tag:blogger.com,1999:blog-67824138469523722852024-02-19T11:26:04.897-05:00In ProgressNews and notes from Russell Maret's studioRussell Marethttp://www.blogger.com/profile/11372575284098125604noreply@blogger.comBlogger112125tag:blogger.com,1999:blog-6782413846952372285.post-80214102318389210432023-04-15T15:12:00.002-04:002023-04-15T15:12:34.060-04:00Colored Objects by Johann Wolfgang von Goethe<p class="MsoNormal"><span style="font-size: small;"><span style="font-family: georgia;">In his “Introduction” to the 1970 edition of Goethe's <i>Theory
of Colors</i>, Deane B. Judd humorously stated that “In view of the fact that
Goethe's explanation of color makes no physical sense at all, one might wonder
why it is considered appropriate to reissue this English translation." The
same might be asked of my current printing of “Colored Objects,” a chapter from
Goethe's larger <i>Theory</i>. The answer to both conundra is the same. Even if
Goethe's scientific conclusions lacked substantive merit, the chromatic
phenomena he describes in <i>Theory of Colors</i> are observably true. Goethe
was able to accurately describe the way in which color is experienced and the
ways in which colors interact with and elicit one another. It was only the
scientific explanation as to why these phenomena occur that he could not quite
knit together. Goethe's continued relevance as a color theorist, then, is for
artistic and poetic, rather than scientific, pursuits. It is not likely that
Goethe would have appreciated this assessment. As he wrote to J. P. Eckermann
in 1827, “I never observed the natural world for poetic reasons.” Whether this
assertion was an example of bombast or a failing of self-knowledge is
irrelevant. We can all benefit from Goethe's poetic approach to science. </span></span></p><p class="MsoNormal"><span style="font-size: small;"><span style="font-family: georgia;"> </span></span></p>
<p class="MsoNormal"><span style="font-size: small;"><span style="font-family: georgia;">When considering how to illustrate <i>Colored Objects</i>,
it seemed dubious to use diagrammatic or scientific imagery. Rather than
illustrating the disproven science, why not make a book in which the phenomena
Goethe describes are able to be experienced by readers as they page through the
book? In order for this to work, though, the pace of the reading needed to be
slowed down, as each experiment requires time to produce the desired results.
This is an important point that Goethe never fully clarifies: for a red disk to
elicit a green one, as in the first experiment, the red disk must be viewed in
focus for at least twenty seconds before turning the page. Then, after a few
seconds, a green disk will appear in its place on the white page. To help slow
the reading down, the text is set in my Rapid Stencil typeface, an alphabet of
capital letters that conveys a sense of Goethe’s declarative style and marries
well with the highly graphic illustrations, while taking slightly longer to
read than a traditional upper- and lowercase typeface. In this slowing down of
the text the reader is further able to appreciate the beauty of Goethe's scientific
“method.”<span> </span></span></span></p><p class="MsoNormal"><span style="font-size: small;"><span style="font-family: georgia;"><span> </span></span></span></p>
<p class="MsoNormal"><span style="font-size: small;"><span style="font-family: georgia;"><i>Colored Objects</i> is printed on Rives <span style="letter-spacing: .75pt;">BF</span>K and a variety of other papers, with a
number of laser-cut parts (some of which move or can be moved) and two pairs of
paper glasses with tinted lenses. The laser cutting was done at Makerspace <span style="letter-spacing: .75pt;">NY</span>C; the glasses were made by American
Paper Optics. Emily Martin provided invaluable insights and technical
instruction; and her students at the University of Iowa Center for the Book
helped come up with an innovative solution to a challenging illustration. The
book was designed and bound by Russell Maret and printed by him and Sarah Moody
in an edition of seventy-five copies. </span></span></p><p class="MsoNormal"><span style="font-family: georgia;"> </span></p><p class="MsoNormal" style="text-align: left;"><span style="font-family: georgia;"></span></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dypUDn3qtimlTeRLxO0sC1aSpfEEmVe8XfBJO2jl8f_-WP9NPhRU_cyJVao1B1xnQlwrbRUSmnNFUj8APDeEQ' class='b-hbp-video b-uploaded' frameborder='0'></iframe></div><span style="font-size: x-small;"><span style="font-family: arial;"> A quick gif of the book's content </span></span><p></p><p class="MsoNormal" style="text-align: left;"><span style="font-family: georgia;"> </span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhH7JumSN938j3gflEpy-zXgYhL6DymBwetKx1tECQdTP_emypH9O2SQeXT7tZ0BS992I_B9MM-mXKQZgvjiXnmkTGMjMh1ZBWce1lTfnhJe8GcfuyCFnZEppTGn2SO3v5Ynf-9pGqAM0bqQ_IL-tG_FvwO36R7tOIXr7p9hZf_Q75gvom_xavAAj-q/s4032/Slipcase.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="4032" data-original-width="3024" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhH7JumSN938j3gflEpy-zXgYhL6DymBwetKx1tECQdTP_emypH9O2SQeXT7tZ0BS992I_B9MM-mXKQZgvjiXnmkTGMjMh1ZBWce1lTfnhJe8GcfuyCFnZEppTGn2SO3v5Ynf-9pGqAM0bqQ_IL-tG_FvwO36R7tOIXr7p9hZf_Q75gvom_xavAAj-q/s320/Slipcase.jpg" width="240" /></a></div><span style="font-size: x-small;"><span style="font-family: arial;"> The prototype of the book's slipcase.</span></span><br /><span style="font-family: arial;"></span><p></p>
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{page:WordSection1;}</span></style></p>Russell Marethttp://www.blogger.com/profile/11372575284098125604noreply@blogger.comtag:blogger.com,1999:blog-6782413846952372285.post-12737101458783669232021-10-04T16:14:00.000-04:002021-10-04T16:14:46.642-04:00A Pattern Book of Cádiz Ornaments<p class="MsoNormal"><span style="font-family: georgia;">In 2013 I designed a couple of typographic ornaments while
thinking of the pavement designs around the city hall in Cádiz, Spain. The
ornaments were not intended to be reproductions of any specific pavement
designs, they were simply prompted by the memory of a lovely day walking around
Cádiz. I included the ornaments in the type specimen at the end of <i>Pressed
for Time </i>but never did much else with them. </span></p><p style="text-align: left;"><span style="font-family: georgia;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjKcAoyY5ryx_uIpWpzfHn82QAJm09R7ITGuRU7MlRBcef_3UHP7MeIkUsX2KH3TldefkSJ2fhDRoJO1I-w0S67JCX5yA55s6GhTL4uOEgWGc_DkRMEHbq70xjk8O1YbKYzZczFSY_NB0/s1544/Screen+Shot+2021-10-04+at+11.48.57+AM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1040" data-original-width="1544" height="216" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjKcAoyY5ryx_uIpWpzfHn82QAJm09R7ITGuRU7MlRBcef_3UHP7MeIkUsX2KH3TldefkSJ2fhDRoJO1I-w0S67JCX5yA55s6GhTL4uOEgWGc_DkRMEHbq70xjk8O1YbKYzZczFSY_NB0/s320/Screen+Shot+2021-10-04+at+11.48.57+AM.png" width="320" /></a></div><span style="font-family: georgia;"><span style="font-size: x-small;"><span style="font-family: arial;">Cádiz City hall with geometric pavements in foreground.</span></span></span><br /><span style="font-family: georgia;"></span><span style="font-family: georgia;"></span><span style="font-family: georgia;"></span><span style="font-family: georgia;">
</span><p></p><p class="MsoNormal"><span style="font-family: georgia;">Then in 2019, as I was working on a book of Sandra
Kirshenbaum’s writings, I asked Ed Rayher to engrave and cast the ornaments to
use on the book’s end sheets (see <i>From the Editor: The Selected Writings of
Sandra Kirshenbaum.</i> San Francisco: Book Club of California, 2020.) Once the
metal ornaments were in my hands, I realized that they could be assembled into
many more combinations than I had originally imagined. I began to think about a
small specimen book. </span></p><p class="MsoNormal"><span style="font-family: georgia;"> </span></p><p class="MsoNormal"><span style="font-family: georgia;">Five days after returning from the publication party for <i>From
the Editor</i>, the whole country shut down in response to the COVID-19 pandemic.
Knowing that the larger collaboration with Carolee Campbell I had been planning
would be delayed, a small ornament specimen seemed like the perfect interim
project. </span></p><p class="MsoNormal"><span style="font-family: georgia;"> </span></p><span style="font-family: georgia;">
</span><span style="font-family: georgia;">
</span><p class="MsoNormal"><span style="font-family: georgia;">Many of the Cádiz patterns I was designing reminded me of
textile designs and, unlike my book <i>Ornamental Digressions</i>, I initially wanted
the Cádiz book to starkly emphasize the ornaments’ patterning structure, rather
than to concentrate on potential color applications. I thought of early
embroidery pattern books, in which the patterns are printed in black ink, as a
model for the book that I wanted to make. </span></p><p class="MsoNormal"><span style="font-family: georgia;"> </span></p><span style="font-family: georgia;">
</span><p class="MsoNormal" style="text-align: center;"><span style="font-family: georgia;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnjCCC_HkoMKe-5yiyyNiJh0WGO5xFvHUji91_ZijNfrvcvjXpfChRJipUtTaEOliYFI57u1DpqytWKxzG8yBogXnxILsS7wuSpBD0TgF-_wjEnPYm-JeMaO1oZvwd41V97vguk1-GESM/s756/IMG_0482.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="503" data-original-width="756" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnjCCC_HkoMKe-5yiyyNiJh0WGO5xFvHUji91_ZijNfrvcvjXpfChRJipUtTaEOliYFI57u1DpqytWKxzG8yBogXnxILsS7wuSpBD0TgF-_wjEnPYm-JeMaO1oZvwd41V97vguk1-GESM/s320/IMG_0482.jpg" width="320" /></a></div><span style="font-family: georgia;"><span style="font-size: x-small;"><span style="font-family: arial;"><span style="-moz-text-size-adjust: auto; -webkit-text-stroke-width: 0px; background-color: white; caret-color: rgb(34, 34, 34); color: #222222; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">Vecellio, Cesare, </span><span style="-moz-text-size-adjust: auto; -webkit-text-stroke-width: 0px; box-sizing: border-box; caret-color: rgb(34, 34, 34); color: #222222; font-style: italic; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; line-height: inherit; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">Corona delle nobili et virtuose donne. Fatti da Lugretia Romana</span><span style="-moz-text-size-adjust: auto; -webkit-text-stroke-width: 0px; background-color: white; caret-color: rgb(34, 34, 34); color: #222222; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">, Venice: Alessandro de' Vecchi, 1625, Lisa Unger Baskin Collection, Rubenstein Rare Book & Manuscript Library, Duke University.</span> </span></span><br /></span><p></p><span style="font-family: georgia;">
</span><p class="MsoNormal"><span style="font-family: georgia;">I soon encountered two problems, both growing out of my
innate obsessiveness. As I set the patterns into type, I became convinced that
I needed to show <i>every</i> conceivable combination of the ornaments. Distinctions
as slight as showing the same pattern rotated 180 degrees seemed critical to the
book’s success. Because of this the book ballooned into something that was
simultaneously too much and not enough. When I finally changed tack, I was already
up to seventy different type formes. Definitely not a small specimen book (more
on this later), and certainly not an engaging narrative progression. </span></p><p class="MsoNormal"><span style="font-family: georgia;"> </span></p><span style="font-family: georgia;">
</span><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgO58ztCIiK0W036amVVV0M0ZeuqIy0goL4lj2SSTCJKyajMUXws-P7sH80GUcVgX62iDnZSEia5ohDG5jVJWW1yPB64DhOQtjsCrVguXsnVN4JomX13gi_ukvlWd7Za5RAX4ExY9Se7B8/s2048/IMG_5142.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1141" data-original-width="2048" height="178" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgO58ztCIiK0W036amVVV0M0ZeuqIy0goL4lj2SSTCJKyajMUXws-P7sH80GUcVgX62iDnZSEia5ohDG5jVJWW1yPB64DhOQtjsCrVguXsnVN4JomX13gi_ukvlWd7Za5RAX4ExY9Se7B8/s320/IMG_5142.jpg" width="320" /></a></div><span style="font-family: georgia;"></span><span style="font-family: georgia;"></span><p></p><p class="MsoNormal"><span style="font-family: georgia;">As part of my bookmaking process I always need to break through
a certain amount of thickheadedness before I can get to where I want to be. In
the case of this book the breakthrough happened while showing the prints to
Annie. After looking through my endless permutations, Annie suggested that I
might not need to show every combination, that in fact it might be a more
engaging book if there was a bit of surprise, a little variety. This may sound
obvious now but, once in it, it can be very hard to see over the walls of a design
rut. </span></p><p class="MsoNormal"><span style="font-family: georgia;"> </span></p><p class="MsoNormal"><span style="font-family: georgia;">At the same time, I was losing faith in the strictly black and white design.
Even after discarding extraneous patterns and changing the order of those that
remained, I found it boring to page through the book. (For those interested in
making books: it is never a good sign if you are bored by your own book.) While
casting about for a solution I remembered a large collection of vintage Moriki
handmade paper I had acquired when New York Central Art Supply went out of business.
What if I printed the patterns in silver ink on alternating sheets of navy and
burgundy paper? That would jazz up the book. I couldn’t be accused of making a
boring book if it was printed like that! </span></p><span style="font-family: georgia;"></span><br /><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiy5xKjxBZY4T6HPf0QnxY6O9hpC29OL3gEAKJwhpXLWslNRzv3EX-MX-qoTGEJQRYztKTLh6qj-7chSjN9_MBRH6fC_mTE69967ShG1bE3GZU0NlQPjr9YmyivfwcKEyb9F9GKTlNTMrQ/s2048/IMG_5143.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1190" data-original-width="2048" height="186" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiy5xKjxBZY4T6HPf0QnxY6O9hpC29OL3gEAKJwhpXLWslNRzv3EX-MX-qoTGEJQRYztKTLh6qj-7chSjN9_MBRH6fC_mTE69967ShG1bE3GZU0NlQPjr9YmyivfwcKEyb9F9GKTlNTMrQ/s320/IMG_5143.jpg" width="320" /></a></div><span style="font-family: georgia;"></span><p class="MsoNormal"><span style="font-family: georgia;"> </span></p><p class="MsoNormal"><span style="font-family: georgia;">I pulled some proofs and made my binding model. I was all
set to begin printing when I developed a persistent variety of nausea caused by
trying to break the unbreakable rule: you can’t go home again. Even though I
liked the silver/navy/burgundy design more than the black and white version,
the new book felt exactly like something I would have made in the 90s. Just looking
at it conjured all kinds of bad memories from my twenties, never mind the aforementioned
nausea. And besides, once I stripped away the colored paper and silver ink,
wasn’t it still the same repetitive, stagnating narrative as the first book?
Each page eventually felt like every other page. I craved movement but designed
stasis instead. </span></p><span style="font-family: georgia;">
</span><span style="font-family: georgia;">
</span><p class="MsoNormal"><span style="font-family: georgia;"> </span></p><p class="MsoNormal"><span style="font-family: georgia;">Finally, the stagnation broke when I realized that I was concentrating
on <i>how the pages looked</i> rather than <i>what I wanted the book to be</i>. And
what I wanted was a book that felt like a salesman’s swatch book, something
assembled from different shapes and sizes, that showed potential without being
restrictive, that was not too neatly put together, that had a bit of randomness
to it. I began looking through my flat files and found all kinds of vintage
papers, none of which I had enough to print an entire edition. They would be
perfect for this book. My first go at the new design was a five-signature book
that was going to require nearly 100 press runs. But it was what I wanted,
labor be damned! </span></p><span style="font-family: georgia;">
</span><span style="font-family: georgia;">
</span><p class="MsoNormal"><span style="font-family: georgia;"> </span></p><p class="MsoNormal"><span style="font-family: georgia;">In mid-March 2020, I set to work printing the first press
runs, realizing at the end of each day that I felt <i>very</i> tired. Unusually
tired. One week later Annie and I were both diagnosed with COVID-19. That
experience, and the ensuing treachery carried out by the Republican party—both
in their handling of the pandemic and their attempt to illegally steal the
presidential election—changed my creative priorities for the next year. </span></p><p class="MsoNormal"><span style="font-family: georgia;"> </span></p><p class="MsoNormal"><span style="font-family: georgia;">The
positive result of this period was having my student Sarah Moody come live with
us for three months while we printed the <i>Three Constitutions</i>. When we
finished that book, I suggested to Sarah that she move to New York and continue
to work for me part time until the <i>Ninja Press Bibliography</i> was ready to
print (the previously mentioned collaboration with Carolee Campbell), at which
time she would switch to full time work. For those part time months, the specimen
book was the perfect project. I set Sarah the task of changing my five-signature
dummy into a single signature of a mere 41 press runs. (After printing the
book, I realized that some of the sheets had an unacceptable level of
show-through. Rather than discard these sheets, I added an “Appendix,” a second
signature in which the sheets could be seen, but at a remove from the rest of
the book. To make this happen required a final, 42<sup>nd</sup> pressrun. Not exactly
a small specimen book….) Some rough pictures can be seen below.</span></p><p class="MsoNormal"><span style="font-family: georgia;"> </span></p><span style="font-family: georgia;">
</span><span style="font-family: georgia;">
</span><p class="MsoNormal"><span style="font-family: georgia;">In addition to the Cádiz ornaments, the book is set in my
Baker and hungry Dutch typefaces, making it the second book I’ve printed entirely
from metal typefaces that I have designed. (The first being The Book of Jonah
from 2012.)</span></p><p class="MsoNormal"><span style="font-family: georgia;"> </span></p><span style="font-family: georgia;">
</span><p class="MsoNormal"><span style="font-family: georgia;"></span><span style="font-family: georgia;"><i>A Pattern Book of Cádiz Ornaments</i> will be available
in a week or so on my website, russellmaret.com. </span><span style="font-family: georgia;"></span><span style="font-family: georgia;">
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text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7Sohyphenhyphentt63cMvtCw-O2GhMy_eOxyHQ8QcMSrP-PJin5eMs2ZbHmOkgkXwzzxgBvJ-LgHxmhs9r7OAuuzOnO_2N5WHZdYExuWJCqvALsFe2X4X_NVZIoZnMjy_qGvxnvDEMgesAm5wDN4o/s2048/IMG_5152.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1130" data-original-width="2048" height="177" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7Sohyphenhyphentt63cMvtCw-O2GhMy_eOxyHQ8QcMSrP-PJin5eMs2ZbHmOkgkXwzzxgBvJ-LgHxmhs9r7OAuuzOnO_2N5WHZdYExuWJCqvALsFe2X4X_NVZIoZnMjy_qGvxnvDEMgesAm5wDN4o/s320/IMG_5152.jpg" width="320" /></a></div>Russell Marethttp://www.blogger.com/profile/11372575284098125604noreply@blogger.comtag:blogger.com,1999:blog-6782413846952372285.post-2997427316563544642021-01-21T10:52:00.000-05:002021-01-21T10:52:13.217-05:002021 New Year Card<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_P2Ap7Cdw9dPd5YEak3lz5DmOam-XrbeglzMhglZl7rFjPJzQ5Rpqjz7EFaBDrigsK8hBKrTbVrHT61EFXalx4MF5JS6SY67Z36OSUfSAxhM3JKGqmnVZU7jSIXcJuB5NjJQGf7TV_T4/s2048/2021+NY+Card.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1536" data-original-width="2048" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_P2Ap7Cdw9dPd5YEak3lz5DmOam-XrbeglzMhglZl7rFjPJzQ5Rpqjz7EFaBDrigsK8hBKrTbVrHT61EFXalx4MF5JS6SY67Z36OSUfSAxhM3JKGqmnVZU7jSIXcJuB5NjJQGf7TV_T4/w400-h300/2021+NY+Card.jpg" width="400" /></a></div>Every year I try to print a new year's mailing that captures the spirit of the time, or at least gives a sense of how I'm feeling about the year just past or the one that lies ahead. I generally aim, with varying success, to get the card out by mid-February. For the last two years I have been unable to make even this deadline. I just haven't known how to greet the year. Since 2016 I have oscillated between mild and feverish on the sad and discouraged scale, and I did not want to print another sad, discouraged card. For 2017 I printed the last stanza of W H Auden's <a href="https://poets.org/poem/september-1-1939" target="_blank">"September 1, 1939,"</a> and for 2018 I printed a large, pleading "HOPE?" So this year it was with relief and excitement that I could print a card that captured my sense of relief for the coming year, and to do so in a way that might not make anyone sad. <br /><p></p>Russell Marethttp://www.blogger.com/profile/11372575284098125604noreply@blogger.comtag:blogger.com,1999:blog-6782413846952372285.post-54542629360043788032021-01-04T13:39:00.000-05:002021-01-04T13:39:33.230-05:00Three Constitutions<div style="text-align: left;">Over the last four years the content of my printing has steadily changed. The political and social upheavals that have riven this country into splinters have slowly seeped into my work. It has not been an entirely welcome change—I have never been a fan of overtly political artists' books—so I have been exploring ways in which I can make politically-inspired work that is both consistent with my aesthetics, and meaningful without being preachy or self righteous. It is a difficult balance to strike. </div><div style="text-align: left;"> </div><div style="text-align: left;">While choosing the texts for my book <i>Character Traits</i> (2017–2019) I noticed that my choices were colored by the absurdity of our President and his enablers. I was not trying to make a political statement with the book, but the politics edged itself in all the same. The hyper-politicization that was infecting every aspect of my daily life could not be kept out of my work. Surprisingly, my timidity about bringing politics into my books was absent in my ephemeral work, and I began printing small mailings that allowed me to directly express my frustration, anger, and helplessness. </div><div style="text-align: left;"> </div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLh8HsumD3QMhj7DrL1_mF-FQk6DZUimkIzrIjINCQkRu1UVZWpPu_eKFP41jLShLr2jzG30pb5QjLBgFwxSNbNB4duZgZ24K-PqTNV5N24osYiURN3wZyLdcDzwFIKRkR14fNII4I0JU/s2048/IMG_0466.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1035" data-original-width="2048" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLh8HsumD3QMhj7DrL1_mF-FQk6DZUimkIzrIjINCQkRu1UVZWpPu_eKFP41jLShLr2jzG30pb5QjLBgFwxSNbNB4duZgZ24K-PqTNV5N24osYiURN3wZyLdcDzwFIKRkR14fNII4I0JU/s320/IMG_0466.jpeg" width="320" /></a></div><span style="font-size: x-small;"><span style="font-family: arial;">My "LOSER" postcard sent to Donald 'Jailbait' Trump at the White House after Joe Biden's victory.</span></span></div><p style="text-align: left;"><i>Character Traits</i> provoked another significant realization about how my lettering and type design relate to the content of my books. Historically, my lettering has been divided into two distinct categories: large, interpretative letterforms on one hand, and proper, constrained typefaces on the other. For over twenty years I have tried unsuccessfully to find ways for these two alphabetical impulses to merge into some hybrid form. What <i>Character Traits</i> taught me was that it was not the lettering that was preventing me from doing this, rather it was the content of my books. The template I had been using in my work was to isolate my interpretative or abstract letterforms on single pages, and then write notes about them in my more traditional typefaces. In order to merge my two lettering impulses, I had to move on from this approach and change the content of my work.<br /></p><p style="text-align: left;">With all of these ideas swirling in the background I began work on a new book project called <i>Three Constitutions</i>.
