Cox comb in the Summer
Woodcut, 36 x 12 in each panel
This is a series of reduction woodcuts I created by printing the block in a color then cuttin away more of the block, printing a color then repeating five or six more times.
Donegal Coast
Woodcut 28 x 36 in.
An impression of the West coast of Ireland using the altered texture of wood
Looking for the Moon
Drawing, multi media
60 x 48 in,
Plato's Cave
Woodcut on altered paper
70 x 38 in
Inspired by K. Vonnegut's MOTHER NIGHT and his concept of a "universe of two"
Crystal Beach
woodcut 18 x48 in
Inpression of the coast near Galveston Texas during storm weather
Lovers and Other Events
Woodcut
48 x 48 in
meditations on the relationship of lovers
Kathe Kollwitz,
woodcut 70 x 16 in.
Kathe Kollwitz was a major influence on me as a young student. I started
collecting her etchings when still in undergraduate school.
The LaNana Creek Press (LCP) was founded in 1998 as the fine arts press of Stephen F. Austin State University, with Charles D. Jones as Director and Printer and Dr. David A. Lewis as Editor. The LaNana Creek Press’s purpose was to continue the legacy of finely hand-crafted books using alternative and traditional letterpress printing and binding methods in combination with original prints.
Locking up the type forms on a Vandercook III Press. Each page is printed either individually or as several "imposed" on the press bed.
A FOREST INSECT ALPHABET
New from the LaNana Creek Press, an alphabet book that features fifty-one original woodcuts
"The Monarch Butterfly"
Color woodcut 7 x 9 in.
DARK PEARLS
by Larry D. Thomas
Woodcuts by Charles Jones
9.5 x 13 in
2008
46 pages
edition of 20
THE WORK OF THE PAINTER
LE TRAVAIL DU PEINTRE
Poems by Paul Eluard as chosen by Francis Poulenc
13 x 7 inches
edition of 50
Each of the seven poems written by Eluard about major artists of the 1930’s, was given to selected artists who created an image based on the poem. The images were printed for the book using relief and silkscreen,
POLLINATORS OF THE WORLD
by Dr. David Kulhavy & Charles Jones
Illustrated by James Snyder, Piero Fenci & Liz Akamatsu and others
12 IN x 12 IN
50 cOPIES
2019
This fine press book is a collaboration between Charles D. Jones, Artist and
Master Printer at the LaNana Creek Press and Dr. David Kulhavy of The
Arthur Temple College of Forestry and Agriculture, Stephen F. Austin State
University.
The book was printed and bound by hand from type and relief plates
with original prints created by silkscreen, woodcut, and photopolymer plates. The book includes text, poems, and essays reflecting on the role of pollinators in our environment.
POLLINATORS of the WORLD is international in scope with images of pollinators from various parts of the United States, Mexico, Costa Rica, South Korea, Jamaica, Russia, and the Czech Republic. The text is by David Kulhavy and Charles D. Jones, with added essays contributed by Paul Shockley, Marc Guidry, and David Lewis. Contributing poets include Jon Davis, Larry D. Thomas,
David Baker, Kelly Cherry, Mark Sanders, Ken and Judith Lauter, and José
Neftalí Recinos.
The book is lavishly illustrated with pen and ink drawings by Jim Snyder.Six major classes of pollinators are presented by Liz Akamatsu and Piero Fenci in “The Prelude Suite”, a group of silk screen prints on colored Moriki Japanese papers that image pollination at different periods of
day and night. Other original works of art bound into the book include woodcuts by Charles Jones, pochior images by Corinne Jones and an a silk screened image, “Hive Collapse”, by Neil Cox.
Pollinators of the World is printed on Hahnemuhle’s Biblio paper. Julie Johnson, of the National Forest Service, made the paper for the title pages from milkweed fluff and flax pulp.The foundry types used were Baskerville and Cloister Old Style Roman with American Uncial used for
italics. The digital type was Baskervile. The books are bound with cloth on boards and housed in a slipcase.
THIRTEEN WAYS OF LOOKING AT A BLACKBIRD
by Wallace Stevens
IIllustrations by Corinne Jones
12 in x 14 X 13/4 in
2012
25 copies
This is a double accordion style book built into a clam shell box constructed with mahogany, black walnut, Japanese silk over boards with a bas relief copper sculpture forming the top cover of the box. The book unfolds from the center with twelve sheets moving to the left and fourteen sheets to the right. The book may be displayed closed, partially unfolded, or opened completely on a shelf or table. Each verse is paired with a silhouetted bird image printed from a relief plate. Each book has a unique cover, either in green Japanese silk or grey book cloth with a sculptured insert. The images are printed from relief plates based on drawings by Corinne Jones made with black chalk over full color renderings in direct response to each of the verses. This book was printed on Rives BFK cover weight paper using 16 and 24 pt Lutetia types by hand on a Vandercook Universal III press and bound at the LaNana Creek Press, Nacogdoches, Texas.
