The Vandercook 100 celebrates 100 years of printing on the Vandercook proof press (1909-2009) and showcases 100 of today's most significant letterpress printers who use the Vandercook press. The selected printers are internationally respected teachers, practitioners and designers, recognized for their diversity of design and printing processes, their passion for letterpress and their love of the Vandercook proof press.
"Hilarity transfiguring all that dread, manic overflow of powerful feeling, zero at the bone—Flies renders its desolation with singular invention and focus and figuration: the making of these poems makes them exhilarating."—James Laughlin Award citation "Reading Michael [Dickman] is like stepping out of an overheated apartment building to be met, unexpectedly, by an exhilaratingly chill gust of wind."—The New Yorker "These are lithe, seemingly effortless poems, poems whose strange affective power remains even after several readings."—The Believer Winner of the James Laughlin Award for the best second book by an American poet, Flies presents an uncompromising vision of joy and devastating loss through a strict economy of language and an exuberant surrealism. Michael Dickman's poems bring us back to the wonder and violence of childhood, and the desire to connect with a power greater than ourselves. What you want to remember of the earth and what you end up remembering are often two different things Michael Dickman was born and raised in Portland, Oregon. His first book of poems, The End of the West, appeared in 2009 and became the best-selling debut in the history of Copper Canyon Press. His poems appear frequently in The New Yorker, and he teaches poetry at Princeton University.
Winner - American Graphic Design Award, Graphic Design USA Conveying the authors' love of the letterpress process and product, this book presents the technical, historical, aesthetic and practical information necessary for both students and instructors. The 2nd edition of For the Love of Letterpress includes an updated gallery of contemporary images of letterpress printing, as well as a new chapter of letterpress assignments from the United States, United Kingdom and Europe. Both additions attest to the dynamic and continued relevance of the media. The authors show how contemporary digital processes have expanded the boundaries of traditional letterpress. By writing with passion and experience, they indicate why a 15th century printing technology based upon crafting with one's hands, still has appeal and value to 21st century artists and designers. Whether incorporated into an academic curriculum or used for self-study, For the Love of Letterpress is a must for students who wish to learn letterpress and instructors seeking inspiration and reference.
