Probably many of us have tried our hand at our own book design, chapbooks or magazines, computer generated and printed. Some of us have even taken a course or two in bookmaking workshops with handset type, so we have some idea of the exhaustive work it takes to produce even a page of type. A clean page. Unsmudged, with the letters all facing the correct way. Then, imagine illustrating said page, reprinting it, this time with a woodcut or etching.
Now imagine a huge vaulted many-windowed room full of these books; all sizes, shapes, papers, bindings, etc. This is Codexthe international book fair and symposium, held this year at the Craneway Pavilion in Richmond, California. This is the 5 th year for the Codex fair which is held biennially, and I am a later arrival; I saw the fair when it was still located on the Berkeley campus, but I missed the fair, so this is my first experience in the splendid Craneway.
Many of them are what most of us would call expensive, but the prices reflect only a tiny fraction of the time and money and creative thought put into these works of art.
And, as with the rare book market, some of these books are beginning to be sought after. If you love it, you will find a way to get it. Because I have been to the fair once before, I recognize some of the exhibitors. In fact, inI ordered and bought my first bound and cased octavo book from Quebec-based printer and book artist, Denise LaPointe, who with partner David Carruthers produces beautiful, richly colored papers at the Papeterie St.
Armand in Montreal. It was a book in honor of a dancer friend who had died. This year, LaPointe has gone from small to portfolio sized, with a piece printed from wood grain, again with a poem, this time by a young friend. Not all of the books at the fair use only handset type. Peter had made two books based on the work of Ilse Aichinger, now in her 90s and living in Vienna; a conceptual writer virtually unknown in the U. When I met Peter inhe had included a one page translation in English of part of the German text.
I liked the work so much that I emailed him. He told me he had found only one English translation of her work in a second hand bookstore, and he gave me the information. I was lucky to find it, an incredible work of poetry, prose and plays frompublished in Durango, Colorado. Ines Von Ketelhodt was a speaker at the symposium this year, but I had not gotten tickets to the sold-out event. One of her projects is called Color Change and consists of 6 volumes; here is a description of Grun green.
All letters were cut individually into two parts so that the fragments of each letter look different. Then the two fragmented levels were printed digitally in different shades of green on two transparent foils.The fair includes a range of offerings, from small and large printmaking houses, master engravers, and illustration artists featuring artist made letterpress and hand bound books, materials, and supplies for book binding, independent press publications, and scholarly lectures from the United States, The Netherlands, Japan, South America, Mexico, and all over Europe, including Poland and Russia.
The concept was a unique one: a non-profit arts advocacy foundation specifically for fine printing and book arts, representing both San Francisco and global artists, printers and publishers. Hence, The Codex Foundation was formed. CODEX book fair installation. Courtesy of the Codex Foundation.
Photograph by Karen Eng. Filter, a paper conservator, both located in Berkeley. The first and second biannual fairs took place in and and were held at the University of California, Berkeley. Now in its fifth iteration, book lovers will have to head to Richmond for the fair, but it will be well worth the jaunt up there if you are in other areas of the Bay. Managing a fair with niche interests has its challenges, namely a growing interest from both participants and visitors, which called for relocating CODEX to Richmond, just a ten minute drive from its original location.
CODEX book fair detail. As a fine art printer in Berkeley sinceKoch has a long history with printing and with book makers. In the early s books and other print media were threatened with the advent of print technology, calling for a return to the craft stronger than ever. He saw a need to rectify preconceived notions of what an art book is and its place within the canon of traditional art forms, such as sculpture and printmaking.
In the same interview with Milroy, Koch stated:. Likewise, the practice of making books can be as laborious as any other art form. Their construction requires specific tools and elaborate studios to house the delicate pages, let alone time and careful planning to ensure not only legible works, but works that can be viewed, read, studied, and collected.
The privacy and intimacy of the book as art form carries with it a special relationship very close to the body. So too the relationship with the maker and object is extremely intimate, small, and proportionate to the hand, the comfort of its structure dependent partially on the relationship that the reader gleans from sitting with it closely. LL: Your bio mentions that you studied kendo, which helped you realize that you love working alone.FreeDV Presentation at Gippstech 2015 by David Rowe VK5DGR
Do you make all of the work completely alone, or do you have both an individualistic and a cooperative process? CC: In fact, although my bio mentions that I practiced kendo, it had little to do with the discovery of my love for working alone. It was the years spent alone in the darkroom working on my photographs.
I began to see how working independently, away from the theatre and television group dynamic, allowed me to work up to as high a level of creativity as I was capable.
Also I could work as long and as hard as I wanted without having to wait to be cast in a production. I design each book, set the text by hand in metal, print it, and create the additional artwork alone. I design the book structure as well. I bind the entire edition alone for the most part.Kennedy Library is currently closed.
They are inventors of new libraries and new readers. And last week, I experienced several intensive days immersed in the subjects of book making, selling, and collecting. These huge events bring like-minded individuals together. They are places to make new friends, develop program ideas and collecting approaches, and find materials to add to our research and teaching collections. Artists I was most taken by were exploring maps real and imaginedvisualizing science data population statistics, physicsand even doing their own data collection and presentation weather reporting.
