Archive for the ‘Book Design’ category

On humility….

March 2, 2016

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Yes, that’s a litter box under my press. As Tennyson fades into extreme old age, he chose the space where I kept my rags under my press as his salle de bain, so it seemed to make sense to move his litter there. Also, using an antique section of banister, we are able to keep the dogs from devouring the contents of the litter, which is simply gross and where I draw the line at humility. It means as I work on getting the type printing just right or fighting with make-ready on wood engravings, I catch the occasional whiff of…. Is it me? Surely not! Ahhh, the cat.

The press, being both the source of beauty, elegance and style – and Tennyson’s depository – does bring me down to earth when things are going well, as they have been for the past year or so. In 2015, I received word that the University of Toronto’s Fisher Library wanted to acquire all books and broadsides printed to date, with a keen interest in anything else I come up with.

The year also saw me blaze through 20 shows: indoor with table or booth, and outdoor under tent. These shows were on the whole very successful, and just a few changes I will be repeating the same number in 2016. Shows are a wonderful way to meet new people, and to keep up with friends and collectors.

As for what shows I’ll be doing, I’ll be adding a page to this blog, but a listing will also appear in my newly reinvigorated website, complete with an on-line store for prints, all to be found at www.greyweatherspress.com

The biggest news this year will be the release of the most ambitious project yet from the press: Ecclesiastes. Yes, Greyweathers Press is getting biblical, with a heft that will weigh in at an estimated 80 pages of beautiful Arches Text Wove, illustrated with 60 odd wood engravings. Stay tuned, a detailed announcement is forthcoming.

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An early draft of the title page design.

So with all of this activity, Tennyson’s periodic visits to my press keep me from getting too full of myself, and rightly so. It is all about the work, after all, and not the accolades.

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Run, Rabbit Run

May 29, 2015

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A Rabbit was called for, by the title alone. I found this old hand-coloured engraving, rendered it greyscale in Photoshop then did a sketch on tracing paper. I could flip the tracing paper before copying the image to the block, reversing it so that rabbit is running in the correct direction.

This was the only block in the project that was not cut from wood. It is Resingrave, a polymer compound that they’ve been tweaking for years and years to get it to emulate English boxwood. Still not quite there, but the block was the size and shape for what I needed, and worked sufficiently well for the subject matter.

IMG_2367When Hugh asked me for art direction as to where illustrations would go, I told him “just leave me some gaps” meaning I had no idea what illustrations I would come up with. My little rabbit fit nicely right in between title and author.

 

Playing With Titles

May 12, 2015

Planning is ongoing for future projects, and so is the play-time associated with the design of the titles. Here are three examples; which one do you like?

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I’m thinking the above works, but it begs the question: what is so important about the big E.S. (other than it fits in the middle and end)

 

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Not bad, again it looks cool, but comprehension is somewhat lacking. Then again, if you don’t know Ecclesiastes from the first 3 or 4 letters, there’s another comprehension problem. This model at least begs for a long, thin engraving on the reverse page, as you can see the spread is shaping out.Screen Shot 2015-05-12 at 6.42.41 PMAnd this works as well, in that at least the change in direction does not follow in a “mid-word” crossover, like crossword puzzles. It opens the option for an illustration in the white space, or some text play, or just white space!

 

A Joyful Collaboration: The Truth About Rabbits

May 2, 2015

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It is our great pleasure to announce the release of a book of poems by Winona Linn, The Truth About Rabbits. These edgy, intelligent and humorous poems have been set by hand in metal type by Thee Hellbox Press in Kingston, with wood engravings  cut and printed by Larry Thompson of Greyweathers Press — a joyous collaboration of word, type and image.

