong> (7:00–9:30). An evening of readings by Sue Goyette and Dana Mills and the Lochhead Memorial Book-Arts Talk presented by Jason Dewinetz of Greenboathouse Press. This event takes place at the Saint Paul & Saint Stephen United Church, 440 Main Street, Kentville.<br />
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All events are free and open to the public.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJGbaNaT_W2efzIfuZ8fPijSn7TAosNmYqgxYxAn0-tI1UG7yXtDPQzhOu3d0t2IC0egwK93VIWGKX2g-HTUIYcfCHzmRne9vVO8W4QMRVTS95D8ib7QNWIj0Ul2qSYPiNszUiL7zDk_k6/s1600/Nic+and+Laura+make+Paper+1.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJGbaNaT_W2efzIfuZ8fPijSn7TAosNmYqgxYxAn0-tI1UG7yXtDPQzhOu3d0t2IC0egwK93VIWGKX2g-HTUIYcfCHzmRne9vVO8W4QMRVTS95D8ib7QNWIj0Ul2qSYPiNszUiL7zDk_k6/s400/Nic+and+Laura+make+Paper+1.jpg" /></a><br /><br />
<strong>BACKGROUND</strong><br />
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What’s a wayzgoose? Literally, ‘wayz’ is an old word for stubble grain, and a wayzgoose is a wayz-fed goose. In the early days of printing, the owner of a printing establishment would hold an annual dinner for his employees in the late summer or early autumn as a way of demonstrating his gratitude, his grandness, or both. The featured dish at this meal was traditionally a stubble-fed goose, or wayzgoose. These days the term is usually used to describe gatherings of book artists. Over the past decade, the Gaspereau Press wayzgoose has evolved into an important annual community event which celebrates the book as a dynamic cultural force, focusing on the relationships among the many people who contribute to the production of the literary books.<br />
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Gaspereau Press is a nationally-celebrated literary publisher and trade printer located in Kentville, Nova Scotia. It is one of the few publishers in Canada that actually manufactures its books in-house, controlling every aspect of the production from editing and design through to printing, binding and distribution, employing a broad range of contemporary and antiquated production methods. Given its unique position as a printer and publisher, and its commitment to the tradition of typography, fine printing and book making, Gaspereau Press developed the idea of holding an annual community event that would bring writers, artists and the general public into direct contact with book-arts practitioners from across the country and with the tools of the trade: type, ink, paper and the printing press. Its first wayzgoose was held in 2000.<br />
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<strong><span style="color: #660000;">Jason Dewinetz</span></strong> is a typographer and printer. His design and production for Greenboathouse Press has earned him several national book design awards. He currently teaches English, Creative Writing and Publication Design at Okanagan College in Vernon, BC.<br />
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<strong><span style="color: #660000;">George Walker</span></strong> is a wood engraver and book artist. For over twenty years he has exhibited his wood engravings and limited edition books internationally. He is an Associate Professor at the Ontario College of Art and Design in Toronto. His latest book is <em>The Life and Times of Conrad Black: A Wordless Biography</em>, published by The Porcupine’s Quill.<br />
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<strong><span style="color: #660000;">Amos Paul Kennedy, Jr.,</span></strong> is a letterpress printer and builder of artist’s books lately of Gordo, Alabama (but rumoured to be moving to Detroit), who travels the globe teaching people how to print on traditional letterpresses with metal and wood type.<br />
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<strong><span style="color: #660000;">Hillary Savage</span></strong> is a journalist and letterpress printer living in Machias, Maine, where she recently graduated from a book arts program at University of Maine at Machias.<br />
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<span style="color: #660000;"><strong>Sue Goyette</strong></span> has published a novel and three poetry collections, most recently <em>Ocean</em>. She has won the Pat Lowther Memorial Award, the Atlantic Poetry Prize, the CBC Literary Prize for Poetry, the Earle Birney Prize and the Bliss Carman Award, and has been shortlisted for the Governor General’s Literary Award. Goyette lives in Halifax where she teaches creative writing and works part-time at the Writers’ Federation of Nova Scotia.<br />
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<strong><span style="color: #660000;">Dana Mills’</span></strong> stories have appeared in Geist, subTerrain and The New Quarterly. His story “Steaming for Godthåb” was shortlisted for the 2008 Journey Prize. His debut story collection is <em>Someone Somewhere</em>. He lives outside Wolfville, Nova Scotia.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_PMsoxqQ6VmxBOg5M2etiA-o9Z7bjsC0hVKG2MEXPhhsElLfBv9FGBvzrDJrlQCLw9RtGXEs40rfWd7dqsQtUuvHA-XYL68PVFMEC-BLbSXcFcrgt3QQ4EFX_kNZ44ySXIPyMAg6nJQlA/s1600/DSC_0004.JPG" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_PMsoxqQ6VmxBOg5M2etiA-o9Z7bjsC0hVKG2MEXPhhsElLfBv9FGBvzrDJrlQCLw9RtGXEs40rfWd7dqsQtUuvHA-XYL68PVFMEC-BLbSXcFcrgt3QQ4EFX_kNZ44ySXIPyMAg6nJQlA/s400/DSC_0004.JPG" /></a><br /><br />
For more information, contact:<br />
Gary Dunfield<br />
T: 902 678 6002<br />
E: info@gaspereau.comAndrew Steeveshttp://www.blogger.com/profile/11419326535390211322noreply@blogger.com0tag:blogger.com,1999:blog-2055177173193179624.post-19889803386875201782013-10-19T20:29:00.001-07:002013-11-01T10:47:43.414-07:00Tramping in Toronto and Kentucky<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoBBnlHd0BZgVYvOp9I-u0U-HRTXW3iVI0yss0A9ijqbvX8OkM-j3aw3AsgZGRvCJ5t4RPS9s9UoGvn1Dc4genWeJJXA-QRG1Ji-qkIquVWb3Bl9p3eoqYVabjxCaty6u7ToJUK1OIaazd/s1600/BL4+WAS_3976+copy.JPG" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoBBnlHd0BZgVYvOp9I-u0U-HRTXW3iVI0yss0A9ijqbvX8OkM-j3aw3AsgZGRvCJ5t4RPS9s9UoGvn1Dc4genWeJJXA-QRG1Ji-qkIquVWb3Bl9p3eoqYVabjxCaty6u7ToJUK1OIaazd/s400/BL4+WAS_3976+copy.JPG" /></a><br />
In early October I took a little drive to attend a couple of events in Toronto. While I was in town I was lucky enough to be able to make Massey College (at the University of Toronto) my base of operations, spending most of my days in its printshop and bibliographic room. This is a photo of the dining room and the bell tower at night as seen from the quad.<br /><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjupA93zn7p5YVomfOGJcnL8S4kEcvB3qgdKWUB7L29qr9C7cwNMwPi0JUJCqxXk1RwYlbhoX3KW6zynhyphenhyphenTQ4IMv8cYb_Qr_UVg-WERNzXpq0akknhoJh0T-bO-VSeAL8SiKMml7I5t8Mxw/s1600/BL1+WAS_3840+copy.JPG" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjupA93zn7p5YVomfOGJcnL8S4kEcvB3qgdKWUB7L29qr9C7cwNMwPi0JUJCqxXk1RwYlbhoX3KW6zynhyphenhyphenTQ4IMv8cYb_Qr_UVg-WERNzXpq0akknhoJh0T-bO-VSeAL8SiKMml7I5t8Mxw/s400/BL1+WAS_3840+copy.JPG" /></a><br />
Massey College is a residential community for graduate students at the university of Toronto. It was established in 1963 by Vincent Massey, a former Governor General of Canada. The building, one of Canada’s architectural gems, was designed by Ron Thom. My late friend Douglas Lochhead was its founding librarian and was instrumental in establishing Massey’s letterpress printshop. Above is the photo of the small suite I stayed in, a room once used by the college’s founding Master, Robertson Davies.<br /><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiKva1_49L4TFuSjQctrZqMCRpYIhUaxpoyPFia3V0fYOtArOeKuhLZ0kfYDs5ML2c3M6gXYycHFJKc5B-JD5LYqcj8J1GNFNhVHrk4j_Y-bIr0PSGgXZamvgf2vXv_7D43Qzfe3QRZ29d/s1600/BL2+WAS_3890+copy.JPG" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiKva1_49L4TFuSjQctrZqMCRpYIhUaxpoyPFia3V0fYOtArOeKuhLZ0kfYDs5ML2c3M6gXYycHFJKc5B-JD5LYqcj8J1GNFNhVHrk4j_Y-bIr0PSGgXZamvgf2vXv_7D43Qzfe3QRZ29d/s400/BL2+WAS_3890+copy.JPG" /></a><br />
One the focal points of Massey is its spectacular dinning room. I was delighted to see a blow-up of the new Canada Post stamp of the college’s founding master hung over the head table. The stamp was designed by my friend and colleague Steven Slipp of Wolfville, Nova Scotia.<br /><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLvw_Q9cjt_xHVQQCJ6z-d7u21T_7FYtvMtl9LDBk6KYFZxR1jP7Qoy6XaS0HfUq6bhkO42IjuLLTaMdFr3LbX07iItBTUiRMTnlzZ2KRL-TWoTeQ4Imwfhq7ySm6Vco0GsQkac8-8p1TS/s1600/BL3+WAS_3894+copy.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLvw_Q9cjt_xHVQQCJ6z-d7u21T_7FYtvMtl9LDBk6KYFZxR1jP7Qoy6XaS0HfUq6bhkO42IjuLLTaMdFr3LbX07iItBTUiRMTnlzZ2KRL-TWoTeQ4Imwfhq7ySm6Vco0GsQkac8-8p1TS/s400/BL3+WAS_3894+copy.jpg" /></a><br />
Another shot of the dining room at Massey.<br /><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4lAtBouYp4Cz218wgGobgTATEKLJywW63wUafGZl69lhGOqT8TQqKxGJm3qwcVZcKdBGZ5jqpAEhSGzT8B0VWfyl0h09GFJj_5KvmY0BOSqsY-huGWiNCLLUZfgp7uBPZFl3cdBCW1xsL/s1600/BL5+WAS_3879+copy.JPG" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4lAtBouYp4Cz218wgGobgTATEKLJywW63wUafGZl69lhGOqT8TQqKxGJm3qwcVZcKdBGZ5jqpAEhSGzT8B0VWfyl0h09GFJj_5KvmY0BOSqsY-huGWiNCLLUZfgp7uBPZFl3cdBCW1xsL/s400/BL5+WAS_3879+copy.JPG" /></a><br />