Qué Tiene La Música
Canciones, Poemas Y Dibujos
De Enrique Mejia Godoy
10 in x 10.5
50 copies cloth bound on boards
This book pairs images and text from the song lyrics, poems, and images of the Nicaraguan musician and artist, Luis Enrique Mejía Godoy, printed on Hahnemühle’s Biblio.The types used were Bembo, Optima, and Gil Sans.The book was printed by hand on a Vandercook Universal III press from photopolymer plates, and case bound with Japanese silk cloth on boards.
This group of drawings quote images and symbols based on Pre-Columbian prototypes are combined with modern visualizations and symbols. The results are powerful contemporary visual works.
and symbols. The results are powerful contemporary visual works.
This places the work in a direct creative lineage from the past to the present. Luis Enrique Mejía Godoy says in a song, Tengo América en mi voz, to which I would add that he has América in his drawings as well.
María tiene un siglo entero
de melancolía y de soledad, María siempre en la cocina
haciendo el pinol que gustaba a Juan.
María tiene un calendar io
de noches sin lunas allá en el solar y mira su vientre marchito,
sus pechos tr istes de tanto esperar, y besa la cotona roja
que Juan se ponía para dominguear.
María Soledad no llores
que un día las flores de amor crecerán, María Soledad no llores
y llenarán de alegría tus ojos,
María Soledad.
COLLECTIONS with LaNana Creek
Press BOOKS
UNIVERSITY OF NORTH TEXAS
UNIVERSITY OF TEXAS, AUSTIN,
HARRY RANSOM CENTER
CALIFORNIA STATE LIBRARY
GETTY RES INST
UNIVERSITY OF CALIFORNIA, SANTA CRUZ
UNIV OF SOUTHERN CALIFORNIA
YALE UNIVERSITY LIBRARY
UNIVERSITY OF DELAWARE
NORTHERN ILLINOIS UNIVERSITY
TULANE UNIVERSITY
BOSTON PUB LIBRARY
HARVARD UNIVERSITY
HARVARD COL LIBRARY
UNIVERSITY OF MICHIGAN LIBRARY
UNIVERSITY OF N CAROLINA, CHAPEL HILL
DARTMOUTH COLLEGE
HAMILTON COLLEGE LIBRARY
SUNY AT BUFFALO
BAKER & TAYLOR
CASE WESTERN RSV UNIVERSITY
UNIVERSITY OF CINCINNATI
UNIVERSITY OF PENNSYLVANIA
BROWN UNIVERSITY
UNIVERSITY OF VIRGINIA
MCGILL UNIVERSITY
SAN FRANCISCO PUBLIC LIRARY
UNIVERSITY OF TEXAS, EL PASO
GEORGIA STATE MUSEUM
(UNITED KINGDOM)
NATIONAL ART LIBRARY VICTORIA & ALBERT
MUSEUM BODLIAN LIBRARY, OXFORD
NATIONAL TAIWAN UNIVERSITY
The LaNana Creek Press’s purpose was to continue the legacy of finely hand-crafted books using alternative and traditional letterpress printing and binding methods in combination with original printmaking processes to produce limited edition books in the fine press tradition. Each year, the Press publishes one or two major books and produces a number of less ambitious publications. LCP has established a reputation for innovation and quality. Its books may be found in such important rare book collections as the Bodleian Library, Oxford University, the Victoria & Albert Library, The Harry Ransom Center, the National Library of Taiwan as well as many Special Collections Libraries throughout the United States.
New from the LaNana Creek Press, an alphabet book that features fifty-one original woodcuts drawn and cut by Charles Jones. Twenty-six of the images are color woodcuts of forest insects chosen to represent each letter of the alphabet and are accompanied by twenty-three black and white wood engravings. A descriptive poetic quatrain, written by David Kulhavy, and printed from handset type is below each color print. The wood engravings give a more detailed study of the insects and are accompanied by scientific text, also written by Kulhavy. Printed by hand on a Vandercook III letterpress in the summer and fall of 2010, the book features forest insects important for their beauty, impact on the forest environment, and intricate ecology. Jones designed and cut capital letters for each insect name making them an integral part of the compositions. The colors used for each woodcut are based on those of the named insect. The book is 11.75 inches x 11.75 inches and is housed in a clam-shell box in Canapetta bookcloth with a gold stamped leather inset on the spine.
It is the intention of the authors that the book would appeal to a wide audience, viewers young and old, and be a blend of art and science. . Each book contains a compact disc of songs that are David Kulhavy’s texts set to music and sung by Nacogdoches musician Miki Lynn Fryar accompanying herself on guitar, with mandolin and frailing banjo by Charles Jones.
