O.N 4月下午在Clapp库的四楼的书籍艺术实验室，Jingyi Dai'22和Sarah Pardo'22倾向于一个Vandercook压力机，对大型木制的调整小。他们每次打印一张海报，带有正面信息：戴的读物“将有另一天”，其中一个由标志性的第二次世界大战II-ERA“保持冷静和携带”海报的布局。Pardo的宣称“妇女会”，无需解释。

The hum of the 750-pound motorized press, built circa 1963, doesn’t quite drown out the sound of “Toxic” by Britney Spears, which plays on a radio set to WZLY. Pardo and Dai loosen a quoin (a device for locking up type) so they can adjust the furniture (wooden blocks that hold the type in place) to correct the margins on Pardo’s print. They struggle a bit to get the paper positioned properly on the cylinder of the press, but after a slight adjustment from their teacher, Katherine Ruffin, director of the Book Studies Program, they get rolling.

戴某把她的手从木曲柄上掉，检查她的手指，从墨水中染色。“如果我用这样的手来到quidditch，他们都会非常关心，”她笑着说道。然而，戴了，看起来并不困扰。相反，就像其他15名艺术艺术115个单词和图像工作室一样，她忙着起飞他们的海报，她看起来完全参与，陷入了打印制作的合作工作，对她的工作感到满意。

学生和Wellesley社区的其他成员在今年庆祝其75周年庆祝成立75周年的学习体验，这是我们日益有线的世界上的一个相当不寻常的，而人们渴望，雷丁说。

“数字境界是惊人的，但我们如此互动，我认为我们渴望智能体验，书籍和纸可以为我们提供，”她说。“When people do have that haptic encounter—they’re cranking the press, they’re seeing how the rollers put ink on the faces of the type, then how that ink is transferredto paper and … creates a little bit of an impression from where the paper was pressed down on the face of the type—they respond very viscerally to all that. And feelings of agency and ownership follow very quickly.”

书籍研究计划主任Katherine Ruffin与学生谈话。

从1944年的谦卑开端，当研究图书馆汉娜·尘埃法语购买了19世纪的铁手推车并将其移入图书馆的地下室，这本书艺术实验室已成长为历史奖学金的繁忙，设备齐全的工作室。工作室艺术品。Ruffin教授三个信贷课程：Word和Image Studio，介绍书籍学习，以及200楼的Studio艺术课程，介绍性印刷方法：书籍艺术和排版。

她与特别系列密切合作 - 珍贵的书籍，手稿和大厅里的限量版。自本书艺术实验室的成立以来，实践工作与历史和当代印刷书籍的研究密切交错。从古典研究到天文学的部门教授将学生带到实验室的示范或练习作为其课程的一部分，并且实验室还经常向整个Wellesley社区开放的研讨会。遇到课堂上的书籍艺术实验室的学生经常重返做更多的工作。“我刚从一名高级西班牙语课中拿到了三名学生在制作中级课堂访问后回到实验室，并为他们的最终项目打印自己的宽广，”Ruffin说。

“如果汉娜法国人可以看到她的愿景变得什么......繁忙的书籍艺术实验室和图书馆人员教学书籍艺术和历史信用的书籍，她被覆盖，”特殊收藏的策展人说，露丝罗杰斯说。

新闻先锋

汉娜法国是一个图书馆员，在早期的职业生涯中，对书籍制造和稀有书籍发表了兴趣。作为她在哥伦比亚硕士图书馆服务硕士学位的一部分，她通过手工举行了早期美国订单的专家。经过几年的大学后，Wellesley举办了一个庆祝印刷发明的500周年的活动，法国很高兴发现Wellesley支持她的愿景，以创造一本书艺术实验室。

“1942年，Wellesley的一本书艺术实验室的想法由麦克菲总统赞助，由Annis Van Nuys Schweppe '03（Wellesley College Aoct 1903级）资助，并由McCrum博士[法国主管]开发。亚博永久官网因此，我被赋予了非凡的命令，用于查找和购买用于学生使用的书籍艺术实验室的设备，“法国人写道。（Ruffin将书籍艺术实验室的历史称为她在辛蒙斯的博士学位论文的一部分，这引述了这个报价。）

French was tenacious in her pursuit of a press and equipment. Luckily, her connections in the bibliophile world in New England and beyond served her well, and within a couple years, she was able to secure a flat-bed iron press and some type. She also spent a week studying typesetting and papermaking with Carl Purington Rollins, who started a teaching press in affiliation with the Yale University Libraries, at his home press in New Haven, Conn.

Soon after, French opened Wellesley’s Book Arts Laboratory to students. The lab was open on Thursdays, and students ventured into the library’s basement to print bookplates, poems, theater programs, and greeting cards. French also ran a noncredit book arts seminar, which she taught in the Book Arts Lab and in what is now called Special Collections, which she also oversaw. The course helped inspire at least one alumna to pursue book arts as a career—Betsy Palmer Eldridge ’59 went on to become an accomplished bookbinder, receiving lifetime achievement awards from both the American Guild of Book Workers and the Canadian Bookbinders and Book Artists Guild.

The Book in the 21st Century

O.ver the decades, the lab made two moves. First, it relocated to the cozy attic annex of Special Collections, and then, in 1973, the year after French retired, it moved into its current home, a bright and spacious room on the fourth floor of the library, near Wellesley College Archives, the Conservation Facility, and Special Collections. The press itself was named the Annis Press, after Annis Van Nuys Schweppe, class of 1903.