As well as hanging around with Nelson (the college printer) and PJ (the college librarian) in the printshop, I spent a lot of time discussing typography, printing and the archiving of wood type with Chelsea, the Massey’s Curator of the Printing Collections (pictured on the right). Every time I stop at Massey, the place seems to be very busy with visitors, though that may be partly the result of my inviting people to come visit me while I’m there. On the left in this photo is Will Rueter from the Aliquando Press in Dundas, Ontario.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQ6lOaDv87lZ7HGErjVu7gBk6A-IVJ1mZqNyCn_SEh8ofqAnF2DgSg_PyjhS4dwcRZ4hoTP144DtjE1hGJm50G631syebQFrt9MPgq5keZLUARjq38qw6kY0Qs0X4Qb9PFNp1hQyMhUuEA/s1600/BL6+WAS_3884+copy.JPG" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQ6lOaDv87lZ7HGErjVu7gBk6A-IVJ1mZqNyCn_SEh8ofqAnF2DgSg_PyjhS4dwcRZ4hoTP144DtjE1hGJm50G631syebQFrt9MPgq5keZLUARjq38qw6kY0Qs0X4Qb9PFNp1hQyMhUuEA/s400/BL6+WAS_3884+copy.JPG" /></a><br />
One of the other motivations for my visit was that I wanted to attend the annual Alcuin Society awards dinner at the Arts & Letters Club (where the Group of Seven was founded). Pictured above are Brian Maloney, Will Rueter, and <i>Devil’s Artisan</i> editor Don McLeod (with the camera).<br /><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKyVsuupFmq1ICyI-xcIQd2ctQRc6fSwNbDvBOvQaS4Zv1AiQ8_j8iEsDlrafplBaVAHV5B9lBiS13c3gakRE490AhPqm1rnbcYbkVl_TByAtHvC7lMDtnEpfYbun1k-jaEUJtOlT1HqFy/s1600/BL65+Andrew+at+Alcuin+Dinner+2013+copy.JPG" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKyVsuupFmq1ICyI-xcIQd2ctQRc6fSwNbDvBOvQaS4Zv1AiQ8_j8iEsDlrafplBaVAHV5B9lBiS13c3gakRE490AhPqm1rnbcYbkVl_TByAtHvC7lMDtnEpfYbun1k-jaEUJtOlT1HqFy/s400/BL65+Andrew+at+Alcuin+Dinner+2013+copy.JPG" /></a><br />
The lovely and talented Linda Gustafson, book designer and one of the evening’s organizers, snapped this picture of me at the dinner.<br /><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKAuVaBQXzqWhS24seHjYAffWI-odRE58LMT7-6DYnXe5-k5LH-sM92BrnTN1RRhu4dMaAxqVcgmV2_W73oM8tm9ILpMY8JYZY_ZDrn3asUzXFUScNYgSnI6IuqGW3E-BkPmYzATACsjf7/s1600/BL7+WAS_3972+copy.JPG" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKAuVaBQXzqWhS24seHjYAffWI-odRE58LMT7-6DYnXe5-k5LH-sM92BrnTN1RRhu4dMaAxqVcgmV2_W73oM8tm9ILpMY8JYZY_ZDrn3asUzXFUScNYgSnI6IuqGW3E-BkPmYzATACsjf7/s400/BL7+WAS_3972+copy.JPG" /></a><br />
On the following evening I was back to the Arts & Letters Club again, this time for the launch of the Porcupine’s Quill’s trade edition of George Walker’s wordless biography (told in wood engravings) of Conrad Black. Lord Black, unfortunately, declined to attend the launch but was otherwise generous and cooperative throughout George’s project. George is pictured here with the hunting knife that he seemed a little surprised to find that I was carrying in my coat pocket (you can take the boy out of the backwoods, but …). I have seen versions of this photo before, so I suspect that it is not unusual to find George hamming it up at the bar of the Arts & Letters Club. The mirthful woman is Michelle Walker. George and Michelle arrive in Kentville next weekend for the Gaspereau Press wayzgoose; we’re not expecting Lord Black, but I will likely be packing my hunting knife.<br /><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiej5IDpI3CGdQgxwC2K7C93wT2cczwGbVu333LlAxm5kqy1TpTgMShSejL097Ks5Qn0nkzkWjt-s-Ke1vSBFeBIO-ZEMk6at9hJEBEWUXM49g6BU7fuozpczYFISeRIFoPja2k5DHe55I1/s1600/BL8+WAS_3965+copy.JPG" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiej5IDpI3CGdQgxwC2K7C93wT2cczwGbVu333LlAxm5kqy1TpTgMShSejL097Ks5Qn0nkzkWjt-s-Ke1vSBFeBIO-ZEMk6at9hJEBEWUXM49g6BU7fuozpczYFISeRIFoPja2k5DHe55I1/s400/BL8+WAS_3965+copy.JPG" /></a><br /><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcMcznhnSkt6j4WESPftE7zEBpLWj7zL7qn0VrPrUgkx9PSSb6JYmDDWxtChS93CY09yQiNtTGHCQo3tDE4wQrrsmO88RE3Fl5goadx8Z_Cfc0A5Okaqm9SP6LJ3Zwbqh1AR9PfQ-AfAE-/s1600/BL9+WAS_3984+copy.JPG" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcMcznhnSkt6j4WESPftE7zEBpLWj7zL7qn0VrPrUgkx9PSSb6JYmDDWxtChS93CY09yQiNtTGHCQo3tDE4wQrrsmO88RE3Fl5goadx8Z_Cfc0A5Okaqm9SP6LJ3Zwbqh1AR9PfQ-AfAE-/s400/BL9+WAS_3984+copy.JPG" /></a><br />
Not that it was all carousing and knifeplay! I actually managed to teach a workshop to a dozen undergraduate students using original type specimens produced by William Caslon and John Baskerville, housed in the Massey collection. I was aided in this by the wonderful and talented (and well-shod) calligrapher and type designer Kevin King, who illustrated baroque and neoclassical letterforms as I talked. And I did a lot of exploring in the collection. One interesting discovery (pointed out to me by Chelsea) was a folder of early nineteenth-century print samples from the Gitton printshop in Bridgnorth, England. Mostly broadsides, notices and posters, many of the items had handwritten annotations citing the date the work was printed and the length of the press run. They were also often punctured in the middle, suggesting they had been ‘spiked’ and were likely used in the firm’s billing procedure. Above are two examples, though they do not include those features.<br /><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtnp74Stle5amEZOzkcPu6Kw3r4fz1dh5Qlexod0wq0wp4FRhHkQ7GmA11Ogqsj0N973wB_CFB8_QwdK39iJ-uPwWMI-2vZw_Vw5KGLm6z3Jj35Fo1hSh_hdrZfy8O2CxU_q4_zEyu0nGq/s1600/BL91+WAS_4005+copy.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtnp74Stle5amEZOzkcPu6Kw3r4fz1dh5Qlexod0wq0wp4FRhHkQ7GmA11Ogqsj0N973wB_CFB8_QwdK39iJ-uPwWMI-2vZw_Vw5KGLm6z3Jj35Fo1hSh_hdrZfy8O2CxU_q4_zEyu0nGq/s400/BL91+WAS_4005+copy.jpg" /></a><br />
One of the strengths of the Massey collection is its range of type specimens. Here is a sample of some twentieth-century material from the Monotype Corporation.<br /><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlz-Dev9E7IuOniHVCQ0evuH5ZfwM6nbW0Z7vkLfUEGUsem7hqwq2Yqe9f_9A5Tyx0iWRjLh85Bn8WEDKMFyiCQWX5td7NBLxvVcaHySBGoLHFJ_V3xnkhH5XJ7TnJ-LzgCZkeBiD-vVc6/s1600/BL92+WAS_4089+copy.JPG" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlz-Dev9E7IuOniHVCQ0evuH5ZfwM6nbW0Z7vkLfUEGUsem7hqwq2Yqe9f_9A5Tyx0iWRjLh85Bn8WEDKMFyiCQWX5td7NBLxvVcaHySBGoLHFJ_V3xnkhH5XJ7TnJ-LzgCZkeBiD-vVc6/s400/BL92+WAS_4089+copy.JPG" /></a><br />
After four busy days in Toronto, I swung down to Kentucky on my way home to visit Gray Zeitz at Larkspur Press. I was only in Kentucky for a day and spent most of it just talking with Gray about printing and binding. I did manage to photograph some Larkspur ephemera, including these two bumper stickers. I didn’t just drive down there to drink Gray’s bourbon, either. If all works out, Gaspereau Press and Larkspur Press intend to co-publish a book celebrating the 40th anniversary of Larkspur Press in 2014 (though we’ve not nailed down a release date yet). <br /><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi74apqkEBqKyjTsqkTL3uK95uRwIH4h4byV2VZw7QPIouNTFaJsKaFK02X6cK3lB73y62MGpPnJ8o9x-BjA_SF1q9IUmtjUDdq59Jhkuz3sb9RpXh7Hb1piqNOpl4jJsMuE9YQsdxj879T/s1600/BL93+WAS_4133+copy.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi74apqkEBqKyjTsqkTL3uK95uRwIH4h4byV2VZw7QPIouNTFaJsKaFK02X6cK3lB73y62MGpPnJ8o9x-BjA_SF1q9IUmtjUDdq59Jhkuz3sb9RpXh7Hb1piqNOpl4jJsMuE9YQsdxj879T/s400/BL93+WAS_4133+copy.jpg" /></a><br />
Dawn in Kentucky as I head for home.<br /><br />
Less than a week to go before our Wayzgoose (Saturday October 26th)! If you are anywhere near Kentville this weekend (near like Toronto is near Kentucky) be sure to swing in and join in the inky fun.<br /><br />
ANDREW STEEVES ¶ PRINTER & PUBLISHERAndrew Steeveshttp://www.blogger.com/profile/11419326535390211322noreply@blogger.com1tag:blogger.com,1999:blog-2055177173193179624.post-63878610424851940952013-09-12T07:49:00.002-07:002013-09-12T07:49:54.354-07:00A Harvest of BooksThe fall books have started to tumble off the press and into shipping boxes, not uncharacteristically ahead of the catalogue (details …).<br /><br />
We’re really excited to launch “Diaries of the Acadian Deportations,” a new series of history books aimed at attentive readers of Canadian history. The first instalment in the series is <i>Jeremiah Bancroft at Fort Beauséjour and Grand-Pré</i>, edited and annotated by Jonathan Fowler & Earle Lockerby. Jeremiah Bancroft enlisted to fight against the French Empire in North America in 1755. His journal preserves an eyewitness account of the deportation of the Acadians in the Grand-Pré area, offering readers a day-by-day account of one of the most dramatic events in Canadian history.<br /><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNSwcLBtXblrCXqy3MbRkot-jjH4TgIRbO01SvdftN7_ZaYCjWYRvyRQ4kkjJEQjV0CFWVDLlFmi-M69YEoFhTpQ3OGF3WtnERZ-7dt_zDPCBZehHiwMC_JqI6KEVVbBTLnxomjgKZkvT9/s1600/9781554471195++cover+SM.tif" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNSwcLBtXblrCXqy3MbRkot-jjH4TgIRbO01SvdftN7_ZaYCjWYRvyRQ4kkjJEQjV0CFWVDLlFmi-M69YEoFhTpQ3OGF3WtnERZ-7dt_zDPCBZehHiwMC_JqI6KEVVbBTLnxomjgKZkvT9/s400/9781554471195++cover+SM.tif" /></a><br /><br />