This work was printed from handset type, wood, Resingrave®, and photopolymer plates. The types used were Lutetia 16/18 cast by Harold Berliner and Spectrum™ MT. The paper is Hahnemühle’s Schiller with end papers of Bugra printed with insect image blocks. The book is quarter bound on boards with green Harmatan goatskin and Asahi evergreen Mohair book cloth.
MY BLACK ANGEL, BLUES POEMS AND PORTRAITS
by Kim Addonizio
Woodcuts by Charles D. Jones
14.5 x 10.5 in
2014
edition of 100
This work is a collaboration that pairs the blues poems of Kim Addonizio with woodcut effigies based on images of a number of significiant blues musicians. The intent is to create “duets” of image and text, each spread becoming a visual composition, each element amplifying the other. The woodcuts were created in direct response to the poetry. There are 64 pages, 24 poems with 26 images, printed directly from the wooden blocks. The paper used was Hahnemühle’s Biblio with additional images for the deluxe edition printed onto Sekishu, a fine Japanese paper. The font was Optima and was printed from photopolymer plates. This work was designed, printed and bound by Charles Jones.
LANDSCAPES, WITH HORSES
By Mark Sanders with woodcuts by Charles Jones
10 x 12.5 in.
35 copies
Regular edition
Deluxe editions in a clam-shell box with a suite of prints included.
Thirty-five copies of this work have been printed at the LaNana Creek Press at Stephen F. Austin State University. The paper used was Hahnemühle’s Schiller, with ten of the blocks printed onto Sekishu, a fine Japanese paper. All printing was from the wood or Resingrave® blocks. The font was Bernhard Modern Std. printed from photopolymer plates. This work was designed and printed by Charles Jones who also created the woodcut and wood-engraving images in response to the poetry of Mark Sanders.
CANDIDE: The Portfolio
By Voltaire
Etchings by William Arscott
15 x11 in
2000
folios of 21 leafs
edition of 50
The book was set in Lutetia Roman, l6 pt for the English translation and Lutetia Italic, 16 pt type for the original French Text, and Romulus types set in Monotype by Harold Berliner and was printed on a Vandercook Universal III press. The paper is Magnani Pescia cream. The images are printed from intaglio copper plates created with line etching, aquatint, drypoint and engraving by William Arscott to accompany the French text, with additional images printed from photopolymer film directly exposed to his drawings for the English translation. The individual signatures are hand stitched and housed in a clamshell box covered with Chinese red silk book cloth over boards.
The editors have opted to use early editions for both French and English texts in a effort to retain the intergity of the original 18th-century work, an edition from 1877 for the French publication and the Smollett translation from 1761-1769 for the English. Selections from each chapter of the original text were chosen to be printed and imaged with the corresponding translation. The intent was to cross the boundries of image and text—in this instance, presenting the work in a manner reminesent of the print cabinet where the sheets were meant to be replaced after viewing, rather than being framed and hung.
TIMON OF ATHENS
William Shakespeare
Images by Wyndham Lewis
13 in by 9 1/2 in.
2003
108 pages
edition of 100
\
Designed and printed by Charles D. Jones on d’Arches’ Johannot paper, the book has printed end sheets of blue Bugra Hahnemühle paper. It was printed by hand from polymer plates with 6 color plates and over 30 black and white plates from original designs by Wyndham Lewis. He created these designs in the late 1920’s and 1930’s for use in an edition of Timon that was never approved for printing by Lewis. Working with Omar Pound, an expert on Lewis and controller of rights to his estate, and using his own understanding of Lewis’ work, Jones has attempted to create the work that Wyndham Lewis would have approved. The work is using Bugra grey paper and a linen spine, bound on boards. It is housed in a clamshell box covered with Italian Linen book cloth.
ALPHABET BOOK
by Dorothy Shakespear Pound and Omar Pound
7x 10 in
2001
48 pages
edition of 100
This book uses the open-face capital letter designs of Dorothy Shakespear Pound and text by Omar Pound to create a work that is reminisent of children’s coloring books. It is hand set in Gill Sans and Joanna 14 pt type with sans serif open-face capitals. The designs are printed from photopolymer plates. Fifty copies were printed on Mohawk superfine and fifty were printed on Magnani Biblios papers with Stonehenge gray end sheets. The book was softbound with a wrapper of Fabriano Tizano.
Corinne Jones designed the book and inked several of the designs that had not been completed. The title page was designed by Charles Jones who also printed and bound the book.
