Book Arts Program

The Extraterrestrials Travel Guide To Earth 🌎 My letterpress final! Five carved linocuts, four runs on the press, and an edition of 30+ folded books with surprise stickers inside.

If these photos read like glamour shots, that’s because they are 🌙✨ I’m so extremely proud of my bookbinding final, it’s a journal meant for those late-night ideas that wake you up demanding to be written down. Both the vinyl inlay on the cover and the white thread in the spine sewing glow in the dark. The exposed spine sewing is a method coined by Kieth Smith called a Celtic weave, I combined that with an Ethiopian style board attachment for a sleeker cover feeling. The best part is the wax I used for the thread is from my sister’s hives in Hooper, UT. It takes a village 🫶🏻

Calling all book artists. Don’t forget to submit your entries for this wonderful exhibition opportunity. Here is the link for all the info: /calls-for-entry/ #artistbook #bookart #callforentries #handmade #paperarts @fromoutofthebluestudiogallery @creativenz @printcouncilnz @printmakers_nz @bookartstudios @bookartsprogram

🍌fun fact! Banana slugs (and other slugs) are intersex, and can reproduce both asexually and sexually! 💛 letterpress broadside, printed on a Vandercook Universal III with linocut carved by me and 8 line Balloon Bold wood type. Edition of 30

the advanced art, ap drawing and ap 2D art students particpated in a book arts workshop this afternoon, courtesy of @bookartsprogram from the university of utah. we learned how to create sections, pamphlet stitch, jog papers, and more! we also got to check out several artist books made in several different styles! 📖📚🔖

We have rescheduled the Art Business Workshop with Venessa Castagnoli: March 18th at 4:30pm in ART 158 Venessa Castagnoli - Executive Director at Ogden Contemporary Arts will be leading a workshop: Art Business 101 Feb 18th at 4:30pm in ART 158 Ideal for Art Majors, MFA's, Creatives preparing for graduation and any artist ready to push their practice forward. Open to all UofU students and the public. Mark your Calendars! Thank you!

Lots going on this week for the Dept of Art and Art History! *At the Union - Healing Art Showcase. Go vote on your favorite pieces. (lots of our students have pieces) *Visiting Artist - Jann Haworth - Talk 2/25 - 4:30pm in Art 158 *2/26 - P&D Club activity @Coffee Break Cafe *2/27 - workshop with Jann Haworth - Please RSVP *2/28 - Jakob Pek & Anna Chapman in the Gittins Gallery 7pm

It’s been too long in between visits to Rare Books! This week I was particularly enamored by these decorative drop caps 🖌️

“microaggressions”, edition of 30 My first letterpress project, very excited to learn this new artform!

' back in the office ' #ihatemondays #colorsplash #reddress❤️ #fashionart #fashionist

When I first learned about Turkish ebru marbling, it wasn’t just the colors that got my attention. It was the combs. Simple tools. Often handmade from wood or metal, with teeth carefully spaced and sometimes custom-cut by the artist. Drawn slowly across a floating surface of pigment and thickened water, the comb introduces structure into a medium that resists control. Ebru developed in the Ottoman world around the 15th century, with Istanbul becoming a major center of the practice. The process depends on natural earth and mineral pigments, ox gall to help the colors expand, and a size made from plant-based materials such as carrageenan or gum tragacanth. Color is sprinkled onto the surface and patterns are formed. The combs matter because they introduce rhythm. Known designs such as gel-git (back-and-forth) and taraklı (combed) emerge through repeated passes of the tool. Each movement permanently alters the surface. There is no correction once the paper meets the water. Historically, ebru papers were used as book covers, endpapers, and document linings. They framed manuscripts, protected legal texts, and accompanied calligraphy. What continues to hold my attention is that even with tools designed to create order, no two sheets are ever identical. The density of the pigments, the condition of the water, the pressure of the hand, the spacing of the comb. Everything contributes to a different outcome. If you’ve worked with ebru or studied it closely, I’d love to see what you’ve made or what you’ve collected. Feel free to share below! #TheLifestyleHistorian #LifestyleHistorian #Discoveries #LearningHistory #CulturalHistory #CulturalStorytelling #DesignWithMeaning #HistoryInDesign #ebru #turkishmarbling #ebruart #papermarbling #marbledpaper #bookhistory #traditionalcraft #handmadeprocess #arttools #crafttools #objecthistory #EbruMarbling #PaperHistory #CraftTraditions #MaterialCulture #OttomanArt #BookArts #ToolsAndProcess

Online Submission Applications are now open for this years Juried Student Exhibition. *Fill out form (QR Code) *Read all Instructions! *Drop off Jan 22nd 10am to 4pm in the Gittins Gallery - No Late Submissions will be accepted! Opening Reception and Awards will be on Jan 29th 4:00pm to 6:00pm *Awards will be presented around 5:00 Exhibition will be open in the Gittins Gallery Jan 29 - Feb 18th