Our intention is to maintain a uniform approach to design throughout the series. I decided that the jackets should use colour and typography only.<br /><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0jVzGx0-kT2T8ZQOIg6YcAWMA0fpgLd_a6_sLHqrrTdfJJDLjzCaswyYRiQ5hX8YzQOkZcdAMsoUh2VKcWfIiWOIAsvODo6N_c8CSw1yhaBIORmHebpaB3J0shX0PMdefXHDMXmNoiMP8/s1600/9781554471195++page+88+89+SM.tif" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0jVzGx0-kT2T8ZQOIg6YcAWMA0fpgLd_a6_sLHqrrTdfJJDLjzCaswyYRiQ5hX8YzQOkZcdAMsoUh2VKcWfIiWOIAsvODo6N_c8CSw1yhaBIORmHebpaB3J0shX0PMdefXHDMXmNoiMP8/s400/9781554471195++page+88+89+SM.tif" /></a><br /><br />
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Sometimes publishers underestimate readers and dumb down a text in an attempt to appeal to a wider audience. The first thing to go is usually the footnotes, because to most people they scream ‘Hey, this book is for experts!’ At best, they bury them in the back where only people who read with two bookmarks ever follow along. In this series, we wanted to stress that the editor’s annotations and explanations of Bancroft’s diary were central to the book, so I designed the book with Bancroft’s text on the recto pages and the notes on the facing verso pages. The main text of the book is set in two different Caslon types (Adobe’s Caslon for the text and Matthew Carter’s Big Caslon for display), with the notes set in Scala Sans for compactness and contrast. If you are interested in colonial military history, in first-person historical narratives or in the history of the Acadians, I highly recommend that you check out the first volume in this series and stay tuned for the forthcoming volumes.<br /><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQPM8nIH1TauQjUreLS5hvrUZBCB8NAxJosHMOIVUNm0Ifp0-R8bNpbnacTlOrqsa3oUweKMoF21s57Svq70b7trjLLd8Zc6brLxoowZ6ZfIfKi-WWxAg5egh6dGDP8Ba2LrxEIQy6Br9f/s1600/9781554471263+inside+cover+SM.tif" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQPM8nIH1TauQjUreLS5hvrUZBCB8NAxJosHMOIVUNm0Ifp0-R8bNpbnacTlOrqsa3oUweKMoF21s57Svq70b7trjLLd8Zc6brLxoowZ6ZfIfKi-WWxAg5egh6dGDP8Ba2LrxEIQy6Br9f/s400/9781554471263+inside+cover+SM.tif" /></a><br /><br />
Here are some pictures of Susan Haley’s new novel <i>Petitot</i> which I described in an earlier post. The inner cover is a detail from a sketch that was made by Émile Petitot, the historical person on whose life the book is roughly based. We inverted the image and then printed it in silver ink on black cover stock.<br /><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWce55Au7Fr9Zk6zInKU6qP0zSALYMS6YOdNGM9TuKHprC6ZnLjlfc7nWq95SLZ8HFTRTiksLxdJs4gXiUy7m59Q7LIpHVN6omjyo2qDI3XjQJNs3Au8I7EMtrWXyVo5Kc-SmdWP4Tyf6e/s1600/9781554471263+jacket+all+SM.tif" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWce55Au7Fr9Zk6zInKU6qP0zSALYMS6YOdNGM9TuKHprC6ZnLjlfc7nWq95SLZ8HFTRTiksLxdJs4gXiUy7m59Q7LIpHVN6omjyo2qDI3XjQJNs3Au8I7EMtrWXyVo5Kc-SmdWP4Tyf6e/s400/9781554471263+jacket+all+SM.tif" /></a><br /><br />
This is the jacket, unfolded. It was printed offset in three colours and uses an enlarged version of Petitot’s signature for the title text.<br /><br />
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This is the title page from one of Petitot’s books about his time up north, <i>Quinze Ans sous le Cercle Polaire</i>, published in Paris in 1889. Turns out, most of it is as much fiction as Haley’s book about him.<br /><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGEIvrdw81A03c1qrAOeqaVqKEzk8aeTYdvpxl4nToGqTtKiX46f1F_eUuIzryv5xkpxJgAKDjBhYVEiCTNrRIwBAZOGYfxZTuCzhhrDMd3uWT6_wHmd-DJUBuTVi86i8t-GQpE6rgzS7l/s1600/9781554471263+TP+SM.tif" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGEIvrdw81A03c1qrAOeqaVqKEzk8aeTYdvpxl4nToGqTtKiX46f1F_eUuIzryv5xkpxJgAKDjBhYVEiCTNrRIwBAZOGYfxZTuCzhhrDMd3uWT6_wHmd-DJUBuTVi86i8t-GQpE6rgzS7l/s400/9781554471263+TP+SM.tif" /></a><br /><br />
As you can see, we borrowed some elements from the 1880s Paris edition for Haley’s title page, without trying to simply mimic it. Haley’s book is set Fournier, based on the rationalist French types of Pierre-Simon Fournier (1712–68), originally revived by the Monotype Corporation in 1925 for use on their casters.<br /><br />
Also due to start shipping to stores this week is Sean Johnston’s fabulous new novel <i>Listen All You Bullets</i>, his second novel with Gaspereau Press. The novel focuses on a young boy named Billy who is trapped on a hardscrabble North Dakota ranch with his lonely mother and his wheelchair-bound father. But Billy isn’t just any boy stuck on any ranch: Billy and his family are the creations of Jack Schaefer’s popular 1949 Western novel, Shane. Long after that novel’s action has concluded and its plot and characters have seemingly solidified into popular myth, Sean Johnston sets out to explore the possibilities of a story’s resistance to its own arrested afterlife. Here’s a video clip of the jacket being run through our Heidelberg KORD offset press this morning as we printed the final of three colours on a ginger-toned paper stock.<br /><br />
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Interesting fact: Quite coincidentally, both Haley and Johnston have a character named Nicamos in their books. It is a Cree word which means sweetheart.<br /><br />
ANDREW STEEVES ¶ PRINTER & PUBLISHER<br /><br />Andrew Steeveshttp://www.blogger.com/profile/11419326535390211322noreply@blogger.com0tag:blogger.com,1999:blog-2055177173193179624.post-87310054042802963202013-09-06T17:53:00.001-07:002013-09-06T17:53:25.893-07:00Susan Haley’s Novel about Émile Petitot<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJIyGGqax2Zzdy85UC5lMTBi1ikUGQQkqUwzegBusn68_NyqIXt5aJRTKlD8cMJETLTtUDEFEGpyKa35J_vUxBGj7ZEAOHvyWLHXphzfqHSDNvzzU9gsY_t-KmDcnOidB3u0LJVSu6p4V9/s1600/Young+P+BLOG.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJIyGGqax2Zzdy85UC5lMTBi1ikUGQQkqUwzegBusn68_NyqIXt5aJRTKlD8cMJETLTtUDEFEGpyKa35J_vUxBGj7ZEAOHvyWLHXphzfqHSDNvzzU9gsY_t-KmDcnOidB3u0LJVSu6p4V9/s400/Young+P+BLOG.jpg" /></a><br /><br />
We’ve been busy in the shop this week printing, sewing and binding Susan Haley’s new novel, <i>Petitot</i>, in advance of her September reading tour in the west and in the north.<br /><br />
In the novel, Susan Haley explores the troubled life and dubious claims of Father Émile Petitot, a controversial nineteenth-century missionary Oblate priest, linguist and ‘explorer’ whose fifteen years beneath the Arctic Circle were punctuated by scandal, delusional behaviour and episodes of outright madness and paranoia These problems caused him to be shuffled from mission to mission, temporarily excommunicated and even forcibly hospitalized by the bishop. Petitot’s story is framed by the contemporary story of Marcus, a young man who, fresh out of college and reeling from the failure of a marriage that had barely even begun, takes a teaching job in a tiny northern-Canadian native community. While struggling to grasp his own predicament, he finds himself entangled in much larger community tragedies – the suicide of an aging priest and the death of two young students from exposure. But it is his discovery of the writings of Émile Petitot which finally threatens to unhinge Marcus, launching him on an obsessive quest for answers.<br /><br />
Susan of course lived up north in Fort Norman for a number of years, where she ran a charter airline with her partner. In what I believe is the most northerly-sweeping Gaspereau Press tour ever, Susan will read in Edmonton, Yellowknife, Calgary and Saskatoon though mid-September. (At the Calgary and Saskatoon events she will be reading with Sean Johnston, who also has a novel out with Gaspereau this fall.) You can find up-to-the-moment details on <a href="http://www.gaspereau.com/newreleases.php">our website</a>.<br /><br />
As well as maps drawn by Jack McMaster, <i>Petitot</i> includes reproductions of some of Émile Petitot’s own sketches. This one is on the jacket.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_SXw7LkQgo9zn8L_HPkIZfTjj7ajNbUGNBHJfXhUuawP5bFFYGtpf2QwBGrIj0SufK24rcCwY1b0AWmk4Dt-y8QmWUWpCprG5lJ5v4pwzhvOkISoNhYK18uOQ76URH-eU5R4arz3pahXO/s1600/SH20+ADJ+BLOG.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_SXw7LkQgo9zn8L_HPkIZfTjj7ajNbUGNBHJfXhUuawP5bFFYGtpf2QwBGrIj0SufK24rcCwY1b0AWmk4Dt-y8QmWUWpCprG5lJ5v4pwzhvOkISoNhYK18uOQ76URH-eU5R4arz3pahXO/s400/SH20+ADJ+BLOG.jpg" /></a><br /><br />
Below is a short video clip of Connie sewing signatures for Susan’s book on the sometimes cantankerous Smyth sewing machine in our bindery. A signature is what we call a press sheet after we have folded it three times, resulting in a 16 page section of the book. A book comprised of a bunch of signatures which were made by folding a press sheet three times is called an octavo or 8vo book (<i>octo</i> for the eight pages printed on each side of the press sheet). The term signature originates from the marks printers often put at the foot of the top page of each section of the book to indicate which order the sections were to be gathered in. Signature one is pages 1 to 16, signature two is pages 17 to 32, etc.