The book was inspired by the increasingly contentious conflict between
"originalists," those who view the Constitution as a prescriptive cultural
artifact delineating American "civilization," and those who view the
Constitution as a flexible instrument conceived to adapt to the evolving
political and social realities of American "nationhood." This is a conflict we are all familiar with, but what got me started working on <i>Three Constitutions</i> was that in the blaring echo chamber of the hourly news cycle, the originalists were, and are, dominating the discussion. </p><p style="text-align: left;">The problem with these zealous, self-described Constitutional "patriots" is not dissimilar from that of religious zealots: if (and it's a big IF) they have bothered to read their primary document—the Constitution or whatever their holy book happens to be—they have done so through self-justifying blinders. How many Constitutional "originalists," for instance concentrate on the fact that the fourth phrase of the preamble is to "insure domestic Tranquility" or that the sixth is to "promote the general Welfare?" How many self-proclaimed "Proud Boys" understand that the second amendment is an <i>amendment</i>, and therefore provides its own justification for being revisited and amended further? The more likely scenario is that these originalists have not read the original documents at all. Instead they encounter the Constitution at a remove by relying upon the interpretation of others for their beliefs. </p><p style="text-align: left;">The idea that developed from these musings was to print the Constitution in three ways. One large volume would contain the actual text, but it would be printed in a typeface that is difficult, though not impossible, to read. This volume would be accompanied by two smaller volumes, each of which presented an interpretation of the original text. In thinking about the primary contemporary means of doctrinal interpretation, it struck me that there are two: 1) party apparatchiks (President, senators, media commentators, communities, churches, etc) and 2) the internet/social media. One's party interprets by lopsided emphasis and redaction, resulting in an edited version that fits their political aims. The internet interprets by algorithm—providing you with either a best guess version of what someone like you (or who the algorithm assumes you are) would want to hear, or a version that is determined by the limitations, or motives, of the person who conceived the algorithm. </p><p style="text-align: left;">For the redacted version, I had the full text of the Constitution and Amendments set in my Hungry Dutch type. I then went through the text and highlighted key words or phrases to be redacted by physically turning the type upside down. These inverted pieces of type print as black rectangles, resulting in pages that look similar to how redacted government documents look.</p><p style="text-align: left;">For the internet version, I fed the original text through a series of translations using Google Translate. It was first translated into Esperanto, as an expression of the Utopian ideals behind the text and the language. From Esperanto, the text was then translated into Russian, from Russian to Chinese, and Chinese back to English. The resulting text is something like the original, but different in subtle yet meaningful ways. For this volume I designed a typeface that feels very much like a digital design, using simple geometric forms. </p><p style="text-align: left;">In the beginning of November my former student Sarah Moody moved in with us to work on the project. Since then we have finished the internet volume and are currently printing the redacted version. Later in the month we'll begin work on the larger volume. Below are a selection of photos of the process so far, mainly taken by Sarah.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjz66ro3Voo1gi9CgbCS2nlxV4YoZQPbUIIRzXFwzZKJYZu4gMcHqrpyCn9gJErTSFkB1ElpKRM2wURmeqY9Lx8wBBXfAwL62xHDvD3vsQmgLrb2vefZWQmpAXjolSHXrQ7uvulxu8wLQE/s2048/IMG_0486.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1536" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjz66ro3Voo1gi9CgbCS2nlxV4YoZQPbUIIRzXFwzZKJYZu4gMcHqrpyCn9gJErTSFkB1ElpKRM2wURmeqY9Lx8wBBXfAwL62xHDvD3vsQmgLrb2vefZWQmpAXjolSHXrQ7uvulxu8wLQE/s320/IMG_0486.jpeg" /></a><span style="font-size: x-small;"><span style="font-family: arial;"> </span></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-small;"><span style="font-family: arial;">Freshly cast Hungry Dutch type from Ed Rayher at Swamp Press.</span></span></div><p style="text-align: left;"><span style="font-size: x-small;"><span style="font-family: arial;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgL7R1YzfTFTiIscTtMe61u05u4vlAzzlVdV-6a7dsW1r3M3lO0Tnf94he6tZNp3s9lKDD1o-2c67e00-cI1TW1465qo2SOTJZ_XDYdA5AX6TpjM93rk2EwqX7e0JTHS65s5QgF_kaGZqI/s2048/IMG_0480.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1536" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgL7R1YzfTFTiIscTtMe61u05u4vlAzzlVdV-6a7dsW1r3M3lO0Tnf94he6tZNp3s9lKDD1o-2c67e00-cI1TW1465qo2SOTJZ_XDYdA5AX6TpjM93rk2EwqX7e0JTHS65s5QgF_kaGZqI/s320/IMG_0480.jpeg" /></a><span style="font-size: x-small;"><span style="font-family: arial;"> </span></span></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-family: arial;">Determining page breaks and corrections in the Swamp Press galleys.</span></span></span></div><p></p><p style="text-align: left;"><span style="font-size: x-small;"><span style="font-family: arial;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmpjCq0TxGazz2K9HvmaG32i0G-yPfPdkTDLmeHN6w64B0BMMep8hv2kEsES5mFggGHfHDi2Tr_Oy2j1Tmkb4vwLmGvfZAQDoheSA1vgBe9lQeTN-O-za14oL9SXkL-_tEoaU0CPu0e2I/s2048/IMG_0636.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1536" data-original-width="2048" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmpjCq0TxGazz2K9HvmaG32i0G-yPfPdkTDLmeHN6w64B0BMMep8hv2kEsES5mFggGHfHDi2Tr_Oy2j1Tmkb4vwLmGvfZAQDoheSA1vgBe9lQeTN-O-za14oL9SXkL-_tEoaU0CPu0e2I/s320/IMG_0636.jpeg" width="320" /></a></span></div><span style="font-size: x-small;"><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqKx9y_HvWBjjnU1Cf5FrsxHvYvd3BWo8N97J7zSa1HeKPvnkjvhva9mU89nqOH1ILWkowPnDzxRC8I4RE4832UcSwzcQ2ntom45grxqgamXZzM9EupGDxwJXWqog9Gx8MBkwxTCnQDig/s2048/IMG_3546.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1536" data-original-width="2048" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqKx9y_HvWBjjnU1Cf5FrsxHvYvd3BWo8N97J7zSa1HeKPvnkjvhva9mU89nqOH1ILWkowPnDzxRC8I4RE4832UcSwzcQ2ntom45grxqgamXZzM9EupGDxwJXWqog9Gx8MBkwxTCnQDig/s320/IMG_3546.jpg" width="320" /></a><span style="font-size: x-small;"><span style="font-family: arial;"> </span></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-small;"><span style="font-family: arial;"> Breaking the type into pages.</span></span></div></span><p></p><p style="text-align: left;"><span style="font-size: x-small;"><span style="font-family: arial;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjb8nnq4yWNQ_V5GBVau0McnufanyUmdRubBDLutUczm2_cYB433C0rn9PSxZ68MF8N8NXdrIzfJrV2tmW6lGtcFktl9M0p8tRyuNCmujomSirEFo1_h8bv8d73DNWVWd2bySX7136ro2U/s2048/IMG_0858.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1536" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjb8nnq4yWNQ_V5GBVau0McnufanyUmdRubBDLutUczm2_cYB433C0rn9PSxZ68MF8N8NXdrIzfJrV2tmW6lGtcFktl9M0p8tRyuNCmujomSirEFo1_h8bv8d73DNWVWd2bySX7136ro2U/s320/IMG_0858.jpeg" /></a><span style="font-size: x-small;"><span style="font-family: arial;"> </span></span></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-family: arial;">Galley proofs marked up for redaction.</span></span></span></div><p></p><p style="text-align: left;"><span style="font-size: x-small;"><span style="font-family: arial;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjktomd_tzjKDs8IJn4HoD3MwTiPU6X35gztee0JLhmxqfGM_V6IjlqG6lld0yn0BHlH1NL1lCAgBwQYDgoMEJYOV85Ks913-WGcDcFASprSX14blyOl0LJhM9Q7vsGvVeqQ3eubeKcgWg/s2048/IMG_0843.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1536" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjktomd_tzjKDs8IJn4HoD3MwTiPU6X35gztee0JLhmxqfGM_V6IjlqG6lld0yn0BHlH1NL1lCAgBwQYDgoMEJYOV85Ks913-WGcDcFASprSX14blyOl0LJhM9Q7vsGvVeqQ3eubeKcgWg/s320/IMG_0843.jpeg" /></a><span style="font-size: x-small;"><span style="font-family: arial;"> </span></span></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-family: arial;">Redacting the type by turning it upside down.</span></span></span></div><p></p><p style="text-align: left;"><span style="font-size: x-small;"><span style="font-family: arial;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlSQDjDwdAdFHcq7fnjsfPGKvH-D12i7QxLBsMUg-C-6D_x9FInZOofHZmvCtyQhqk6ewcqUYewx1740cHtoY1LnxLECy6l8004XlgzgOnr7XpaLkQP914cg5Md8ErDQW9VRIjYkMbCIk/s2048/IMG_0851.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1536" data-original-width="2048" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlSQDjDwdAdFHcq7fnjsfPGKvH-D12i7QxLBsMUg-C-6D_x9FInZOofHZmvCtyQhqk6ewcqUYewx1740cHtoY1LnxLECy6l8004XlgzgOnr7XpaLkQP914cg5Md8ErDQW9VRIjYkMbCIk/s320/IMG_0851.jpeg" width="320" /></a><span style="font-size: x-small;"></span></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-family: arial;"></span><span style="font-family: arial;">Proofing the redacted type.</span></span></span></div><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVcAEfFaPwiGKZXxCQb1tKcf5JdPa0jGPbYQTcB40nxBkz-jd53Y7vq2AoBbX1u1FzhJi80SkbSmCGtlOaHeiGsrocW13-U5CRtA47mOAo7NGJAcfvGoMv5-IXDD0TO62RTHRDxTi18GE/s2048/IMG_3627.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1536" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVcAEfFaPwiGKZXxCQb1tKcf5JdPa0jGPbYQTcB40nxBkz-jd53Y7vq2AoBbX1u1FzhJi80SkbSmCGtlOaHeiGsrocW13-U5CRtA47mOAo7NGJAcfvGoMv5-IXDD0TO62RTHRDxTi18GE/s320/IMG_3627.jpg" /></a><span style="font-size: x-small;"><span style="font-family: arial;"> </span></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-small;"><span style="font-family: arial;">Correcting the redacted galleys.</span></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-small;"><span style="font-family: arial;"> </span></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcENinqdRhshOp0dlzLPxizsnfS8koOLMSTtg7_vTaQ4VMdaoz4bnrqqvML8Fy3H4QmopleRbcIFkMfaA0QcwdGdqSLoQonq2v62yJvMpi3sbmrDtoqP5TpRIEymNiWZHbxd979oES2TE/s2048/IMG_3633.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1536" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcENinqdRhshOp0dlzLPxizsnfS8koOLMSTtg7_vTaQ4VMdaoz4bnrqqvML8Fy3H4QmopleRbcIFkMfaA0QcwdGdqSLoQonq2v62yJvMpi3sbmrDtoqP5TpRIEymNiWZHbxd979oES2TE/s320/IMG_3633.JPG" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_FJLEK-OsgyYmXU4f0anOEOo5GNFekKmqabinSwU_cviTADSouvkoXSTR0Ym1KzZ8UPQvGrvQnj9EqhTpF9h0_9qxISEI_9cegMuihd0ss5yT7IwiV-ls1BkDLTTypVdHSUQZ7JAP-kY/s2048/IMG_3641.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1439" data-original-width="2048" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_FJLEK-OsgyYmXU4f0anOEOo5GNFekKmqabinSwU_cviTADSouvkoXSTR0Ym1KzZ8UPQvGrvQnj9EqhTpF9h0_9qxISEI_9cegMuihd0ss5yT7IwiV-ls1BkDLTTypVdHSUQZ7JAP-kY/s320/IMG_3641.jpg" width="320" /></a><span style="font-size: x-small;"><span style="font-family: arial;"> </span></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-small;"><span style="font-family: arial;">The redacted galleys and spread.</span></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-small;"><span style="font-family: arial;"> </span></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPuKt9CYxn3VsjJ0ISi59ileFQ2yvn7DTq0atpxwauI5d_ucXe3ZUhyOSF9g5B9vW_0_DhbDMDW0OK6TReFs_TKDk3S1vU5RWVfRckB-24QkwRonNnEJ29XRPGf_e10cgZ97o8uXha8oQ/s2048/IMG_0622.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1536" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPuKt9CYxn3VsjJ0ISi59ileFQ2yvn7DTq0atpxwauI5d_ucXe3ZUhyOSF9g5B9vW_0_DhbDMDW0OK6TReFs_TKDk3S1vU5RWVfRckB-24QkwRonNnEJ29XRPGf_e10cgZ97o8uXha8oQ/s320/IMG_0622.jpeg" /></a><span style="font-size: x-small;"><span style="font-family: arial;"> </span></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-small;"><span style="font-family: arial;">Proofing a spread from the Google translate version.</span></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-small;"><span style="font-family: arial;"> </span></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmr0li1iDCu0Wy2s2ryQqUSCG5hT-GK0G0_N0XFtxKHVYH_kf2EMfUXmG4UUFSaskomLK39Ne5iEVe_tnrpQ0hmF3JH0aQBxLFU9hAP1WG1Owl1hICYXlI7j24RvSnP1auwqlKwmKKfaQ/s2048/IMG_0718.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1536" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmr0li1iDCu0Wy2s2ryQqUSCG5hT-GK0G0_N0XFtxKHVYH_kf2EMfUXmG4UUFSaskomLK39Ne5iEVe_tnrpQ0hmF3JH0aQBxLFU9hAP1WG1Owl1hICYXlI7j24RvSnP1auwqlKwmKKfaQ/s320/IMG_0718.jpeg" /></a><span style="font-size: x-small;"><span style="font-family: arial;"> </span></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-small;"><span style="font-family: arial;">Checking position.</span></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-small;"><span style="font-family: arial;"> </span></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdfq8pJ7PEytVHWYqPYz712uI4HH1Zquluzf7WBAv8aBZs0QgJDlIjn7Zh0mkDpG7pnqIio2zuk7kX1VLcXkfmk45TpMuSHAYnkfQgRZlnXS6sG3QxET1QMWGw6bcXEAbLcQVOXAs__L4/s2048/IMG_0787.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1536" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdfq8pJ7PEytVHWYqPYz712uI4HH1Zquluzf7WBAv8aBZs0QgJDlIjn7Zh0mkDpG7pnqIio2zuk7kX1VLcXkfmk45TpMuSHAYnkfQgRZlnXS6sG3QxET1QMWGw6bcXEAbLcQVOXAs__L4/s320/IMG_0787.jpeg" /></a><span style="font-size: x-small;"><span style="font-family: arial;"> </span></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-small;"><span style="font-family: arial;">Making ready a spread.</span></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-small;"><span style="font-family: arial;"> </span></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhFo1oJwhMTKkQ-ZbSwgmeEhSc6578a08Yty7VbVdBOFJDQNDqEhzoq8gHYgPv-rWfJA-33RiqOjAcdvkRtIVz-stVjasgsi3JAYx_h7mP88Ogi1lSIPcnqDMrcIGr0GmYjaPisgE9rbU/s2048/IMG_0789.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1536" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhFo1oJwhMTKkQ-ZbSwgmeEhSc6578a08Yty7VbVdBOFJDQNDqEhzoq8gHYgPv-rWfJA-33RiqOjAcdvkRtIVz-stVjasgsi3JAYx_h7mP88Ogi1lSIPcnqDMrcIGr0GmYjaPisgE9rbU/s320/IMG_0789.jpeg" /></a><span style="font-size: x-small;"><span style="font-family: arial;"> </span></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-small;"><span style="font-family: arial;">Checking ink density.</span></span></div><p style="text-align: left;"><span style="font-size: x-small;"><span style="font-family: arial;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdpIwtF4bkC3TzBFCq1a1MMnYeVMa4vpr5DF6vXJLp5pJ3pQ7otXWutrSNwr4L7QZ9inNuJYm9n2krKtu1dAe4vOw5vkc2iw_6W75sYGJfx27XBXQGHSiMU9cKh5nh3Sl92HJ7NFQAUjE/s2048/IMG_0715.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1536" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdpIwtF4bkC3TzBFCq1a1MMnYeVMa4vpr5DF6vXJLp5pJ3pQ7otXWutrSNwr4L7QZ9inNuJYm9n2krKtu1dAe4vOw5vkc2iw_6W75sYGJfx27XBXQGHSiMU9cKh5nh3Sl92HJ7NFQAUjE/s320/IMG_0715.jpeg" /></a><span style="font-size: x-small;"><span style="font-family: arial;"> </span></span></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-family: arial;">Striking a page as printed in the dummy.</span></span></span></div><p></p><p style="text-align: left;"><span style="font-size: x-small;"><span style="font-family: arial;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjO7c2enRGLgD4Hr4OGATPFVTRBt0d-28UowdHkLH-gY8oHCN3cWI_jfgzorI3KFhsCYIlrlMoRxm8Bw71dZ1J-FGyTMo9BUDS95KRH6kLpA_TGOIkPR7Z6FSU-Op3Lm-WRgzc5o3XNpho/s2048/IMG_0833.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1536" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjO7c2enRGLgD4Hr4OGATPFVTRBt0d-28UowdHkLH-gY8oHCN3cWI_jfgzorI3KFhsCYIlrlMoRxm8Bw71dZ1J-FGyTMo9BUDS95KRH6kLpA_TGOIkPR7Z6FSU-Op3Lm-WRgzc5o3XNpho/s320/IMG_0833.jpeg" /></a><span style="font-size: x-small;"><span style="font-family: arial;"> </span></span></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-family: arial;">Paging through a gathered finished copy.</span></span><br /></span></div><p></p>Russell Marethttp://www.blogger.com/profile/11372575284098125604noreply@blogger.comtag:blogger.com,1999:blog-6782413846952372285.post-32531863422347989672018-12-24T14:58:00.000-05:002018-12-24T14:58:21.335-05:00Two Color Intaglio Printing in Character TraitsFor the two color plates in <i>Character Traits</i>, I use the same basic process as the one color plates—I apply the ink by squeegee, wipe with tarlatan and newsprint (and hand if needed), and clean the edges—before laying down a top of color ink with brayer. I originally intended for most prints in the book to be two color, but this intention was modified early on when I realized the complexity of the process. It had never occurred to me in the planning stage that I would need to completely clean the plates between each print to prevent the two inks mixing in successive inking and wipings. This adds an enormous amount of time to the process as the plate not only needs to be cleaned but also dried between prints. Additionally, certain plates in which the intaglio image is too fine simply do not work in two colors. The solution was for both the standard and the deluxe copies to contain a few of the same two color prints, while a selection of prints appear in one color in the standard copies and two colors in the deluxe. Below are some images of each step of the process photographed by Annie Schlechter.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuQ1jI09ERdceHHlAPxkTuMq_ZPYLP0c7Uk71lsezYomcR2TPHoC-sUUlS2_sjYpOyNCdDKgVuKurhOAsrNQypTUWMSuRszrwqaSc-h57ImiQCvDZTGajvUc3drCJweFx-IV_V8oRc4So/s1600/1833_CT_Studio_004.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1067" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuQ1jI09ERdceHHlAPxkTuMq_ZPYLP0c7Uk71lsezYomcR2TPHoC-sUUlS2_sjYpOyNCdDKgVuKurhOAsrNQypTUWMSuRszrwqaSc-h57ImiQCvDZTGajvUc3drCJweFx-IV_V8oRc4So/s320/1833_CT_Studio_004.jpg" width="213" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxhtkWoCTgJzuOvtnCwmtOKz75rKBqj-aM8DpWb_YvJqu2eZlA1_PasuJ6-675UGYRPzrufoLRQvDGWi-uMfTCwpahOiCTjSUN8ADPM8aNju8saKCIKl6D-bgpLgr-1ToFaAs98vJxSq4/s1600/1833_CT_Studio_011.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1067" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxhtkWoCTgJzuOvtnCwmtOKz75rKBqj-aM8DpWb_YvJqu2eZlA1_PasuJ6-675UGYRPzrufoLRQvDGWi-uMfTCwpahOiCTjSUN8ADPM8aNju8saKCIKl6D-bgpLgr-1ToFaAs98vJxSq4/s320/1833_CT_Studio_011.jpg" width="213" /></a></div>
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<br />Russell Marethttp://www.blogger.com/profile/11372575284098125604noreply@blogger.comtag:blogger.com,1999:blog-6782413846952372285.post-15859390971793816422018-04-17T15:12:00.003-04:002018-04-17T15:12:47.475-04:00Photopolymer Intaglio Printing Process used in Character Traits<div class="separator" style="clear: both; text-align: left;">
The intaglio printing process I am using in <i>Character Traits</i> is fairly standard, with just a few peculiarities based on my use of photopolymer plates. For most of the plates, particularly those with thicker line work, I need to modify the ink I'm using by adding a substantial quantity of magnesium carbonate. Without the magnesium, the ink is too easily wiped out of the lines prior to printing, and, during printing, has trouble holding a crisp edge. Polymer plates also present some difficulty during the inking and wiping process due to their light weight—they don't want to sit still, and an already messy process quickly becomes unmanageable. To compensate, I am taking advantage of the plates' steel backing by sticking them on Bunting magnetic bases while inking and wiping. This keeps the plate in place and gives me a larger surface on which to work. To protect the surface of the magnetic bases I place a sheet of stiff cover stock between plate and base. The paper barrier also makes lifting the plate from the magnet much easier than it would be otherwise. </div>
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For most plates, the steps are as follows: </div>
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Place the plate down on the paper-covered magnetic base </div>
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<img border="0" data-original-height="1600" data-original-width="1067" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2eerkO0GSVPe8djKLhOCd3OjpAev_hFjj945IK8wMbMlhyphenhyphenYxZhDDiSa81TQQ9diCTwZALJGKQFqL4z9zJXsA0ytT7jkUfZYPyOj4TzdzZB6VM7OsaimXln6GV4Zi4lGlluJ_jnb796Ts/s320/1811_CT_Process_003.jpg" width="213" /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4lXv26dI4BXXRuQv-o2vtL1EkFfmalcMaIRLFBtqJRSPKx8mYJKVQI2Z4r-1khUDiiyQH66PHQ2uwNfA8cfwzwNE89VaZeDQQuJQiExy0cShTpYH79ZNpOot1I8T8DclmKgD3XEjKdMk/s1600/1811_CT_Process_004.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1067" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4lXv26dI4BXXRuQv-o2vtL1EkFfmalcMaIRLFBtqJRSPKx8mYJKVQI2Z4r-1khUDiiyQH66PHQ2uwNfA8cfwzwNE89VaZeDQQuJQiExy0cShTpYH79ZNpOot1I8T8DclmKgD3XEjKdMk/s320/1811_CT_Process_004.jpg" width="213" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDqnn83OF_nbgnHGD_wS2SEvPzZZsI4pgEy-5RFFp_Oy6joiY56V7Uws91bwKwrd5iNtz186jzHRlDgX8eOGOHbacyb5Kycog9AwCvBVQyStBg99uHZW3XMNOl9-u60i1AHi8d3J87D3E/s1600/1811_CT_Process_005.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1067" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDqnn83OF_nbgnHGD_wS2SEvPzZZsI4pgEy-5RFFp_Oy6joiY56V7Uws91bwKwrd5iNtz186jzHRlDgX8eOGOHbacyb5Kycog9AwCvBVQyStBg99uHZW3XMNOl9-u60i1AHi8d3J87D3E/s320/1811_CT_Process_005.jpg" width="213" /></a></div>
Draw ink across the plate with a plastic squeegee, rocking the edge back
and forth to force the ink into the larger areas; scrape the surface of
the plate with the squeegee to remove excess ink<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqJLEOGV7XIPhj_27XA7_kmUIYsBsICG9LTxECTK26gffoNyqZqllWOmLwaQz88xJOryIUHCeDLHV_ZOC7oUOtQ4IxviNEoidWr_BXxlFwz-Yd3C4B2TqCZV1E7Efalo6WE7J4cL0GyG8/s1600/1811_CT_Process_007.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1067" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqJLEOGV7XIPhj_27XA7_kmUIYsBsICG9LTxECTK26gffoNyqZqllWOmLwaQz88xJOryIUHCeDLHV_ZOC7oUOtQ4IxviNEoidWr_BXxlFwz-Yd3C4B2TqCZV1E7Efalo6WE7J4cL0GyG8/s320/1811_CT_Process_007.jpg" width="213" /> </a></div>
