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RE: [PPLetterpress] Digest Number 1036

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  • dglover@glendale.cc.ca.us
    Great insight Gerald! Authors haven t a clue how big a financial risk the small printer takes when it decides to produce a work. They are just excited that
    Message 1 of 1 , Aug 12, 2005
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      Great insight Gerald!

      Authors haven't a clue how big a financial risk the small printer takes
      when it decides to produce a
      work. They are just excited that their words will be printed.

      I really believe you have the pulse of the small printer.




      Original Message:
      -----------------
      From: PPLetterpress@yahoogroups.com
      Date: 12 Aug 2005 09:46:07 -0000
      To: PPLetterpress@yahoogroups.com
      Subject: [PPLetterpress] Digest Number 1036


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      There is 1 message in this issue.

      Topics in this digest:

      1. Fine Press Poetry Books
      From: "Gerald Lange" <bieler@...>


      ________________________________________________________________________
      ________________________________________________________________________

      Message: 1
      Date: Fri, 12 Aug 2005 06:42:34 -0000
      From: "Gerald Lange" <bieler@...>
      Subject: Fine Press Poetry Books

      Recently received under the subject heading "your poetry books" was
      the following email message:

      "What is BielerPress; and why are the books so expensive? If you don't
      mind me asking. Is it possible of me to sumit?"

      I'd be interested in knowing how other members who produce fine press
      poetry books would respond to a similar request. Or even how those who
      do not think about this.


      I should probably annotate this with a couple of points:

      I have been involved with fine press production for 30 years now and
      have not issued a poetry book since the early 1990s.

      I should also suggest that the fine press field is no longer what it
      was in the earlier years of the last quarter of the 20th century and
      that my own concerns in this regard are confused, as they were with
      the influx of the artist's book phenomenon in the mid 1980s, and again
      with the deconstructionist approach to typography in the early to mid
      1990s.

      The current letterpress bubble seems primarily driven by invitational
      card printing and most new entrants to the field are not drawn to the
      concerns of the fine press, nor the amateur press.

      Most of my current work is in supplemental assistance (typography,
      platemaking, etc) with invitational card printers and I have a pretty
      good sense of cost and charges and expenses and labor involved. In
      relation to book work, the labor and associated costs for cardwork are
      minimal but the final charges to the clients are somewhat
      out-of-sight. I'm quite aware the landscape has changed significantly.
      Neither the fine press book nor the artist book have anywhere near the
      draw they once had. Things change and are expected to, and they will
      again.


      So. . . basically I'm surprised anyone would even inquire about what I
      consider older generational activity.


      Gerald






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