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnPLVFmA1mKOSZY0F7M4iuuhyphenhyphenxPS_Zbpp1nBb_UhlDqxsXWgvgSGz2g6ZZm0QusT5q2L8dmJnAd8M4ozfpo_bINMpsNtg5wgB2zjAzA6z99GB-OQ4qTxS4Ht2XsJ_pHF1XpRtwlGWhDyMs/s1600/don+mckay+imposed4.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnPLVFmA1mKOSZY0F7M4iuuhyphenhyphenxPS_Zbpp1nBb_UhlDqxsXWgvgSGz2g6ZZm0QusT5q2L8dmJnAd8M4ozfpo_bINMpsNtg5wgB2zjAzA6z99GB-OQ4qTxS4Ht2XsJ_pHF1XpRtwlGWhDyMs/s400/don+mckay+imposed4.jpg" /></a><br />
<i>One side of an imposed 8vo press sheet for Don McKay’s Muskwa Assemblage.</i><br /><br />
In the video, Connie is placing signatures (which have already been gathered in order) onto a conveyer. They travel to the anvil where they are flipped up and sewn together into a book block. After the book blocks are crushed in a clamp for a while to compress the threads into the spine, they are ready for binding. <br /><br />
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ANDREW STEEVES ¶ PRINTER & PUBLISHER
Andrew Steeveshttp://www.blogger.com/profile/11419326535390211322noreply@blogger.com0tag:blogger.com,1999:blog-2055177173193179624.post-77749404580720795932013-09-04T18:41:00.001-07:002013-09-04T18:41:16.515-07:00Divino Jure Typographus<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3FTxqmmYClzDnkLEnDSAVLox0QHmJqvoyQ-NnAQ1L2AnZ83zk30k_OjI7khQwTj3dupU-grnUEBBGA8dMDZA3zBTNZtU2GKoCRaTfBj_gpzCWCg_C8pt4jsGpcvr5UL6CS9kwVc_WnD_a/s1600/WAS_3455+sm.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3FTxqmmYClzDnkLEnDSAVLox0QHmJqvoyQ-NnAQ1L2AnZ83zk30k_OjI7khQwTj3dupU-grnUEBBGA8dMDZA3zBTNZtU2GKoCRaTfBj_gpzCWCg_C8pt4jsGpcvr5UL6CS9kwVc_WnD_a/s400/WAS_3455+sm.jpg" /></a><br /><br />
A mysterious envelope with a Detroit return address on it appeared on my desk today. Opening it, I discovered a moving poster from my friend and sometimes co-conspirator Amos Paul Kennedy, Jr. The poster was printed on a run-of-th-mill map of Amos’s longtime state of residence, Alabama, highlighting the importance of voting in general and the suppression of the Black vote in particular.<br /><br />
Coincidentally, Nova Scotians presently await a provincial election call, expected early this fall. There is much speculation about whether the incumbent New Democratic government will be returned by the people. But there is also much concern about declining voter turnout, especially among younger voters. Vote! Vote! <br /><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhH3I-6V3ZZVSJLwuJUNnP2Okzhp2NYCl3jSFfK9vDQ_x82QpmRKiNITQfr93O73AF8mJ82tFx-tS-F61sJZ7gMYWmMhVPNApnxZwasoYrG7aCYeGb9vb0FV97QnZDyMsyTfbQzFgwyPGza/s1600/WAS_3460+sm.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhH3I-6V3ZZVSJLwuJUNnP2Okzhp2NYCl3jSFfK9vDQ_x82QpmRKiNITQfr93O73AF8mJ82tFx-tS-F61sJZ7gMYWmMhVPNApnxZwasoYrG7aCYeGb9vb0FV97QnZDyMsyTfbQzFgwyPGza/s400/WAS_3460+sm.jpg" /></a><br /><br />
Also expected this fall, at least in this jurisdiction, is the Gaspereau Press wayzgoose, at which Amos will be among our featured guest printers. (The wayzgoose also features the well-haberdashed printmaker George Walker and Greenboathouse Press’s Jason Dewinetz.) The last time Amos was here in Kentville, he told the late Canadian typographer Glenn Goluska that all the wood type in the world actually belonged to him, but that he generously permitted other printers to make us of it, at his pleasure. Glenn’s extensive collection of wood type is now a part of the Gaspereau Press holdings, and I can only imagine Amos continues to assert his claim to <i>Divino Jure Typographus Kennedy</i> over the world’s supply of wood type. We’ll have to watch our p’s and q’s while his highness is in town.<br /><br />
Our wayzgoose and open house will be on Saturday October 26th. Events will be taking place all day long and into the evening. It is free and open to the public.<br /><br />
ANDREW STEEVES ¶ PRINTER & PUBLISHER
Andrew Steeveshttp://www.blogger.com/profile/11419326535390211322noreply@blogger.com1tag:blogger.com,1999:blog-2055177173193179624.post-35601244604639294382013-08-29T21:51:00.000-07:002013-08-29T21:51:17.242-07:00Changes in the pressroom<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-ZeoErq2kYmc5q8yaRtB5RLaJDIdzq9LYP7hv4KPbD7WwFpkXAP0YyU26D2p8BfP4TlTqDIf8HRy3idlzx0SzfUzJYuorRqZqOmAOb8ugHhyphenhyphen4ZtBq-ejpomtD2Qs9M7tbgNKfiqBuMl6t/s1600/WAS_2687+blog.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-ZeoErq2kYmc5q8yaRtB5RLaJDIdzq9LYP7hv4KPbD7WwFpkXAP0YyU26D2p8BfP4TlTqDIf8HRy3idlzx0SzfUzJYuorRqZqOmAOb8ugHhyphenhyphen4ZtBq-ejpomtD2Qs9M7tbgNKfiqBuMl6t/s400/WAS_2687+blog.JPG" /></a></div>
<i>Incoming pressman Adam Steeves and outgoing pressman Matt MacLean</i><br /><br />
Gaspereau Press said goodbye to its main offset press operator Matt MacLean this week. Recently returned from a honeymoon trip to Mexico, Matt is leaving Gaspereau Press to attend a machinist’s program at the local community college. I guess all those days spent maintaining and running our old Heidelberg KORD presses and sweet-talking them into printing evenly-inked sheets convinced him that he liked working with machines. Matt came to us fresh out of high school with no previous printing experience, but his curiosity, work ethic and mechanical aptitude quickly saw him develop into one of the best press operators the company has ever had the pleasure of employing. We’ll miss Matt, but I’m hoping we’ll see him back to volunteer at this year’s wayzgoose.<br /><br />
Filling his considerable shoes is Adam Steeves. Adam’s ambition is to compete as a boardercross athlete at a national level, and his father (me) decided that he’d better learn a trade and earn some money as he strives after that admirable goal. He’s been working with Matt for a few months now and has proven himself to be a quick study and a careful workman. He’s the third offspring of the Dunfield and Steeves clans to spend some time operating a press in our establishment, though the first one to do so full-time. Nic Dunfield has been known to tend a Heidelberg once in a while when we have a big flyer job (he is now studying to be a chief). And Joseph Steeves has been working as a devil in the letterpress shop for a while now and is becoming a deft hand at dissing type and cranking Vandercooks.<br /><br />
Anyway, good luck to both Matt and Adam with their exciting new ventures.<br /><br />
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As we start into fall, our new books are taking physical form. Here is a short video clip of the jacket for David Zieroth’s new book being printed letterpress on my big Vandercook 219. The paper, made by David and crew at Saint Armand, had a fleck of flax or something in it that looked wonderful but flaked off something awful as I handled the paper, getting into my ink. You’ll see me brushing each sheet as I feed them into the press to keep this intrusion to a minimum. I’ll post pictures of the finished cover once I have the second colour printed.<br /><br />
ANDREW STEEVES ¶ PRINTER & PUBLISHERAndrew Steeveshttp://www.blogger.com/profile/11419326535390211322noreply@blogger.com0tag:blogger.com,1999:blog-2055177173193179624.post-63083177251281424212013-08-11T19:43:00.000-07:002013-08-13T06:42:17.085-07:00International Tramp Printer, ReduxIt’s been pretty busy here in the printshop as we prepare our fall list for press (more about that in a future post). I did manage to break-up my summer with a couple of diversions. One was a trip to Massachusetts and Maine with my friend and frequent co-conspirator, photographer and letterpress printer Thaddeus Holownia. We spent three days on the move making photos, and three days hunkered down in most eastern city in the union – Eastport, Maine.<br /><br />
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Our initial destination was Walden Pond in Concord, Massachusetts, where we took an early morning walk around the kettle pond Henry David Thoreau made famous after his two-year residency on its shore. The whole thing is a little odd now, mediated by swimming buoys in the pond, lifeguard chairs on the beach and page-wire fences to keep the pilgrims on the path and protect the shoreline from erosion. But still … it was Walden! There is a wonderful statue of HDT near the parking lot. The hand has been worn smooth from, I assume, people holding it. <br /><br />
We also stopped in and visited with Jeff Cramer, curator at the Walden Woods Project, and then headed north to Maine for a great supper with Michael Alpert of the University of Maine Press in Bangor, making pictures along the way.<br /><br />
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Thaddeus was travelling with a number of cameras, but mostly he was rocking a 7 × 17 inch view camera. It’s a real brute. I always find it interesting to watch him set up to make a picture, and as the trip progressed I started documenting some of his process.<br /><br />
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One of our objectives on this trip was to visit Moosehead Lake, on which Thoreau travelled during two of his three trips to Maine. We stopped on the dock at Rockwood where Thaddeus made two photos of the lower lake. The outcropping on the far left is Mount Kineo. It was a beautiful vista. Not that Thaddeus was only photographing landscapes. We photographed nail salons and barber shops, Dave’s Video Rental and Romantic Supermart, and Stephen King’s wrought-iron gates in front of his Bangor home, to name a few of his more unusual subjects. And me? As usual, I mostly photographed strange signs and wild letterforms. And photographers.<br /><br />
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When we landed in Eastport we put our free-wheeling hobo ways behind us and settled in for three days of intense work. Our friend Hugh French has been toiling in that hardluck little city, population 1300, working under the flag of the Tides Institute and Museum of Art to save a number of its downtown buildings and establish cultural ventures within their walls. His most recent project is the creation of a studio space and printshop. While the building is still undergoing renovation, the Institute was able to host two artists in residence this summer. My plan was to slip in between the these two artists and volunteer in the printshop for three days, doing some much-needed maintenance on their press and then printing a little broadside. While I worked, I propped open the front door and enticed unwitting tourists into the studio to chat about the Tides Institute and about letterpress printing in general. It was a lot of fun.<br /><br />
Meanwhile, architect and art historian John Leroux arrived from Fredericton, New Brunswick, and he and Thaddeus took off to photograph buildings in the small but architecturally diverse city of Eastport. It seemed every other time I looked up from my press I’d see Thaddeus and John driving down Water street past the studio again, which made me think of a crazy chase scene in an early Peter Sellers movie.<br /><br />
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Here’s the Vandercook No.4 in the early morning light, with a single letter Y locked up on the bed. Don’t ask me why. Just because.<br /><br />
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Here is some 1930s vintage Eastport printing, announcing the Quoddy Power project, a tidal power project that was abandoned before it was completed. This poster is in the collection of the Tides Institute.<br /><br />
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And here’s some wonderful wild signage which I saw from the front door of the studio while looking out to the wharf beyond. Notice how it is skillfully duct taped to the cab door.<br /><br />
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The other reason for our trip was that Julian Smith, director of the Willowbank School for the Restoration Arts in Queenston, Ontario, was in town to give a lecture. I actually designed and printed the posters for this event back at Gaspereau Press earlier in the summer. The poster was handset in Monotype Baskerville and printed on a St. Armand paper.<br /><br />
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When I got home again, I had to hit the ground running. As often happens during the summer months, this past week saw many surprise visits from other printers, writers and book lovers from all the place (including Toronto, Guelph and Jerusalem). When I wasn’t entertaining, I spent most of the week taking a final look at fall books before sending them to film and cranking jackets for the fall issue of the Fine Press Book Association’s journal, <i>Parenthesis</i>, through my big Vandercook. As the week wore on, it occurred to me that the wall which divided my office from the rest of the letterpress studio was no longer serving any practical function; it was a relic the early days of the press when we had more staff and needed more division of space. Why, I asked myself, was a I working in a small box at the end of a much longer room when I was the primary occupant of both rooms? So this weekend I tore the wall out and annexed the whole letterpress studio as my office. I am likely the only trade publisher in North America with ten printing presses in his office. <br /><br />
ANDREW STEEVES ¶ PRINTER & PUBLISHER<br /><br />
