Posted tagged ‘current book project’

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.

 

 

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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2015: A Fresh Start

January 10, 2015

Ohhh, look! I’ve got a blog! I should really use it…

So, a new year and an energized press. By way of explanation, the last couple of (bookless) years have been a time of thought and entrenchment, crisis and recovery. With Greyweathers Press’ 10th anniversary this year, it is time to rip loose. For starters, I’m going back a couple of years to a project that ground to a halt in media res, a little Gothic Trifle with the rather clunky title of The Necromancer and the Seventh Daughter. A while back the title seemed fine, but now with the popularity of The Hobbit, the term ‘necromancer’ is known wide and far. Oh well. The original title used ‘sorcerer’, another word now famous, or rather infamous, considering real people burned with this brand are losing the heads in Saudi Arabia!

This is the second foray with Septima, her first being centered on dispatching a high-born vampire who was drinking her way though all the beautiful youth of the City. (There are still a couple of copies available.)

Now, keeping up with trends, it’s zombies, a festering golem, and something of an environmental message, along with Septima’s spunky “don’t fuss with me” girl-power attitude (a la Buffy & Joss Whedon). Setting type began just over a year ago, so that will resume, with my attention now on illustrations. Below are five of eight thumbnail sketches and an idea of what I’m thinking for Septima: The Sequel.

wraps

Sketches are very rough, the finishing will be done on the block. It is similar to what an inker does for the art in a comic book. In this case, it’s kind of hard seeing Septima standing there wearing an ironic look at something very tall. I added the stone cobbles behind her to help with perspective even though in this sketch it fights with the mummy-like wrappings she wears. I’ll work it out on the block.

Septima does a lot of running in this story. I found the image of a leaping runner going flat out; actually, this its more of a ballet prance than a sprint, but it looks as though she's goin' like stink! I may add a few zombie hands reaching out from the right side. We'll see.

Septima does a lot of running in this story. I found the image of a leaping runner going flat out; actually, this its more of a ballet leap than a sprint, but it looks as though she’s goin’ like stink! I may add a few zombie hands reaching out from the right side. We’ll see. The dress needs work – lots of ripples and wrinkles to show movement.

dark_ships

The Ghost Fleet that threatens the City. A rough re-working of another image, probably of the Black Fleet, again from Tolkien. I will probably embellish the ships with dragon heads and skulls etc. The dramatic sky will give me a chance to try out my newly acquired multiple liner.

golem

And that’s just the eyes and forehead. So it’s really, really big, consideting there’s Septima, the wee little thing, down at the bottom. She’ll be tricky to get right… it only takes about six or eight tiny cuts to do a figure that small, so every one has to be perfect. Might use my big doughnut magnifier on this one. The letters on the forehead are backwards for a reason.

bath

Septima spends a lot of time in this installment crawling around in sewage, so her reward for saving the City and her family (AGAIN) is to be hustled off to a vigorous bath. I thought it was kind of funny at the time, until considering how to illustrate with propriety a 15 year old superhero in the bath. The solution is lots of bubbles, and just enough expression on her face to show her what she thinks about it. Of course, how I’m going to carve bubbles from wood is anybodies guess, but we’ll get there.

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.

firstpage

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.

 

 

Typesetting Begins on Tintern Abbey

January 29, 2012

I cleaned up the press room and then got out the lead to begin setting type on the next book, a fine press version of Tintern Abbey. In spite of having already played with some ideas on the computer, I still changed the size and style of the introduction title (10 pt italic caps from 14 pt roman small caps), and had already consulted the the bible (Robert Bringhurst’s Elements of Typographic Style) for some guiding doctrine. And that’s just one line into it!

The letters ‘INTERN ABBEY’ are set in 12 pt small caps, and you guessed it, the missing “T” will show up curing another printing in red (or green) as a raised capital, probably 18 pt. The third word in (first) brought me quickly to another quandry: to use dipthongs, or not to use dipthongs, that is the question. And Hamlet thought he had it bad. The dipthongs in my font of Italian Oldstyle include fused versions of “st”, “ct” “oe” and “ae”. Ligatures (ffi, fi, ffl, fl, ff) are standard in the font and in common use, but dipthongs can be consider a bit twee, if not downright pretentious. Since the poem is getting on over two hundred years old, I think I can get away with dipthongs, so the word “first” is made up of just three pieces of lead, the “r” being the only single character.

My original plan was to fully justify the text, but when I examined my reasons for doing so it came pretty much down to “cuz I want to” which is not necessarily acceptable. I took some time earlier today and flipped though my own small collection of finely printed books, and noticed that in most of these (but not all) designers fully justified the text block when the block was quite large, perhaps as wide as 6″. Most of the smaller books had flush left, or jagged right if you will. It looks better in these books, so I’m fairly certain it will in Tintern Abbey. I’ll know when I proof the first spread of type. These other fine presses were using smaller type, which may be a factor. (Note to self: pick up a truck load of 10 pt type in next type order!)

The introduction is written by Queen’s University Professor Mark Jones, and I expect it may be the first time his words have ever been set in metal.


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