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Wipe with tarlatan twice (with each tarlatan session I use progressively
cleaner pieces of material to prevent ink transferring back to the
plate from the tarlatan) </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfTzykHhiYjpoG2P9yqw51z7nZ4oc3sHyx_an_k255SrjIczcvMFE4mC4Df8j9mfFxDDEUEQ41iv_lgOo6Yd69cQMkaoMTP776ZDbGgk4K8gP_Qj0UETL-zoLHy01XPdT_3IFzjEzhQ3g/s1600/1811_CT_Process_024.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1067" data-original-width="1600" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfTzykHhiYjpoG2P9yqw51z7nZ4oc3sHyx_an_k255SrjIczcvMFE4mC4Df8j9mfFxDDEUEQ41iv_lgOo6Yd69cQMkaoMTP776ZDbGgk4K8gP_Qj0UETL-zoLHy01XPdT_3IFzjEzhQ3g/s320/1811_CT_Process_024.jpg" width="320" /> </a></div>
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Wipe with the edge of my hand vertically, horizontally, and at 45 degrees. Then wipe a third time with tarlatan </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTLgB1zfKjxLy031H-brmtKoxiF1KdGRph_ER3xFSGoU5kdToO9mzjNzGVlrLdqaXlwzvL3ZZd2wEOpur__hEvvxscAXhvgIj2ZrSxWj8jYrvmTBpj8GDKuyydxYNDGEMhESZXfsVNkIs/s1600/1811_CT_Process_028.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1067" data-original-width="1600" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTLgB1zfKjxLy031H-brmtKoxiF1KdGRph_ER3xFSGoU5kdToO9mzjNzGVlrLdqaXlwzvL3ZZd2wEOpur__hEvvxscAXhvgIj2ZrSxWj8jYrvmTBpj8GDKuyydxYNDGEMhESZXfsVNkIs/s320/1811_CT_Process_028.jpg" width="320" /> </a></div>
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Lift the plate off the magnetic base and use a galley magnet to hold the plate while wiping the edges with mineral spirits</div>
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Place a cleaner sheet of paper on the base before replacing the plate (throughout the edition I regular change these sheets of paper to prevent ink transferring back from the paper to the plate during wiping)<br />
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Wipe with tarlatan and then polish with newsprint, repeating this process once or twice depending on the plate<br />
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Clean the edges one last time<br />
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Place the plate on the bed of the press </div>
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Then Nancy places the dampened sheet of paper, cranks the press and lifts the print, after which we begin the process again<br />
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<br />Russell Marethttp://www.blogger.com/profile/11372575284098125604noreply@blogger.comtag:blogger.com,1999:blog-6782413846952372285.post-33683769847209250702018-04-08T17:28:00.001-04:002018-04-10T14:39:04.603-04:00Frank Worsley plate from Character Traits<br />
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<span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">The idea for <i>Character Traits</i> took root while reading <i>The Europeans</i> by Henry James in 2011. As I read the book I found
myself copying out a surprisingly long list of descriptions of the novel’s
characters. For some time afterward I toyed with the idea of making a lettering
book in which I designed unique lettering for each of James’ descriptions. Eventually
I put the idea in the back of my mind and went on to other things. Then in 2013,
I was struck in quick succession by a few different descriptions of human
character traits, most poignantly one by Frank Worsley, the Captain of Ernest
Shackleton’s <i>Endurance</i> expedition:
“The rapidity with which one can change one’s ideas…and accommodate
ourselves
to a state of barbarism is wonderful.” Suddenly, the lettering book idea
came
back to me, but with an added depth. Rather than a specimen of lettering
inspired
by Henry James’ insightful humor, I began to imagine a book in which the
texts
reflected a broader picture of the human experience, touching on some of
the
darker (and/or comedic) realities of the human condition. I began
gathering texts
in notebooks as I came across them. </span></span><br />
<br />
<span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">For
Worsley's text I wanted lettering that progressively changed from more
to less familiar, skirting the edge of illegibility but not quite
getting there. Below are two early sketches of the
plate, as well as the finished print from both
the standard (one color) and deluxe (two colors) editions of <i>Character Traits</i>.</span></span></div>
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-->Russell Marethttp://www.blogger.com/profile/11372575284098125604noreply@blogger.comtag:blogger.com,1999:blog-6782413846952372285.post-51316790248984282182018-03-01T12:49:00.000-05:002018-03-16T12:59:55.363-04:00Character Traits Progress & Binding Mock-Up<br />
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<span style="font-family: inherit;"><span style="font-size: small;">Committing to spend a year or more
working on a single book can be an intimidating prospect, and most book artists
I know procrastinate as long as possible before fully committing to work. The
hesitation is rooted in an understanding of what a large-scale project entails.
It is not simply a question of hard work, that's a given. Rather, working on a
"big" book means committing to let a single idea, however rich or complex,
permeate and consume every aspect of your life for as long as it takes to finish.
It can feel alternately like casting yourself adrift on a calming sea or
locking yourself in a windowless room, and the experience of every such book
I’ve made has been one of shuttling between calm certainty and existential
terror. The time it takes to travel from certainty to terror (and hopefully
back again) alternates, but it can be surprisingly short. A good hour of work can
be followed by an afternoon of crushing doubt, alleviated by an insomniac
insight that often doesn't pan out the next morning. </span></span><br />
<span style="font-family: inherit;"><span style="font-size: small;"> </span></span></div>
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</span></span><br />
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<span style="font-family: inherit;"><span style="font-size: small;">One reason for this convoluted process
is that the book I think I am making when I begin is only <i>part of the book</i> that I end up with when I’m done; and the greatest
challenge in the early days of the process is discovering what the book I am
making is actually about. This can lead to all sorts of unexpected avenues of
inquiry, opening into poignant self-analysis that was not part of the original
bargain at all. <i>I just wanted to make a
book! </i>But slowly the slog begins to yield results, the ideas get worked
out, and the book gradually takes shape.</span></span><br />
<br />
<span style="font-family: inherit;"><span style="font-size: small;">This was my experience of <i>Character Traits </i>for most of this past
January. For weeks, every letterform that I drew seemed to put me one step
further from my goal, every day I became more certain that forward progress was
impossible. I would spend three days drawing an alphabet for one of the pages,
only to realize that it was all wrong. Convinced that I had learned what was
needed, I would repeat the process with the same results. The most infuriating
part of this kind of struggle, the seeming lack of progress, is knowing deep
down that it is actually how one progresses through certain stages of creative
work. After three weeks of getting nowhere, I suddenly had six plates complete
and ready for printing. I now have twelve plates ready for editioning, all have
been proofed, and I’ve begun printing the first one this week. I’ll be showing
the prints, along with Amy Borezo’s fantastic binding mock-up, at the <a href="http://fpba.com/fairs/newyork.html">ManhattanFine Press Book Fair</a> on March 10<sup>th</sup>, and the <a href="http://fpba.com/fairs/oxford.html">Oxford Fine Press BookFair</a> on the 24<sup>th</sup> and 25<sup>th</sup>. Photos of the binding are
below.</span></span></div>
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Russell Marethttp://www.blogger.com/profile/11372575284098125604noreply@blogger.comtag:blogger.com,1999:blog-6782413846952372285.post-52199674911185612632017-12-27T12:26:00.000-05:002017-12-28T08:27:35.458-05:00Character Traits beginsAfter a few years of reading and a year of intermittent drawing, I have settled into full time work on my next book, <i>Character Traits</i>. The book consists of three parts: a bound essay with a section of notes on the plates; a portfolio of unbound plates; and, accompanying the deluxe copies, a small volume of color studies cut in linoleum. The plates are short texts by various authors, set in alphabets that are either impossible to produce in metal type, or so impractical that they would never have been produced in metal. The purpose of these limitations is to explore digitally native letterforms free from the limitations of typographic technology. (I discuss the basic technological ideas behind <i>Character Traits</i> in an <a href="http://russellmaret.blogspot.com/2017/02/character-traits-argument.html" target="_blank">earlier post</a>.)<br />
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In keeping with the non-typographic aspect of the project, I am printing the texts from intaglio rather than relief plates. The intaglio process allows for highly intense colors but, unlike my recent relief color printing, it does not work well with color overlay. The recesses of the intaglio plates are inked in a single color, and, if I want a second color, it is top-rolled onto the relief surface of the plate.* This produces two color prints in which the colors are adjacent to, rather than on top of, one another. After years of thinking of color as developing in vertical layers, the change to a horizontal coexistence of no more than two colors seemed as foreign as speaking an unknown language.<br />
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To begin to deal with this new two-color reality, I spent five weeks looking at colors in combination around the tiny town of Ballycastle, County Mayo, Ireland this past summer, while on residency at the Ballinglen Arts Foundation. When asked, most people would say that County Mayo Ireland only has two colors: green and brown. Those in a generous mood might add gray to the list or, if particularly open minded, blue. Long views of the landscape generally back up this prejudice: green pastureland and brown bogs, ending at gray rocks that sawtooth into the alternately gray or blue sea, under an alternately gray or blue sky. <br />
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On closer inspection, the landscape that at a distance appears a patchwork of monochromes is actually composed of a great variety of color, with purples predominating, flanked by reds, oranges, yellows, and an unchartable gradation of greens, grays, browns, etc. Charlotte Brontë described the general impression of this type of landscape beautifully in <i>Jane Eyre</i>, "I felt the consecration of its loneliness: my eye feasted on the outline of swell and sweep—on the wild colouring communicated to ridge and dell by moss, by heath-bell, by flower-sprinkled turf, by brilliant bracken, and mellow granite crag." As one zooms in, the landscape gets progressively more colorful<br />
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During my time in Ballycastle, I spent my days walking through the landscape looking for unexpected, unusual, or pleasing examples of two colors adjacent to one another. I then noted my observations in small, two-color gouache paintings that are the basis for the volume of color studies that will accompany the deluxe copies of <i>Character Traits</i>.<br />
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Since all of the paintings are bordered by four straight sides, transferring them to linoleum is a fairly simple process. I first draw the outline of the shape's outer border on the block. Then I trace the interior color separations onto tracing vellum and transfer the tracing to the block. Once transferred, Nancy Loeber cuts the blocks (she can hold a better line than I can).<br />
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Once cut, the height of the block is measured with a micrometer in order to bring it to type height for printing. We then mark the blocks with a T (for top of image), the block number to insure proper imposition, and the amount of extra under-sheeting the block requires to bring it to 0.918 inches (the block below requires 4 sheets of cover stock plus a 0.005" sheet of mylar to make it type high). To register the second color block we print an impression from the key block onto the cylinder tympan sheet, and then offset it onto a fresh block.<br />
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When the blocks are ready, I spend a day proofing to match the ink colors to my original paint colors. This is a process that requires a certain amount of compromise as the inks have a different pigment content and surface texture/finish than the paints: the inks reflect light differently than the gouache, so even the closest color match will always look and feel somewhat off. But then the gouache paintings are also significantly different than the natural colors they were meant to record; and those natural colors look different at different times of day and in different qualities of light. So, we do what we can. When a color is deemed right, I package it up in a sheet of oiled tympan paper until we're ready to edition.<br />
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The linoleum cuts are printed on sheets of Kelmscott Crown & Sceptre paper made in 1923. It is an extraordinary paper in that it is quite thin but, regardless of impression or ink level, it does not show the slightest cockle or stretch when printed. This was also a concern when considering the paper I would use for the intaglio plates that make up the bulk of the book. The two-color plates in particular combine enormous pressure with a great deal of ink, both factors that can render a beautiful sheet of paper unsightly. After a few conversations with Travis Becker at Twinrocker Handmade Paper, Travis devised a paper that prints beautifully and presses to perfect flatness after printing. We will begin editioning the intaglio plates in February, but below are a couple of details of prints in progress.<br />
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* There are, of course, ways to add additional colors to intaglio plates—<i>a la poupeé</i>, stencils, etc. I may end up employing one or more of these methods as I progress through <i>Character Traits</i>, but at the moment I am enjoying the limitation of one or two colors.Russell Marethttp://www.blogger.com/profile/11372575284098125604noreply@blogger.comtag:blogger.com,1999:blog-6782413846952372285.post-80808311320814173212017-12-03T16:23:00.001-05:002017-12-19T10:12:49.803-05:00Bodleian Libraries' ResidencyThis past October and November I spent four weeks in Oxford, England
as the Bodleian Libraries' inaugural Printer-in-Residence. The residency
was structured around a public lecture, <i>Making Third Stream Books in the Post-Digital Age</i>; a couple of seminars, <i>New Books Need New Type</i> and <i>Shakespeare & Shandies</i>;
and the idea that I would produce a small personal project at the
Bodleian's Bibliographical Press. The Press is located in the previous
residence of the Schola Musicae in the courtyard of the Old Bodleian. It
features a number of hand presses, including Albions from the Daniel
Press and Gehenna Press, as well as a Western flatbed cylinder press, a
selection of metal and wood types, and an impressive view of the
Radcliffe Camera.<br />
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<br />
The
light drenched, cloistered printshop provided me with a significantly
different work environment than my windowless Brooklyn studio:<br />
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<br />
My personal project and one of the seminars, <i>New Books Need New Type</i>,
centered on my metal-type-in-progress, Hungry Dutch, which is based in
part on the types purchased by Bishop Fell for the Oxford University
Press in the seventeenth century. Prior to arriving in Oxford, however, I
was asked to lead another seminar about the Bodleian's Shakespeare
sonnet project. In 2016, the Bodleian put out an open call for printers
to choose and print one of the sonnets to mark the 400th anniversary of Shakespeare's death.
To my surprise, all of the sonnets were chosen, and all but one were
printed and delivered. The project's call for entries neglected to put
any size or material limitations on the prints, which resulted in a
remarkably diverse array of physical objects, from a beer coaster to a
wooden card-catalog file drawer. I took this diversity of interpretation
as an opportunity to explore the various approaches one can take, and
problems one can encounter, when printing Shakespeare.<br />
<br />
When
we consider the First Folio, what is it about the book that inspires
such awe and reverence in us? Is it the title portrait, our singular
(imagined) graven image of Willy himself? Or the book's perceived rarity
(even though by rare book standards the first folio is not rare)? Or do
we imagine, like religious penitents, that in this book the actual
words of Shakespeare are made manifest? Because the veracity of the text
has been wildly contested for centuries. The First Folio challenges our
primary assumptions about books: that their texts are immutable and
authoritative, and that, once printed, these texts will remain
inviolate. Instead, there is something wonderfully unstable about
Shakespearean texts that makes them amenable to change, in the same way
that any script is tweaked, re-arranged, and adjusted over the life of
its performance. In any but the most conservative productions of
Shakespeare's plays this instability is accepted and expected; novelty
and experimentation are effective prerequisites for theatrical
productions of Shakespeare.<br />
<br />
The same cannot be said of
printed editions of Shakespeare, which typically err on the conservative
side typographically. There may be a flourish or two, the occasional
bit of unexpected typography, or some innovative illustration, but for
the most part printed editions of Shakespeare's texts are laid out as we
expect them to be laid out. This is partly due to length. The plays,
longer poems, and sonnets (when printed in sequence) are simply too long
to bear out typographic experimentation over their entire length. So
the sonnet project provided printers with a rare opportunity to relish
brevity when dealing with Shakespeare.<br />
<br />
In structure, my
seminars were intended to explore ideas in theory and practice. They
began by looking at printed materials in the Weston Library, and
continued with hands-on printing in the Bibliographical Press. This
model is particularly rewarding in a library such as the Bodleian. In
addition to looking at submissions to the sonnet project, we also were
able to call up copies of the 1609 Sonnets and the First Folio.<br />
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<br />
For the hands-on section of the Shakespeare seminar I set a passage from <i>King Lear</i>
in two ways. The settings were designed to emphasize the difference
between traditional and interpretive typography—one was set in 14pt Bell
type and laid out as we would expect, the other in 14pt Caslon and laid
out and printed in a highly unconventional manner. The unconventional
setting I used is one of those ideas that has followed me around for
decades. There is a group of books that I have always imagined I would
print but know deep down that I never will. One of them is <i>King Lear.</i>
The reason I know I won't print it is because I have a single graphic
image of how I would like it to look, and that image has never changed
or developed. It is an image I like but it is not complex enough to
sustain itself through the entire text of <i>Lear.</i> The principle is
simple: rather than concentrating on Lear's madness, my design would
emphasize how mad everyone else appears to Lear. To convey this, Lear's
lines would be printed in black ink and positioned traditionally, while
everyone else's text would be printed in varying acid colors and printed
from type that is not locked up on the press. As these unlocked lines
are printed, the letters move and shake, occasionally fall down,
resulting in jumbled, out-of-focus words. <br />
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<br />
Spending
time with the sonnet submissions provoked me to reconsider my personal
printing project at the Press. Originally, I had intended to make a word
puzzle using the fourteen letters of Hungry Dutch that have thus far
been produced. But as I thought more about it I realized that I wanted
to string words together. I might not have enough letters to make sense,
but at least my print would <i>look</i> like language rather than just a
bunch of random words set in a grid. As I teased out lines of
gibberish, I arranged them into fourteen lines of ten syllables each,
rhymed in a Petrarchan scheme of A B B A A B B A C D C C D C. I can't
claim that they're in iambic pentameter, but I've never claimed to be a
sonneteer either. In a nod to the surprising number of sonnets submitted
to the Bodleian in translation, I decided to translate the title,
"Sonnet of the Hungry Dutch," into Italian, "Il Sonetto dell'Olandese
Affamato."<br />
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<br />
The
fourteen letters that I currently have of Hungry Dutch, C H O N a e f g
h i n o p t, consist of the thirteen medial trial characters and the N.