很多老师教在实验室的7.0s, and in 1977, Marilyn Hatch began working in Special Collections. As part of the job, she learned how to do letterpress, and after several years, she took over the Book Arts Lab. “I’ve always liked craft work and artistic work, took lots of workshops and various kinds of things, but being exposed to all the manuscripts and books in Special Collections made me go and learn calligraphy. So the combination of calligraphy and letterpress finally made me realize that my genre was book arts. And so Wellesley really changed my life,” Hatch says.

In addition to teaching letterpress, Hatch began to integrate innovative structures and approaches used in artists’ books into the lab’s offerings. Ruffin explains that Hatch was responding to the way Special Collections was growing and adding artists’ books—which meld word, image, color, and texture to make books as art—to the collection. “She was … building out the curriculum, adding on to the curriculum [in the Book Arts Lab] in a parallel way,” Ruffin says. In 1998, the lab began its first foray into for-credit courses, offering a half-credit studio art course, Book Arts Studio, taught by Hatch and Rogers—a modern version of French’s course.

由于孵化准备在1999年末退休，凯瑟琳·鲁弗林访问了特别收藏，以展示她一直在制作的艺术家的书籍。Ruffin从Bryn Mawr和M.F.A的哲学中有大本科学位。在阿拉巴马大学图书馆和信息研究学院的书籍艺术中，并在亚当斯房子的哈佛大号弓箭压力下工作。孵化记得，“我们展示了她的书籍艺术实验室，[当时]露丝只是种子，随便说我会离开，凯瑟琳会感兴趣，而凯瑟琳跳。And she was perfect. I swear that it is a charmed position, because I came when I was needed, and then Katherine came just when she was needed.”

插入式实验室

2000年，书籍艺术实验室又加入了电动的万业人媒体，允许更多学生用更多的自主打印。“我知道如果我们想要增加在书籍艺术实验室工作的人们的工作量，我们必须有一个万能的媒体。所以玛丽莲采取了这个想法，我们认为我们将围绕着千年的改变，我们将插入我们的第一次媒体是非常重要的。罗杰斯说，这是图书馆的朋友的一个完美的机会，以纪念正在退休的玛丽莲舱口。“

2002年罗杰斯的另一个大跃进是，当罗杰斯的启发，她在印刷机上参加了悠久的写作和沟通历史的一部分，创造了一个名为纸莎草的课程，以打印到像素，她与雷蒙德一起教授斯塔尔，古典研究教授和Ruffin。“这是一个非常雄心勃勃的实验阶级，试图在两次讲座和一个实验室中涵盖了西方书面沟通，每周一个实验室，”Ruffin说。“所以我们做了从制作纸纸纸纸纸纸纸纸纸纸纸纸纸纸张，看看特殊收藏中的纸莎草碎片，以使特殊收藏的超文本版本，在这十年中，21世纪的第一个十年，是非常雄心勃勃和有趣的工作。”该课程在“00”中提供了三次。“这是一个伟大的合作与共同教学模式。有这么多的兴奋，几乎变成了邪教，“罗杰斯说。

Mary Hamilton French ’09, a book and manuscript conservator who works at Northeast Document Conservation Center (NEDCC) in Andover, Mass., took Papyrus to Print to Pixel in 2008. She recalls growing papyrus in the greenhouses, cutting letters into stone, writing and illuminating text on parchment, casting hot-lead type, and printing a section of text from the Nuremberg Chronicle, among other things.

“It’s been more than 10 years since I took that class, but I can still remember every single moment of it so clearly. It was really a dream come true for me to be able to put into practice the theoretical concepts that I was learning about in the class, and it confirmed for me that I wanted to become a book conservator so that I could spend every day working with historic books,” she says. That’s exactly what she does now at NEDCC. She even recently worked on a scrapbook containing the original architectural drawings of Wellesley’s College Hall by Hammatt Billings, which the College acquired last year. “It was profoundly moving to me to work on such an important piece of Wellesley history, since I very much owe my career in conservation to the excellent instruction and mentorship I received while working in the Book Arts Lab and conservation departments.”

Since Papyrus to Print to Pixel, both Rogers and Ruffin have taught their own for-credit courses, expanding the offerings in book studies. In all their courses, there is a constant flow between the Book Arts Lab and Special Collections. Rogers says that in her 200-level course, History of the Book from Manuscript to Print, students make paper with Ruffin in the papermaking facility in Pendleton West, and also learn how to set type in the Book Arts Lab. “In grading midterms now, I can see directly the effect that that has had on them,” Rogers says. “One student was able to say, you know, I know this book is in quarto format. The watermark is in the gutter, and the chain lines are horizontal. … The hands-on process has had a direct effect on their intellectual understanding. That was always Hannah French’s vision.”

这本书艺术实验室的另一个里程碑是2005年为ruffin举办的书籍艺术计划总监的创造职位，这归功于三个校外的慷慨礼物。“资金是安全的，基于图书馆的事实是重要的，这是许多图书馆员，管理员，图书馆的朋友和捐助者一起努力的东西，”Ruffin说。实验室基于图书馆而不是英国部门或艺术部门的事实，意味着Ruffin更能够跨越校园内进入许多不同的部门。

“我认为法国会走在t门汉娜he library and immediately feel at home and very proud if she walked into some kind of book studies activity, because it is the way we have broadened her vision to increase an intellectual engagement with our collections and our facilities, for people from classics to computer science, from first-year students to very senior professors,” says Ruffin. If French were to walk in on Word and Image Studio on an April afternoon in 2019, there is much that she would recognize—not least of which is the excitement on students’ faces when they pull their prints off the presses and become connected to the written word in an entirely new way.