I read fast, and then I read slow, and I often set it aside for months and see what sticks with me. What surfaces when I pick it up again later. I know I’ve hit on a poem or part of a poem I want to print when it makes me feel something big and I can’t get it out of my head.

It’s a simple practice. Write three pages, first thing every morning, longhand. Can't imagine not writing them.

People often gawk when I give a typesetting demo, sliding each metal letter one by one into the composing stick, tilted at an angle to keep them in line, upside down and backwards.

The steel book saga continues! We’ve arrived at the cover treatment, which consisted of etching the cover art into the steel and then applying a rusted patina.

Inspired by Eileen Wallace’s work, I knew a book with steel covers was possible. 18 months and many prototypes and doubt-filled days later, I made it work.

Riveting may seem an odd topic to file under bookbinding, but nevertheless it came up in a recent commission. I used copper rivets to attach the metal book covers.

We’re packing up the Stern & Faye Print Farm, wondering after each object and its potential destination. I don’t even have a shop of my own yet – that’s to come a year and a half later –