The Truth About Rabbits
Poems by Winona Linn
Wood engravings by Larry ThompsonJointly published by Thee Hellbox Press and Greyweathers Press
Hand set in type in the Garamond face printed by Hugh Barclay at Thee Hellbox Press
Wood engravings printed by Larry Thompson at Greyweathers Press
Dimensions: 10.5 x 10″ tall. 20 pages on St. Armand paper
142 copies

$75

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Measure twice, print once

December 13, 2013

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There is always the temptation to just throw the type down and print. But for the last few days, I’ve been setting and dissing type on the zombie book, working out the letter and word length for the fully justified columns of text. No ink involved at all. It’s important because there is no way this time that I will be able to set the entire text with the limited type that I have; page one on the press may face page four, so working out all problems in advance is the way to go. Also, setting and dissing the odd paragraph in different sizes helps me get reacquainted with the medium — it has been awhile since I did much creative work on the press (year round-up report coming later in the month). The good news is that I seem to have worked out most of the typographic spacing issues, and that’s thanks in part to using Adobe software (Indesign) to create my page layout and dummy. It allows me to parse the type to match very closely the metal type and thus, if the moon and stars align, it becomes a simple way to impose and paginate the text. It should work; I’ll keep you posted!

Zombies at Greyweathers Press

December 8, 2013
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Laser printed layout dummy for the first page. The square beneath the drop cap shows spacing for a long, narrow illustration.

And so production begins on The Necromancer and the Seventh Daughter, the sequel to the popular Vampire & the Seventh Daughter that we printed a few years ago. I didn’t start the press for vanity purposes, but once in a while it is satisfying to watch one’s own words roll of the press. These “Gothick Trifles” as I call them harken back to my reading and viewing roots in sci fi, horror and fantasy literature so I consider these works more than most personal projects.

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This was the title page for the first book. In it, we are introduced to Septima who, being a 7th daughter of a 7th daughter, has some extraordinary powers, and a particular brand of pugnacious courage that is a particular nuisance and foil to baddies. The baddy in that story was the vampire princess who was eating through her serving staff, and for some reason her father the king didn’t seem all that alarmed. Enter Septima and, well, it’s a fable so I’m hardly spoiling it to say that things go poorly for the vampire. This is often the case.

The second Gothick Trifle is longer, about 2,000 words and a bit more complex. I wanted to play with the story of the golem, but also work in some kind of environmental comment, and zombies, because, well, you know, zombies are hot.It may have been a bit too many devices for once very short fable, but there you go. The first draft was about 3,500 words. Even after crunching it down and taking out all the stuff I really liked, it still took about about 700 words of back story before Septima even got mentioned, so I rewrote the whole so that she came in at the beginning, and a little sooner in the story.

The first one had four pretty simple linocuts. This one will have perhaps eight wood engravings, or so that is my intention now.  I’ve doubled the paper (it will be sixteen pages as opposed to the previous eight) but I still thought I’d have to set in 10 point, but as it turns out, a little more judicious editing (the first draft was 3,500 words) and cutting a couple of illustrations means 12 point will work, which makes the setting job easier. Naturally, it will be hand set lead type, our house face, Italian Oldstyle. While I work on the type and engravings and printing, I’ll be pondering the binding, which I may do the same as the last one, or try something different entirely. I’m hoping for an edition of 75.

 

 

Family History – Part Eight

October 15, 2013
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Hard bound 21st century printed edition of the Family History.

[READ PART SEVEN]

For the 21st century edition of Joshua’s Family History, we decided to do a limited run off a high speed laser printer, and primarily in black and white, given the extreme cost of full colour digital printing.

The text was spooled into Adobe InDesign, composed in Garamond BE with titles in Centaur. I chose Garamond BE because it was quite readable, and came complete with old style figures and small capitals and titling figures. Designing a book is like building a house:you start at the foundation and work your way up to the roof. Likewise in a book, you begin with the style of the type, amending typographic issues, factoring in footnotes and superscript figures etc. In many cases special fonts, italics and old style figures can be fixed using mass Find/Replace. Before any work begins, style sheets are created so that if a style change is made in one part of the book, it will automatically change in all the other parts, saving a massive amount of work. Photos and illustrations were scanned at a high resolution, then edited in Photoshop for clarity, sharpness and to correct lightness and darkness issues that happen in the scanning process. The end goal is to have a book that possesses the qualities one expects from a professionally designed book, and I’m satisfied with the result, although, as always, I would do some things differently had I the chance.

The printed edition is $45 plus gst & shipping.

It was printed at Impression Printing in Smiths Falls, Ontario.

Bound at Smiths Falls Bookbinding.

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Page spread: body text in 12 pt Garamond BE, titles in Centaur with appropriate leading and generous margins.

Part One |Part Two | Part Three | Part Four | Part Five | Part Six | Part Seven | Part Eight | Part Nine


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