The medial trial characters are the thirteen letters that Montoype
would produce first when manufacturing a new typeface in order to
confirm that the type design worked. Hungry Dutch was designed, on
principle but unintentionally, to fail this test. Most of my type
designs are created with the idea that the industrial principles of
alignment and standardization (the principles that Monotype perfected in
metal type design) are neither expedient nor desirable when using
digital tools.* Hungry Dutch is an extreme example of this approach. I
designed the roman and italic typefaces in two days while referencing
low resolution images of some of the seventeenth century Fell types.**
Although I have made considerable adjustments to the original design to
make it work for Monotype, I have tried to maintain the lively
irregularity of the digital typeface. To show that my irregular
alignment was not entirely without precedent, I decided to print the
medial trial setting alongside the same basic setting in the original
Fell Great Primer type.*** In order to set the Fell type I had to
happily make my way to Whittington Press near Cheltenham, where some of
the original types live after being deaccessioned by Oxford University
Press.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRmZ9c5f2Ky_k391IPKP5qoir4LcSl9_U2A-g4hGmXM6LavuoBm418cM_6Vrk-oxt81YeHBP1uhDpvxej4t1Onlk0f17Y1pch2AMdq3PZKkJjZH6hiU01Y9KxGN3Id8qkTehap7_EpaP2N/s1600/Whittington.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1368" data-original-width="1600" height="273" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRmZ9c5f2Ky_k391IPKP5qoir4LcSl9_U2A-g4hGmXM6LavuoBm418cM_6Vrk-oxt81YeHBP1uhDpvxej4t1Onlk0f17Y1pch2AMdq3PZKkJjZH6hiU01Y9KxGN3Id8qkTehap7_EpaP2N/s320/Whittington.jpg" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5ew5ibzI6ayoRaYn_hs_6Ia67FMVwkrGNhyphenhyphenauUv3YeemQFjs1IPS03sYm3kr6ZrGSy78Ko4Gr98GTGmGdAEZhn_IC8IXpk924qY4e9x6jzsydsJCK-XkyB3b2NStH4FWOzSIxeGEGVms/s1600/FullSizeRender-4.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5ew5ibzI6ayoRaYn_hs_6Ia67FMVwkrGNhyphenhyphenauUv3YeemQFjs1IPS03sYm3kr6ZrGSy78Ko4Gr98GTGmGdAEZhn_IC8IXpk924qY4e9x6jzsydsJCK-XkyB3b2NStH4FWOzSIxeGEGVms/s320/FullSizeRender-4.jpg" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjj-QM649uZtWe8g01pH6Hvroolh-hqmqNOQ0FZRhyphenhyphenclxw2pGaeJbP_1pkTRpEhQjrpevvXn8vceD4UXOV8x5lwRekIsSU4jP2LlTxClls41hS3Luxb2Kny9dOsl4qatX65GDfTefsv6Gk/s1600/FullSizeRender-1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjj-QM649uZtWe8g01pH6Hvroolh-hqmqNOQ0FZRhyphenhyphenclxw2pGaeJbP_1pkTRpEhQjrpevvXn8vceD4UXOV8x5lwRekIsSU4jP2LlTxClls41hS3Luxb2Kny9dOsl4qatX65GDfTefsv6Gk/s320/FullSizeRender-1.jpg" width="320" /></a></div>
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<span style="font-size: x-small;"><i>*
Although I prefer wavy alignment, the type used to set the sonnet is
more irregular than I would prefer. The only way I had enough type to
set the sonnet was to use two unaligned castings from two different
foundries.</i></span><br />
<span style="font-size: x-small;"><i>** I originally designed the digital type for my book </i>Hungry Bibliophiles<i>. You can read about the digital type <a href="http://russellmaret.blogspot.com/2017/02/hungry-bibliophiles-facsimile.html" target="_blank">here</a> and the metal type <a href="http://russellmaret.blogspot.com/2016/06/hungry-dutch-typographic-adventure.html" target="_blank">here</a>.</i></span><br />
<span style="font-size: x-small;"><i>***
The Fell type is set in the actual medial trial setting, whereas the
Hungry Dutch trial setting text has been modified to accommodate the N</i></span>Russell Marethttp://www.blogger.com/profile/11372575284098125604noreply@blogger.comtag:blogger.com,1999:blog-6782413846952372285.post-46877258690149221482017-07-02T16:48:00.001-04:002017-07-02T16:48:18.189-04:00Announcing a forthcoming book: Roma Abstract
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<span style="font-size: small;"><span style="font-family: Georgia,"Times New Roman",serif;">In their simplest incarnations—a line for an I, a circle for
an O—letterforms reveal their true nature: they are forms first, letters
second. The connective tissue that transforms a circle into a letterform is
only as strong as the imagination and consensus of the community for whom that
circle represents the letter O. For some communities the O is a rectangle, for
others it is a lozenge balanced between parallel horizontal lines. To tell
either of these communities that their Os are not Os is as futile as telling a
speaker of one language that he ought to be speaking another. These variable
permutations of abstraction and legibility are the source of the alphabet’s
dynamism, and it is in the boundary between these two states that I enjoy
spending my time.<span> </span></span></span></div>
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<span style="font-size: small;"><span style="font-family: Georgia,"Times New Roman",serif;"><i><span>Roma
Abstract</span></i> is based closely on a geometric alphabet I painted while at
the American Academy in Rome. When I first arrived for my fellowship in Rome, I
did so with a high level of anxiety. I felt an intense pressure to produce
work, and from my first day at the Academy I could feel the time slipping away.
In an attempt to calm myself, I painted a seven-inch diameter circle on a
wooden panel. As people visited my studio they would unfailingly remark on the
“O” on my wall. Each time I would tell them that it was not an O but a circle,
and each time they responded that they had assumed that it was a letterform
because I had drawn it. I had become the O’s contextual source of legibility,
it was through me that the circle became an O. By the fourth or fifth such
conversation, I began saying that the circle was an O, and proceeded to paint
the remaining twenty-five letterforms in the alphabet.<span> </span></span></span></div>
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<span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjEgWtoNl6g3xCJag3vsdgOg5MsQCGG40Oc9pPRQQ8r5FjYFT9VTrcCVvmpTLeNX6QDUhaX5ro12tr1REusxGCfoHo8iWLbmS49IMg_VsFOg0KlcLSA5JmfqUcC36I5P1NTCIBB4W5nCtI/s1600/eastwall.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1210" data-original-width="1600" height="241" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-O03VE2d6Ugbu49NGDhuw7y-5m75cX_aB9nt3M7RN47PcmPnXxMI157Tiu8riw1T0rXK_NkGpHyvrkSlJlwz9jpG0_FSpCkpnV70vPzS6tf241hMl-mBJNN4SNgYzJPiQ6_FwSppiVZjP/s320/westwall.jpg" width="320" /></a></span></div>
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<span style="font-size: small;"><span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;">The west wall of my Rome studio with the circle/O to the left on the wall.</span></span></span></div>
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<span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjEgWtoNl6g3xCJag3vsdgOg5MsQCGG40Oc9pPRQQ8r5FjYFT9VTrcCVvmpTLeNX6QDUhaX5ro12tr1REusxGCfoHo8iWLbmS49IMg_VsFOg0KlcLSA5JmfqUcC36I5P1NTCIBB4W5nCtI/s1600/eastwall.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1210" data-original-width="1600" height="241" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjEgWtoNl6g3xCJag3vsdgOg5MsQCGG40Oc9pPRQQ8r5FjYFT9VTrcCVvmpTLeNX6QDUhaX5ro12tr1REusxGCfoHo8iWLbmS49IMg_VsFOg0KlcLSA5JmfqUcC36I5P1NTCIBB4W5nCtI/s320/eastwall.jpg" width="320" /></a></span></div>
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<span style="font-size: small;"><span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;">The east wall with many of the original <i>Roma Abstract</i> paintings along the floor.</span></span></span></div>
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<span style="font-size: small;"><span style="font-size: small;"><span style="font-family: Georgia,"Times New Roman",serif;">The finished alphabet borrows from Greek, Etruscan, and
Roman alphabetical marks to create a set of twenty-six forms that require their
neighbors to be understood. They are legible, but only just so. As a group, the
letterforms also evoke the diversity of alphabetical history, calling into
question the recurring desire to find an idealized alphabetical form.</span></span></span><br />
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<span style="font-size: small;"><span style="font-size: small;"><span style="font-family: Georgia,"Times New Roman",serif;">After returning to New York in 2010, I digitally traced the
letterforms and used them at greatly reduced size on my <i><span style="letter-spacing: 0.8pt;">MMXI</span></i>
new year’s card and on a page of <i><span>Specimens
of Diverse Characters</span></i>. Although I liked the smaller printed
versions, something was missing. The original scale of the painted letters was
critical to their reading as monumental forms that had been degraded and
deprived of their full meaning. Since printing <i><span>Specimens</span></i> I have wanted to print the
letterforms of <i><span>Roma
Abstract</span></i> at their original size.</span></span></span></div>
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<span style="font-size: small;"><span style="font-size: small;"><span style="font-family: Georgia,"Times New Roman",serif;"></span></span><span style="font-size: small;"><span style="font-family: Georgia,"Times New Roman",serif;">The problem I faced was that I did not simply want to make
a facsimile of the painted alphabet, and I could not find a compelling exterior
reason to print the book. So I put the idea aside and waited. Then increasingly
over the last two years I have come to feel that every aspirational symbol of
culture and civility has been abstracted into unrecognizable ciphers; and any
stable understanding I thought I had of a Roman ideal has been shattered by the
steady onslaught of global social and political upheavals. My illegible
alphabet suddenly makes sense, has gained in legibility within the current
political context. What grew out of a desire to challenge the Roman ideal
suddenly changed into a lament of its passing.</span></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjL4OxyAonlFFqqbuUydoj-Lmk9HXhqpdaL7A2ETZLHdh09Zyg-q_yYxT8FIE-5xvlHp118IqzQZFZ0EH-0QzhAyEsJ6klpMN-yKIiXIL7GR9z65hEuvO04uiuOGi4Msymy-tirM5ovWzrJ/s1600/IMG_8469.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1189" data-original-width="1600" height="237" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjL4OxyAonlFFqqbuUydoj-Lmk9HXhqpdaL7A2ETZLHdh09Zyg-q_yYxT8FIE-5xvlHp118IqzQZFZ0EH-0QzhAyEsJ6klpMN-yKIiXIL7GR9z65hEuvO04uiuOGi4Msymy-tirM5ovWzrJ/s320/IMG_8469.JPG" width="320" /></a></div>
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<span style="font-size: small;"><span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;"> The title page reading Roma Abstract/An Alphabet By/Russell Maret</span></span></span></span></div>
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<span style="font-size: small;"><span style="font-family: Georgia,"Times New Roman",serif;">In contrast to the original alphabet in which each
letterform was painted on its own wooden panel, the letterforms in <i><span>Roma Abstract</span></i>
are printed on translucent paper to emphasize their communal aspect—rather than
standing alone, each letter is supported and explicated by those around it. The
book’s cover is printed with the text from the inscription on Trajan’s column,
the letterforms of which are widely regarded as the apotheosis of Roman
alphabetical form. Set in the letterforms of <i><span>Roma Abstract</span></i>, this Trajanic benchmark of
enlightened Imperial form is rendered nearly illegible, echoing the absurd
mockery of statehood in which we find ourselves living. </span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKNYA2apOq9jAxIBP8r6vdPmWoQdA-yh2FoE1S8TL6AQ_OFps-h10wqDGdWUwT0O6RiU51ZfvNrb-zou9IkCeUpSS8jJ89RpUwOJIZPH6l59kZyi3YQEkeGNZrg1fyx3EP3VcCDTc0h25O/s1600/IMG_8497.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1201" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKNYA2apOq9jAxIBP8r6vdPmWoQdA-yh2FoE1S8TL6AQ_OFps-h10wqDGdWUwT0O6RiU51ZfvNrb-zou9IkCeUpSS8jJ89RpUwOJIZPH6l59kZyi3YQEkeGNZrg1fyx3EP3VcCDTc0h25O/s320/IMG_8497.JPG" width="240" /></a></div>
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<span style="font-size: small;"><span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;"> </span></span></span></span><br /><span style="font-size: small;"><span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;"></span></span></span></span><span style="font-size: small;"><span style="font-family: Georgia,"Times New Roman",serif;"></span></span></div>
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<span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5pIGaDRzaUEqYS9t6RhfUpZjLtlUkgcKaYrhVRY9Cw9W9FvMGxOBrvohwPvlPkcrCZkspSlpV1CgW_hhATvg9hr7UhiN9HZlx_OAVBmDhm9_QUJfyhY6uidqssZvjDEC3JPHg_NcDePdd/s1600/IMG_8614.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5pIGaDRzaUEqYS9t6RhfUpZjLtlUkgcKaYrhVRY9Cw9W9FvMGxOBrvohwPvlPkcrCZkspSlpV1CgW_hhATvg9hr7UhiN9HZlx_OAVBmDhm9_QUJfyhY6uidqssZvjDEC3JPHg_NcDePdd/s320/IMG_8614.JPG" width="240" /></a></span></div>
<span style="font-size: small;"><span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;"> Detail of the cover and slipcase.</span></span></span></span><div class="MsoNormal" style="text-align: center;">
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<span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTG_pxTAX5sHjRKBjF2Z3IhdT1SZxqmKSLGOQns50J04-a7g6S3tbbnZHhK-gYksVmg4ZggP8NEOWXHVyQ1ApmKF0KQgOWWNqRTiXEaWqT9u6CTKQdvInVLGs6YyjqBaFxcFOa9jWCqrRy/s1600/FullSizeRender.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1208" data-original-width="1600" height="241" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTG_pxTAX5sHjRKBjF2Z3IhdT1SZxqmKSLGOQns50J04-a7g6S3tbbnZHhK-gYksVmg4ZggP8NEOWXHVyQ1ApmKF0KQgOWWNqRTiXEaWqT9u6CTKQdvInVLGs6YyjqBaFxcFOa9jWCqrRy/s320/FullSizeRender.jpg" width="320" /></a></span></div>
<span style="font-size: small;"><span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;"> Opening showing the U and the V.</span></span></span></span><span style="font-size: small;"><span style="font-family: Georgia,"Times New Roman",serif;"></span></span><div class="MsoNormal" style="text-align: center;">
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<span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEga2K85k58Oy7G0mhNYzCaW6ajh7I0uQbxAiFn1hGHP361C5WbmoLJG6rpcIaI2Khz8Mb1MVSqRYz6fs1hz-azKBgUBMCg2evh-APF409_QvNhX-QHlI-x9mPvM6_u5SueL8ypIninGobbb/s1600/IMG_8603.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEga2K85k58Oy7G0mhNYzCaW6ajh7I0uQbxAiFn1hGHP361C5WbmoLJG6rpcIaI2Khz8Mb1MVSqRYz6fs1hz-azKBgUBMCg2evh-APF409_QvNhX-QHlI-x9mPvM6_u5SueL8ypIninGobbb/s320/IMG_8603.JPG" width="240" /></a></span></div>
<span style="font-size: small;"><span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;"> The printed sheets laid out for collation in my studio, with Nancy Loeber collating below.</span></span></span></span><div class="MsoNormal" style="text-align: center;">
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<span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkZNbzkzLVGRScTe7KeGYYzgo_L1-SaDCMrGQzpnd9bq3STnH4mwTtQoBqC3ub8jSuUneUTTWUoFVcrwj72E8ZDpCVAGG1V5ZrQVWdypHqnDy6MregeSW0HAyZOBpF_0dlR0UT_0yDT3XM/s1600/IMG_8605.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkZNbzkzLVGRScTe7KeGYYzgo_L1-SaDCMrGQzpnd9bq3STnH4mwTtQoBqC3ub8jSuUneUTTWUoFVcrwj72E8ZDpCVAGG1V5ZrQVWdypHqnDy6MregeSW0HAyZOBpF_0dlR0UT_0yDT3XM/s320/IMG_8605.JPG" width="240" /></a></span></div>
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</span></span>Russell Marethttp://www.blogger.com/profile/11372575284098125604noreply@blogger.comtag:blogger.com,1999:blog-6782413846952372285.post-1000815563071948682017-02-14T14:54:00.001-05:002017-02-14T14:54:58.201-05:00Hungry Bibliophiles Facsimile
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<span style="font-size: small;"><span style="font-family: Georgia,"Times New Roman",serif;">Over the course of a couple of years, Tim Barrett and I have
engaged in a conversation about the role of gelatin sizing in papermaking and
printing. The central issue we discussed was this: sizing has a negative impact
on print quality but a beneficial impact on the endurance and aesthetics of
handmade paper. Tim’s research into pre-Industrial European papermaking
processes has suggested that some, and perhaps many, post-15th century books
were printed on waterleaf (unsized) paper to which the books’ printers, or
someone else, added sizing after printing. For those of us who use expensive
handmade paper to make even more expensive books, the thought of dipping our
printed sheets into a vat of liquid gelatin is fraught with morbid
possibilities. Despite this, after our initial conversation I sent Tim some
sheets printed on waterleaf paper so that he could re-size them. The results
were intriguing but not entirely persuasive. Although the increased durability
that sizing can lend to paper is appealing, the books that I make are used in
ways that are not comparable with those in which a 16th century book was used.
A contemporary press book that is printed on soft, unsized cotton paper, housed
in a box, and stored inside a temperature-controlled library will bear its age
well. If the same paper had been used to print pocketbooks for traveling
Humanists, the books would not have withstood the demands of their owners. </span></span></div>
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<span style="font-size: small;"><span style="font-family: Georgia,"Times New Roman",serif;">The repeated physical use to which many early printed books
were subjected lent them a patina similar to that of well-used tools, full of
shine and scuff. In addition to the frequency of opening or the method of
storing their books, early modern bibliophiles differentiated themselves in one
important way from their 21st century avatars: they wrote in their books. They
wrote in the margins, between the lines, in the voids of woodcuts, on fly
leaves and paste downs. They parsed, debated, excised, and amended their texts
in ways that are unthinkable to contemporary private press printers, but that
were certainly expected by the printers of the day. If the paper in their books
had not been sized, the ink of their pens would have bled into the paper fibers
rather than holding a crisp line. The expectation of marginalia was another
determining factor in the sizing of book paper after printing. Just as it is
today, <i>use</i> was the arbiter of <i>process</i>.</span></span></div>
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<span style="font-size: small;"><span style="font-family: Georgia,"Times New Roman",serif;">One might reasonably ask then: If my books do not require
the durable benefits of gelatin sizing, why would I deal with sizing at all,
particularly with the risky proposition of adding sizing to printed sheets? But
ultimately my interests in paper sizing are not utilitarian, they are
aesthetic. My favorite sheets of handmade paper are crisp, like freshly ironed
linen, and turning them in a book is a complex sensory experience. The papers
quiver with a gentle rattle as they are turned, making it hard to resist
drumming one’s fingertips against them. When bent they make a snapping sound,
when shuffled they whisper like rustling leaves. These qualities are the
accidental aesthetic benefits of gelatin sizing, and they are the qualities
that I most want to have in the papers that I use for my books.</span></span></div>
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<span style="font-size: small;"><span style="font-family: Georgia,"Times New Roman",serif;">With many of these issues in mind, Tim Barrett and his
students at the University of Iowa Center for the Book have been trying to
recreate the working conditions of a pre-Industrial papermill, employing a
three person team to make 100-200 sheets of handmade paper per hour. The paper
they are making is not meant to be perfect or precious but well-made and
serviceable, to invite contact and annotation. With this paper, Tim and his
colleagues are attempting an intriguing sleight of hand, engaging an historical
<i>process</i> in the hope that it will
arbitrate contemporary <i>use</i>. The
problem, of course, is that once a craftsperson puts something out into the
world, he/she cannot control how that object is used. It’s all well and good to
want people to use paper in a certain way, it’s another matter altogether to
get them to actually do it. Handmade paper, however quickly made, instills a
certain amount of fear in bibliophiles, and the speed with which it is made
does not alter a paper’s perceived preciousness. </span></span></div>
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<span style="font-size: small;"><span style="font-family: Georgia,"Times New Roman",serif;">In thinking about how to get people to use Tim’s paper more
aggressively, it occurred to me that I would have to make a book whose content
would tilt the scales; a book whose text would encourage people to remove it
from the shelf and bring it into the messy world of their daily lives. No book
satisfied this requirement better than a cookbook. In the hope of finding
people who would be willing to put a fine book through the paces, I invited a
group of printers, binders, and librarians to submit one or two recipes each
for a small cookbook called <i>Hungry
Bibliophiles</i>. In turn, each participant agreed to cook as many of the
recipes as they can within the space of a year, to cook them with the book open
on their countertop, and to take notes in ink on the pages. The book would be
printed on waterleaf paper that would be gelatin sized after printing, and
bound in a historically inspired paper binding designed by Maria Fredericks.</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqpKpm41S1LNZ7KFAYMqW2w5ktANcsFnbiPJ74T-L4OrB0JB9PMbp4uRaZ54g4TMiIRQYM4Fu0OjkA4vhtTmMuuNiji_hAuJPqyx7y4wH2FzEH-Y9V9ObZiC1HTk3R3z1fKoSCHcr3671I/s1600/HB34_L.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqpKpm41S1LNZ7KFAYMqW2w5ktANcsFnbiPJ74T-L4OrB0JB9PMbp4uRaZ54g4TMiIRQYM4Fu0OjkA4vhtTmMuuNiji_hAuJPqyx7y4wH2FzEH-Y9V9ObZiC1HTk3R3z1fKoSCHcr3671I/s320/HB34_L.jpg" width="320" /></a></div>
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<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span>Maria Fredericks' copy of <i>Hungry Bibliophiles</i></span></span></span></div>
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<span style="font-size: small;"><span style="font-family: Georgia,"Times New Roman",serif;">Every aspect of <i>Hungry
Bibliophiles</i> was conceived in the spirit of Tim’s work in the papermill,
primarily his experiments with speed. Tim, Maria, and I each respond viscerally
to the imperfections that are the byproducts of pre-Industrial speed—those of a
practiced hand working quickly, as opposed to a machine working efficiently—and
<i>Hungry Bibliophiles</i> gave us a chance
to explore them in practice. Following Tim’s lead, I designed a revival of a
seventeenth century Dutch typeface for the text in two days. I allowed myself
one drawing and one revision per letterform, aligned the letters by eye, and
set each on a fixed width, in the hope of tapping in to the spirited
irregularity of my model typeface. I then printed the book in twelve days,
shipped any finished sheets to Tim for sizing at the end of each week, and
drove the final batch out to Iowa City so that I could participate in the
sizing and transport the sized sheets back to New York for binding. </span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjl0j4sZQObV8bmKahtLFu67QEZUzF0ljtIyAiYruW28OCIqcGJdH1ik-J-wV43YfuJWX2shetqe8xEtjtDDAmfNOdlsL853i3R_NhQGJ6kNuQNAiu3j89zmLPNr7i2VHBZobgQTRVtITU2/s1600/HB20_L.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjl0j4sZQObV8bmKahtLFu67QEZUzF0ljtIyAiYruW28OCIqcGJdH1ik-J-wV43YfuJWX2shetqe8xEtjtDDAmfNOdlsL853i3R_NhQGJ6kNuQNAiu3j89zmLPNr7i2VHBZobgQTRVtITU2/s320/HB20_L.jpg" width="320" /></a></div>
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<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span>Sandra and Harry Reese's copy of <i>Hungry Bibliophiles</i></span></span></span></div>
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<span style="font-size: small;"><span style="font-family: Georgia,"Times New Roman",serif;">In keeping with the speed experiment, Maria Fredericks set a
goal of binding all seventy-five books in the edition in two days. To
accomplish this we assembled a crew of eight variously experienced binders and
set aside a weekend for our experiment. (The crew consisted of Maria
Fredericks, Anne Hillam, Vasaré Rastonis, Yukari Hayashida, Annie Schlechter,
Nancy Loeber, Gaylord Schanilec, and me.) Maria designed a long stitch paper
binding structure made entirely from UICB papers, and lead the production;
Annie made sandwiches to fuel the workers; and by Sunday afternoon the eight of
us had bound seventy-nine copies of the book. The books were distributed to the
participants for cooking and annotating, and now the used books have been photographed
by 42-Line to make this facsimile.Copies are available for purchase at <a href="http://russellmaret.com/">russellmaret.com</a>.</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGo9pBSaxS8rQIpJloOUIymM2vOZV38Jva1Pfkvbey6XBsFSq723Tob3zZBmkC1YWkP9cEiZ8sSVAuecpkL2NqgM80YTJhORehfWYLzXsx0pq56S2w84dW9p7QJkf21_W3g7Li8Ddn_7nP/s1600/HB23_L.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGo9pBSaxS8rQIpJloOUIymM2vOZV38Jva1Pfkvbey6XBsFSq723Tob3zZBmkC1YWkP9cEiZ8sSVAuecpkL2NqgM80YTJhORehfWYLzXsx0pq56S2w84dW9p7QJkf21_W3g7Li8Ddn_7nP/s320/HB23_L.jpg" width="320" /></a></div>
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<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span>Russell Maret and Annie Schlechter's copy of <i>Hungry Bibliophiles</i></span></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigYZknK4i9DtoK-uHnfVMJuWaC4uOqe1FTyGESsSqDSK5xRD7mJ2WZfjvntooyV_snOFKaFpagXSoR0bgj1psZNvYgWLtRm3gPKUvP27hTN5tMMmX0VEUkmuqXy-emm50mUDS1ptlnamZ0/s1600/HB25_L.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigYZknK4i9DtoK-uHnfVMJuWaC4uOqe1FTyGESsSqDSK5xRD7mJ2WZfjvntooyV_snOFKaFpagXSoR0bgj1psZNvYgWLtRm3gPKUvP27hTN5tMMmX0VEUkmuqXy-emm50mUDS1ptlnamZ0/s320/HB25_L.jpg" width="320" /></a></div>
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<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span>Paul F Gehl and Rob Carlson's copy of <i>Hungry Bibliophiles</i></span></span></span></div>
Russell Marethttp://www.blogger.com/profile/11372575284098125604noreply@blogger.comtag:blogger.com,1999:blog-6782413846952372285.post-63040843694098641002017-02-04T10:33:00.002-05:002017-02-04T10:33:54.554-05:00Character Traits: The Argument
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<span style="font-size: small;"><span style="font-family: Georgia,"Times New Roman",serif;">Letterforms are contingent on the technology by which they
are created. Lettering technologies sort themselves into four basic categories—<i>calligraphic</i>, <i>epigraphic</i>, <i>typographic</i>,
and <i>digigraphic</i>—and can be simplified
for our purposes thus: letterforms that are drawn directly onto a surface using
a hand-held tool are <i>calligraphic</i>;
those that are incised directly into a surface, <i>epigraphic</i>; those that are cast from a matrix, or mechanically
engraved, onto a body of fixed height and depth but flexible width, <i>typographic</i>; and those that are
digitally outlined around pixelated clusters, <i>digigraphic</i>. Identifying a letterform’s generative technology gives
us insight into the fact that although one variety of letterform may be made to
<i>look like another</i> variety, it cannot
be made to <i>act like another</i> without,
at best, suffering significant loss. For instance, the printed form of a
typographic letter may look calligraphic, but typography itself cannot accurately
replicate the action of calligraphy. In incunable periods of new technologies,
these distinctions take on a deeper relevance as the nascent technology
attempts to differentiate itself from other available technologies. This is the
period we find ourselves in today with digital letter design.</span></span></div>
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<span style="font-size: small;"><span style="font-family: Georgia,"Times New Roman",serif;">Although it is generally assumed that contiguous
technologies build upon one another, the relationship between them is often
quite limited. Fifteenth century book hands provided the initial models for
typographic lettering, for instance, but beyond outward appearance there is no
meaningful technological connection between the models and their successors. Similarly,
typographic lettering (ie. type) has provided the organizing principle for
digigraphic lettering, but that is where the relationship ends. Typographic and
digigraphic letterforms are subject to different technological limitations, and
there is no reason for one to strictly imitate the other. Instead, the goal
ought to be to identify and explore the specific technological limitations of
digigraphic lettering. This will be achieved by pushing limits.</span></span></div>
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<span style="font-size: small;"><span style="font-family: Georgia,"Times New Roman",serif;">If we accept the division of letterforms into four general
technological categories, then we must also acknowledge that typographic
lettering is ontologically distinct from the other three. Every lettering
technology has practical restraints, but typographic letterforms are the only
ones that are restrained not only in the moment of their creation but in their
succeeding existence. They remain subject to the demands of their physical
quadratic bodies <i>post partum, in eterno</i>.