Andrew Steeveshttp://www.blogger.com/profile/11419326535390211322noreply@blogger.com0tag:blogger.com,1999:blog-2055177173193179624.post-22749135140622552562013-07-26T04:24:00.001-07:002013-07-26T04:24:49.635-07:00A Summer Evening’s Chat<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnIfkJu8UbcK7yfPyNcZTtlV2I6dqRKcFi92FCdwuT1UNKxccpo7yIWlTXrlP0YNZyWpbAN6lEQo_7dI4ftTS7skoFNTna3FxN54TBRo4OODcVTjDmBHEQPctPeeEZJ2LfZqxaMPdiX9aQ/s1600/WAS_2806+SM.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnIfkJu8UbcK7yfPyNcZTtlV2I6dqRKcFi92FCdwuT1UNKxccpo7yIWlTXrlP0YNZyWpbAN6lEQo_7dI4ftTS7skoFNTna3FxN54TBRo4OODcVTjDmBHEQPctPeeEZJ2LfZqxaMPdiX9aQ/s1600/WAS_2806+SM.jpg" /></a></div><br /><br />
Last month I sat down in a Halifax kitchen and spent a pleasant evening chatting with the bookbinder Susan Mills. Susan hosts a web-based interview series called “Bookbinding Now” which boasts an impressive archive of interviews with artists, binders and publishers. Susan and I were clearly in an expansive mood, and I think it’s one of the best pieces on the Gaspereau Press aesthetic to appear in some time. <a href="http://www.bookbindingnow.com/">Check it out here.</a><br /><br />
ANDREW STEEVES ¶ PRINTER & PUBLISHER<br /><br />Andrew Steeveshttp://www.blogger.com/profile/11419326535390211322noreply@blogger.com0tag:blogger.com,1999:blog-2055177173193179624.post-15438013699659708822013-07-16T17:50:00.000-07:002013-07-16T17:50:13.730-07:00Wayzgoose 2013We’ve started to solidify our plans for this year’s Gaspereau Press Wayzgoose. The date will be <b>Saturday October 26th</b>, with activities throughout the day. Our guests printers this year will be:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwoNbA_GDCv80usrKuXZpG4lNz6ADJOVJjRfPHler6ur2UCN8TzAZtV7ZNIKle6KztRi8iq0cJBEZEDPODw4GOzo4ytbbjMOc5snIWNgN9KkbD8_6_BV0xl36jRRf5iG-uuoTqrblE5J4I/s1600/JasonDewinetz.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwoNbA_GDCv80usrKuXZpG4lNz6ADJOVJjRfPHler6ur2UCN8TzAZtV7ZNIKle6KztRi8iq0cJBEZEDPODw4GOzo4ytbbjMOc5snIWNgN9KkbD8_6_BV0xl36jRRf5iG-uuoTqrblE5J4I/s400/JasonDewinetz.jpg" width="300" /></a></div>
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<strong><span style="color: #660000; font-size: large;">Jason Dewinetz</span></strong>, printer <br />
Greenboathouse Press (Vernon, BC)<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKZDZ98q9lmUlUr8nKBLCwCwqWo7dh83dhhzUnab0aySIwWVSrI-A-INy9fTld_LtFZ_aDnpVdI2U5JU1mvpwxt8xuLSySqpR9lj76HINuFZfGnDACpN-vo4yHMC3gEqj1jXPVLEdJxJX9/s1600/GW+Albion+03.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKZDZ98q9lmUlUr8nKBLCwCwqWo7dh83dhhzUnab0aySIwWVSrI-A-INy9fTld_LtFZ_aDnpVdI2U5JU1mvpwxt8xuLSySqpR9lj76HINuFZfGnDACpN-vo4yHMC3gEqj1jXPVLEdJxJX9/s400/GW+Albion+03.jpg" /></a></div>
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<span style="color: #660000; font-size: large;"><strong>George Walker</strong></span>, printer<br />
Biting Dog Press (Toronto, ON)<br />
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<span style="color: #660000; font-size: large;"><strong>Amos Paul Kennedy, Jr.</strong></span>, printer<br />
Kennedy Prints (last know address, Gordo, Alabama)<br />
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Yeah, that’s a whole lot of printers for one low, low price (as in FREE). These giants of the letterpress printing world will be hanging out in our printshop all Saturday long making inky talk with passers by and printing up a storm. <br />
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But wait, there’s more. If you join us at our Kentville printing works that Saturday, we’ll throw in a reading and some quality time with some real live writers, including Nova Scotia writers <strong>Sue Goyette</strong> and and <strong>Dana Mills</strong>.<br />
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I’ll post more details as October approaches, but suffice it to say that there will be a writers’ salon in the morning, printing demos in the shop all day, and readings and a lecture in the evening. The Douglas Lochhead Memorial Lecture will be delivered by Jason Dewinetz.<br />
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We are also hoping to officially launch <strong>Rod McDonald’s</strong> new typeface, ‘Goluska’, at the wayzgoose. Goluska (which has appeared in ‘beta’ form in a couple of Gaspereau productions) is named in tribute to the late Canadian typographer Glenn Goluska, whose letterpress collection was acquired by Gaspereau Press in 2012.<br />
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So if you only go to one printerly event in an out-of-the-way location this year, make it the Gaspereau Press wayzgoose on October 26th. You never know who else may show up. (Bevington, Carruthers … I’m talking to you!)<br />
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ANDREW STEEVES ¶ PRINTER & PUBLISHER<br />
<br />Andrew Steeveshttp://www.blogger.com/profile/11419326535390211322noreply@blogger.com0tag:blogger.com,1999:blog-2055177173193179624.post-22245809362883597642013-04-18T12:59:00.000-07:002013-04-18T12:59:11.649-07:00Tra-la! in Halifax on Friday<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwNOX_xJy74zSAqPRgtuH8l9ACs9qllvpEis7LEZSyHESHfEshSlAb-eSWUdg58Qc1j6JFmepvUIH35AcaZzM1oYOnhCfO6H-AooV35idDq6x-dj5ea7SKRkxdLy7l_UWnGPvcrvuGaMIm/s1600/2013+TRA-LA+poster+d02.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwNOX_xJy74zSAqPRgtuH8l9ACs9qllvpEis7LEZSyHESHfEshSlAb-eSWUdg58Qc1j6JFmepvUIH35AcaZzM1oYOnhCfO6H-AooV35idDq6x-dj5ea7SKRkxdLy7l_UWnGPvcrvuGaMIm/s320/2013+TRA-LA+poster+d02.jpg" /></a> <br /><br />
Gaspereau Press will be launching new books by Allan Cooper, Harry Thurston, Peter Sanger, John Terpstra and Sue Goyette at its spring poetry Tra-la! on Friday night. The authors will be on hand to read from their new books. 7:00 PM at the Company House, 2202 Gottingen Street, Halifax. Gary Dunfield will be the MC. Free Admission. Must be the age of majority. <br /><br />
ANDREW STEEVES ¶ PRINTER & PUBLISHER
Andrew Steeveshttp://www.blogger.com/profile/11419326535390211322noreply@blogger.com2tag:blogger.com,1999:blog-2055177173193179624.post-34732876695401814662013-03-27T11:12:00.001-07:002013-03-27T11:12:44.298-07:00Gaspereau Press Wins a few Design AwardsOn Monday, I was pleased to get a phone call from the folks at the Alcuin Society in Vancouver to let me know that a few Gaspereau Press books had won design awards this year. For 31 years now, the Alcuin Society has been working to increase awareness of book design in Canada by running this annual competition. This year, over 230 books were submitted to be judged by three judges: Marvin Harder, Naomi MacDougall and William Rueter. The judges awarded prizes to 41 books – first, second, third and sometimes honourable mentions and ties.<br />
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Four Gaspereau Press books were awarded prizes: two firsts, a second, and a tie for second. Those books were:<br />
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<span style="color: #990000;"><strong>FIRST PRIZE, POETRY</strong></span><br />
<a href="http://www.gaspereau.com/bookInfo.php?AID=99&AISBN=0">Monica Kidd’s <i>Handfuls of Bone.</i></a><br />
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<strong><span style="color: #990000;">SECOND PRIZE, POETRY</span></strong> <br />
<a href="http://www.gaspereau.com/bookInfo.php?AID=0&AISBN=9781554471034">George Elliott Clarke’s<i> Black</i>. </a><br />
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<strong><span style="color: #990000;">FIRST PRIZE, FICTION</span></strong><br />
<a href="http://www.gaspereau.com/bookInfo.php?AID=0&AISBN=9781554471072">Stephen Marche’s <i>Love and the Mess We’re In</i></a>.<br />
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<strong><span style="color: #990000;">SECOND PRIZE, PROSE NON-FICTION (TIE)</span></strong><br />
<a href="http://www.gaspereau.com/bookInfo.php?AID=0&AISBN=9781554471188">Carmine Starnino’s <i>Lazy Bastardism: Essays & Reviews on Contemporary Poetry</i></a><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNRzbkSmWhZyqnxCxGiTqRmA_I5rDplC0LZAiI8g71C0j30Jp4WDlJbIlcoA22SWzpOz2o5WokNiGivHaZxuCD1HieTPruSux1S-rSe8WJv07lr4i0g0RCHe8jv1KyTT4DbJPF8YdwS0mD/s1600/9781554471140+jacket+front+copy.jpg" imageanchor="1"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNRzbkSmWhZyqnxCxGiTqRmA_I5rDplC0LZAiI8g71C0j30Jp4WDlJbIlcoA22SWzpOz2o5WokNiGivHaZxuCD1HieTPruSux1S-rSe8WJv07lr4i0g0RCHe8jv1KyTT4DbJPF8YdwS0mD/s320/9781554471140+jacket+front+copy.jpg" /></a><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0lwXazZfoDP-gtA3Izy64Xex-uGEpVCxHTfwaufnIikTJp6qn0IBfi9YS2ikfEUC0RpCC3qcowjZ2mi7GbOqaBHAmni4RXDfNNlmoU_f6Jn-ruMCcqd1H2E2kxkYaUB-c9Lsxhew_SmeQ/s1600/Kidd.jpg" imageanchor="1"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0lwXazZfoDP-gtA3Izy64Xex-uGEpVCxHTfwaufnIikTJp6qn0IBfi9YS2ikfEUC0RpCC3qcowjZ2mi7GbOqaBHAmni4RXDfNNlmoU_f6Jn-ruMCcqd1H2E2kxkYaUB-c9Lsxhew_SmeQ/s320/Kidd.jpg" /></a><br />
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<b>Monica Kidd’s <i>Handfuls of Bone</i></b> (above) was one of my favourite designs from last year so I’m glad the judges liked it. It’s quite quiet, and it allowed me to employ some archival images that I found while wandering in the stacks at my local university library. It also uses a type that I bought from my late friend Jim Rimmer, a type that passed down though many great hands (Jannon, Goudy, Rimmer) into my own. Here’s an except from the production notes I printed in the book:<br />
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<blockquote class="tr_bq">
<span style="font-family: "Trebuchet MS", sans-serif;">The typeface used in this book is Garamont, a revival of a metal typeface designed by the French Protestant punchcutter Jean Jannon in the early 1600s. Jannon’s type was seized by the French Crown in 1641 when he was accused of illicit, non-Catholic printing. Rediscovered in the collection of the Imprimerie Nationale, Paris, several centuries later, his work was misattributed to an earlier craftsman, Claude Garamont (sometimes spelled Garamond), and named accordingly. Baroque in form and flavour, Jannon’s letterforms bear little resemblance to the High Renaissance types made by Garamont, but the commercial success of their twentieth-century relaunch disinclined manufacturers toward messing with the brand; the name stuck. Regardless, Jannon’s design has passed down to us through capable hands: The Lanston Monotype version, issued in 1921, was adapted for the Monotype casters by the legendary American type designer Frederic W. Goudy (1865–1947); the Lanston version was in turn digitized and released by the intrepid Canadian type designer Jim Rimmer (1934–2010) in 2004; further refinements have been undertaken at Gaspereau Press.</span><br />
<span style="font-family: "Trebuchet MS", sans-serif;"></span><br />
<span style="font-family: Verdana, sans-serif;"><span style="font-family: "Trebuchet MS", sans-serif;">The engravings reproduced in this publication also date to the seventeenth century, and to a book with a story nearly as twisty as the type’s. They were originally drawn by Odoardo Fialetti (1573–1638) and engraved on copper plates by Francesco Valesio. They were commissioned to accompany an anatomical atlas begun in 1600 by Giulio Cesare Casseri, Chair in Surgery and Anatomy at the University of Padua. His death in 1616 left the project incomplete and unpublished. His successor at the university was one of his students, Adriaan van de Spiegel (1578–1625), who likewise left an anatomical text unpublished at the time of his death, <em>De Humani Corporis Fabrica Libri Decem</em>. But unlike Cesseri, Spiegel left his book in the care of an able colleague, the German physician Daniel Buretius, who edited and published the work with a Frankfurt printer in 1632. To accompany Spiegel’s text, Buretius purchased Fialetti & Valesio’s stranded illustrations from Casseri’s heirs, commissioning twenty new illustrations from the pair as well. I encountered and photographed <em>De Humani Corporis Fabrica Libri Decem</em> while rambling in the rare books collection of the Acadia University Library, Wolfville, Nova Scotia; many thanks to the library and archives staff at Acadia for their ongoing support of my typographic research</span>.</span></blockquote>
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<b>George Elliott Clarke’s <i>Black</i></b> (above) posed some interesting challenges. It was a new edition reprint of a book that had originally been published by Polestar in 2006. That Polestar edition had been handsomely designed, but the production itself was quite poor. While my design was completely new, it used many of the same elements (photographs, big black backgrounds bleeding off the page, etc.) and tried to retain the same pagination. Someone, someday, might have fun comparing the two versions.<br />
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As well as changing the trim size and the approach to the cover, I moved to different typefaces: Robert Slimbach’s astonishingly robust Garamond Premier Pro for the body text (which is actually based on Garamont’s types) with Eric Gill’s Sans (and the bold Monotype added to it later) for the headings.<br />
