Accordion fold format; The Class: Matthew Barclay, Debbie Barlay, Katrina Boldt, Dianna Lutz, Rick Miller, Kristen Myers, Peter Nies, Jennifer Pollock, Sherri Sellers, David Stairs, Laela Wilding --P. [26]; Binding was performed by all members of the class with invaluable help and instruction from Sandy Tillcock [i.e. Tilcock] --P. [26]; Printing was done on one of two Vandercook letterpress machines using handset metal and wood types --P. [26]
Listening was designed and printed by Julie Chen in an edition of 75 copies. Papers used include Fabriano Ingres Heavyweight and handmade sheets from the St.-Armand paper mill. Typefaces used include Copperplate Gothic and Adobe Garamond ... The boxes were made by Sandy Tilcock --Colophon;Signed and numbered by author;Each leaf consists of 2 layered paper boards attached to continuous heavy paper strip concertina binding 2 loops attached to front and back covers for use with accompanying ties paper label on front cover;In box (11 x 13 cm.), closed with 3-fold flap, 3rd flap is magnetic mounted pocket on inside spine with 2 ribbon and button ties mounted paper tuck wrapper contains 1 leaf (folded to form 6 leaves) of instructions for making headdresses with book paper labels on front cover and spine;Rare Books has copy 40/75 signed by the artist, Signed by the artist
Designed by Terri Warpinski, Sandy Tilcock and Natalie Sudman. It was printed letterpress from polymer plates for the text and magnesium line engravings for the images on Rives BFK using a Vandercook 219 proofing press. Perpetua types were used for the text and Charlemagne for the title and initial. Sandy Tilcock of the lone goose press in Eugene, Oregon produced the edition which consists of fifty numbered and ten lettered copies --Colophon;Issued in folding case, to which text is bound;U of O Rare Books has copy A, signed by Sudman and Warpinski, Signed by Sudman and Warpinski
Edition limited to 25 copies; This book was created by Susan Lowdermilk and printed in the summer of 1993 at the lone goose press in Eugene, Oregon. The woodcuts are images of the artist's ancestors. The text was written by the artist, set in Perpetua type, and printed on Arches Text Wove paper using a Vandercook 219 proof press. Sandy Tilcock produced the boxes ... --Colophon;Pages on overlapping sheets attached to form a continuous strip, printed on one side and folded accordion style forming double leaves with ends of the first and last printed pages attached to separate boards;Issued in case;Rare Books has copy 9, signed by the artist, Signed by the artist
Includes excerpts from Carroll's story with interpretive text; Computer generated type--Lucida Casual printed letterpress from polymer plates Rising Stonehenge paper book design and annotation, Hope Tilton illustrations, Melody Porterfield box design, Sandy Tilcock box covered in red and black mohair bookcloth. The Twelve Hands Press grew out of an on-going bookbinding class [Nancy McCarthy, Melody Porterfield, Hope Tilton, Char Wessels, Candy Wooding, Ursula and Amy (Paws)] taught by Sandy Tilcock at lone goose press --Verso of box lid;Pages bound in free-standing carousel formation with cord attached and contained in box;U of O Rare Books has copy B of 26 lettered copies
Poem; This edition, limited to twenty numbered copies, was printed at the University of Oregon, Eugene OR, in the spring of 1991 as an M.F.A. thesis project. This book was done in two editions, twelve copies are three color multiple block woodcuts and eight copies are single block woodcuts ... special thanks to Sandy Tilcock for her suggestions, time and generosity --Colophon;Pages on overlapping sheets attached to form a continuous strip, printed on one side and folded accordion style forming double leaves with ends of the first and last printed pages attached to separate boards;LC has copy no. 11, signed by the artist. DLC;Source: Purchase, Mar. 17, 1992 (DLC #0211520). DLC;Rare Books has copy no. 2, signed by the author/artist, Signed by the author/artist
Apologia has been made as a limited edition accordion book during the winter and spring of 1997. The text by Barry Lopez originally appeared in Witness magazine in 1989. The twenty-three woodblocks were carved on poplar by Robin Eschner, Forestville, California, over a period of six years. Charles Hobson, San Francisco, designed and organized the edition which has been printed letterpress on Stonehenge paper by Susan Acker at Feathered Serpent Press, Novato, California. The typefaces are Poppi-Laudatio Regular and Trajan. The woodblocks were editioned by Nora Pauwels at KALA Art Institute, Berkeley. John DeMerritt, Emeryville, California, hinged the text pages and bound the book in boards covered with Lami Li handmade paper and original USGS topographic maps of the State of Wyoming. Sandy Tilcock of lone goose press, Eugene, Oregon, made the boxes, and has published the book in an edition of fifty copies (numbered 1-50) with sixteen additional copies (lettered A-P) reserved for the participants. Enclosed in a folder on the back cover is a tire-tread print made on an original USGS topographic map of Wyoming by Barry Lopez with the assistance of Sandy Tilcock, using the inked tire of Barry's Toyota 4-Runner, the vehicle driven on the journey from Oregon to Indiana chronicled here --Colophon;Issued in case;Each page is accompanied by a transparent guard sheet;U of O Rare Books has copy no. 15 signed by the author and artist. The topographic map is also signed: Made with Barry's Toyota 4-Runner, Eugene, Oregon, January 16, 1997. Barry Lopez, Signed by the author and artist. The topographic map is also signed: Made with Barry's Toyota 4-Runner, Eugene, Oregon, January 16, 1997. Barry Lopez