By contrast, digigraphic lettering, like calligraphic and most epigraphic
lettering, is unencumbered by the quadratic grid. (These letterforms may be
willingly subjected to a quadratic system, but it is an aesthetic choice, not a
technological necessity.) The ontological differences between typographic and
other kinds of letterforms suggest that we might find more meaningful lessons
for digigraphic lettering by looking to calligraphic and epigraphic models than
we will by aping typographic ones. </span></span></div>
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<span style="font-size: small;"><span style="font-family: Georgia,"Times New Roman",serif;">Lettering technologies embody incumbent practical and
aesthetic presumptions that appear universal when they are in fact
technologically specific. The gravitational pull of these presumptions long
outlasts the transition from one technology to another. An obvious example is
the Industrial Age proposition that a single typeface, or a grouping of closely
sympathetic designs, is sufficient for the conveyance of complex textual information.
In the pre-typographic era it was taken for granted that different kinds of
information would be presented in different lettering styles. Early typography
imitated this variety in the convention of setting ecclesiastical texts in
black letter and secular ones in roman types, in the use of structurally
diverse typefaces (often determined by no other means than availability), and
in the generational re-interpretation of historical styles. This variety
quickly became impractical within the framework of Industrial typographic technology,
giving rise to aesthetic presumptions that validated the technology. Such
presumptions may have made sense within the framework of their native
technologies, but the technological limitations from which they arose no longer
exist.</span></span></div>
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<span style="font-size: small;"><span style="font-family: Georgia,"Times New Roman",serif;">These ideas will be explored in my forthcoming book, </span></span></div>
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</span></span><div class="MsoNormal">
<span style="font-size: small;"><span style="font-family: Georgia,"Times New Roman",serif;"><i>Character Traits</i>.
Follow the book’s progress here.</span></span></div>
<span style="font-size: small;"><span style="font-family: Georgia,"Times New Roman",serif;">
</span></span>Russell Marethttp://www.blogger.com/profile/11372575284098125604noreply@blogger.comtag:blogger.com,1999:blog-6782413846952372285.post-16382284466309573582017-01-11T09:45:00.000-05:002017-01-11T09:57:35.846-05:00'Ovid on Climate Change' by Eliza GriswoldI met the poet Eliza Griswold in 2009 while we were both fellows at
the American Academy in Rome. Early on in our time there, we visited the
tomb of the baker Eurysacis, a strikingly modern structure built in 30
BCE just outside the Porta Maggiore. It was a beautiful autumn
morning—Annie was taking pictures of the tomb, the archaeologist Suzanna
McFadden was reading about it from the Blue Guide. While I ogled the
tomb's late Republican inscription, Eliza took out her notebook and
wrote a poem about Eurysacis. Shortly afterward I designed a typeface
based on the inscription.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSDHEZt9qAr7pf063g98RulhdMavTjA_IIdZ8ZcEpdj7YS7BIYDzKUIXIkQadmQfi1tJoxtEUk3_YBn-TDbt8unEJSlaqWnm-o6i6KHzCZIFDqq2Xu0P9TN88Jn6Nq_nlby_Uo_j7Nu5I/s1600/Baker.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="286" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSDHEZt9qAr7pf063g98RulhdMavTjA_IIdZ8ZcEpdj7YS7BIYDzKUIXIkQadmQfi1tJoxtEUk3_YBn-TDbt8unEJSlaqWnm-o6i6KHzCZIFDqq2Xu0P9TN88Jn6Nq_nlby_Uo_j7Nu5I/s320/Baker.jpg" width="320" /></a></div>
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<span style="font-size: x-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">A detail of the tomb of Eurysacis and his wife.</span></span></div>
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The
following year we all moved back to New York, and for years afterward
Eliza and I had a semi-annual conversation about a book that we would
someday make together. Her original poem was thrown out, we both pursued
other books. Then a couple of years ago, Eliza completed a sizable
poetry manuscript, <i>Ovid on Climate Change</i>. I had begun working
with Ed Rayher at Swamp Press to make a metal version of my Baker
typeface, and the time seemed right to actually <i>make</i> our book.
Eliza wrote a new poem about Eurysacis, I found a large cache of Adrian
Frutiger's Meridien typeface for the text, and we set to work choosing a
selection of the poems for a small edition. (Read <a href="https://www.poetryfoundation.org/poetrymagazine/articles/detail/69892">'Poetry Magazine''s interview with Eliza about the poems</a>.)</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgD8gHiL2BLJtgoyerTn0e31xEaKPMjU4Aa9Y0AY2nFjbji8cwWZIJBmLbO82z61WIfhm46JJiH7HxFK0BKFcTJTWz8-sxngjhUGT8ksla9P3fkE6Tcm1cbLRkyc3xxc6E5FmPrH-EIezM/s1600/Baker_Metal.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgD8gHiL2BLJtgoyerTn0e31xEaKPMjU4Aa9Y0AY2nFjbji8cwWZIJBmLbO82z61WIfhm46JJiH7HxFK0BKFcTJTWz8-sxngjhUGT8ksla9P3fkE6Tcm1cbLRkyc3xxc6E5FmPrH-EIezM/s320/Baker_Metal.JPG" width="320" /></a></div>
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<span style="font-size: x-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">The Baker typeface.</span></span></div>
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<div style="text-align: left;">
In
thinking of a visual component of the book, it was important to me that
I not illustrate the poems. In general, I am timid about appending
imagery to living people's words, but these poems in particular cover a
diverse array of physical and emotional landscapes—one poem calls out
for one kind of imagery, another wants something else entirely.
Nevertheless, it was important for me to alter the page in some way, to
visually link the poems without interfering with them. The solution I
came up with was a modulating ground of sprayed acrylic paint running
through the book, a kind of desert landscape from which the poems rise.
Below are some process photos.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCMB-is7ZxyrYziEqlX_rSPWwBuSO8pXKHqM4vDqTi6muxiCADPEELf_D8FhQ15hpEhxNIe5JTD0cSQcQ0Sq00zEAPKKoidF40l4OwVMIFEbmh6RHgIRYiNveseDmMMHwVyxHyAL6-0G0/s1600/IMG_7467.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCMB-is7ZxyrYziEqlX_rSPWwBuSO8pXKHqM4vDqTi6muxiCADPEELf_D8FhQ15hpEhxNIe5JTD0cSQcQ0Sq00zEAPKKoidF40l4OwVMIFEbmh6RHgIRYiNveseDmMMHwVyxHyAL6-0G0/s320/IMG_7467.JPG" width="240" /></a></div>
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<span style="font-size: x-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">The poems tied up on galleys.</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhoC67fA3L2ldmmdBQEnS5GZ6IXr-rSrhr2sLuBZ1RwKAlKl1NlByt4N2-i3HYUrW_5N8Mj1pZCJ5f-lIQEsQoVnDk-makGdyir8Mu5Yt4gRxyBl26tbcDeBc3QtNFbdTZ2r-ouQwsOPA/s1600/IMG_7528.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhoC67fA3L2ldmmdBQEnS5GZ6IXr-rSrhr2sLuBZ1RwKAlKl1NlByt4N2-i3HYUrW_5N8Mj1pZCJ5f-lIQEsQoVnDk-makGdyir8Mu5Yt4gRxyBl26tbcDeBc3QtNFbdTZ2r-ouQwsOPA/s320/IMG_7528.JPG" width="240" /></a></div>
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<span style="font-size: x-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Tearing down the Twinrocker Handmade Paper.</span></span></div>
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<span style="font-size: x-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Mock-up of the title page.</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiH1SBcfTEGyK9lrEE3STmio586Qp7DaZSXLPicDthBMfIMU6LDFyYgucOjFvobMApdjYslsQ2Qp7N0esn2EePsSlDJfx1angW6xrUMrMHungrbJYUvTd4IlqDJkDGkXYG_kC1hP3QFpMk/s1600/FullSizeRender.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiH1SBcfTEGyK9lrEE3STmio586Qp7DaZSXLPicDthBMfIMU6LDFyYgucOjFvobMApdjYslsQ2Qp7N0esn2EePsSlDJfx1angW6xrUMrMHungrbJYUvTd4IlqDJkDGkXYG_kC1hP3QFpMk/s320/FullSizeRender.jpg" width="320" /></a></div>
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<span style="font-size: x-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Proof of the title page, set in Baker and Meridien.</span></span></div>
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<span style="font-size: x-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Proof of the poem "Libyan Proverbs." Copyright 2017 Eliza Griswold.</span></span></div>
Russell Marethttp://www.blogger.com/profile/11372575284098125604noreply@blogger.comtag:blogger.com,1999:blog-6782413846952372285.post-33461445360719017142016-10-12T15:09:00.000-04:002016-10-12T15:09:40.615-04:00Announcing a New Book: Ornamental Digressions<div style="text-align: left;">
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<span style="font-size: small;"><span style="font-family: Georgia,"Times New Roman",serif;">In 2011 Joe
Whitlock-Blundell asked me to design the binding for The Folio Society’s
edition of <i>The
Sound and the Fury</i>.
Joe had liked the patterned paper I designed for <i>Specimens of Diverse
Characters</i>
and he asked me to emulate it for the Faulkner. In response I designed nine
ornamental variations on a basic theme: a central pinwheel form with nine
different fillers among the pinwheel’s arms. Joe chose the busiest of the nine
designs as appropriate to the content of his book, and I spent a couple of
years thinking about what else to do with the remaining ornaments. Eventually I
decided to make a book of patterned papers, and I sent one of the designs, now
called Pinwheel Ornaments, to Ed Rayher to have it made into new metal type
ornaments.</span></span></div>
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<span style="font-size: small;"><span style="font-family: Georgia,"Times New Roman",serif;"> While the type was being
made I began the obsessive process of designing ornamental patterns. I do most
of this kind of work while lying awake in bed, and this time was no different.
For months I worked out meticulous variations in the wee hours, unsure as to
whether I would model the book on a type specimen, printing the designs in
black ink on white paper, or on a fabric swatch book, printing the patterns in
colors on a variety of papers. </span></span></div>
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<span style="font-size: small;"><span style="font-family: Georgia,"Times New Roman",serif;"> The more I thought about
these patterns the more I realized that my mind was wandering. I love making
patterns, but a book that only explored the patterning potential of the
ornaments was not holding my interest. Instead, I began envisioning elaborate
arrangements that were not inspired by what the ornaments could do but by what
they were not supposed to do. While reading or walking around the city, texts
and images would spark ideas for designs that made no practical sense at all,
and my thoughts would digress into designs of eight, or nine, or more colors. </span></span></div>
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</span></span><div class="MsoNormal" style="text-align: left;">
<span style="font-size: small;"><span style="font-family: Georgia,"Times New Roman",serif;"><span> The
book that has developed, </span><i><span>Ornamental
Digressions</span></i><span>,
draws on all of these various sources. It begins with four black and gray
designs that display the basic functions of the ornaments. This is followed by
fifteen </span><i><span>ornamental
digressions,</span></i><span>
each of which is paired with a text and printed in a wide array of colors. The
book ends with notes on the sources of the fifteen digressions. Additionally,
twenty copies are accompanied by a swatch book of twenty patterned papers that
are printed on variously colored handmade paper.</span></span></span></div>
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<span style="font-size: small;"><span style="font-family: Georgia,"Times New Roman",serif;"><span> The first sample bindings have arrived from Craig Jensen at Book Lab II, and copies will begin shipping this week. Below are some photos of the book and the process of making it. </span></span></span></div>
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<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;"> Spine of the deluxe (left) and standard boxes.</span></span></div>
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<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;"> Title page.</span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: x-small;">Title page of <i>Pinwheel Papers</i>, the companion volume of patterned papers.</span></span></div>
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<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;"> Some of the patterned papers accompanying the deluxe copies.</span></span></div>
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<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;"> Celine Lombardi and Nancy Loeber tipping-in the patterned papers.</span></span></div>
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<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;"> Color map and type formes for the Shakespeare page.</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1Ftc9ANiP8knVHHFcIAxLOKbDvomWl7wjmHxPwOWtbqKtXDgjL8VP608IWcXAD3IvV3Sm8B63vZXcMogZPdVRSq6M3Unfmu49GYpMNyNYlHAZanobqbej7eVoPT-B-nKb2tplIZAyN4g/s1600/13323283_10209431964263212_4164246764192767098_o.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1Ftc9ANiP8knVHHFcIAxLOKbDvomWl7wjmHxPwOWtbqKtXDgjL8VP608IWcXAD3IvV3Sm8B63vZXcMogZPdVRSq6M3Unfmu49GYpMNyNYlHAZanobqbej7eVoPT-B-nKb2tplIZAyN4g/s320/13323283_10209431964263212_4164246764192767098_o.jpg" width="320" /></a></div>
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<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;"> Close up of the image for Shakespeare's passage "...ornament is but the guilèd shore to a most dangerous sea."</span></span></div>
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<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;"> Another close up of the same image.</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhpMbwF03WBHQ3ZdEpUi07gIStQktCxR256mr01LF0OIpKK8M11kLQCngTBUfHaTwZRIYN6fvhK9C33gWVndoQenTLYXI8ryLIG-tQ0I6-3phAhixarzGEYZpPru-7tiH0OUWNK9x_E4s/s1600/13522823_10209669842610022_5665971387311106386_o.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhpMbwF03WBHQ3ZdEpUi07gIStQktCxR256mr01LF0OIpKK8M11kLQCngTBUfHaTwZRIYN6fvhK9C33gWVndoQenTLYXI8ryLIG-tQ0I6-3phAhixarzGEYZpPru-7tiH0OUWNK9x_E4s/s320/13522823_10209669842610022_5665971387311106386_o.jpg" width="320" /></a></div>
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<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;">A type forme and partial print of the William Morris page.</span></span></div>
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<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;">Close up of the William Morris page.</span></span></div>
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<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;">A type forme from the Henry James page.</span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"> <span style="font-size: x-small;">A type forme from the D. R. Hay page.</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHnXHHVWAgVJ0UCqWQL59xUWz3YPwTmJMQc7IUXxS_cYn3pda2gpNiKvwvSMbo9SOH7IfaVEFbuYrfyxRYg_IoZoBe9LzK_Nv4DdtUmgT5bw3mKbw0oLCDXCGFISP_wEmcUHrjShm5dVw/s1600/13723872_10209902631589601_5180344340552960060_o.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHnXHHVWAgVJ0UCqWQL59xUWz3YPwTmJMQc7IUXxS_cYn3pda2gpNiKvwvSMbo9SOH7IfaVEFbuYrfyxRYg_IoZoBe9LzK_Nv4DdtUmgT5bw3mKbw0oLCDXCGFISP_wEmcUHrjShm5dVw/s320/13723872_10209902631589601_5180344340552960060_o.jpg" width="320" /></a></div>
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<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;">A type forme from the Caleb Stower page.</span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"> <span style="font-size: x-small;">Separating the colors for the Man'yoshu page.</span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"> The disastrous pile of type awaiting distribution.</span></div>
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Russell Marethttp://www.blogger.com/profile/11372575284098125604noreply@blogger.comtag:blogger.com,1999:blog-6782413846952372285.post-75970606396878825892016-06-03T11:10:00.000-04:002016-06-06T07:51:40.333-04:00Hungry Dutch: A Typographic Adventure<div style="text-align: left;">
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<span style="font-size: small;"><span style="font-family: "cambria";">Last summer I visited
Phil Abel and Nick Gill at Hand </span><i><span style="font-family: "cambria";">&</span></i><span style="font-family: "cambria";"> Eye Letterpress in London. After lunch, Nick and I got to
talking about the feasibility of making a new typeface for Monotype composition
casting. Nick had been studying the finer points of typefounding at the Type
Archive in south London and he had been unable to locate one specific piece of
information that would make a new composition face possible: he could not find
detailed instructions for the creation of patterns for the pantographic
punchcutting machine used by Monotype. Unlike direct matrix engraving processes
in which a letter’s fit and alignment can be determined after the engraving,
the Monotype process requires each letter’s fit and alignment to be figured out
in advance. Those calculations are manifest in the pattern used to engrave
punches, and they are followed through to the punch, the matrix, and the final
piece of type. If the letterform is not in the right place on the pattern, in
other words, it will never be in the right place on the piece of type. The
trick is in figuring out the specific relationship between the pattern and the
resulting piece of type, and the literature on this relationship is lacking.
