Scripps College Press ~ California

Cut & Dried
by Dustin Gramstad; Jada Lindblom; Andrew Extein; Jessica Meyers; Ruben Arenas; Dieu Ha; and, Jane Repass under the direction of Kitty Maryatt 2005. Edition of 100.
6 x 16.75" in avocado rind-colored cloth over boards. Printed on Frankfurt creme paper. Photographs by Andrew Extein, Dustin Gramstad, Jada Lindblom, and Kitty Maryatt were printed on an HP Indigo digital printer. Drawings printed from magnesium relief etchings. Woodcuts are carved from birch plywood blocks.

The latest collaborative student work from Scripps College press under the direction of Kitty Maryatt.
$200

From the colophon:
              Challenging our points of views,
we gained new perspective on the subject of nourishment.
              What happens when one is hungry or overeats?
What is the most savory, or the smelliest food?
              We chopped, sliced, peeled, carved.
We found inspiration in Wallace Stevens'
              "Thirteen Ways of Looking at a Blackbird."
We learned the niceties of woodcutting
              from our Goudy lecturer, Margaret Prentice.
We documented the whole process in many different media,
              and of course, we tasted.

Beorum II: Fragmentary Evidence
2004. Edition of 93
6 x 16" Nideggen and Frankfurt papers used. Scripps College Old Style was used for the front and back matter and for speculations, transliterations and translations. Students chose their own typeface to express their risk-based stories. Binding reflects the printing known as the black art with red linen spine. Housed in plexi case. From the colophon: This is an artists' book version of a leaf book. We decided to reproduce Denison Library's Gutenberg leaf to more clearly understand the risks that Gutenberg took in his work of the books. The font-set of 246 different characters was cast by Dale Guild Typefoundry. About 5500 pieces of type were thoughtfully placed into five type cases with labels, and 84 lines were hand set and carefully matched to the original leaf. This fragment became our touchstone for writing stories about risk."
$250

On the Impact of Expectations
In the course of overseeing the production of thirty books in fifteen years of teaching typography at Scripps, Professor Kitty Maryatt has "observed that students often write overly predictable first rough drafts. As a result, the specific focus of this book is unpredictability or surprise." The resulting artist book is evidence of an experiment conducted by six students under her guidance. Their working hypothesis was that expectations can be undermined. The stories, written for the edition, challenge reader expectations in both their content and their form. Varied page configurations serve to reveal the structure of each story. Six bound and unbound booklets include sewn, accordion, dos-à-dos, and puzzle piece constructions. Each 5 x 5-inch booklet is slipped neatly into specially designed "file folders" made from Rives Heavyweight paper (tan) and painted with pearlescent paint. The names of the authors/book artists are neatly arranged in plastic tabs at the top like files. Lifting the cover off the acrylic box and seeing the array of names, one may recall a recipe box, but that is only a trick of expectation. Unpredictable stories feature a character that diligently avoids the rain, a mathematical bisexual, a puzzle in a pouch, and the dark and light sides of charm. Letterpress from various typefaces. Illustrated with linoleum blocks, pochoir, and polymer plates. Signed edition of 70. (Pearlescent box is 6 x 6.25 x 2.5 inches.) 2001.
$160

[Square]²
"In 1980, Ulises Carrion wrote a grand manifesto entitled The New Art of Making Books. Twenty-three years later, students new to the book arts field investigate what the 21st century finely printed artists' book might entail. A list of attributes ensued, including especially the use of space by moving the traditional margins to the edge of the page. A square-shaped book emerged with squares figuring prominently in the development of the imagery and text. Texts were integrated with imagery. Connective tissue was developed to make a cohesive statement. This was accomplished within the confines of a semester project with neophyte printers. Limitations were revealed, obstacles were overcome, and lessons were learned." Introduction by Kitty Maryatt, Scripps College Press. Uses linoleum blocks, split fountain, pochoir, dry mounted fabric, and colored pencil for the imagery. With modern aluminum binding to create a 21st century book look. Exposed spine binding. Edition of 90 copies.
$175 (Last Two copies)

Dorothy Drake and the Scripps College Press
Denison Librarian Judy Harvey Sahak was asked to lecture at the 50th Birthday Party of the Scripps College Press about the beginnings of the Scripps College Press in 1941. The Scripps students in the typography class acted as editors, typesetters and printers. They handset her speech in Scripps College Old Style and printed it in an edition of 95 copies on Frankfurt creme paper. The size is 6.5" x 9.5". There are 35 printed pages. The case binding features a patterned Japanese cloth and is housed in a two-color slipcase. There is a frontispiece by Bertha Goudy, letters from Frederic Goudy to Dorothy Drake, and drawings of the Scripps College Old Style type. This book has the first showing of the Scripps Italic type designed by Goudy in 1945-6. Hardcover. Fine.
$175

Scripps College Press Out of Print Titles:
•Calculate Her
•Instant Coffee
•Limited Edition
•Le Chavellier Tondal
•Objects are Closer
•Overflow
•Speaking in Tongues
•Sweet & Sour