Over the past few years I have been compiling a sample book from the previous year using the plates that I had designed. It’s an idea that I quite like and somehow regret that I hadn’t thought of it earlier!
The small blind printed fragments are in groups of six with two machine lies between them. there are three sets of silk stitched threads along those lines. These reference the unpicked seams project that I have been working on. The cover features a piece of card from Fiona Dempster, see here, from our collaboration, which includes her handwriting underneath the blue print.
The weather has been against printing in the studio, but I did manage a day printing postcards. The designs are drawn from scribbles and prints held in my notebooks, rescaled to fit into the postcard size and shape. They are now drying before I can prick ‘unpicked seams’ on them and stamp the reverse. Roll on warmer days!
Fiona and I have exchanged the sixth and final book in our collaboration. We sent each other a bundle of papers in September 2022 and since the beginning of 2023 we have sent our books to each other across the world. The timings have been somewhat erratic, mostly due to the postal services but these last two arrive at their destinations in record time.
The Shape of the Print – January 2024
At the beginning of the project I had made a printing plate designed around the bodice shape. I had used that plate to print the 72, plus spares, squares for the folding ruler, book 2. Here I was going one step further and cutting up the plate, something that I have often done in the past, taking the idea from unpicking and remaking a dress in the C18th.
I had several, approximately A4, in size, sheets of very fine paper from Fiona and faced with the dilemma of where to go from there. Will they take dampening and then printing? I had little to spare for experimenting. So I just printed! I had cut up the bodice plate with one for the firm back cover of the Japanese styled book and managed 10 pages in each book.
The book is bound in a simple and a different way to previous Japanese bindings that I had done.
Size 18cm x 6.5cm
Fine Japanese paper
Back Cover Collagraph printing plate
Front cover painted papers, linen thread binding
Inside covers painted papers and written text.
Fiona’s Book VI is delicate and almost translucent, incorporating small fragments of my papers with her text. It sits comfortably in the palm of my hand. For further details see her postings here.
I think that we have both enjoyed the collaboration, the exchange of books, ideas and the rapport that has built up between us. A very positive exercise and one that brings a smile to my face.
I’m pleased to say that I did make my postcards, it felt like a small positive creative move. I’m still engaged by the standard paper shapes that we have around us and in the small differences that each culture has. Something to develop further.
Over the years I have chanced across words that have lead me down a path into a new body of work.
Recently I have pursued the quote, “Vulnerable to Alteration” from the book ‘400 Years of Fashion’ from the V&A Museum, and here I am again following a similar train of thought.
For instance,
“Evidence of a thrifty use of a costly material” from ‘Cloth that Changed the World’
“The Alteration is a part of its history” Kate Strachen
“None of the full sized dresses dating from 1750 to 1770, is in its original condition”, ‘400 Years of Fashion ‘V&A Museum.
Whilst these quotes appear similar to the original one that I honed in on, I find that I am of an age when ‘Adapt and Alter’ are crucial in order to lead a productive and creative life. Adapting to different circumstances does seem to come first and then there is the need to find a way to navigate forwards.
So I have ideas to pursue, ‘costly material’ could be translated into the printing plate, which has taken time to design and make, the ‘part of its history’ could relate to changes in design or to being cut up. The analogies could go on!
So within my creative project, I am looking for alterations in book designs and structures and how they change the books perspective, size and shape do matter!
I worked out this apparently simple book format, there wasn’t a back or a front, both sides had equal status, I adapted a printing plate to fit and printed onto grey and silver tissue paper, the pages are Hosho paper
Then I decided to alter the sizes and the type of paper, this book is made from Indian Cotton rag paper, Again I repurposed a printing plate.
And there is still one more to be made in a different size. But its far too cold to work in the studio! and I shall reveal that one next time!
Annwyn Dean 