Intrigued, I lightheartedly suggested that we try to figure it out—</span><i><span style="font-family: "cambria";">Why not?</span></i><span style="font-family: "cambria";">—and Nick and I agreed
that he would discuss it with Duncan Avery at the Type Archive and get back to
me.</span></span></div>
<span style="font-size: small;">
</span><br />
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<span style="font-size: small;"><span style="font-family: "cambria";"> A few months later I was
back in London for a meeting at the Type Archive. In the time that had passed
since our discussion at Hand </span><i><span style="font-family: "cambria";">&</span></i><span style="font-family: "cambria";"> Eye, Nick had assembled an impressive, multi-generational
group of collaborators to assess the feasibility of the project and, hopefully,
to figure out the missing pattern information. The assembled group included
Duncan Avery, who worked for Monotype from 1945 until 1992, at which point he
initiated the Type Museum; Graham Sheppard, whose tenure at Monotype spanned
1952–1995 and included work in the Type Drawing and Type Development Groups; Parminder
Kumar Rajput, who began at Monotype in 1965 and is now the only person
qualified to operate every machine used in the production of matrices; Doug
Ellis, who began as an apprentice at Monotype in 1955 before eventually
becoming foreman of the Monotype Toolroom in 1991; Thomas Mayo, a printer who
has been making a name for himself through his innovative use of laser cutting,
the technology he will use to cut the patterns for our type; and finally Nick
himself, a printer and typefounder who is the only person other than Kumar
Rajput qualified to cut punches and make matrices for Monotype Composition
Casters. </span></span></div>
<span style="font-size: small;">
</span><br />
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<span style="font-size: small;"><span style="font-family: "cambria";"> After a brief tour of
the Type Archive’s facility, we found ourselves in front of the punchcutting
machine where Nick and I were hoping to begin the long, arduous process of
discovering the missing pattern measurements. Kumar pointed out the various
parts and functions of the punchcutter for my benefit and then Nick posed the
thousand dollar question: </span><i><span style="font-family: "cambria";">How do we figure out the relationship between the
pattern and the piece of type?</span></i><span style="font-family: "cambria";"> It is difficult in retrospect to capture the comedy of
the ensuing exchange, but imagine our surprise when, rather than getting a long
bibliography of hints and sources, Graham Sheppard chimed in from behind us
with a list of precise measurements from the top of his head. Sometimes all you need to do is ask the right
person the right question. In an instant the focal point of the day changed
from figuring out how to make a single piece of type to endeavoring to make a
complete typeface, </span><i><span style="font-family: "cambria";">Hungry
Dutch</span></i><span style="font-family: "cambria";">.</span></span></div>
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<span style="font-size: x-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">The job ticket, pattern, punch, matrix, type, and print from the "proof of concept" Hungry Dutch "H"</span></span></div>
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<span style="font-family: "cambria"; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: HungryDutchMonotype; mso-hansi-theme-font: minor-latin;"> <span style="font-size: small;">Since that meeting in
October there have been many fits and starts. Discussing the abstract idea of
type manufacture over lunch is quite different from actually manufacturing
type, and my learning curve has been long and steep. But nearly six months to
the day after our meeting at the Type Archive, Duncan Avery sent me a packet
containing newly made type, matrix, punch, and pattern, all derived from my
drawing of a letter H. The thrill of opening that packet is one that has no
equivalent in my experience—in my hand was evidence of something I had assumed
was utterly impossible. </span></span></div>
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</span><br />
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<span style="font-size: small;"><span style="font-family: "cambria";"> The thought that we
might be able to manufacture new composition typefaces is almost too exciting
to bear but the excitement is tempered by the enormity of the undertaking. At
the current working schedule of the Type Archive, it is estimated that making </span><i><span style="font-family: "cambria";">Hungry Dutch</span></i><span style="font-family: "cambria";"> would require nearly two
years. It is not, in all honesty, a project that is likely to be completed. But
completion is not always the most rewarding outcome of creative work. Instead,
the <i>process</i> of making the new type is
the aspect of the project that promises to bear the most enduring fruit. We are
at a jump or fall moment in the history of this technology. The four men
involved in the manufacture of the </span><i><span style="font-family: "cambria";">Hungry Dutch </span></i><span style="font-family: "cambria";">matrices—Duncan, Graham, Kumar, and
Doug—are the brain trust of the Monotype Corporation. The only way to fully
access the knowledge that they have acquired is by going through the process of
manufacture with them. The only way we can preserve that knowledge is by
documenting everything we can along the way. </span></span></div>
<span style="font-size: small;">
</span><br />
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<span style="font-size: small;"><span style="font-family: "cambria";"> I
propose to make this a communal endeavor. I will work with the Type Archive to
go as far as we can, and to collect as much information as we can. I will print
fun ephemera as we progress and, eventually, a book about the process. The
first step it to make the thirteen “medial trial letters”—a, C, e, f, g, H, h,
i, n, O, o, p, t—and proceed from there. What I am looking for are supporters
who are willing to sponsor the making of a letter or two (or more), at a cost
of $600 each. In exchange for your support you will receive a pattern, matrix,
and piece of type for each letter you sponsor*; copies of all ephemera printed
from the type; and a discount on the resulting book that I publish, in which
you will be listed as a patron. This project is conceived as a typographic
adventure, and, in the spirit of all real adventures, it is undertaken without
a clear idea of what will result. All that is required is people who are willing
to come along for the ride. If you would like to sponsor a letter, please
email, call, or visit the “Books in Print” section of my website and click on </span><a href="http://russellmaret.com/books-in-print/hungry-dutch/" target="_blank"><i><span style="font-family: "cambria";">HungryDutch</span></i></a><span style="font-family: "cambria";">. </span></span><br />
<br />
<span style="font-size: small;"><span style="font-family: "cambria";">*<i>An important part of this project is that we follow Monotype's in-house procedures as closely as possible. Those procedures necessitate the manufacture of what are called the thirteen "medial trial letters" before moving on to the full face. From these letters—a, C, e, f, g, H, h, i, n, O, o, p, t—the head of drawings, Graham Sheppard, and the head of punch cutting, Kumar Rajput, are able to glean the necessary information for production of the remaining letters. In the spirit of this project, I am reticent to promise sponsors that they will receive letters other than the initial thirteen. However, due to the response thus far it does seem certain that we will be able to go beyond them. So this is what I propose: choose your letter or letters from the thirteen medial letters: a, C, e, f, g, H, h, i, n, O, o, p, t. If you would prefer different letters, let me know and, if we get as far as making them, they will happily be yours. </i></span></span></div>
Russell Marethttp://www.blogger.com/profile/11372575284098125604noreply@blogger.comtag:blogger.com,1999:blog-6782413846952372285.post-63324856112626841352016-05-24T21:09:00.000-04:002016-05-25T07:46:06.400-04:00Effie Gray page from Ornamental DigressionsIn August 1848 Effie Gray arrived in Abbeville, France with her husband of four months, John Ruskin. While there, John scurried about measuring and drawing from dawn to dusk while Effie often found herself alone to take in the sights. It is easy to imagine that Effie's days in Abbeville were colored, if not dominated, by the shock and humiliation of their wedding night, and all the nights since, as it became clearer and clearer that something was seriously wrong with John. But whatever Effie's mental state during her time in Abbevile, she was particularly struck by the facade of the "the magnificent Cathedral of St. Wilfran," about which she wrote, "I was very much confounded with the mixture of the grand and the ridiculous in the whole scene..." Whether or not she was making an allusion to her marriage in this observation, and it is doubtful that she was, it is hard not to see some connection in retrospect. Being married to John Ruskin was nothing if not publicly grand and privately ridiculous.<br />
<br />
In thinking about a design for <i>Ornamental Digressions</i> inspired by Effie's description of St. Wilfran, I wanted to make a design that would be part rose window, part carnival ride, and be printed in day-glo colors to raise the alarm: <i>Warning! Get out while you can, Effie!</i> I opted for a sixteen arm design because <i>Why not?</i>, and it would let me play with my extra-fancy angular lock-up furniture. The text was too long for a single line of type, so my first thought was to break it in two and place the design between the text.<br />
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The result was disappointing for two reasons: 1) the design appeared to be squished in a vice of the text and 2) the central section of the design felt unresolved. Each of the sixteen arms is composed of three spurs, and in the first proof the central spur of each arm is too short and the exterior spur too long. The central spur feels too far away from the center; the exterior spur too close to its neighbor.<br />
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Although the Pinwheel Ornament set includes 14 pieces, it clearly wasn't enough. The lovely concentric wave that was created by the longest spur of each arm was interrupted by the central and outer spurs being the wrong length. There was no option but to mortise some of the ornaments in half to correct the problem.<br />
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<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dzN0z7FluNKwyQ7BUbrOMobg0HpQxQ1fRvaX73AbNimVxW8Mi7nM8Si-mvYEuC-4U-s3zk5_h_Ky4jXP49iaA' class='b-hbp-video b-uploaded' frameborder='0'></iframe></div>
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Here's the mortised type locked up in the forme.<br />
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Once printed, the central section felt much more cohesive. I also moved the design up on the page and brought both lines of text together at the bottom, separated by a day-glo orange <i>Warning!</i> rule.<br />
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Below is a close up of the print in sunlight to give a better idea of the colors, and a shot of one of the lock ups in my extra-fancy lock-up furniture.<br />
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<br />Russell Marethttp://www.blogger.com/profile/11372575284098125604noreply@blogger.comtag:blogger.com,1999:blog-6782413846952372285.post-110018127848257652016-05-15T10:00:00.000-04:002016-05-15T10:13:50.399-04:00Announcing a new metal typeface: BakerThe first trial casting of my new metal typeface, Baker, has arrived from Swamp Press & Letterfoundry, where the matrices were engraved by Ed Rayher. After proofing the type, I am revising the short T, the S, and the Z, but we are nearly there. We now expect the type to be complete and ready to ship in July. <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiV1-hCoSbxASITSwTXhdy6OVlx3jLXzhBYuLN9Mc49brLvqqWo_Hwv7GikyJQnKO4sD5sadB6t2gLF70dpKDxtnBiAha3CxDOatAB4bbdbYpmWoog0LKO4ZXKYFwHUAQXdpn5F0mDHYKo/s1600/Baker_Metal.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiV1-hCoSbxASITSwTXhdy6OVlx3jLXzhBYuLN9Mc49brLvqqWo_Hwv7GikyJQnKO4sD5sadB6t2gLF70dpKDxtnBiAha3CxDOatAB4bbdbYpmWoog0LKO4ZXKYFwHUAQXdpn5F0mDHYKo/s320/Baker_Metal.JPG" width="320" /></a></div>
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<span style="font-size: x-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"> A close-up of the first casting of Baker.</span></span></div>
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The type design is based on the late Republican inscription on the tomb of M. Vergilius Eurysaces, a contract baker in the first century BCE. The tomb is located just outside the Porta Maggiore in Rome. Its facade is notable as "a pure experiment in geometrical forms*," an experiment that is carried through to its letterforms. Few classical monuments are so modern in their design or so fully integrated in the design of their architecture and their lettering. The tomb appears to straddle millenia, or to exist outside of time altogether, a quality that is accentuated by its proximity to the comparatively fussy and rusticated Porta Maggiore.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLYgxpGYm_fDTHlfWS6flvyy6Yh574Q3hKNZpJJoFbAMe9vr7_8yjesbpAatVnpl3QxoBSbntAEcZv9r0OA05fU0HO8DUuNMdDelM34sk7p4Ja28rNOfmsT7__iqSVvetAHEy6bs_EPQ8/s1600/Baker.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="286" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLYgxpGYm_fDTHlfWS6flvyy6Yh574Q3hKNZpJJoFbAMe9vr7_8yjesbpAatVnpl3QxoBSbntAEcZv9r0OA05fU0HO8DUuNMdDelM34sk7p4Ja28rNOfmsT7__iqSVvetAHEy6bs_EPQ8/s320/Baker.jpg" width="320" /></a></div>
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<span style="font-size: x-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">A detail of the Baker's tomb, showing the geometrical facade and a section of the inscription.</span></span></div>
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Baker is a 24pt type. It consists of the twenty-six majuscules, a tall T and tall I (both cast on a 30pt body), the ten figures, period, comma, semi-colon, colon, exclamation, question, hyphen, en dash, single open quote, single closed quote/apostrophe, ampersand, dollar sign, and three center dots: a triangle-esque, a diamond, and a shadow circle (not pictured in the image below). The A, R, T, V, W, Y will all come in kerning and non-kerning characters. The fonts will be standard 16 A half-jobbing fonts, but the figures will be reduced by a quarter because no one really needs that many figures and it will allow for the alternate kerning characters. If you are interested in purchasing a font, email me at russellmaret (at) me.com.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjx0rVlZoCg2lto9t00ezqefDGmCXSlP-IXOo54q_0DjeP7qO9TkSnHeZG11cBEhCjbPp0ZlZLEJhwI1oPR4p4iLPx4bfBtNya73Rtrl3af_LfkPJUtXc3Fk_-h8CtDsXZyemGmjJV2SYY/s1600/Baker_Print.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="201" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjx0rVlZoCg2lto9t00ezqefDGmCXSlP-IXOo54q_0DjeP7qO9TkSnHeZG11cBEhCjbPp0ZlZLEJhwI1oPR4p4iLPx4bfBtNya73Rtrl3af_LfkPJUtXc3Fk_-h8CtDsXZyemGmjJV2SYY/s320/Baker_Print.jpeg" width="320" /></a></div>
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<span style="font-size: x-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">A proof of the first casting of Baker. </span></span><span style="font-size: x-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">The short T, S, and Z will be revised.</span></span><br />
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<span style="font-size: small;"><span style="font-family: inherit;"><span style="font-size: xx-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">_____</span></span></span></span></div>
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<span style="font-size: x-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><span style="font-family: inherit;"></span></span>*L. Richardson <i>A New Topographical Dictionary of Ancient Rome</i> (1992) 355.</span></span></div>
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<span style="font-size: x-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Photo of Eurysaces' tomb by Annie Schlechter.</span></span></div>
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Russell Marethttp://www.blogger.com/profile/11372575284098125604noreply@blogger.comtag:blogger.com,1999:blog-6782413846952372285.post-76283446021233588332016-03-29T16:58:00.003-04:002016-03-29T16:58:54.932-04:00The final image and the first copies of "Some Problems with Red"For the fifth illustration in <i>Some Problems with Red</i>, I wanted to create an image that approximated the experience of red in real time; red as a phenomenon rather than red as an inert classification. I also wanted to experiment with my belief that "primary" colors are obtained through a process of extrusion and interference, rather than being foundational building blocks from which other colors are made. So the first step was to print three forms of an orangey-yellow, a green, and a purple before getting to the red.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEix7m-yzYtxKaBIXphyu7ULQEVI8DD5xRm8HbR5cUNR7mmBui8z-upCZhnb7r6GCl-jbXyWP6MyijdYscGgKdjSPT40vjLOF9Q0f5BwU0YU36Q_tb9DQodQS3OO3FmJ9mUKKpNyawzFHS4/s1600/IMG_5206.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="223" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEix7m-yzYtxKaBIXphyu7ULQEVI8DD5xRm8HbR5cUNR7mmBui8z-upCZhnb7r6GCl-jbXyWP6MyijdYscGgKdjSPT40vjLOF9Q0f5BwU0YU36Q_tb9DQodQS3OO3FmJ9mUKKpNyawzFHS4/s320/IMG_5206.JPG" width="320" /></a></div>
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<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;"> The first form is a random pattern of the orangey-yellow.</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEga-YuVRgcpQHvvGBN_-d75Xf7srp6_Pdy34YnKbXEd0SAHnz1iC4fTmdIpEaJMb04xYCQgKSzAghW_QpHj52DIz5o6Un26AADYzeCvn4eei0WiwYZLezLeK9V0cApy-btHAuAC5kijYKI/s1600/IMG_5539.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEga-YuVRgcpQHvvGBN_-d75Xf7srp6_Pdy34YnKbXEd0SAHnz1iC4fTmdIpEaJMb04xYCQgKSzAghW_QpHj52DIz5o6Un26AADYzeCvn4eei0WiwYZLezLeK9V0cApy-btHAuAC5kijYKI/s320/IMG_5539.JPG" width="320" /></a></div>
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<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;"> </span></span><span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;"> The type form on the bed of my FAG Control 405 press.</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjldiRL5ZbzraciJBfkfL-YEAH7F3LKER7VLRb2QodA5dl8v-DPM7e60gnAhQbXrQqTgJHfqXeL-_PZRNn71-VfaXcmwnEo3gTz4OM15v5fNM6xs2hCf8W9l6QIr71CVETHqZczfFfmGw/s1600/IMG_5207.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="218" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjldiRL5ZbzraciJBfkfL-YEAH7F3LKER7VLRb2QodA5dl8v-DPM7e60gnAhQbXrQqTgJHfqXeL-_PZRNn71-VfaXcmwnEo3gTz4OM15v5fNM6xs2hCf8W9l6QIr71CVETHqZczfFfmGw/s320/IMG_5207.JPG" width="320" /></a></div>
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<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;">On top of which is printed a slightly different random pattern of the green.</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFu6EcCuB-cStmtdqos6xORbbt8Zr5OZBCNOc54XN4EEHoEW5d075dTL8bl-NrQ_8DNuW90uevpJsQxiYPgWTmvGMfcHQEeTHPPjZmhKmE8_5yeSvDB850yv3zwNkWPMd0aWWYVirhzzA/s1600/IMG_5208.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="231" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFu6EcCuB-cStmtdqos6xORbbt8Zr5OZBCNOc54XN4EEHoEW5d075dTL8bl-NrQ_8DNuW90uevpJsQxiYPgWTmvGMfcHQEeTHPPjZmhKmE8_5yeSvDB850yv3zwNkWPMd0aWWYVirhzzA/s320/IMG_5208.JPG" width="320" /></a></div>
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<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;"> Which produced this.</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAPu82Zkt4US91e1wAEaNZm_TI4v6aDdp4whOQONCaF0cjMTD6hbCyACZQV3EcFhLKx_f06kqbRpWddvvB8BeGhQYfwfVEVRYAB4jg052TOTuEe2fnSgs_qMTjukGEpmnuTbogxynEwjM/s1600/IMG_5209.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="220" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAPu82Zkt4US91e1wAEaNZm_TI4v6aDdp4whOQONCaF0cjMTD6hbCyACZQV3EcFhLKx_f06kqbRpWddvvB8BeGhQYfwfVEVRYAB4jg052TOTuEe2fnSgs_qMTjukGEpmnuTbogxynEwjM/s320/IMG_5209.JPG" width="320" /></a></div>
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<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;"> Then another slightly different random pattern of purple.</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgo0XJxA6io4U4YafxiynLQ9Ynpj5_YXQxqJmCn3sRj6AOCv5bThO1la8JPIjomjJQzqDBLIRB9F4-pst-aHFFYkWgXA3nS4iMvFGRgbSI8Y4DCEkym83UPqXfQsyCpP9YS38WHKnPGDRw/s1600/IMG_5210.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgo0XJxA6io4U4YafxiynLQ9Ynpj5_YXQxqJmCn3sRj6AOCv5bThO1la8JPIjomjJQzqDBLIRB9F4-pst-aHFFYkWgXA3nS4iMvFGRgbSI8Y4DCEkym83UPqXfQsyCpP9YS38WHKnPGDRw/s320/IMG_5210.JPG" width="320" /></a></div>
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<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;"> Which produced this.</span></span></div>
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As I printed the first three colors, I freely moved the registration micrometers throughout the press runs so that, by the end of the third run, each print was noticeably different than the others. For a printing surface, I chose a linear ornament that was cast for me by Nick Gill at Hand & Eye Press in London. The text that accompanies the illustration talks about color as an aggregate experience and I wanted to print from an image that would allow the other colors to be present while still giving the overall impression of redness.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwXnUY5wf1FzCUjHhEPnqQLoh4u3qhn3l19KBBeIvoiU6PL88AImaTEbU7pfn9sb6ed1JGN9rV50CSdsji8cMmCJ0d-y-3Ggq6fyYb5b18Lv2VUeu9lO3KKtntr5wZbzpAgAeHJKfsN7I/s1600/IMG_5205.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwXnUY5wf1FzCUjHhEPnqQLoh4u3qhn3l19KBBeIvoiU6PL88AImaTEbU7pfn9sb6ed1JGN9rV50CSdsji8cMmCJ0d-y-3Ggq6fyYb5b18Lv2VUeu9lO3KKtntr5wZbzpAgAeHJKfsN7I/s320/IMG_5205.JPG" width="218" /></a></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: x-small;">The ornament.</span></span></div>
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Once the three ground colors were laid down, I made a solid pattern of the type ornament and printed three press runs in warm red. I printed the first of these dead on (hitting all three registration points) and the following two at contrary angles. I then printed two more runs in a slightly darker red, each run also at different angles. This created final prints in which the red seems to be sprayed across the page, each of which is appreciably different from all the others.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZntNuDUi_w0WcCi8uglmfQSBga9bqnQ5adAh7Lo6BpHHxBlhybkFbTG8NcycZD04mJ9_SMrTUbd44r2Hwtq61FtzY6zcNjabjZio-qdUCV-XTmj-ot0vY1KDh4up8C23D1lNhpSxX-f0/s1600/IMG_5211.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="211" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZntNuDUi_w0WcCi8uglmfQSBga9bqnQ5adAh7Lo6BpHHxBlhybkFbTG8NcycZD04mJ9_SMrTUbd44r2Hwtq61FtzY6zcNjabjZio-qdUCV-XTmj-ot0vY1KDh4up8C23D1lNhpSxX-f0/s320/IMG_5211.JPG" width="320" /></a></div>
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<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;">The overall linear pattern used for the red press runs.</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibK_sgJWZOOsIc7BiK8jY3qxxn8CfzeCOx-we6fmx2avZspA9E3IEPEERGB_cT7lYrRPoWKZ31AONvyS-gFv8kTTu6iKJBsDETQpEmCrbrb20Fe15yo0cga17fya44P9WmNtEY9_8auGQ/s1600/IMG_5212.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="220" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibK_sgJWZOOsIc7BiK8jY3qxxn8CfzeCOx-we6fmx2avZspA9E3IEPEERGB_cT7lYrRPoWKZ31AONvyS-gFv8kTTu6iKJBsDETQpEmCrbrb20Fe15yo0cga17fya44P9WmNtEY9_8auGQ/s320/IMG_5212.JPG" width="320" /></a></div>
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<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;">And three of the resulting prints.</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmu67Z6vKlfixA_yk5QAteeikTFFAksHClaWAkVPrn1B3w6ulKyoF7NWyseWIeC2TxwZJO4sbtnJ7GSxEwT5mpQQueq8f_iEyOLM7_G6rHLjBfrTPzJl3HBkBt5rq0yRCPKSTvmR07ZfQ/s1600/IMG_5213.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="218" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmu67Z6vKlfixA_yk5QAteeikTFFAksHClaWAkVPrn1B3w6ulKyoF7NWyseWIeC2TxwZJO4sbtnJ7GSxEwT5mpQQueq8f_iEyOLM7_G6rHLjBfrTPzJl3HBkBt5rq0yRCPKSTvmR07ZfQ/s320/IMG_5213.JPG" width="320" /></a></div>
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Last week I received the first copies of the finished book back from the bindery, Book Lab II. Here are some of Annie Schlechter's photos of the finished work.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZFYSpTwC4dVu5-RBDv-XZbDrOWm_GGvzwwrbZZXiLp8aBl_JY5UIibsbcZ9SSu5iUowWkbHDgRrDc1onr3EyJPBTNFu-hYb2eHOHdPviNUBfDDPninrNFqvRMO3ZNNyxXJ8MBm8LhE5M/s1600/1626_RM_Red_037.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZFYSpTwC4dVu5-RBDv-XZbDrOWm_GGvzwwrbZZXiLp8aBl_JY5UIibsbcZ9SSu5iUowWkbHDgRrDc1onr3EyJPBTNFu-hYb2eHOHdPviNUBfDDPninrNFqvRMO3ZNNyxXJ8MBm8LhE5M/s320/1626_RM_Red_037.jpg" width="320" /></a></div>
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<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;"> The book is housed in a green plexiglass slipcase.</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjngBx2XXAFDdvxLH4-s7eXe41M0_XrninacN8pPHF-ovHUxzR2PkrHigngMk4gB2fEBkXr4Eq4GEcTRhGo6Qu76dSdgCwh35D8sODx3CQtxw2rNQk3XmqFO5uk4ucbQzESVHmkFkB8Xpw/s1600/1626_RM_Red_050.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjngBx2XXAFDdvxLH4-s7eXe41M0_XrninacN8pPHF-ovHUxzR2PkrHigngMk4gB2fEBkXr4Eq4GEcTRhGo6Qu76dSdgCwh35D8sODx3CQtxw2rNQk3XmqFO5uk4ucbQzESVHmkFkB8Xpw/s320/1626_RM_Red_050.jpg" width="320" /></a></div>
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<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;"> The first illustration is printed from linoleum blocks. </span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5aF2GGzExRc1XGLc1Yh_RkX7R2BHvFomjMNWddCbttsvQOYQUid_enhkwZTz1790ZyauWopMb_AvAbsNWCXhR4IVq0Dh7Aye6cf1iMHAhQbv_jwxOXKMBv0WGk7oiKpz3uTIyKFcIwoQ/s1600/1626_RM_Red_053.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5aF2GGzExRc1XGLc1Yh_RkX7R2BHvFomjMNWddCbttsvQOYQUid_enhkwZTz1790ZyauWopMb_AvAbsNWCXhR4IVq0Dh7Aye6cf1iMHAhQbv_jwxOXKMBv0WGk7oiKpz3uTIyKFcIwoQ/s320/1626_RM_Red_053.jpg" width="320" /></a></div>
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<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;"> The second from end-grain maple woodtype blanks.</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4o-sRsVN34eg4z3CtNxYnxODx0mAbOqESS15QmeptxhHGSCrJaqHIIUuQ0egu9bgq7u1XdXWQjvLWwy0L85jfbhJvcmB0l7PUj0hiMoYXShv6Czb7KD3CCkEkEnEgc-Wggt6cwt7zSY8/s1600/1626_RM_Red_056.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4o-sRsVN34eg4z3CtNxYnxODx0mAbOqESS15QmeptxhHGSCrJaqHIIUuQ0egu9bgq7u1XdXWQjvLWwy0L85jfbhJvcmB0l7PUj0hiMoYXShv6Czb7KD3CCkEkEnEgc-Wggt6cwt7zSY8/s320/1626_RM_Red_056.jpg" width="320" /></a></div>
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<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;"> The third is drawn in ink with a compass.</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimBIngOlY9n0yzU67rysDfhHlfWGms_p_lTWpBfR4cKJvrGTaPVWjGeArp2R-5h9JxaQ90XLkB_Rrc0FjhAe5tsmIWJnvwOZtKggnbf-TuEI4X5HyG7yrHxB_lEThQK8DDfpJe5vaodRE/s1600/1626_RM_Red_057.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimBIngOlY9n0yzU67rysDfhHlfWGms_p_lTWpBfR4cKJvrGTaPVWjGeArp2R-5h9JxaQ90XLkB_Rrc0FjhAe5tsmIWJnvwOZtKggnbf-TuEI4X5HyG7yrHxB_lEThQK8DDfpJe5vaodRE/s320/1626_RM_Red_057.jpg" width="320" /></a></div>
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<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;"> The fourth from linoleum.</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEia687ttGco24zE1zYMSjKwX2wuDHqpPOnWFXQPejJ1FvKkoZmzEsjiANX2XhdpiUDNl6luwGkzLsf6jnCx0zoL8OiEf7-TIoTNMdEOAhFClkOnAwBfzggnvt5zqrjD61ge93_oBAjkG8A/s1600/1626_RM_Red_062.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEia687ttGco24zE1zYMSjKwX2wuDHqpPOnWFXQPejJ1FvKkoZmzEsjiANX2XhdpiUDNl6luwGkzLsf6jnCx0zoL8OiEf7-TIoTNMdEOAhFClkOnAwBfzggnvt5zqrjD61ge93_oBAjkG8A/s320/1626_RM_Red_062.jpg" width="320" /></a></div>
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<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;"> And the fifth from type ornaments.</span></span></div>
Russell Marethttp://www.blogger.com/profile/11372575284098125604noreply@blogger.comtag:blogger.com,1999:blog-6782413846952372285.post-79749664984657035212016-01-31T11:42:00.000-05:002016-02-01T08:43:26.870-05:00Some Problems with Red<div class="separator" style="clear: both; text-align: center;">
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A couple of weeks ago I began printing a new book called <i>Some
Problems with Red encountered by Russell Maret while daydreaming in his
studio and here explored with the aid of multichromatic letterpress</i>.
