THE TAMPA BOOK ARTS STUDIO WAS FILLED TO OVERFLOWING this Spring with twenty-three University of Tampa students enrolled in a course entitled “Printing, Publishing & Book Arts.” The course was taught by University of Tampa faculty members Richard Mathews, director of the studio and a professor of English and Writing, and Kendra Frorup, a sculptor and mixed media artist and a professor of Art, assisted by the TBAS Letterpress Coordinator Carl Mario Nudi and Studio Associate Joshua Steward. The class met every Monday, Wednesday, and Friday during the 14-week semester.
Students surveyed the history of printing and publishing from incunabula to contemporary artists’ books. They studied type design and typography from historical and digital angles, and they explored hands-on aspects of letterpress printing.
Nearly every available surface in the studio was utilized while students learned typesetting by hand from the California job case. As they became more familiar with the types available to them, they designed and printed limited edition postcards, larger broadsides with two or more colors, and they planned and completed a variety of individual projects. Most of the students also learned to set and cast lines of type on the Ludlow Typograph, which gave them an even broader selection of type styles and sizes than those found in the cases of vintage foundry types in the studio.
Frorup instructed students throughout the semester in the making of paper and showed them techniques for producing decorative paste papers and marbled papers. She also taught the students several binding techniques and worked individually with them to help them master different stitches and book forms. Everyone completed at least one binding exercise employing the pamphlet stitch and another using a stab binding.
They also gained experience and confidence in using the array of letterpress equipment in the studio, from composing sticks to galleys to furniture and quoins. They all completed limited edition letterpress runs using our Vandercook presses—a Model 4 and Model 219AB. They took on the responsibility of printing the work they designed, which involved setting, proofing, and correcting their type, preparing and locking-up forms, and registering their sheets.
The last weeks of the course became a time for experimentation with different materials and with the traditional forms of printing. A few tackled split fountain (or “rainbow roll”) printing, others tried their hand at carving wood or linoleum blocks, monotype printing, collography, screen printing, hand-tinting, and even wood working. The students’ final projects were varied. Many included binding as well as printing, and some created chapbooks of poetry, stories, or essays. The course concluded with a session for the students to show and comment on the work they had done—and to collect all of the letterpress postcards into a die-cut and letterpress-printed portfolio packet designed to hold a complete class set (shown in slideshow below).
Click on photos within the slideshows to see larger versions
Special thanks to Jennifer Deg and Jack Whitaker for additional photographs