Maryatt Kitty (10 results)

Trade Paperback. Condition: Good. 1st Edition. 289 pp. Solidly bound copy with moderate use. Creaased spine. Light creasing on front and back covers. Kitty Maryatt (Cover Design) (illustrator).

Hardcover. Condition: Very Good. Hardcover without dust-jacket in very good condition. No names nor markings.

stiff paper wrappers. small 4to. stiff paper wrappers. xvi, 255+(1) pages. The Scripps College Press has been making collaborative student books for thirty years, publishing one edition each semester for a total of sixty editions. This new bibliography includes all the books produced by the students in the Typography and the Book Arts class, devoting four pages to each book and showing several photos of each. The accompanying text by Kitty Maryatt tells fascinating stories about the making of the books. Selections of the students' intelligent and varied writings are included in each section. The book includes a brief history of the press and descriptive information about the printing process, as well as bibliographical and descriptive information about each of the the sixty works published by the press from 1986-2016, and lists of Goudy lecturers and institutions with standing orders. Color illustrations throughout. A special addition to this second printing of 100 copies is a DVD with the documentary "Thinking Out Loud: Making Books at the Scripps College Press." In this 49-minute video, we hear directly from the students about the process of developing a collaborative vision for the edition. Two books are highlighted: Ruminations and Good Data/Bad Data. An 8-minute version was produced for the 75th Anniversary of the Founding of the Scripps College Press, and is included. Scripps College Press (illustrator).…

Condition: Good. 6 x 5 card printed one side. Very Good. Signed Kitty Maryatt. Undated. From the estate of Herb Yellin (1935 - 2014), the publisher of the Lord John Press.

Hardcover. Condition: Fine. No DJ as Issued. Limited Edition. Limited Edition. Hardcover. Layout designed to mirror overlapping windows on a computer screen. Personally, and given Scripps prior work revolving around William Gibson, I suggest this work be retitled "Infocalypse" in homage to Neil Stephenson. "The texts were presented on differing sizes of three papers, Nideggen, Frankfurt Creme, and Frankfurt White, reflect layering on the desktop of information from the internet. All the type was hand-set from metal typefaces, which included Scripps College Old Style, Optima, Centaur, Universe, Garamond, Caslon, Goudy Modern, Fournier, Weiss Initials, and Forum Capitals. The SML code on the title page was written as a computer science class assignment to encode/decode RSA encrypted messages; it was printed as a photopolymer plate. The printed colors are inspired by the RGB system, as might be seen on a computer. Imagery was carved into linoleum and printed on four Vandercook presses. The binding material, Quinel Graphite, was chosen to resemble the soft cases that protect laptops and iPads from damage." [Colophon] "The Typography Class was first asked to develop a list of one hundred significant problems in America, and subsequently organized them into seven categories. After extensive in-class discussion, they decided to select addiction to media for their advocacy efforts because it is continually in the news as a growing problem. They all have extensive experience with the deluge of information on the internet and the latest social networking tools like Facebook and Twitter, and even have friends who are on the verge of addiction. Their goal became not only to promote awareness of the consequences of addictive behavior, but also to reveal the lure of new media that seduces us daily." [Afterword, Kitty Maryatt]. Tight, bright and unmarred. Red cloth boards, three small cut-throughs at foredge of the front board showing RGB (red, green, blue), various size/color sheets. 8vo-fo. np, [44pp]. Illus. Numbered limited edition, this being 75 of 103.…

Softcover. Condition: Fine. Octavo. Within a double-accordion structure are eight booklets of varying formats and paginations. The first functions as a title page and colophon. Each of the latter seven was designed by one of Maryatt's students, and each was modeled after structural and somewhat stochastic typographical innovations of Iliazd. The result is an expansive artists' books, literally and letter-ally. Held in slipcase. Fine. One of 99 copies. Signed by all contributors.…

Hardcover. Condition: Fine. No jacket. #20/50cc, signed by all the contributors. In a string-tied case.

Hardcover. Condition: Fine. Square 16mo. Unpaginated. The book is overtly a dedication to Claire Van Vliet and her innovation with paper and paper weaving; implicitly, it is also an ode to the educational model of Friedrich Froebel, who defined certain "gifts," among them paper-weaving, for kindergarteners to learn. In each section of the book, a student explores the many meanings of weaving, with particular attention to the invention of the Jaquard loom, which was a revolutionary tool for the French labor market and, because of its use of punch-cards, a precursor to the computer. Throughout are examples of paper weaving, in patterns both familiar and abstract. Bound in stiff paper wrappers with brown paper onlay and copper paper weaves. Several light scratches to onlaid paper on upper cover, else fine. One of 102 copies, signed by the students of Scripps College's 2006 Typography class and by their supervising instructor, Kitty Maryatt.…

Hardcover. Condition: Fine. Small quarto. (25)pp. Printed in a wide array of colors, the students in Kitty Maryatt's class on the art of the book here addressed typography as a form of art. The project was based on Robert Bringhurst's claim that type design can be classified into movements based on time period, in a fashion similar to music and art and, like these, obtaining similar affective potential. Here Bringhurst's claim is brought into the 21st century by the pairing of a digital typeface to a metal counterpart. The students' ruminations on the digital "feel" of type design are printed letterpress. Sometimes the types paired are the same - Arrighi on Arrighi, or Centaur on Centaur - and in other instances are contrasted - Goudy on Bodoni, or Garamond on Palatino. Bound in metallic silk. Fine. One of 95 copies. Signed by all contributors.…

First Edition. This is number 30 in an edition limited to 102 copies. Eight students from Claremont's typography and book arts classes worked collectively on the book, which presents the ramifications of the collection of big data. Bound in cloth-covered Davey boards attached by the tapes to the ten sewn signatures. Printed on three Vandercook presses on Rives Heavyweight paper in 12 pt. Gills San type. Most of the images were carved in linoleum and printed in three color choices, and several of the data set were made into photopolymer plates and printed letterpress. Fine.…