The book consists of five short texts dealing with the difficulties of
describing and reproducing color, each of which is paired with an
illustration. As suggested by the title, the book is a whimsical project
that grew out of my <a href="http://www.russellmaret.blogspot.com/2009/02/color.html" target="_blank">"General Color Theory"</a> from <i>Æthelwold Etc</i>.,
and continues my recent exploration of alternatives to the
photo-polymer image making techniques that I have been using for the
last eight years. Four of the five illustrations are printed from
linoleum, end-grain maple, or metal type ornaments, while the fifth is
drawn in ink with a compass. I should be done with the printing by the
end of February, with the book debuting at the Manhattan Fine Press Book
Fair on April 9.<br />
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Like many of my texts, the core of <i>Some Problems with Red</i> was written on envelopes and napkins after waking up in the middle of the night. Below is the initial draft of the first text in the book, dearly in need of editing.</div>
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<img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYK8PQFzZUDJ7XP_TJcW8qqoJ1XuJBsCRTSofNCTd6MBkETciRJodCfUatgLfEVvahKokAusq43zDAj5RmXGoUjq3kfwFL-XlfZLCt6GYvNfbqZlQjmNNBxoG-q1yf8KQcCLGuXKQ4Ly4/s320/IMG_5466.JPG" width="320" /></div>
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The text is hand set in Stymie Medium, a typeface that in the best circumstances is difficult to use. Its <i>letterforms</i> are wonderfully open and diverse—with a sizable compliment of alternate characters—but the <i>typeface</i> requires a considerable amount of massaging to bring out its letters' best qualities. The eccentric frankness that attracted me to Stymie easily transforms into a kind of dullard's scribbling if handled indelicately, so, despite the brevity of the text, I spent a couple of months proofing, editing, shifting, mitering, and mortising before going to press.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaBOc-maUy0cDi5HDb4BfwhE3q24fZMnWmILFXqWlZ4arChd0smlNK3JxluvGD-GssgMQp2ZjoJvrKyoBlcNBVLDtXFQdvQGbmfF5rXe1AlfFnW_aa-Q-yWFT2xi2PXdtj4zQWR-JUqOE/s1600/IMG_5465.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaBOc-maUy0cDi5HDb4BfwhE3q24fZMnWmILFXqWlZ4arChd0smlNK3JxluvGD-GssgMQp2ZjoJvrKyoBlcNBVLDtXFQdvQGbmfF5rXe1AlfFnW_aa-Q-yWFT2xi2PXdtj4zQWR-JUqOE/s320/IMG_5465.JPG" width="320" /></a></div>
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Below is a close up showing characters to be replaced with mortised pairs (circled) and word spacing to be adjusted. (The text correction was thrown out in place of a different solution.)</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgk9rcyTDljPR5XGkapir3i9_S2rra6r7ZkEXPDZMYBPsgX-TX4FhsFEyvPAVPw6FeK3G5OK-zUwynmG18lcrbXcUlzY9h0QB9e5pADXSVTSPD29xju_M-e1olTbfXnJYzSC3Ry0ejHQKc/s1600/IMG_5472.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="311" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgk9rcyTDljPR5XGkapir3i9_S2rra6r7ZkEXPDZMYBPsgX-TX4FhsFEyvPAVPw6FeK3G5OK-zUwynmG18lcrbXcUlzY9h0QB9e5pADXSVTSPD29xju_M-e1olTbfXnJYzSC3Ry0ejHQKc/s320/IMG_5472.JPG" width="320" /></a></div>
Each new section begins with a pilcrow, each of which is elevated one point for better alignment with the Stymie.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvFzuQiwiJh3cLYOc_OuqTe6iE4h_5eUgT_NCZLl2to9InUknSIb8zzNAU3jceaWKPiZEFbtmzGYRR80PPmJEFk5ngibcr5mKWa1i1ea3mNWPMPfVCP_KRqrK2S0vq8kkLRVQxOjHZne8/s1600/IMG_5468.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvFzuQiwiJh3cLYOc_OuqTe6iE4h_5eUgT_NCZLl2to9InUknSIb8zzNAU3jceaWKPiZEFbtmzGYRR80PPmJEFk5ngibcr5mKWa1i1ea3mNWPMPfVCP_KRqrK2S0vq8kkLRVQxOjHZne8/s320/IMG_5468.JPG" width="320" /></a></div>
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The text and images are printed on Zerkall Litho 270gm, a paper whose surface undergoes a remarkable transformation after it is dampened and dried, becoming much less smooth and more accepting of ink. Below left is a stack drying between blotters, while on right a stack is being dampened.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEji1HEWZwoxbMOyNNqZ8qhcQtuRfo-U5ZctcxlznZT2LsC0rU67H0ZAdTM6SA13HhYTh_gvxVK7oQGhirLG7iLSySwgCeM173yscdCHd-ekW8atUI6jEAkcL0NDbt_iR8L1err0WfUKM_c/s1600/IMG_5464.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEji1HEWZwoxbMOyNNqZ8qhcQtuRfo-U5ZctcxlznZT2LsC0rU67H0ZAdTM6SA13HhYTh_gvxVK7oQGhirLG7iLSySwgCeM173yscdCHd-ekW8atUI6jEAkcL0NDbt_iR8L1err0WfUKM_c/s320/IMG_5464.JPG" width="320" /> </a></div>
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Once ready to print I assemble an imposition dummy of the book containing all pertinent information for printing. Each sheet is marked with the signature in which it appears (A=Signature 1; B=Signature 2, etc), its placement within that signature (A1, A2, etc), its page number (the circled numbers), whether it is printed on the felt or screen side of the sheet (F or S), what text or image gets printed on which page ("Websters", "Red", "Two Source Text", etc), which press it will be printed on (the Vandercook Universal III or the FAG Control 405), and then slashed through and dated when it is printed.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmmxXwhwUa02NcVE4us6h3Puq0xzNy6Lu1vQINlTc_NZEVKhdy30ChuAayUpb9tXV5OhvaIVWxrfAfUbPguqvtGtKtUHtjclErlmK4u1j_vTEuTOHDWWeMh1FwusKV0zGg51F96xq9GSw/s1600/IMG_5474.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmmxXwhwUa02NcVE4us6h3Puq0xzNy6Lu1vQINlTc_NZEVKhdy30ChuAayUpb9tXV5OhvaIVWxrfAfUbPguqvtGtKtUHtjclErlmK4u1j_vTEuTOHDWWeMh1FwusKV0zGg51F96xq9GSw/s320/IMG_5474.JPG" width="320" /></a></div>
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Both the FAG Control 405 and Vandercook Universal III are hand operated flatbed cylinder presses. I print metal type on my FAG.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLt67k76mvKxUbk7GtfyEiEg2n1fxap6E7VVO_jv4o4aZf9uchtautqrWhjJP0ifLD4xw7OoythMjpAhb16rsLFJ3rohTgv6bRARlCisKriKghEF-HsGgaM6wG-0s8cPkZNdLIGpXhO6o/s1600/IMG_5475.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLt67k76mvKxUbk7GtfyEiEg2n1fxap6E7VVO_jv4o4aZf9uchtautqrWhjJP0ifLD4xw7OoythMjpAhb16rsLFJ3rohTgv6bRARlCisKriKghEF-HsGgaM6wG-0s8cPkZNdLIGpXhO6o/s320/IMG_5475.JPG" width="320" /></a></div>
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And I print blocks and plates on my Vandercook.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUKK7ycMVZsaYBnealm2yWNJE4acPfYdW9kFQbvSstDRZKgSNDYDbwzddNo2Px25A86jISJl45MU_mBSoOWakIogj-1n2f258et592jDyGBEqeyrhGlINzTQ4DvTcD3qmMqRANiEH6_jk/s1600/IMG_5476.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUKK7ycMVZsaYBnealm2yWNJE4acPfYdW9kFQbvSstDRZKgSNDYDbwzddNo2Px25A86jISJl45MU_mBSoOWakIogj-1n2f258et592jDyGBEqeyrhGlINzTQ4DvTcD3qmMqRANiEH6_jk/s320/IMG_5476.JPG" width="320" /></a></div>
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Once the imposition dummy is made, the paper dampened and dried, the text re-read and proofed one last time, I begin printing. The first task of the first press run is to establish the "black master," the ideal example of what I want every page of type to look like. Throughout the printing of a book this master is often fiercely interrogated and questioned—one day it looks perfect, the next it looks terrible—, but despite the daily vagaries of vision, the master stays out on the table until the book is done.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5OKcqDjt77g58QKWDSAkRUOz1A9SJHXCVtAyNHdyS_3g0KRJpJqgWOGqJ6E_8L7eFYnBCu0NSN_Y5-jh5Qw0U9ES8MolXSJiJdyRPGoacIGgV5ywkWdFu0eReq8L2zW6zxuBulE-d2yw/s1600/IMG_5473.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5OKcqDjt77g58QKWDSAkRUOz1A9SJHXCVtAyNHdyS_3g0KRJpJqgWOGqJ6E_8L7eFYnBCu0NSN_Y5-jh5Qw0U9ES8MolXSJiJdyRPGoacIGgV5ywkWdFu0eReq8L2zW6zxuBulE-d2yw/s320/IMG_5473.JPG" width="320" /> </a></div>
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A similar process of color control is undertaken with color prints, but there is a little more latitude because there is no instance in which a color is repeated in the book. I still work very hard to keep color consistency throughout a press run—I want all of my orange pages to look like the same orange, for instance—but with large areas of color I usually choose a selection of slightly varying prints as my "acceptable range" rather than having one single master. This is particularly important with large solid areas because the color of the ink changes dramatically as it dries. If a press run lasts four hours, your initial master will have changed color simply because the ink has dried during the process of the run, and freshly printed sheets that might be the same color as your master <i>will look different</i> until a similar amount of time has elapsed. Which brings me to why I wrote the book in the first place.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6ojw289-9Oe6Se2jrG5hQTPtBli6445-QVrhdrObVnE_TbZwY3dMLEw_lml21aHCWmJ6M03dpA6VXDEVTMg31mm_Xm6qyTR4Y9bCh0hJmQ_9TxClOFUqjebXu4pCENDvhmwG9JYrcajc/s1600/IMG_5483.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6ojw289-9Oe6Se2jrG5hQTPtBli6445-QVrhdrObVnE_TbZwY3dMLEw_lml21aHCWmJ6M03dpA6VXDEVTMg31mm_Xm6qyTR4Y9bCh0hJmQ_9TxClOFUqjebXu4pCENDvhmwG9JYrcajc/s320/IMG_5483.JPG" width="320" /></a></div>
<span id="goog_1049422198"></span><span id="goog_1049422199"></span><br />Russell Marethttp://www.blogger.com/profile/11372575284098125604noreply@blogger.comtag:blogger.com,1999:blog-6782413846952372285.post-22864127070112285742015-10-10T08:58:00.001-04:002015-10-10T09:14:41.523-04:00Details from Linear A to Linear ZHere is a selection of photos of details from <i>Linear A to Linear Z</i>.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3_toB4cGqyeu7dICn2JbhE533EFRaqwCo44Ts7z_vAEVfuPD_Y7I6zSWS1vgPLGgLWZ82MoVXxt2FtikJupuAvMjTeN0jqA77ufDyo4X3kLqnI6DFROU9qvXq-3Nc4QApNWjWiibPur8/s1600/IMG_4661.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3_toB4cGqyeu7dICn2JbhE533EFRaqwCo44Ts7z_vAEVfuPD_Y7I6zSWS1vgPLGgLWZ82MoVXxt2FtikJupuAvMjTeN0jqA77ufDyo4X3kLqnI6DFROU9qvXq-3Nc4QApNWjWiibPur8/s320/IMG_4661.JPG" width="320" /></a></div>
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<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;"> Title page set in Pilot Black Italic and Gill Sans.</span></span></div>
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<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;">The letter F.</span></span></div>
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<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;"> The letter G.</span></span></div>
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<span style="font-size: x-small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiW2vRdaNRY3lQJ0taM7uNIjNSftMi2a7j4vrc3PXApot0ila-DYpt_cV-ND16gCcxbGYTZjf3Vv5jKHJtdR2mspgOOmKWbDcx-beOFnpu8SqHdmJ5BWS8w7Nw1UAwULohADLMeSh5_sNQ/s1600/IMG_4611.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiW2vRdaNRY3lQJ0taM7uNIjNSftMi2a7j4vrc3PXApot0ila-DYpt_cV-ND16gCcxbGYTZjf3Vv5jKHJtdR2mspgOOmKWbDcx-beOFnpu8SqHdmJ5BWS8w7Nw1UAwULohADLMeSh5_sNQ/s320/IMG_4611.JPG" width="320" /></a></span></div>
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<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;"> The letter J.</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhx4cpJFmzHn-_CCQMbVeDexuDIHjIuFZmOtaiKkbxOGsAg0_At7R_MLQEzDwGFMbXHD154NF4nU-0bVENaXzjG9bhXSUxRzURVSKcDH_jOxWVrTe895mEeKjljsVNigr0oPgni1Glb0bk/s1600/IMG_4605.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhx4cpJFmzHn-_CCQMbVeDexuDIHjIuFZmOtaiKkbxOGsAg0_At7R_MLQEzDwGFMbXHD154NF4nU-0bVENaXzjG9bhXSUxRzURVSKcDH_jOxWVrTe895mEeKjljsVNigr0oPgni1Glb0bk/s320/IMG_4605.JPG" width="240" /></a></div>
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<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;">The letter M.</span></span></div>
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<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;">The letter O.</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2VJhZiC6bvB2jb1VQjFUcrzQPSNU6Gp_osYlixYd3AeEauehPEPTKo4nLE3jVQ_UmaGcsK1haOoXWmF0zuhTT9dmtI9QjAyBwVn8QHUV4cDavQBY7OOHsrqXJTkHBDgKPPZS9PI8R17E/s1600/IMG_4634.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2VJhZiC6bvB2jb1VQjFUcrzQPSNU6Gp_osYlixYd3AeEauehPEPTKo4nLE3jVQ_UmaGcsK1haOoXWmF0zuhTT9dmtI9QjAyBwVn8QHUV4cDavQBY7OOHsrqXJTkHBDgKPPZS9PI8R17E/s320/IMG_4634.JPG" width="240" /></a></div>
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<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;">The letter P.</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMu2CtRaojRbh5QNklNVYSKtw04X5UzDJlLNzllBL2S3Pfif-p51Hlto2RWVCU27wLXo4YiTqssPQWOYSSKcjOnvqRV3JIjo9zMWirXaOdmwF3ljNYai7g5AkHH0JSsi3m7HO8GPae4Oc/s1600/IMG_4638.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMu2CtRaojRbh5QNklNVYSKtw04X5UzDJlLNzllBL2S3Pfif-p51Hlto2RWVCU27wLXo4YiTqssPQWOYSSKcjOnvqRV3JIjo9zMWirXaOdmwF3ljNYai7g5AkHH0JSsi3m7HO8GPae4Oc/s320/IMG_4638.JPG" width="320" /></a></div>
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<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;">The letter S.</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh05vvcV8PzYBR9udA6uZTzgjWHp_h_cZIVgg5qzgSgXnXgpmV6CR597iU-9NYaPPUc-iw0Go7UtC0a-GtNNmdQ0pUwRQiDcZwSql_TZ3hGP0P7mMMWmkTiWAiBVwwXw10a0xTrdB4_ttk/s1600/IMG_4670.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh05vvcV8PzYBR9udA6uZTzgjWHp_h_cZIVgg5qzgSgXnXgpmV6CR597iU-9NYaPPUc-iw0Go7UtC0a-GtNNmdQ0pUwRQiDcZwSql_TZ3hGP0P7mMMWmkTiWAiBVwwXw10a0xTrdB4_ttk/s320/IMG_4670.JPG" width="320" /></a></div>
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<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;">The letter U.</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipaNivhUQbmDaLh-h5Jxo9p0dfLVgjZdUSTDDBw97qaTjaf1qG8KuiisobO5N9-lrmrYgpiBWXFy-nGsUFGctI-SoFfsKZ0oBwEaHUdOgOcKduJXJ6q-0uSGqQuO9NNkdOXXue5z_cTgk/s1600/IMG_4550.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipaNivhUQbmDaLh-h5Jxo9p0dfLVgjZdUSTDDBw97qaTjaf1qG8KuiisobO5N9-lrmrYgpiBWXFy-nGsUFGctI-SoFfsKZ0oBwEaHUdOgOcKduJXJ6q-0uSGqQuO9NNkdOXXue5z_cTgk/s320/IMG_4550.JPG" width="320" /></a></div>
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<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;">The block and print of the letter X..</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhndM6BSFjA-G2UKjqnD64wTJ0vhhvZVbKAbyAIIA9E6rsg-MEcq-dGcp3ewD0gRsHpI1-wYpZabeBjFAMMEct7EI08Ag7x9HKI-o0_8dzcYdxkzbkYRRIZ49niQ5PPpxlsjVlIyvVgdII/s1600/IMG_4685.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhndM6BSFjA-G2UKjqnD64wTJ0vhhvZVbKAbyAIIA9E6rsg-MEcq-dGcp3ewD0gRsHpI1-wYpZabeBjFAMMEct7EI08Ag7x9HKI-o0_8dzcYdxkzbkYRRIZ49niQ5PPpxlsjVlIyvVgdII/s320/IMG_4685.JPG" width="320" /></a></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"> <span style="font-size: x-small;">The prospectus on press.</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqx9JyDBrVt0V77qtBfb20Gntqp4tf5RtjsCDfxdvWmZ9k_taJVd_KaZW9Z2K9hGUIUa8Q3oE1vrBc7L5IqVZx5dHD6UDaCAFeme8MhWjb6qinGKeJkYP_CByzTzksmdtqtkPLBBxX8Xs/s1600/IMG_4686.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqx9JyDBrVt0V77qtBfb20Gntqp4tf5RtjsCDfxdvWmZ9k_taJVd_KaZW9Z2K9hGUIUa8Q3oE1vrBc7L5IqVZx5dHD6UDaCAFeme8MhWjb6qinGKeJkYP_CByzTzksmdtqtkPLBBxX8Xs/s320/IMG_4686.JPG" width="320" /></a></div>
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<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;">The binding in process.</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvJnXnmkI1_Gm-MR1eoke52wep-XC1OGf9evxOXb3DKrqTKcNiNB2CxEQ_HOCxFMo6QIOlUcZzrqPiqkYFqxatlqY0l-Xrt1AG3-m_c-cNJpp2sRaC3I9aKB-MyezuaUCBKiJi4CydKfQ/s1600/IMG_4694.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvJnXnmkI1_Gm-MR1eoke52wep-XC1OGf9evxOXb3DKrqTKcNiNB2CxEQ_HOCxFMo6QIOlUcZzrqPiqkYFqxatlqY0l-Xrt1AG3-m_c-cNJpp2sRaC3I9aKB-MyezuaUCBKiJi4CydKfQ/s320/IMG_4694.JPG" width="320" /></a></div>
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<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;"> Spine detail of the first six copies.</span></span></div>
Russell Marethttp://www.blogger.com/profile/11372575284098125604noreply@blogger.comtag:blogger.com,1999:blog-6782413846952372285.post-19155090688665884272015-08-31T10:31:00.000-04:002015-09-03T16:02:29.874-04:00Announcing a new book: Linear A to Linear ZLast autumn I found myself daydreaming about lines. This was not
terribly surprising—I had spent the previous few years concentrating on
color to the near exclusion of line—but it felt unusual in that it was
such a sharp break in my thinking. There was no color involved in my
fantasies, all of my dreamed lines were black and white. Specifically I
was thinking about letterforms composed of intersecting horizontal and
vertical lines, and in my off hours I made some digitally drawn
experiments: a bifolium for the Codex Foundation's publication, <i>Alchimie du Verbe</i>, and my MMXV new year's card. The results were satisfying, particularly the <i>Alchimie du Verbe</i>
print, but they did not quite capture what I had in mind. The lines
that I wanted were neither digital nor were they black. Instead, I kept
imagining white lines hand cut from a black surface, and a printed book
of the blocks titled <i>Linear A to Z</i>. I chose 4 x 6 inch linoleum
blocks as the ideal proportion and medium, and I began making thumbnail
sketches, always stalling at certain key letters that seemed to resist
the linearity, or the proportion, or both.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNrrjKMfZwANIFx_a8ziytTP_3ucc-epYFwWC8wDm4J_OvAoX8TYsc9eE_VjwMi6z6ZqeikKaoUSRAHaiw4kmPFvxidXCf2lBKIQkhlx2P8bmpZQv_H2dfb0xXI1DpVs2mHYI_XQVDqFk/s1600/IMG_4599.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNrrjKMfZwANIFx_a8ziytTP_3ucc-epYFwWC8wDm4J_OvAoX8TYsc9eE_VjwMi6z6ZqeikKaoUSRAHaiw4kmPFvxidXCf2lBKIQkhlx2P8bmpZQv_H2dfb0xXI1DpVs2mHYI_XQVDqFk/s320/IMG_4599.JPG" width="239" /></a></div>
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<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;">Detail of <i>Alchimie du Verbe</i> print.</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgn-AQMVjvXcK2_RSoiR2qRrpSw33MvR0q3Eeh9xWyi-z-JL0HX6QSOGN1sODceNzuOpYdaJSa7OWsMPLLlLtHRTDpysI_gI6ABQ6vt-AZ4VjnNLEmwMUWvyUoIN_Fw0IsV9YnSISDwEWg/s1600/IMG_4598.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgn-AQMVjvXcK2_RSoiR2qRrpSw33MvR0q3Eeh9xWyi-z-JL0HX6QSOGN1sODceNzuOpYdaJSa7OWsMPLLlLtHRTDpysI_gI6ABQ6vt-AZ4VjnNLEmwMUWvyUoIN_Fw0IsV9YnSISDwEWg/s320/IMG_4598.JPG" width="229" /></a></div>
