	Timberline Press Books Handcrafted by Clarence Wolfshohl

Timberline Press

Books Handcrafted by Clarence Wolfshohl

Timberline Press About

	A Look Back by Clarence Wolfshohl A Small Shelf Timberline Press has published more than 50 books since its inception in 1975. Nearly all of these books were completely produced by hand-handset letterpress, printed on manual presses and then handstitched and bound. The Elements of Design Since printing and print-making helped draw me into publishing, the design and graphics of a book are very important. When I first started back in Mason, Texas, I would design books in my head as I drove the school bus to gather ranch children early in the Texas mornings. And I still do the same thing as I do my regular exercises to keep the heart healthy. Whether the main design feature is just a well-composed appropriate typeface or more elaborate illustrations, the harmonious blending of literary message and graphic design is Timberline’s goal. I use various print methods for the illustrations: linocuts, etching, and silkscreening and sometimes zinc-cuts from line drawings. The printing and designing were major reasons for the creation of the press. The Guiding Principle The other main reasons were the love of poetry and the desire to provide at outlet for writers. I was able to combine these so that I could print good poetry in an attractive book for a reasonable price. That has been the guiding principle of Timberline Press for nearly 30 years. Evolving into Diversity I originally proposed to publish poetry drawing its imagery, rhythms, and themes from the natural world and many of Timberline’s publications have done so. In 1988 Timberline created the Cedar Tick Natural History Series of short essays of natural history, and 5 booklets have been published in that series. I soon decided that any poetry that is sincere and well-crafted would receive a sympathetic reading. As a result, our publications have included a wide range of themes and subjects, frequently featuring writers and their unique concerns: William Heyen’s Annuli (2001), a mystical-ecological meditation on turtles Charles Fishman’s The Death Mazurka (1987), a moving collection of Holocaust poetry selected as a book of the year by Choice, the American Library Association journal Jim Bogan’s Ozark Meandering (1999), a mixture of poetry and prose celebrating the people and land of the Ozarks Walter Bargen’s trilogy--Yet Other Waters (1990), The Vertical River (1996), and Water Breathing Air (1999), another impressive regional work from a writer well-known in the Midwest The Printer’s Device Timberline Press’s logo or device, to use the more correct printing term, is a “W” with a stylized fir tree atop the middle peak of the letter. The “W” refers to my name and symbolizes a mountain range associated with the timberline, further referred to by the tree. Besides reflecting the Western roots of the Press–the idea of the press was conceived in the late 1960's in New Mexico–the timberline suggests heights and rareness.

A Look Back by Clarence Wolfshohl

A Small Shelf

Timberline Press has published more than 50 books since its inception in 1975. Nearly all of these books were completely produced by hand-handset letterpress, printed on manual presses and then handstitched and bound.

The Elements of Design

Since printing and print-making helped draw me into publishing, the design and graphics of a book are very important. When I first started back in Mason, Texas, I would design books in my head as I drove the school bus to gather ranch children early in the Texas mornings. And I still do the same thing as I do my regular exercises to keep the heart healthy.

Ozark Meandering Cover: Stylized Tress and Moon

Whether the main design feature is just a well-composed appropriate typeface or more elaborate illustrations, the harmonious blending of literary message and graphic design is Timberline’s goal. I use various print methods for the illustrations: linocuts, etching, and silkscreening and sometimes zinc-cuts from line drawings. The printing and designing were major reasons for the creation of the press.

The Guiding Principle

The other main reasons were the love of poetry and the desire to provide at outlet for writers. I was able to combine these so that I could print good poetry in an attractive book for a reasonable price. That has been the guiding principle of Timberline Press for nearly 30 years.

Evolving into Diversity

I originally proposed to publish poetry drawing its imagery, rhythms, and themes from the natural world and many of Timberline’s publications have done so. In 1988 Timberline created the Cedar Tick Natural History Series of short essays of natural history, and 5 booklets have been published in that series.

I soon decided that any poetry that is sincere and well-crafted would receive a sympathetic reading. As a result, our publications have included a wide range of themes and subjects, frequently featuring writers and their unique concerns:

William Heyen’s Annuli (2001), a mystical-ecological meditation on turtles
Charles Fishman’s The Death Mazurka (1987), a moving collection of Holocaust poetry selected as a book of the year by Choice, the American Library Association journal
Jim Bogan’s Ozark Meandering (1999), a mixture of poetry and prose celebrating the people and land of the Ozarks
Walter Bargen’s trilogy--Yet Other Waters (1990), The Vertical River (1996), and Water Breathing Air (1999), another impressive regional work from a writer well-known in the Midwest

The Printer’s Device

Timberline Press’s logo or device, to use the more correct printing term, is a “W” with a stylized fir tree atop the middle peak of the letter. The “W” refers to my name and symbolizes a mountain range associated with the timberline, further referred to by the tree. Besides reflecting the Western roots of the Press–the idea of the press was conceived in the late 1960's in New Mexico–the timberline suggests heights and rareness.