Every year, for the past six years I have printed a ‘signature’ (in this case two sides of an 8×11 sheet folded) as my contribution to the Grimsby Wayzgoose anthology.
It was last year when I sat down with my notebook and pencil and began to brainstorm a sequel to 2010’s The Vampire & the Seventh Daughter fable, bringing back the feisty young herione, Septima, from the first fable. For this year’s anthology, I decided to interpret my notes with metal type, lined paper, scribbled notes and pencil sketches.
My notebooks are rather chaotic affairs at best, so a bizarre mix of type faces was called for. It took a few hours sort out the make-ready, all those different faces and different sizes.
We set enough type for two sheets, or eight pages, along with some rough cut linos or engravings, but time constraints meant pulling out a lot of type, reducing the project down to one sheet, both sides and no block prints. I wanted to emulate the notebook further with the paper I used, and found large pads of graph paper at the office supply store. When I opened the packages, I learned that commercial paper today isn’t what I remember from 30 years ago. The graph paper was extremely thin, and I wondered if the ink might even leach through. It printed well, however, and I even managed something close to a KISS impression.
From the start, I had wanted the piece to mix the traditional (letterpress) along with pencil sketches and handwritten scribbles. My notes are filled with sketches done while I think out problems, so I extracted some of these to use in the piece. This would require the digital laser printer, and help from Holly with some of the more technical aspects of layering images in Adobe Illustrator. Holly came up with the idea to have my ubiquitous pencil lying on the page, and to mess things up a bit with a coffee stain. Most of the handwriting is hers – you can read it!
I was very pleased with the combined effect of letterpress and laser printing to create what is meant to appear as pages torn from of my journal. I was bothered by one thing: one of the digital layers did not have a pure transparent background, so it left a very faint tint on the page except were the white border an 1/8th inch around the perimeter of the sheet. While very subtle, I decided this was visible enough to make the whole thing look like it was spat out of a digital printer, which it was most certainly not! So the sheets were trimmed, making them somewhat smaller than the required 8.5×11, but still acceptable, I hope.
One side note: at least a half dozen times during the later stages of this project (folding, numbering etc), I found myself reaching over to swipe the pencil off the pile of printed sheets. That’s too funny!
I hope to launch the sequel to 2010’s The Vampire & the Seventh Daughter at this year’s Wayzgoose (April 27). Like the last one, it will be finely printed but accessibly priced, in an edition of 60 on Arches Text paper. The last one had lino cuts, but this time I want the illustrations to be wood engravings. We shall see.
Next job is to write the fable, cut the illustrations, print and bind, all by the end of April. I’ll announce it formally as soon as I decide on a title!