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<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;">Quick thumbnail sketches of linear letterforms.</span></span> </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgofA8K5gj-GXY5OumIE78KCu8C4Gyr_n51Wv2Of6pvXRaJrZ2i-gr16r-uxYBWQe18dMekUNXLHixp24MbDEsI4kZyRgE14ODEAhz9FDfciie7BjmFgQaYwY4_NugT3Xl5Hyi0KaFyHXE/s1600/IMG_4600.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgofA8K5gj-GXY5OumIE78KCu8C4Gyr_n51Wv2Of6pvXRaJrZ2i-gr16r-uxYBWQe18dMekUNXLHixp24MbDEsI4kZyRgE14ODEAhz9FDfciie7BjmFgQaYwY4_NugT3Xl5Hyi0KaFyHXE/s320/IMG_4600.JPG" width="240" /></a></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: x-small;">Full scale sketch of linear Q from <i>Linear A to Linear Z</i>.</span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-bhSroYqZ04PMHuZMFuMIH_cMCJ8kuiNdJgDcV_y1HEhtFFM1dIOfXJZzVxdGjObeZal7Z0pWjcRKTzUFXL4Wlk21Gq8HPEkaIiUWcpwUEE03_bkIOyRqBa3htCAXYDq54Er_NvSrs4KE/s1600/IMG_4532.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-bhSroYqZ04PMHuZMFuMIH_cMCJ8kuiNdJgDcV_y1HEhtFFM1dIOfXJZzVxdGjObeZal7Z0pWjcRKTzUFXL4Wlk21Gq8HPEkaIiUWcpwUEE03_bkIOyRqBa3htCAXYDq54Er_NvSrs4KE/s320/IMG_4532.JPG" width="240" /></a></div>
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: x-small;"> The Q block in process.</span></span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: x-small;"><br /></span></span></div>
A
few months later I began sketching the letterforms at actual size,
working through the alphabet fairly quickly with the exception of those
same obstinate letters. During the process I found myself wanting to use
an awl to make circular dot marks in a block. My mind revolted against
the thought. <i>No, no, you can't do that! This is an alphabet of lines!</i>
This resistance to intuition after a system has been developed is the
most challenging hurdle in designing an alphabet, particularly
when the alphabet is based so clearly on geometric forms. In every
geometric alphabet I have drawn there has been a similar moment of
reckoning, a crescendo of head-banging-against-wall until the
wall finally breaks, and the rigid geometric system is either loosened
or abandoned all together. Despite their gathering into a seemingly
homogeneous alphabetical group, letterforms are diverse. They have
individual histories, potentials, and, on a basic level, they have
different parts: horizontals/verticals, diagonals, and curves. Different
letters need to be approached differently. <br />
<br />
As if to
prove the point, the first block I cut of my linear alphabet was an O
composed of hundreds of tiny round dots, with nary a line in sight.
Eventually I settled on three kinds of marks that gave me enough
flexibility to produce the twenty-six letterforms: the line; the dot;
and the wedge (a cuneiform-like mark made by driving a V-shaped cutting
tool deeper into the block). For some letters these marks are used in
ways that might be expected—the dot for the O, the line for the L, etc.
For others they are not. In any case, the use of these different marks
required a re-visiting of the title. <i>Linear A to Z</i> implied that all of the letters were composed of lines, which was no longer true. <i>Linear A to Linear Z</i>,
on the other hand, described the marks used to make the A and Z while
leaving room for the intermediary letters to be constructed by other means.<br />
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<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;">Detail of lines used on the A block.</span></span></div>
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<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;">Detail of dot marks used on the F block.</span></span></div>
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<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;">Detail of wedge marks used on the X block.</span></span></div>
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<i>Linear A</i>
is the earliest known Aegean script, discovered by Sir Arthur Evans
while excavating in Crete in 1900. Used by the Minoans in the early
second millenium BCE, <i>Linear A</i> shares many characters in common with the later <i>Linear B</i> script of the Mycenaeans but, unlike <i>Linear B</i>, <i>Linear A</i>
remains undeciphered. As the Mycenaeans succeeded the Minoans as the
region's dominant culture, it is not too great a stretch to search for a
link between the two scripts, but attempts to apply character values
from <i>Linear B</i> to the same characters in <i>Linear A</i> results
in gibberish. That a familiar form can have multiple meanings, or be
legible in one instance and inaccessible in another, strikes me as an
illuminating insight into the struggle of mark making in general,
and letter design in particular. It is also a model for the letterforms I
designed for the book, which are not intended to be immediately
recognizable as the A, B, Cs we commonly use, but as forms and shapes
that evoke the twenty-six Roman capitals. They are meant to be A, B, Cs
that can also be something else entirely. Russell Marethttp://www.blogger.com/profile/11372575284098125604noreply@blogger.comtag:blogger.com,1999:blog-6782413846952372285.post-82428183056921670272015-05-16T11:41:00.000-04:002015-05-16T11:41:26.243-04:00First participant photos from Hungry BibliophilesThe <i>Hungry Bibliophiles</i> participants have received their books (for the most part) and are ready to begin cooking. Here's a selection of early photos.<br />
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<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;"> Tim Barrett's celebratory selfie.</span></span></div>
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<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;"> Liv Rockefeller & Ken Shure ready to grill.</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGfkkVcJqlDA_k1AWtgABMqkGFASHn_z7Fe5xsj9CzMqQEJwgv3XATN5i9mXIZd4LbQfMyw4RtQb2I4J-cOltLKhREj1YsaJouJp8i2YYdQIpRFk2gJ4H7o5iMkgoObPR4unDdismMdGg/s1600/IMG_3781.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGfkkVcJqlDA_k1AWtgABMqkGFASHn_z7Fe5xsj9CzMqQEJwgv3XATN5i9mXIZd4LbQfMyw4RtQb2I4J-cOltLKhREj1YsaJouJp8i2YYdQIpRFk2gJ4H7o5iMkgoObPR4unDdismMdGg/s400/IMG_3781.JPG" width="400" /></a></div>
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<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;"> Annie & my annotations of Tim Barrett and Jodie Plumert's <i>Dinner for Tofu Haters</i> recipe.</span></span></div>
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<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;">Carolee Campbell with her doll and Grandma Tygeson. <i>Grandma Tygeson's Lamb Shank Stew</i> is one of Carolee's recipes.</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMbitSKdJJMj4pZq39nCUT7bjwzVCldUMW8DgCkUmwzkAJjjySmx3TEIz8l6Kgk3m47ZJQEDFU4gwnZbonEwi8LtkWX3Vixm6sbm8GwcE4fEBWl-lfl5uy-XE38mDNUJAG9wd-0Oemuhc/s1600/stuttering_lemon_tart.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMbitSKdJJMj4pZq39nCUT7bjwzVCldUMW8DgCkUmwzkAJjjySmx3TEIz8l6Kgk3m47ZJQEDFU4gwnZbonEwi8LtkWX3Vixm6sbm8GwcE4fEBWl-lfl5uy-XE38mDNUJAG9wd-0Oemuhc/s400/stuttering_lemon_tart.jpeg" width="298" /></a></div>
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<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;">Richard Seibert received an appropriately Berkeley-esque copy, with a double print of Jane Seigel's recipe for <i>Aunt Gert's Lemon Tarts</i>.</span></span></div>
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<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;"> Paul Gehl & Rob Carlson have their priorities straight.</span></span></div>
Russell Marethttp://www.blogger.com/profile/11372575284098125604noreply@blogger.comtag:blogger.com,1999:blog-6782413846952372285.post-77308523196762342712015-05-12T09:42:00.002-04:002015-05-13T17:12:07.662-04:00Hungry Bibliophiles Complete!A few weeks ago I hit the road for Iowa City to help Tim Barrett finish the gelatin sizing on the <i>Hungry Bibliophiles</i> paper, and to cart the sized sheets back to New York City for binding. Gaylord Schanilec and David Esslemont (both participants in the project) happened to be in New York for the Manhattan Fine Press Book Fair, so we packed our gear in the car and headed for the prairie together. After seeing our many Facebook posts along the way, Peter Koch (another hungry bibliophile) hopped on a plane for Cedar Rapids and met up with us for a couple of days of work, student meetings, and socializing.<br />
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<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;">Gaylord Schanilec, Russell, Peter Koch, and David Esslemont enjoying refreshments at Emily Martin's house after a busy day at the UICB paper facility. <i>Photo: Sara Sauers.</i></span></span></div>
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The paper that we used for the book is the University of Iowa Center for the Book's BHC 20-80 Chancery paper, which is made from 20 percent textile quality hemp and 80 percent textile quality cotton. The unbleached fibers are cooked in lime and washed during beating. Once the fibers are prepared, the complex process of sheet forming and sizing are as follows: <br />
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1) The paper is usually made in batches of 300 sheets.<br />
2) The sheets are parted from the felts and pack-pressed (damp sheets only with no felts) in a screw press until they weep.<br />
3) The paper is separated sheet by sheet.<br />
4) And the sheets are hung to dry in groups of 4 loose sheets.<br />
5) If printing prior to sizing, the sheets are now printed. (If printing after sizing, this step is removed from the papermaking schedule.)<br />
6) The sheets are dredged 10 at a time through a liquid solution of photo-grade gelatin. (In our case between 3-3.5% gelatin. [This step is done in batches of roughly 150 sheets.])<br />
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<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;">Tim Barrett submerging 10 sheets of paper in the gelatin bath. <i>Photo: John Deason.</i></span></span></div>
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7) The gelatin-soaked sheets are stacked and kept under a warm-gelatin-infused felt to keep the gelatin from drying.<br />
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<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;">Tim and I stacking the gelatin-soaked sheets.</span></span></div>
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8) The sheets are pressed in a screw press to remove excess liquid.<br />
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: x-small;"> Tim and I placing the sized sheets into the screw press.</span></span></div>
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9) While the gelatin is still wet, the sheets are individually separated and gently fluttered in the air to set the gelatin. This prevents the sheets from sticking together.<br />
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<span style="font-family: Arial,Helvetica,sans-serif; font-size: x-small;"> David, Tim, Gaylord, and I separating the sized sheets one at a time. </span><span style="font-family: Arial,Helvetica,sans-serif; font-size: x-small;"><i>Photo: John Deason.</i></span></div>
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10) The sheets are hung to dry.<br />
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<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;">Gaylord hanging the sized sheets.</span></span></div>
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<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;"> When dry, the sized sheets are rigid like potato chips.</span></span></div>
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11) The dry sheets are humidified in an enclosed area to soften the paper.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOa87cS00ySOcyXNyh8x-nDNI7SJ62dniV_iyjZ2C37_j4lYTJBVDQbPpuAOQRcQbVmMmnngkdPg8DzePcUVtY5BpBdX1vAV42c7atk-x7gweGJMEth8SrKl6PgmZ_Vl-ifRoi2Xg8uNQ/s1600/IMG_4872.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOa87cS00ySOcyXNyh8x-nDNI7SJ62dniV_iyjZ2C37_j4lYTJBVDQbPpuAOQRcQbVmMmnngkdPg8DzePcUVtY5BpBdX1vAV42c7atk-x7gweGJMEth8SrKl6PgmZ_Vl-ifRoi2Xg8uNQ/s400/IMG_4872.JPG" width="300" /></a></div>
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<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;"> Tim humidifying the sized sheets.</span></span></div>
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12) The softened sheets are then smoothed by hand and stacked inside a plastic bag.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpbninAjSjvvA8pfLIj1lwCiCGPeETV_U5YoghX6ykUUKd1mlJlRRL26vm4HsJmwBM_np4DssEU7V_a1U7iME7O3nAVlrup9NoluJCAPoMxoVRxP-IeRykAlTlp4oHWhEFuHyx7G9Ix6Q/s1600/IMG_4879.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpbninAjSjvvA8pfLIj1lwCiCGPeETV_U5YoghX6ykUUKd1mlJlRRL26vm4HsJmwBM_np4DssEU7V_a1U7iME7O3nAVlrup9NoluJCAPoMxoVRxP-IeRykAlTlp4oHWhEFuHyx7G9Ix6Q/s400/IMG_4879.JPG" width="400" /></a></div>
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<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;"> David and Tim placing the sheets in the plastic bag.</span></span></div>
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13) After which they are squeezed in a screw press for 30-60 minutes.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhM6_ig1G2GywVI5scMahWjJ5UPpgP3DoQEwgBOrVtJbEiyBCZwUe69u6fUE4bIclDpsLCwoTch5ELqp8j82SUw-jrz_AkAw2OqsVR3iPoY_zlq2LLwlEP8ikl0pxvzZ_0-bf8bhFvOPE0/s1600/IMG_4881.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhM6_ig1G2GywVI5scMahWjJ5UPpgP3DoQEwgBOrVtJbEiyBCZwUe69u6fUE4bIclDpsLCwoTch5ELqp8j82SUw-jrz_AkAw2OqsVR3iPoY_zlq2LLwlEP8ikl0pxvzZ_0-bf8bhFvOPE0/s320/IMG_4881.JPG" width="320" /></a></div>
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<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;"> Tim pressing the humidified sheets.</span></span></div>
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14) The sheets are then removed from the bag, jogged, and returned to the bag.<br />
15) And pressed in the screw press overnight.<br />
16) The sheets are removed from the press the next day and hung to dry.<br />
17) After which they are taken down, jogged, and dry pressed.<br />
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Once these steps were complete, Tim put the sized and unsized sheets through a fold endurance test and found that the sized sheets endured an average of 1,528 folds before breaking, as opposed to the unsized which averaged only 351 folds. <br />
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<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dwhi9sClmlp7q56GG54yHoJxPj3n_pMKHv-S-6M98we9uaZzBtQV-jEKvhPTApboBmi8SUAGLKpGGM6i-V7CQ' class='b-hbp-video b-uploaded' frameborder='0'></iframe></div>
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<span style="font-size: xx-small;"><span style="font-family: Arial,Helvetica,sans-serif;">The fold endurance tester.</span></span></div>
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With the paper sizing complete, I packed the sheets into the car and headed back east to fold and collate the books in anticipation of the whirlwind bind-a-thon we had scheduled. With each aspect of this project, speed has been a crucial element. Tim and I each believe—he with paper, and I with type design—that the element of non-Industrialized speed added a great deal of the character to which we respond in pre-Industrial books. Inspired by Tim's attempts to produce 100-200 sheets of handmade paper per hour, I designed the roman and italic typeface for the book (a revival of Peter de Walpergen's Cannon type) in sixteen hours, with no further revisions. Continuing on this theme, Maria Fredericks designed a historically inspired long stitch binding for the book, with the hope of binding the entire edition in two days. For this task we assembled a team of eight binders: Maria Fredericks, Anne Hillam, Yukari Hayashida, Nancy Loeber, Vasaré Rastonis, Gaylord Schanilec, Annie Schlechter, and me. Under Maria's careful direction, and fueled by Annie's sandwiches, the eight of us completed the seventy-nine books in sixteen hours of work.<br />
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<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;">The binding in process.</span></span></div>
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This week the books will ship out to the participants and we will all begin cooking. The goal is for each of us to cook all (or nearly all) of the recipes in the book in the space of one year, to do so with the books open on our countertops, and to annotate the recipes in the margins. At the end of the year, Annie will photograph the most interesting example of each spread and we will compile a print-on-demand facsimile.<br />
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<i>*Tim Barrett contributed greatly to the content of this post.</i>Russell Marethttp://www.blogger.com/profile/11372575284098125604noreply@blogger.comtag:blogger.com,1999:blog-6782413846952372285.post-51566783762645171662015-04-03T10:43:00.002-04:002015-04-03T10:43:55.016-04:00Broadside for Parenthesis 29I spent part of this week printing a broadside for the deluxe copies of <i>Parenthesis 29</i>,
the Fine Press Book Association's semi-annual journal. The print gave
me the opportunity to finally work with the fonts of Aleksandra
Samulenkova's <i>Pilot</i> typeface that I have been hoarding for the last couple of years. <i>Pilot</i>
won the titling face category in the FPBA's 2013 Student Type Design
Competition and, as part of the prize, the face was engraved and cast as
a new metal typeface by Ed Rayher at Swamp Press & Typefoundry.
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In
addition to its dynamic letterforms, the typeface is distinguished by
an extremely tight fit; qualities that together result in an unusual
urgency for such a bold face. The letters practically stumble over each
other trying to get to the next word. <br />
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To
maintain this tight fit, Ed had to cast the type so that nearly every
character kerns off the side of it's body. This makes the casting and
the setting of the type a little more challenging than usual, but the
results are well worth the effort. </div>
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If you would like a copy of the broadside, <a href="http://fpba.com/join/sign-up.html">join the FPBA at the deluxe level</a>. To order fonts of the type, contact Ed Rayher at <a href="http://www.swamppress.com/">Swamp Press</a>.Russell Marethttp://www.blogger.com/profile/11372575284098125604noreply@blogger.com