Archive for the ‘Book Launches’ category

Announcing The Sorcerer and the Seventh Daughter

March 21, 2016

PrintComing to a Zombie Apocalypse near you,
or the Grimsby Wayzgoose, April 30, 2016.

In which Septima locks wit and wile with the
Necromancer who has designs on…. well, everything.

Written and illustrated with wood engravings by Larry Thompson

Printed as the snows of winter faded, after three years of silence from the Press. Now the rumbling voice of the Vandercook can be heard again in the Studio at Greyweathers in Merrickville, in the production of this, another Gothic Trifle, as a sequel to The Vampire and the Seventh Daughter.

Letterpressed with hand-set lead type in the Italian Oldstyle face, with Goudy Text for the titles, on Arches Text wove paper, in a limited edition of 60.

$80.

 

 

Announcing Tintern Abbey

May 7, 2012

Lines Written a Few Miles Above Tintern
Abbey, on Revisiting the Banks
of the Wye during a
Tour, 13 July,
1798

by
William
Wordsworth

~ ~ ~

Five years have passed; five summers, with the length

Of five long winters! and again I hear

These waters, rolling from their mountain-springs

With a sweet inland murmur. —Once again

Do I behold these steep and lofty cliffs,

Which on a wild secluded scene impress

Thoughts of more deep seclusion; and connect

The landscape with the quiet of the sky.

~ ~ ~

A letterpress limited edition of 80 copies, 40 pages, hand set with cold type in Goudy’s Italian Oldstyle, with calligraphy rendered digitally to magnesium plates by designer Holly Dean. Illustrated with seven engravings by Larry Thompson. Printed on a Vandercook 219 onto St. Armand Canal paper. Dimensions: 9.5 inches tall x 5.5 inches wide.

REGULAR EDITION: Half bound in cloth with painted papers created by Holly Dean. $160.

DELUXE EDITION: Copies numbered one through fifteen quarter bound by Christine McNair in leather with painted papers created by Holly Dean, in slip cover. Complete with set of engravings printed on St. Armand Old Master paper. $260. SOLD OUT

Shipping and handling additional. Discounts to the trade.

Orders welcome at studio@greyweatherspress.com

~ ~ ~

More than five years have passed since Greyweathers Press published its first book, Coleridge’s popular poem Kubla Khan. Once again, we return to the Romantics to celebrate our first half decade and to commemorate a visit we made to the Wye Valley in the fall of 2008.

William Wordsworth wrote ‘Tintern Abbey’ to be the thoughtful and serious end-note for the poems assembled in Lyrical Ballads (1798), which included the work of his friend, Samuel Taylor Coleridge. We are pleased to present ‘Tintern Abbey’ on its own, featuring an introduction by Professor Mark Jones of Queen’s University, Canada.

~

Tintern Abbey Rolls Off the Press!

May 4, 2012

A binding in green

I finished printing Tintern Abbey early on Wednesday, April 25, marking almost four full weeks of setting type, dissing it again, proofing pages, changing colours and running the edition. Another month or so prior I spent cutting the illustrations, with some trepidation but with satisfactory results. And in the end, it all came together as a book.

I tasked myself to have at least one copy ready for the Grimsby Wayzgoose; in the end, I managed to bind up four. Three sold at the show, I took orders for two more as well as two deluxe editions. the next step is to get the deluxe copies under way, and binding up more regular copies and publicizing them. I’ll put all the details of the edition in both states up in a subsequent blog entry.

The small title page with engraving.

Normally when I print a book, I keep a notebook handy, or record my adventures and mis-adventures here in this non-substantial space. With the Grimsby Wayzgoose always looming ever closer, the production became a rush… not the most ideal of situations. However, the benefit of a deadline is that a project gains momentum and gets done on time.

I’ve been looking back on the project and trying to remember the bits and pieces of either rewarding or peculiar happenings. From the start, TA was a considerably more ambitious project than any of our previous books. The whole would be printed on St. Armand Canal paper, and would be our longest book at 40 pages. It would be illustrated with wood engravings… not such a great technical feat after printing Graven Images, but cutting the blocks myself proved intimidating, especially with all of Thomas Bewick‘s prints around me while I worked. Let’s just say I gained an intense appreciation for the master’s work. This is the first book using Holly’s calligraphy rendered to plates, and a substantial use of a second colour that is not red.