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One of the things that bugged me about the Polstar edition was that the printer paid attention to the big solid blacks to the detriment of the type. On many pages, the type is uneven and swollen with too much ink, the result of the pressman trying to get enough ink on the paper for the big solids. A design works best when it can be executed within the constraints of the tools you’re using, or when you understand the possible pitfalls and know how to work around them. In our case, we decided that the big black solids that act as dividers between the books many sections would be printed separately from the type and halftones. That way, the type could be printed with the proper density without sacrificing the intensity of the solids, and when the solids were printed we could saturate them without worrying about the type and halftones getting muddied. This sort of control is one of the advantages of understanding the tools you are working with and seeing a design right through the production process.<br />
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I’ve already written a fair amount about the adventure of putting together <b>Stephen Marche’s <i>Love and the Mess We’re In</i></b> (above). In some ways, it’s a typographer’s dream project, full of interesting forms which stretch one’s typographic skills. It’s the sort of book that makes you curse while you are trying to sort out the problems it presents and then makes you grin like a fool when you finally do. While I was designing it, I thought often of Avital Ronell’s <i>The Telephone Book: Technology, Schizophrenia and Electric Speech</i> which was designed by Richard Eckersley and published by the University of Nebraska Press in 1989 and the way it integrated the text and the design to express meaning in a particular way.<br />
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I used a number of types for this book, including (again) Gill Sans, a beta version of Rod McDonald’s kick-ass revival Classic Grotesque, P22’s version of William Morris’s Troy type and Canada Type’s version of Ambassador Script. But it is Canadian designer W. Ross Mills’s incredibly versatile and robust Huronia that carried this book through its many twists and turns, page after page. Set for the most part in a modest 10 point size, Huronia is sings. We’re one of the few publishers using Huronia at the moment, which surprises me. I hope that changes, because I want to encourage Mills to keep designing text faces. I’m using it this spring in <a href="http://www.gaspereau.com/bookInfo.php?AID=0&AISBN=9781554471225">Sue Goyette’s poetry collection, <i>Ocean</i>. </a>I think my favourite use of it so far was in <a href="http://www.gaspereau.com/bookInfo.php?AID=0&AISBN=9781554470945">John Leroux and Thaddeus Holownia’s <i>St. Andrews Architecture 1604–1966</i></a>.<br />
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A big party of this book was the subway map. My friend Jack McMaster created the base layer of the map making reference to a real NYC subway map Stephen sent me, and I set the type. It took days. Even as a fold-out, it was tricky to get everything on the map in a sane fashion. But it was well worth the effort.<br />
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The final book is <b>Carmine Starnino’s <i>Lazy Bastardism</i></b> (above). I’ve always admired the passionate opinions held by Carmine, and as I am interested in fostering a robust and diverse literary culture in this country, it only makes sense that I would be publishing Carmine’s essays and reviews. Sometimes they are controversial, and sometimes they are critical of my friends and my own authors, but I still think that the conversation is one worth having.<br />
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I decided to set the book in a type designed by another iconoclast – John Baskerville. I’ll reproduce the note on the type which was published in the book (which was my perhaps not too subtle attempt to sneak an essay of my own into Carmine’s book, and to justify my publication of his work):<br />
<i> </i><br />
<blockquote class="tr_bq">
<span style="font-family: "Trebuchet MS", sans-serif;">This book is set in a digital revival of a typeface designed by the printer John Baskerville and cut in steel by John Handy in the 1750s. John Baskerville (1706–75) turned to printing in midlife after a successful career as a writing master and a Japaner of household goods in Birmingham, England. Finding the available printing methods and materials lackluster, Baskerville simply followed his own tastes, designing his own types and modifying his presses, inks, papers and technique to his liking. The results were stunning. Although he printed books for Cambridge University for a while, Baskerville’s innovations were largely dismissed by his countrymen and his publishing ventures were not profitable. English readers simply preferred the rough, laid paper and the wonky warmth of William Caslon’s Baroque-flavoured typefaces to Baskerville’s smooth, white paper, crisp Neoclassical letters and intensely black ink. </span><br />
<span style="font-family: "Trebuchet MS", sans-serif;"></span><br />
<span style="font-family: "Trebuchet MS", sans-serif;">This prejudice may have had more to do with the fact that Baskerville was an iconoclast and an outsider than with the particular results of his innovations. The American printer and diplomat Benjamin Franklin, after listening to a Londoner pontificate on how Baskerville’s terrible printing was ‘blinding all the readers of the nation’, produced an unlabelled type specimen and asked the fellow to instruct him on Baskerville’s failings. The guest obliged, pointing out ‘disproportions’ and ‘errors’ in the type with a tone of authority. In fact, he only succeeded in demonstrating his own ignorance. The specimen Franklin showed him displayed William Caslon’s types. ‘I spared him that time the confusion of being told that these were the types he had been reading all his life’, Franklin wrote to Baskerville. ‘He never discovered the painful disproportion in them, till he thought they were yours.’</span><br />
<span style="font-family: "Trebuchet MS", sans-serif;"></span><br />
<span style="font-family: "Trebuchet MS", sans-serif;">It wasn’t until the early twentieth century, when revivals were cut for Monotype and Linotype typecasting systems, that Baskerville’s types earned their proper due. Elizabeth Bishop once wrote that she felt Monotype Baskerville was her preferred typeface for poetry books. Printed letterpress, Baskerville indeed holds its own. One of the most soundly designed books of Canadian poetry I own is set in Baskerville (E.J. Pratt’s <em>Collected Poems</em>, designed by Frank Davies in 1958). But the flat, modern offset-printed page has not been as sympathetic a medium for the fine hairlines of Baskerville’s letters, and on screens his type fairs even worse, at least for continuous reading. If it is to be successfully used today, some revision will perhaps be necessary, guided by a sensitivity to the characteristics of the media which mirrors Baskerville’s own willingness to tinker until he’d achieved the desired effect. The digital version of Baskerville used in this book has been slightly modified to that end; the experiment continues.</span></blockquote>
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Thanks again to the Alcuin Society for sponsoring these awards, and to the judges for their encouragement not only of my own work, but of the work of all book designers who care enough to learn how the trick is done and to strive for excellence in the work they do.<br />
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ANDREW STEEVES ¶ PRINTER & PUBLISHER<br />
<br />Andrew Steeveshttp://www.blogger.com/profile/11419326535390211322noreply@blogger.com1tag:blogger.com,1999:blog-2055177173193179624.post-21808856878189039052013-03-08T18:22:00.001-08:002013-03-08T18:22:49.710-08:00Two Nights in TorontoI’ve just returned from two days in Toronto where I was hanging around with some of my favourite book people. I started with an evening with Tim and Elke Inkster north of the city in Erin. <br /><br />
On Monday I hung out with the gang at Coach House Books which is ground zero for all my Toronto excursions. Stan Bevington took me over to Massey College to meet the new college printer, Nelson Adams (who worked at Coach House back in the early days), and to see a small exhibition of work by William Rueter of the Aliquando Press. After this, we went to Swipe Books to hear Rod McDonald give a talk on the pioneering graphic designer Carl Dair. This event was to celebrate the University of Toronto Press’s revival of Dair’s influential and hitherto out of print book <i>Design With Type</i>.<br /><br />
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<i>Rod McDonald about to deliver his Dair talk</i><br /><br />
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<i>Canada Type’s Patrick Griffin at the Dair talk</i><br /><br />
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<i>Type designers Patrick Griffin and Kevin King in the foreground, with Coach House’s Stan Bevington in the middle</i>.<br /><br />
Rod’s talk was excellent – it was standing room only. But I was extremely disappointed to discover that this edition of <i>Design With Type</i> was ‘printed’ using some sort of short-run digital device and not an offset press. The paper was awful. The reproduction process had swollen the type terribly and everything looked like a bad colour photocopy. It’s a sham of a book, a shadow of its former self. And yet, the price has gone up. Unbelievable! I could hardly stifle my anger – but I did, because I didn’t want to hurt Swipe’s sales; they are a wonderful bookstore. <br /><br />
You might think that this sort of lesser-quality reprint is at least better than the book being unavailable, but I disagree. Something worth doing is worth doing correctly, and I suspect that if the book had simply been dropped by U of T Press rather than brought back in this half-assed fashion that either Coach House Books or Gaspereau Press would have stepped up and undertaken a proper reprint, so important is this book to Canadian design. As it stands, the book’s new form contradicts its content. I think this technology has its place, but it is being too liberally applied by university presses in particular. I also think it’s wrong to pass a bound colour photocopy job off as being the equivalent of a well-printed book. They are as different as apples and oranges.<br /><br />
On Tuesday, I cleared my head by hiding in the printshop library at Massey College in the morning, and then in the reading room of the Thomas Fisher Rare Book Library in the afternoon, looking at some things I can’t find in small-town Nova Scotia – like this book published by the French punchcutter Pierre Haultin in 1587 (below) housed at the Fisher.<br /><br />
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That evening, I delivered the Leon Katz Memorial Lecture for the Friends of the Fisher. The lecture is available online if you <a href="http://fisher.library.utoronto.ca/events-exhibits/friends-of-fisher-events">go to this site</a> and scroll down to Tuesday, 5 March 2013, The Leon Katz Memorial Lecture. The talk was titled <i>The Stacks School of Typography</i>. George Elliott Clarke gave a rousing introduction.<br /><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhj55l6ZESzNdZxAXk9cWuXMiYE7SRAYObw-gDc5VjpRgID5m7414YzILLPtIdCQFnqO9g9XmBSg0ZZI8s8oJmWiDIkTOnh1FnVDnh1xl_KHboRI0sMT0ybZHYwYiDqlXsMBfnSsRefHXqP/s1600/BLOG+Chalk.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhj55l6ZESzNdZxAXk9cWuXMiYE7SRAYObw-gDc5VjpRgID5m7414YzILLPtIdCQFnqO9g9XmBSg0ZZI8s8oJmWiDIkTOnh1FnVDnh1xl_KHboRI0sMT0ybZHYwYiDqlXsMBfnSsRefHXqP/s320/BLOG+Chalk.jpg" /></a><br />
<i>Canada Type’s Patrick Griffin and Kevin King at my Fisher Rare Book Library lecture, with Kevin’s script on the blackboard</i><br /><br />
ANDREW STEEVES ¶ PRINTER & PUBLISHERAndrew Steeveshttp://www.blogger.com/profile/11419326535390211322noreply@blogger.com7tag:blogger.com,1999:blog-2055177173193179624.post-70896102463834689282013-02-14T10:17:00.001-08:002013-02-14T10:20:21.235-08:00Rare in Toronto<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxz1h7MYi_bIVvEwex4pvTkDCBHDCtEdDvSxd6rtcBH7l01qAkRSg-iviW6EE0gGEv3SDuLN8LmwPR8NTAtOfRs3moFku4qc3tQNXooYF5xuLI44_pxGvn-qD0QKl1xRH_gnkOrMmbZb8j/s1600/Morse+Catalogue+d04+Cloth+BLOG.TIF" imageanchor="1"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxz1h7MYi_bIVvEwex4pvTkDCBHDCtEdDvSxd6rtcBH7l01qAkRSg-iviW6EE0gGEv3SDuLN8LmwPR8NTAtOfRs3moFku4qc3tQNXooYF5xuLI44_pxGvn-qD0QKl1xRH_gnkOrMmbZb8j/s320/Morse+Catalogue+d04+Cloth+BLOG.TIF" /></a><br />
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If you know anything about book design and printing in England in the early twentieth century, most likely you will recognize the style of this printed book cloth. If you don’t, and you live near Toronto, you will just have to come and hear the lecture I’ll be giving in on March 5th at the Thomas Fisher Rare Book Library.<br />
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The title of the talk is entitled <i>The Stacks School of Typography</i>, and the will attempt to explain the role that some specific library collections have played in my evolution as a book designer, with specific examples of the ways in which libraries and archives can be used as workshops for learning about typography and design.<br />
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My talk will be the 2013 Leon Katz Memorial Lecture, endowed by Johanna Sedlmayer-Katz and organized by The Friends of The Thomas Fisher Rare Book Library. When there are that many proper names lined up around a lecture title, you feel a certain pressure to deliver the goods. While I usually talk off the cuff, this lecture will be delivered from a prepared text – though I will no doubt deviate from it liberally.<br />