In conjunction with the CODEX V book fair four days of steady interaction with artists and small press publishersan audience of nearly convened for the symposium to hear absorbing talks focused on the research that goes into developing book projects, from seed concepts through production.
These process-oriented talks promised to be practically minded but were really introspections on the imaginative leaps necessary to make their book craft so distinctive. UK artist Sam Winston was the first to take the podium. Next, Carolee Campbell of Ninja Press showed us how she gathered and mined images, maps, and texts about the Amazon and similar river bends in Utah to create her accordion-fold masterwork The Real World of Manuel Cordovaa copy of which may be found in Special Collections.
Campbell said the poem, written by W. Some of the printed matter I picked up from the booksellers and artists at the book fairs. This tour de force of graphic design and printing is based on the 18 th -century illustrated Encyclopedia, a form of publishing that, as Botnick put it, is a casualty of the digital age.
His book is an impressive, refined meditation on craft, mechanization, labor and leisure, memory, and the senses. The hand, the hammer, and the drawing compass become repeated visual characters in the book. Book fair programs Photo courtesy Jessica Holada. Weaving quotes from Shakespeare, Coleridge, Hawthorne, Carroll, Kafka, Stevenson, and Borges, Manguel stated the humble fact: as artists, we create mere approximations of what we dream. I certainly saw vibrant evidence of this doing-to-see at the book fair.
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It’s Book Fair Season in California
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Because, as it stands right now, it's "limited use".Amid a tsunami of books made of bits and bytes, Koch maintains that a well-crafted object "offers a visceral connection to author, bookmaker and artist. These books will move gracefully down through the centuries in a way that a trade paperback or a. Ten years later, their quixotic goal to create a marketplace and "intellectual ferment" for book artists has been made manifest in the form of the most prominent book fair of its kind in the world.
Held biennially, it is ranked as one of the top three book fairs internationally. The CODEX Fair and Symposium have become the locus for what Koch labels "a movement that strives to fulfill a renewed interest in physically-embodied art in an age of pixelated everything. Cast-iron presses, once relegated to basements and junk heaps, are now prized possessions for a new crop of craftsmen, seduced by the notion of a book as both a container of ideas, as well as an idea in and of itself.
Indeed, the gathering has transcended a traditional trade fair to become, as Koch notes, "a unique happening in which the collector is allowed a personal encounter with the artist. It generates a kind of energy that both collectors and artists crave. The symposium, which features keynote speakers and book artists, is sold out every year.
The CODEX gathering is now credited with jump-starting renewed global interest in artisanalbooks and for bolstering the visibility of the community of artistswho make them. The Book Fair is open to the public. Media outreach for the fair is supported in part by the Avatar Alliance Foundation. For more information go to: www. Skip to main content Skip to footer site map. Follow Us Facebook.The elementary school years of brown bags lunches, gel pens, and recess were a simpler time, for sure.
They were the years of having books read to you, and time set aside for you each day for library browsing and independent reading. Sure, we found our own elementary school dramas even then, but looking back, it was a pretty good time.
And all the reading time? Supplemented by those amazing Scholastic ads that got passed around once a month. Once everyone had taken one, passed them around, at least 10 minutes were spent distracted by the contents of those magical flyers. Books, arts and crafts, toys! The possibilities were endless, and you carried them home feeling hopeful.
Even better than thatthough, was when those flyers came to life before your very eyes. I'm talking about the elementary school wonderland that was the Scholastic Book Fair.
10 Things We Loved About School Book Fairs
All those books and toys from the catalog were laid out right there in front of you, money from your parents tucked carefully away in your pocket. The possibilities, to our 8-year-old minds, were vast, but one thing was for sure: we were rarely there for just the books. It was everything else that held our interest, like these 10 things that we still kind of miss!
Going to school the day of the Book Fair was was always more fun than a normal day: you knew what was ahead! Something to break up the day between Social Studies and Math. Your boring auditorium or classroom, typically used for the most mundane school activities, was transformed into a book emporium, ready and waiting for you! Just look how nice it looks this way! Or "gadgets" as our s minds knew them. No Apple Watches for us, but then again, we didn't need those: there were bins and bins of key chains, stationery, and anything else an elementary school kid might and might not need.
There were certain things you could only get at the Scholastic Book Fair. Like the triangle pencil grips you lost after that day. You didn't know your room was missing a kitten poster, but then you saw one. Suddenly you had to have one!
And, is that a Harry Potter poster over there?! The choices were vast, and suddenly everything looked like it was meant for you.
It's like they knew they were dealing with elementary school kids or something. If you got there at the same time as a friend from another class, it was like a bonus.
A midday reunion before lunch time? The Book Fair was always the place to get Scary Stories to Tell in the Dark and Goosebumps books that you would inevitably end up reading in a group later on, completely pretending that you weren't scared.
Until you went to bed that night, of course. Most of us are probably still scared of those books, come to think of it.More excitement. Better books. Huge rewards. Go big with us. An all-new way to support your school and provide families with access to new books throughout the summer. All orders ship home!
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