Peter and Donna Thomas have been making fine press and artist's books for over 40 years. When they started, as craftspeople at Renaissance Faires, they fell in love with the graceful beauty of "gypsy wagon" caravans that other vendors had made to sleep in or use as booths for selling their wares. In 2009 Peter and Donna built their own tiny home on wheels, designed after a typical late 19th century Redding Wagon. This blog documents their trips around the country, taken to sell their artists' books, teach book arts workshops, and talk about making books as art; as well as to seek out and experience the beauty of the many different landscapes found across the USA.

Peter and Donna started their business in 1977 and made their first book in 1978, so from 2017-18 are traveling to celebrate 40 years of making books with shows in a dozen libraries across the country. See the schedule on the side bar to find if they are coming to a town near you....

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Monday, May 2, 2022

Pulp to Print: Conceive, Collaborate, Construct - a class at Focus on Book Arts 2022

I will be co-teaching a 3-day book arts workshop with Susan Lowdermilk at the Focus on the Book Arts Conference in Forest Grove, Oregon, Friday-Sunday, July 15-17, 2022. We still have room in the class and hope you will join us!

Susan and I just completed a 9 month collaborative book arts project titled HOPE? In this class we are going to share what we learned about collaboration and let you practice the skills needed, in a fun and exciting way, to make a book.

The class is titled Pulp to Print:  Conceive, Collaborate, Construct. Susan and I will guide the class through the collaborative process of designing and creating an editioned artists’ book. Class participants will design a small book, make handmade paper, use hand set type, carve linoleum blocks, or otherwise employ paints and drawing inks, to create the images and text for our book. Students will then bind the pages created into a “flag book” structure.  At the end of the three days each student will leave with their own copy of the editioned collaborative artists’ book we make in the class.

Sunday, December 12, 2021

Our Books at Yale's Beinecke Library

Last weekend we pulled the wagon out of its shelter to set up at a local art show. Here is moody photo taken early in the morning.

Here is a less moody but more accurate picture of the day's activities:

And finally, we just found a selection of our books were included in an exhibit titled Road Show, Travel Papers in American Literature. They made a video showing our books. Here is the link:

Tuesday, September 21, 2021

Endangered Forests: Book Artists Bear Witness

This blog post is about our most recent project: Endangered Forests: Book Artists Bear Witness is a collaborative art project we are doing with Susan Lowdermilk and Andie Thrams. Through field work and research in recently burned and intact forests in Oregon and California, we are investigating the complex topics of tree mortality, catastrophic wildfire, and climate change. We will be creating a reliquary of artists' books, artworks, and artifacts - titled HOPE? - to bear witness to the devastation we have seen occurring in western forests and to grapple with the question of hope at this pivotal moment in the ongoing history of the planet earth.

The collaboration began over dinner during the 2019 Codex Foundation Bookfair in Richmond, CA. The Codex Foundation had announced an upcoming project titled “Extraction: Art on the Edge of The Abyss”, and had issued a call for artist to create projects to be included. We were eating dinner with Susan Lowdermilk and Andie Thrams, both artists whose work also focused on the natural world, and we decided that trees would be a good focus for a collaboration, imagining a unique approach to a showing of our work would be to backpack into some remote spot in the Sierra Nevada and set up an exhibit in the wilderness.

The project was waylaid by the COVID 19 pandemic, and during the intervening time each of us was affected by the devastating wildfires that burned the western USA. We decided to shift the focus towards creating a collaborative art project in response to those fires. 

We began our collaboration in July of 2021 staying together at UC Merced’s Yosemite Field Station in Wawona, CA, where we viewed the vast areas that burned in the 2020 Creek Fire, adjacent to Yosemite National Park. We found blackened hillsides juxtaposed with green forests. But we found the unburned areas were filled with both downed trees and standing dead trees killed by beetle infestation and the effects of drought, and we saw many living trees showing stress in their thinning and dying foliage.


We spent several days painting, writing, and hiking in Yosemite’s Mariposa Grove of Giant Sequoias, and witnessed the devastation caused by a freak wind event in January 2021 that felled thousands of trees in the Wawona area. Fifteen of the grove’s giant sequoias toppled that night. Speaking with park scientists and ranger-naturalists, we learned that the dense vegetation that has been building in Sierra forests since the mid-1800’s, due to fire suppression policies, is now contributing to the megafires in the West and that even giant sequoias, once thought to be almost invincible, are increasingly vulnerable to fire, insect infestation, and prolonged drought. We learned many scientists predict that Earth, now 4.5 billion years old (in what is tentatively being called the Anthropocene Epoch) is at the beginning of its fifth mass extinction event, due to human-induced changes to the planet. We began to understand that what is happening in western forests is a complex problem, connected to human impact, including worldwide climate change and habitat loss.