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(If you’re stumped about the printed book cloth above, it was printed at the <a href="http://sinenomine.co.uk/curwen/">Curwin Press</a> in 1931. But if you want to know how it’s linked to Acadia University’s rare book collection in Wolfville – my home stacks, as it were – you’ll have to attend my talk.)<br />
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<strong>Leon Katz Memorial Lecture</strong><br />
<strong>Tuesday 5 March 2013 at 8:00 p.m.</strong><br />
<strong>Thomas Fisher Rare Book Library</strong><br />
<strong>120 St. George Street, Toronto</strong><br />
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In the meantime, I’m trying to spend some time overhauling our Linotype. Having cleared the jam behind the escapement mechanism, I’ve moved on to sorting out some sticky keys and bars on the keyboard.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbEJyBXjFaT9X3kyPRGmckvc971W-eOitBVxHfTGafaU4XMvNBnN_0uNwN52g3uEBrgi_pTif-ECgD_6OjT_7ZznswPoO-Bc4iMgZF2HM9tvmkB6Lw3bUMIyW0vPQd7utbSdniv7R7rDOR/s1600/WAS_2179+BLOG.jpg" imageanchor="1"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbEJyBXjFaT9X3kyPRGmckvc971W-eOitBVxHfTGafaU4XMvNBnN_0uNwN52g3uEBrgi_pTif-ECgD_6OjT_7ZznswPoO-Bc4iMgZF2HM9tvmkB6Lw3bUMIyW0vPQd7utbSdniv7R7rDOR/s320/WAS_2179+BLOG.jpg" /></a><br />
A view from the top of the keyboard, opened to expose the cam yokes. When a key is depressed on the keyboard, a trigger moves and drops a cam onto the rubber roller. The revolution of the cam on the roler raises a rod, which in turn opens the escapement and drops a single matrix from the magazine into the assembly channel. It’s like a giant game of dominos.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzTahwzSpPszZejWlA1YF5UNGTRAgvU2JWoa2XmI8bdwBkWat1t3t_gcTzzpZIQY3ALm428mzPjxWQwfyb755vAC0RpzR0yg6nuqKfBDglICVnc4lefSo31Q4CvzW5gXB0-2iUcBq9Ec7Y/s1600/WAS_2175+BLOG.jpg" imageanchor="1"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzTahwzSpPszZejWlA1YF5UNGTRAgvU2JWoa2XmI8bdwBkWat1t3t_gcTzzpZIQY3ALm428mzPjxWQwfyb755vAC0RpzR0yg6nuqKfBDglICVnc4lefSo31Q4CvzW5gXB0-2iUcBq9Ec7Y/s320/WAS_2175+BLOG.jpg" /></a><br />
Cam yokes extracted and lined up for cleaning and oiling.<br />
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One key was not working at all, so after removing the cam yoke, I checked the triggers to see whether I could spot the source of the problem. Hmmm. One of these things is not like the others; one of these things does not belong. (Everything I ever needed to know about troubleshooting equipment I learned from Sesame Street.)<<br />
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I’ve noticed since I started working on the Linotype that Gary has taken a renewed interest in the Monotype composition caster that we’ve had in storage since about 2005. He’s been rummaging around, cleaning up moulds and trying to find missing parts. Is this the beginning of our own little Monotype vs. Linotype battle of the casters? Curious.<br />
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Speaking of battles, through careful management, I have managed to hear absolutely NONE of the nonsense that is CBC Radio’s Canada Reads this week, but reports from friends who have been unlucky enough to have caught portions of the broadcasts suggest that the program is an embarrassment to the nation’s literary culture. All I can say is that I have voted with my fingers, and turned the dial. <br />
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ANDREW STEEVES ¶ PRINTER & PUBLISHER
Andrew Steeveshttp://www.blogger.com/profile/11419326535390211322noreply@blogger.com0tag:blogger.com,1999:blog-2055177173193179624.post-42985996103313005642013-02-10T08:09:00.001-08:002013-02-10T13:09:57.848-08:00In Situ<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkues6ZCUMvk1CTn5Jfgb2vtSbcDLyiGo9MAPuOIbnBK31gN9JQEPxY0yTNHtdjwWqUMivJHKwsZz-j8F1hdU-4lF-iler0Lk4vN7t2J3yuyKcqXOrF7x5to2PhZkaaFL8jNBs95uLYneg/s1600/Office+copy.jpg" imageanchor="1" style=""><img border="0" height="293" width="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkues6ZCUMvk1CTn5Jfgb2vtSbcDLyiGo9MAPuOIbnBK31gN9JQEPxY0yTNHtdjwWqUMivJHKwsZz-j8F1hdU-4lF-iler0Lk4vN7t2J3yuyKcqXOrF7x5to2PhZkaaFL8jNBs95uLYneg/s400/Office+copy.jpg" /></a>
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I spend a good portion of my life in my office, which sits on the corner of our building, just off the letterpress studio. Here's a few of the things kicking around my desk which are important in some way to my work.<br /><br />
<b>1. Reference books.</b> As well as phone and address books, I keep a few important volumes within reach: <i>The Oxford Canadian Dictionary</i>, Robert Bringhurst’s <i>Elements of Typographic Style</i>, and Carl Dair’s <i>Design With Type</i>. Also on this shelf are a few type catalogues (like the one from my friend Patrick Griffin’s Canada Type) and some sewn signatures made of different weight papers for estimating spine thickness.<br /><br />
<b>2. Pantone swatch.</b><br /><br />
<b>3. Pica rulers, squares and French curves.</b> I grew up at a drafting table and have one in my office, directly behind the camera position. I still occasionally find drawing the quickest and easiest way to work out an idea, though I use it more for cutting than drawing most days.<br /><br />
<b>4. Litho stone.</b> a gift from Jack McMaster.<br /><br />
<b>5. Not a Mac.</b> It’s actually an HP Pavilion dv7. (We’ve always been a Windows based shop.) I designed my workspace around a 5.5 foot square counter-height table placed in the middle of room because I didn’t want to spend my life sitting in a corner. I wanted to look into and across the workspace. I can work standing or sitting. I also abandoned my desktop and went to using a laptop exclusively. I soon got tired of moving back and forth between a large and small monitor depending on where I was working, so I ditched that too. I’m less reliant on seeing what I’m setting than I used to be, as I have a pretty good sense by now what it looks like when I set 23 pica lines of 10/13 Quadratt on an 5 × 8 inch book page, or whatever. I can see that in my head, and it’s all conjecture until you study paper laser proofs anyway. The only time I miss the large monitor where I can spread things out and keep many windows and pallets visible is when I am working on typefaces in FontLab.<br /><br />
<b>6. Vandercook 219 proof press.</b> This is the press on which the majority of our letterpress work is printed. It’s slow as letterpresses go, but it’s dead accurate in registration and inking. Of late, I have tended to keep this press set up for printing from photopolymer plates and have been using Glenn Goluska’s Universal I (which has an adjustable bed) for printing from wood and metal type. I’ve had this press since 2000, and my evolution as a book designer owes much to my experience operating it. I like to keep it close by, so it lives right in my office.<br /><br />
<b>7.</b> Poster from <b>Hatch Show Print </b>in Nashville, which I visited this past fall.<br /><br />
<b>8. A microscope.</b> On long-term lone from the Physics Department at a nearby university. A very useful tool for close examination of type.<br /><br />
<b>9. Nipping press.</b> Used in hand-binding books.<br /><br />
<b>10. The day’s stack of incoming unsolicited manuscripts.</b> As well as designing and letterpress printing, my role at the press includes selecting and editing the books on our trade list. We receive anywhere from two to five unsolicited manuscript from authors and agents every business day. We try to answer everyone within about six months, but it is difficult to keep up with the volume of submissions. Perhaps one or two books are selected from this manuscript pile out of the ten to twelve trade books we publish each year. This means that I write scores of rejection letters every month. I sometime feel like I say ‘no’ for a living. It is by far one of the least fun aspects of my job. But every once in a while I stumble across a gem in the pile and get the privilege of writing a letter which exclaims a hearty YES!<br /><br />
<b>11. G.</b> The giant plywood G which hung outside our previous location, next door at One Church Avenue.<br /><br />
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I’ve been spending a fair amount of time working my way through the various problems that must be resolved with our Model 31 Linotype before it can be run, starting with the assembly mechanisms and keyboard. There was a jam of matrices behind the escapement mechanism that had to be cleared. If you have understand the Linotype, this photo will mean something to you and you’ll shake your head in sympathy. If not, trust me, this is a picture you are better off never having the opportunity to take. Nothing that a six-hours tear down couldn’t resolve, though, with parts laid out and numbered on the floor like a trail of bread crumbs. Now that I’ve got this problem fixed I’m into more normal issues, like a sticky keyboard. Progress, but I’m still a ways off from trying to cast a slug.<br /><br />
ANDREW STEEVES ¶ PRINTER & PUBLISHER<br /><br />
Andrew Steeveshttp://www.blogger.com/profile/11419326535390211322noreply@blogger.com4tag:blogger.com,1999:blog-2055177173193179624.post-37962787077848085572013-01-31T14:26:00.001-08:002013-02-11T07:49:04.679-08:00Spring is coming<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi852qkyNT6vSVH02KxajTJMCHfSd4oPoDw81iAQF5E1jkhcGb8BOHtnRLnLrydkzS9Oxe67UNfH4HiUitiPsgLV89lo4tEBO4TOw2TjNVKqUHmOHSg0_MS5zud-ACZIpP7FgA8OGvA7DHa/s1600/WAS_1646+BLOG.jpg" imageanchor="1" style=""><img border="0" height="265" width="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi852qkyNT6vSVH02KxajTJMCHfSd4oPoDw81iAQF5E1jkhcGb8BOHtnRLnLrydkzS9Oxe67UNfH4HiUitiPsgLV89lo4tEBO4TOw2TjNVKqUHmOHSg0_MS5zud-ACZIpP7FgA8OGvA7DHa/s400/WAS_1646+BLOG.jpg" /></a>
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If you’ve been periodically surfing to our blog and looking for an update, I’m sorry to have been so slow to resume my correspondence. After my fall road trip to America (which I chronicle in an extensive and well-illustrated article due to appear in the spring issue of the esteemed Canadian printing journal, <a href="http://devilsartisan.ca/">The Devil’s Artisan</a>), and the successful celebration of our annual high holiday, the Gaspereau Press Wayzgoose, I simply had to focus and get some work done.<br /><br />
Here under the sign of the mirthful g, it suddenly looks like spring is just around the corner. We had record breaking high temperatures and wild winds today. And the five trade books in the works for the spring season are all creeping into being. I’ll post more about thse books as they move through the press and bindery. For now, I’ll name them quickly. We tend to frontload our year with poetry, in part to make the most of National Poetry Month in April. This years’s poetry books are:<br /><br />
<i>Fireship: Early Poems, 1965–1991</i> by Peter Sanger<br />
($25.95 | 9781554471218) <br /><br />
<i>Ocean</i> by Sue Goyette<br />
($19.95 | 9781554471225)<br /><br />
<i>Brilliant Falls </i>by John Terpstra<br />
($17.95 | 9781554471232)<br /><br />
<i>The Deer Yard</i> by Allan Cooper & Harry Thurston<br />
($17.95 | 9781554471201)<br /><br />
We’re also launching a new series called “Diaries of the Acadian Deportations,” edited by Jonathan Fowler & Earle Lockerby. The first volume, <i>Jeremiah Bancroft at Fort Beauséjour and Grand-Pré</i> ($25.95 | 9781554471195), publishes an Bancroft’s diary, supported by extensive annotation, maps and illustrations.<br /><br />
Descriptions of these books should be up on our website in the next two weeks.<br /><br />
ANDREW STEEVES ¶ PRINTER & PUBLISHER
Andrew Steeveshttp://www.blogger.com/profile/11419326535390211322noreply@blogger.com1tag:blogger.com,1999:blog-2055177173193179624.post-50425761354162421822012-11-02T10:17:00.001-07:002012-11-02T10:17:38.344-07:00Amos Kennedy to Move North of Canada*<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrljIa3qgMDY6jjTcuILY_1R8E4KlC1FBVcZidhvVAH7F7sTSIE2ZIvVuWG9eg4WAX6JlsPtJtFSd-HDqbmsgWsq2T4AtHsYRe-dtNvINCH5CIF0ciB-tPV5K3Bjm0unyigdS2yOaFmCT8/s1600/APKJ+WAS_0985+copy.jpg" imageanchor="1"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrljIa3qgMDY6jjTcuILY_1R8E4KlC1FBVcZidhvVAH7F7sTSIE2ZIvVuWG9eg4WAX6JlsPtJtFSd-HDqbmsgWsq2T4AtHsYRe-dtNvINCH5CIF0ciB-tPV5K3Bjm0unyigdS2yOaFmCT8/s400/APKJ+WAS_0985+copy.jpg" width="400" /></a>
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After a long sojourn in rural Alabama, my great friend and occassional collaborator Amos Paul Kennedy, Jr., has announced his intentions to move his letterpress operation north of Canada<span style="color: red;">*</span> to the city of Detroit. His ambition is to aquire some large industrial warehouse space and to open his well-equiped letterpress studio to artists and students who want to try their hand at the craft of letterpress printing. I think that’s a pretty noble idea, and one I plan to participate in, both as a supporter and also as a volunteer.<br />
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Presently, he’s trying to raise support, if you’re interested in helping him out. You can visit <a href="http://www.indiegogo.com/justprint">indiegogo </a>if you want to read more about his project, or donate.