HONEY BUCKET CHARLIE, by Benjamin Comeau
An American POW From the Korean War’s Story as told by his DrawingBased on a series of one hundred pen and ink drawings by Captain Benjamin Comeau, a POW at Camp #1 in Korea from 1950–53, Honey Bucket Charlie contains letters Comeau wrote during his time in the prison camp, as well as photographs and interviews with his son, brother, and grandson. From Central Texas, Comeau enlisted in the Marine Corps during World War II, was wounded at Iwo Jima, left the Marine Corps and then joined the army in time for service as an infantryman in the Korean War. He was taken as a POW by the Chinese in November of 1951 and remained a prisoner until June of 1953. Comeau remained in the army and later served a year in Vietnam. He was an extraordinary man who has left us an equally extraordinary group of drawings describing his time as a POW. Honey Bucket Charlie has an introductory chapter by author and scholar Lewis Carlson.
BENJAMIN COMEAU was from Central Texas and joined the army after fighting in World War II as a marine. An infantryman in the Korean War, Comeau was captured and spent two years in a Korean POW Camp.
LEWIS H. CARLSON’s books include We Were Each Other's Prisoners: An Oral History of World War II American and German Prisoners of War. He lives in Michigan.
CHARLES D. JONES, a printmaker, is the director of LaNana Creek Press and Regents Professor of Art at Stephen F. Austin State University.
With a Foreword by Marc Guidry
Written in Middle English, this contemporary version of Chaucer’s classic tale is 112 pages with 28 original images by Charles Jones. The edition of fifty was designed and printed by Charles Jones with Terri Goggans assisting. It was printed on Hahnemuhle Guttenberg paper and set in Goudy Thirty and Gill Sans types. The book is quarter bound on boards using Hartaman leather and silk book cloth with an accompanying slipcase.
14 x 10. 112 pp. 28 woodcut images
A Forest Insect Alphabet features fifty-one original woodcuts drawn and cut by Master Printer Charles Jones. Twenty-six of the images are color woodcuts of forest insects chosen to represent each letter of the alphabet and accompanied by twenty-three black and white wood engravings. The book features forest insects important for their beauty, impact on the forest environment and intricate ecology. Jones designed and cut capital letters for each insect name, making them an integral part of the compositions. The colors used for each woodcut are based on those of the named insect. A descriptive poetic quatrain, written by Entomolgist Dr. David Kulhavy, is printed below each color print. The wood engravings also offer a detailed study of the insects and are accompanied by scientific text. Printed on 157 gsm. stock, the book features insects important for their beauty, impact on the forest environment and intricate ecology. The colors used for each woodcut are based on the named insect. The book is 10 inches x 10 inches and comes with an accompanying CD featuring songs about forest insects.
DAVID KULHAVY has been awarded the regional National Association of Interpretation award for his interpretations of Dr. Dave's Bugs. CHARLES D. JONES is the director of Lanana Creek Press and has taught printing and bookmaking for over thirty years.Are your customers raving about you on social media? Share their great stories to help turn potential customers into loyal ones.
My Black Angel, Blues Poems and Portraits pairs the blues poems of Kim Addonizio with woodcut effigies based on images of a number of significiant blues musicians with the intent of creating “duets” of image and text, each spread becoming a visual composition and each element amplifying the other.
Created by Charles D. Jones, the woodcuts are in direct response to the poetry. The limited edition book features 24 poems and 26 images printed directly from wooden blocks on Hahnemühle’s Biblio paper, with additional images for the delux edition printed onto Sekishu, a fine Japanese paper. Jones uses the Optima font, printing from photopolymer plates.
978-1-62288-047-8
Hardcover - Limited Edition
10.5 x 14.5. 64 pp. 26 woodcut prints
Pub Date: 08/27/2014
Landscapes with Horses conjoins the work of two artists: the poetry of Mark Sanders and the illustrations of woodcutter and book artisan Charles Jones.
The LaNana Creek Press editions of this handpressed, hand-bound collaboration features over a dozen of Jones’s exquisite woodcuts and twenty of Sanders’s poems. The combination is a feast of imagery, both visual and written, and fine-press book enthusiasts and fans of poetry will find much to admire.
Jones’s woodcuts show the range of horse energies, from wildness to repose, and Sanders’s verse places horses and humans in spiritual and emotional proximity in such fashion that acclaimed poet and novelist, Kelly Cherry, once called Sanders the best horse poet since Virginia poet Henry Taylor.
Landscapes with Horses is an intimate collection; readers will understand both the artist and the poet better for reading the work, but readers will also see themselves transcended into the varied, powerful landscapes this book brings to life.
MARK SANDERS is the author of a number of poetry collections, including Conditions of Grace: New and Selected Poems. His work has been widely published in the United States, Canada, and Great Britain. A long-time native of Nebraska’s plains, he currently calls Nacogdoches, Texas, home.
Books and prints I create are in small limited editions and the availability depends on the supply.
The 2020 Catalogue of works from the LaNana Creek Press
This is a collection of fine press books created during the past 20 years
Copyright © 2020 Crazy Creek Press - All Rights Reserved.
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