We asked the scientists and rangers we spoke with how artists could help; what message would they wish we, as artists, would share about the forests’ problems. A clear answer was that while scientists can gather information and relate facts, scientific data alone cannot always inspire deep consideration of facts or change minds already decided. But artists can translate facts, share observations, and bear witness, and they can create art that will lead a viewer past the confusion of facts to new insights, which may open them to take positive actions for change.


As we rounded up our time in Wawona, we realized the scope of our project had expanded - from a study of catastrophic wildfire, to a study of what creates such fires in the first place. The causes are complex, but rooted in the over-extraction of natural resources, and fossil fuel burning, which are causing worldwide climate change. We began to wonder if there is any hope for the Earth’s forests, any hope for humans? And, during such overwhelmingly worrisome times, what will hope mean? Will anything we can do as artists even matter? An answer came: we thought of John Muir: an unprivileged and self-educated individual, who, through his personal passion for nature, inspired the founding of the modern conservation movement. His life shows that just one single person’s efforts can actually make a difference. 

    The day we were leaving Wawona, we encountered a man riding an electric bike near the Mariposa Grove, and spoke about our project. He acknowledged that his decision to ride a bike instead of driving would do little very little to reduce the impacts of climate change, but if every “one” decided to ride an electric bike instead of driving a car it really would matter and make a difference. We asked him what direction he would want our project to take. He replied, “Create a road to recovery, a path to redemption.” 


We relocated to Santa Cruz to make the first collaborative art works of the project using our bookbinding, papermaking and printing studios. Reviewing all the conversations we had while together in Wawona, we decided to create a reliquary of artists' books, artworks, and artifacts with the intention to bear witness to the devastation occurring in western forests at this pivotal moment in time, and to grapple with the question of hope: what is hope, is there hope for the future, and if so, what can it be.

    As we worked together, we found our collaborative art process echoed the cooperative networks of the “Wood Wide Web” (a term created to describe the complex connections that exist between all organisms within forest ecosystems), combining the unique skills of each individual to produce artworks we all had a hand in envisioning and creating. We worked simultaneously on three book projects, printing woodcuts, pressure prints, wood and metal hand set type on the press, collaboratively making decisions, all four artists having their hands on each of the pieces.

The three books we made speak to the natural world tragedies we had witnessed and were learning about. They will end up being part of a reliquary we will create to hold all the works we will make together. We decided to title that reliquary “Hope?” The final product will be available for sale, and will be displayed as part of the worldwide project, Extraction: Art on the Edge of The Abyss, which investigates climate change and human over-consumption of natural resources.

    Next, we are going to meet in early October at Oregon State University’s H.J. Andrews Experimental Forest, to be part of their program that pairs artists with scientists. While there we will explore the nearby 2020 Holiday Farm Fire burn and continue to create art work in response to what we witness and learn.

Note: This is paper made while we were together in Santa Cruz. The white cotton rag pulp was pigmented using charcoal from burned Sequoia trees. The finer particles gave the paper a grey cast, and the coarser particles created small black specks, spread evenly over the sheet. We will use this paper for a collaborative art work when we are in Oregon.

Monday, April 5, 2021

Vardos, gypsy wagons and other rolling homes we have seen on the road

As we sheltered in place over the last year, with no travel on the horizon, we spent time looking through the pictures we took while traveling as wandering book artists. 

When we first left home in 2019, Jay Shafer had just published his first articles and videos about tiny homes. Our gypsy wagon was a show stopper on the road and in the campgrounds. People would follow us in their cars trying to get a better look. They would stop us at the gas station or store to ask "What is that?" This was before we understood the concept of cultural appropriation led us to reconsider calling our tiny home on wheels a "gypsy wagon". Within a few years there was a tiny home show on TV and people began asking, "Is that a tiny home? I've always wanted to see one!" A few years after that people began saying, "I like your tiny home. My cousin is building one... (or I am gathering the parts to build one this summer..."

Now there are multiple websites, blogs, and facebook groups dedicated to tiny homes, and most people call "gypsy wagons" by the Romani word "vardo". 

We thought you would enjoy seeing all the various forms of rolling homes found while traveling the USA between 2019 and 2020. Some of these photos, and their stories, will be found featured in previous blog posts, but it seemed a worthy project to gather them all together in one post.

Above: For reference, this is what our tiny home on wheels looks like in Western Nebraska.
Below: The many interesting tiny homes we saw on our trips around the US.