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* Windsor, Ontario, is south of Detroit.
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ANDREW STEEVES ¶ PRINTER & PUBLISHER
Andrew Steeveshttp://www.blogger.com/profile/11419326535390211322noreply@blogger.com4tag:blogger.com,1999:blog-2055177173193179624.post-56900280875936275932012-10-23T06:19:00.001-07:002012-10-23T06:19:35.623-07:00Wayzgoose 2012!Gaspereau Press held it’s fourteenth annual Wayzgoose and open house this past weekend. The event, which featured Montreal papermaker David Carruthers (Papeterie Saint-Armand) and fledgling Fredericton printer David Brewer (Rabbittown Press), was well attended. We also had readings by authors Hether Jessup and Carmine Starnino. Thanks to all those who helped make the event a success.<br /><br />
I spent most of the event cloistered in the casting room casting slugs for our visitors, so thank you to Jack McMaster for taking these pictures of at the open house.<br /><br />
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<br />David Brewer supervises visitors pulling a proof on Glenn Goluska’s Vanvercook Universal I proof press. David made a Bliss Carman linocut forthe event.
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<br />David Carruthers attracted a great crowd all day as he pulled sheets of paper with a mould and deckle dating to Canada’s centennial in 1967.
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<br />David Carruthers inspects a sheet.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhp-WESyEwlul0NOS6v4Lo6Z0AfBIMjD3aYt-T2TUARKKGNkxn03O0p5xpxJBaCqeL0Ak-0MMQsWlwie7c02dF6H7ClwqUTexcU-1puOSHubWUh-cgNvf43Zw0hAIhJKu-dzWQppiJziWLB/s1600/BLOG_DSC0086+copy.JPG" imageanchor="1" style=""><img border="0" height="334" width="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhp-WESyEwlul0NOS6v4Lo6Z0AfBIMjD3aYt-T2TUARKKGNkxn03O0p5xpxJBaCqeL0Ak-0MMQsWlwie7c02dF6H7ClwqUTexcU-1puOSHubWUh-cgNvf43Zw0hAIhJKu-dzWQppiJziWLB/s400/BLOG_DSC0086+copy.JPG" /></a>
<br />Matt (in the back) demonstrated CMYK colour printing on our Heidelberg offset press.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmCNSHTHCDlz-3mVdDtFeo1UFfqb_qyfF4a-ozbPj_-X-QmHL1mjBlYfdD_Lvi24Le95Sutkxqy4VlI0lZ1j8-MlZMgGRa620bFE3hXDNnt6EmLlIIRUI6mAlZblhY7ti6Zbzbn5FlFpa6/s1600/Blog_DSC0087+copy.JPG" imageanchor="1" style=""><img border="0" height="310" width="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmCNSHTHCDlz-3mVdDtFeo1UFfqb_qyfF4a-ozbPj_-X-QmHL1mjBlYfdD_Lvi24Le95Sutkxqy4VlI0lZ1j8-MlZMgGRa620bFE3hXDNnt6EmLlIIRUI6mAlZblhY7ti6Zbzbn5FlFpa6/s400/Blog_DSC0087+copy.JPG" /></a>
<br />As usual, I spent most of the day explaining hot metal linecasting using our Ludlow.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1JZxwcOkZHO_WdoCDlifAmv4tn0IneMWHzA-ZNr1NdwrGm7GF-giJj9qGLxcQKks4Mcpl0uXnq-dXExtQOpIcRVZkP6C1fm2BqvODcc9ZBb59b-ZBfeWWFg0A8Okfp-u5y8dMfE171dgF/s1600/BLOG_DSC0093+copy.jpg" imageanchor="1" style=""><img border="0" height="356" width="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1JZxwcOkZHO_WdoCDlifAmv4tn0IneMWHzA-ZNr1NdwrGm7GF-giJj9qGLxcQKks4Mcpl0uXnq-dXExtQOpIcRVZkP6C1fm2BqvODcc9ZBb59b-ZBfeWWFg0A8Okfp-u5y8dMfE171dgF/s400/BLOG_DSC0093+copy.jpg" /></a>
<br />Slugs cast on the Ludlow were then printed on a little parlour press.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhppoVNVW_Wkv0rTHSEihG6pUyy-eKK8OyaU4FxaItziE632IfoqzMmebAolld37rS1z3VwBSh8huTaUPOQFoYMQDVwsoP9WDBcB2vmn9VfhWlUyFeX5ChNNAqqtWyRJ6qkd3bOEnNZEtGz/s1600/BLOG_DSC0123+copy.JPG" imageanchor="1" style=""><img border="0" height="268" width="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhppoVNVW_Wkv0rTHSEihG6pUyy-eKK8OyaU4FxaItziE632IfoqzMmebAolld37rS1z3VwBSh8huTaUPOQFoYMQDVwsoP9WDBcB2vmn9VfhWlUyFeX5ChNNAqqtWyRJ6qkd3bOEnNZEtGz/s400/BLOG_DSC0123+copy.JPG" /></a>
<br />David C. beating pulp on out 4-pound hollander (he has a 1000-pound hollander in his own shop).
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrsGB8pvky1ZPvFiuu-aGuijyE0AYzBsCWJDHDCD-2Lw3-_lXKE7J9hLHOC4ZwCs-xNX-8ypzH0PEcuZ7CX2sFuwXi4Ywg-j589EAKeYjo3je16HlpdkAW6VJTVB-n_P9BV0d25Vm24acg/s1600/BLOG_DSC0129+copy.JPG" imageanchor="1" style=""><img border="0" height="268" width="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrsGB8pvky1ZPvFiuu-aGuijyE0AYzBsCWJDHDCD-2Lw3-_lXKE7J9hLHOC4ZwCs-xNX-8ypzH0PEcuZ7CX2sFuwXi4Ywg-j589EAKeYjo3je16HlpdkAW6VJTVB-n_P9BV0d25Vm24acg/s400/BLOG_DSC0129+copy.JPG" /></a>
<br />The ever helpful volunteer Steven Slipp ran the parlour press.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTzyfzOgFUPGfudb3aiuGTDFZCbYr9RMwyxCTjZ_vEIzbcZNm0g_46vU2vQYXTxKDE2VXzDhyphenhyphenT7xzX8caCtOowdNPCmZxKga2LFu0ZhrLDDaq7JcHtghgxmyJVAkZNtdOAmt1pn5QvO78u/s1600/BLOG_DSC0146+copy.jpg" imageanchor="1" style=""><img border="0" height="312" width="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTzyfzOgFUPGfudb3aiuGTDFZCbYr9RMwyxCTjZ_vEIzbcZNm0g_46vU2vQYXTxKDE2VXzDhyphenhyphenT7xzX8caCtOowdNPCmZxKga2LFu0ZhrLDDaq7JcHtghgxmyJVAkZNtdOAmt1pn5QvO78u/s400/BLOG_DSC0146+copy.jpg" /></a>
<br />After using the slug they cast to print text on a cover, participants handsewed their own blank booklets.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUz4qelx3OrOxb5zkaiYnMS5UVcAkDCR7XJz88voFD9IkOrDhz5IVtarPffXugGUCxvz2qnm1AWBt2vhhGJXRSPW5TeRj_6i8Ga1qR5ZkglEwEudsS7NCinrGi2UWx3tGbumjFogMiTjcU/s1600/BLOG_DSC0153+copy.JPG" imageanchor="1" style=""><img border="0" height="268" width="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUz4qelx3OrOxb5zkaiYnMS5UVcAkDCR7XJz88voFD9IkOrDhz5IVtarPffXugGUCxvz2qnm1AWBt2vhhGJXRSPW5TeRj_6i8Ga1qR5ZkglEwEudsS7NCinrGi2UWx3tGbumjFogMiTjcU/s400/BLOG_DSC0153+copy.JPG" /></a>
<br />Gary Dunfield demonstrating the Chandler & Price clamshell press.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKp6t7gCymjZE8T63MFS0T6dB-ZJ8IFdbpdyQzoDMiJpU_LZoZfsX1gv71VH6qllzkYbRFLmwKinR7R5xtkyvUiXjAtzQlN-u7s_bey8AIaqPbOyhc4GZUDtSYAnvUmerBhCaSmg-ukCF2/s1600/BLOG_DSC0164+copy.jpg" imageanchor="1" style=""><img border="0" height="268" width="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKp6t7gCymjZE8T63MFS0T6dB-ZJ8IFdbpdyQzoDMiJpU_LZoZfsX1gv71VH6qllzkYbRFLmwKinR7R5xtkyvUiXjAtzQlN-u7s_bey8AIaqPbOyhc4GZUDtSYAnvUmerBhCaSmg-ukCF2/s400/BLOG_DSC0164+copy.jpg" /></a>
<br />David Brewer and a participant printing the Bliss Carman broadside.
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ANDREW STEEVES ¶ PRINTER & PUBLISHER
Andrew Steeveshttp://www.blogger.com/profile/11419326535390211322noreply@blogger.com1