The title page spread.

Beyond these firsts, there are the usual matters: the nature and quality of the type, the work of setting and dissing it, the functioning of the press, the varying degrees in ink and how it interacts with paper, and the paper itself. I’ll make these subjects of upcoming and more frequently regular posts over the next couple of weeks while I work on finishing more books.

Engravings, text and calligraphy working together on a 2-page spread.

To start with, I’ll finish off my thoughts about printing the wood engravings (the making of them has been dealt with earlier). They printed very well, and without much of the anguish I had from the blocks in Graven Images. Granted the latter were 130 year old or more. I found the Resingrave blocks printed very well, as did the engrain maple. Make-ready was minimal and, in one instance of robust energy or desperation, I printed three engravings in one day (on separate sheets). It went well, thankfully.

Tintern Abbey page spread with engraving on wood and calligraphy on magnesium.

The engravings have been well received, and I have been forbidden from staining them my own jaundiced eye. The answers to my own complaints, I know, lie in practice, practice, practice.

Colophon

Graven Images Bound, and Unleashed (at last)

October 1, 2010

One-fifth of the editon, freshly labeled.

It has been a long road, and in many ways there are still problems to solve, but for now, Graven Images is finished at last. Well, twenty copies at least. I pasted the face labels on this morning and the spine labels this afternoon.

Labels ready to be pasted onto the front cover of the book. The spine got a label also.

Also this afternoon my copy of Parenthesis (the Journal of the Fine Press Book Association) arrived like a portent to remind me just how far I have yet to go in my journey. *Sigh*  Graven Images will be but one of many, and even now as I begin to flog this book, I am looking forward and further on to the next project.

Once again, Graven Images is printed by hand on Canson Mi-Teintes paper in an edition of 100 copies. Included are thirteen mounted wood engravings, hand printed on Fabriano Accademia paper. One block perished on the press, and has been reproduced digitally from an early proof, rendered as a magnesium plate and printed as the title to the portfolio. Likewise, magnesium plates were used for two halftone illustrations. The type is Italian Oldstyle, set by hand. There is a forward describing the recent discovery and nature of the collection. Dimension: 9.25 x 12 inches, 30 pages including 14 plates. Quarter bound in cloth and paper. Price $160.

Tenebrismo back again in a 2nd edition

June 14, 2010

Tenebrismo's little brother.

This time as a laser printed edition, approximately two-thirds in size and more affordable for those who want to enjoy Kera Willis’ poetry without the cost of the letterpress edition.

The cover of this second issue is indeed letterpress, black ink on black cover stock, and like the first edition, it has full colour map end pages. The contents are more or less identical, with two or three of the illustrations moved about, and without the gate fold-out ‘broadside’ for Letter from Lisbon.

While this is a Greyweathers Press production, we’re not publishers of the 2nd edition, so it is not subject to discounts for dealers and subscribers like our other books. I’m guessing a price between $15-$25, but don’t hold me to it. More fact-based info to follow.

There are still copies of the letterpress first edition available, although not many. It has been a good seller — in many cases, people have picked up the book, read a couple poems and plunked down $75 on that basis alone. If that’s not a complement to the poet, I don’t know what is. I love having Tenebrismo in the studio, where I keep display copies of all our books. But I still pick it up and read passages during the odd idle moment….

Launching The Vampire and the Seventh Daughter

May 2, 2008

On Saturday, April 26, Greyweathers Press launched its latest letterpress work, an original short story by Larry Thompson titled The Vampire and the Seventh Daughter. This gothic trifle is hand printed with cold type, using our house font, Italian Oldstyle, for the text and the blackface type, Goudy Text, for the cover, title page and opening lines of the story. It is illustrated with five linoleum cut illustrations, and it has been printed in a limited edition of 75 on Arches Text Wove paper from France, with black Mohawk Ultrafine for covers. Cover label hand painted by Holly Dean. Every book is protected from vampires by a tiny cross bound into the front cover.

The Vampire and the Seventh Daughter is pamphlet bound, 8 pages long. $60 per copy plus GST in Canada and shipping. To purchase email Larry Thompson at studio@greyweathers.com or call (613) 269-3714. For more information go to http://www.greyweathers.com



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