Introduction to Letterpress

Wednesday 2nd October: Introduction to Letterpress

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Letterpress is a direct relief print method, meaning that a design is printed by transferring ink from plate to paper.
The group were each given a verse from the Lewis Carroll poem; Jabberwocky. Keen Children’s Literature readers, both Stephine and I were aware of the poem and its author, so chose to work together on the task.
“Jabberwocky” is a nonsense poem written by Lewis Carroll about the killing of a creature named “the Jabberwock”. Included in his 1871 novel Through the Looking-Glass, and What Alice Found There, the sequel to Alice’s Adventures in Wonderland. The book tells of Alice’s adventures within the back-to-front world of Looking-Glass Land.

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In The Life of Lewis Carroll (1932), an early Carroll biographer, Langford Reed, stated: “Charles Lutwidge Dodgson (Lewis Carroll) was an individual who, through his rare and diversified literary gifts and power of communication, left an indelible mark upon the imaginations of children and adults both during his generation and in generations to come.”

With the original of the poem being Victorian and Reed’s use of the words “indelible mark” in mind the tactile quality of letterpress seemed very appropriate. We didn’t stop there, having access to more than 50 fonts at UWE’s proofing press room Stephanie and I came up with the idea of mixing the fonts to emphasise the disjointed imagery in the poem. Below you can see our result in the first stanza compared to the uniform font in the stanza below it.

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Executing this effect took a lot more thinking than originally expected, but also lead to more ideas forming. Firstly, we discovered “typesetter”, setting letter by letter and line by line had to be done upside-down to make sure the type was backwards in a composing stick, a mechanism which holds several lines, so the print is correctly orientated on the paper when transferred. As a result, we had to ensure we chose font types of the same size to sit firmly in the composing stick. We choose 24pt, which was slightly less than the 30pt originally recommended by our technician to give us more space to manipulate on the final image. We generated our font choice at random, again to emphasis the impression of chaos and unconformities of Wonderland. Selecting by blindly picking from three fonts meant we had to record a number to each letter and character, mapping our result to return the fonts correctly at the end. Apart from the start of each line, capitalisation we also selected at random by adding a dot to a number in our blind selection. We considered the use of irregular spacing, but this caused too much white space and overly disrupted the readability of the stanza creating a river of white in the text, a serious consideration that has to be thought over in any letterpress task. Instead, the decision to add additional spacing before the word “shun” as if shunned away, worked well.

However, we also reflected that the character of Alice at this point in the novel is in the “back-to-front world” sparking the idea to purposely reverse and capitalise the “C” in “catch” to look like the letter is trying to catch the “cat” part of its full form, and the misspelling of “claws” with a “K” as this letter is a sharper form than a “c” indicating sharp, dangerous claws of the Jabberwock.

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The type of depth is dependent on the paper. Typically Letterpress papers are thick and soft to allow the type to create a deep impression, which gives tangible evidence of the printing process.
Maximal control over the quality of the print is apeling, many of our group seemed to like letterpress for that. I found the method of compositor gradually to build out the text of an individual page letter by letter difficult and brian taxing. The risk of “furniture” popping out violently from the press scared me in honesty. What I did love was the colours are true and vibrant, and the lines are sharp. Digital printing is done by accumulating groups of small dots to produce the image. While the resolution of the dots is usually small enough that the resulting print looks “close enough,” we can see the difference, especially when viewed side by side.
Dark ink on a light paper gives the best image. Inks are translucent, and the paper colour will show through. For light colours on dark paper, foil stamping or engraving should be used instead of Letterpress. Building up the colour density of a specific colour can be achieved with Letterpress pieces run through the press two times using the same colour, but again this is a risk on registration moving. However, the risk is the lowest in all our manual print techniques thanks to the methods and mechanisms involved.

The chances of using Letterpress outside of UWE is debatable. Presses are being discarded by commercial print shops and becoming affordable and available to artisans throughout the country. There is currently a viable sales market for this form of print.
“Letterpress publishing has recently undergone a revival in the USA, Canada, and the UK, under the general banner of the ‘Small Press Movement’. Renewed interest in letterpress was fueled by Martha Stewart Weddings magazine, which began using pictures of letterpress invitations in the 1990s.” (Pertwee, 2019)
I do think I will be using this form as publishing and illustration are hand-in-hand. Learning this process has helped me think more about page layout and text as a part of the illustration itself. More investigation on my part is needed.
I do understand this process a lot more now having used it form myself, and I better appreciate the use/effectiveness of the text.

We also had a chance to use the Albion press, which is an early iron hand printing press, designed and manufactured in London by Richard Whittaker Cope around 1820. It works by a simple toggle action. Originally used for commercial book-printing until the middle of the nineteenth century, now it is mostly artisans who use them for proofing, jobbing work and by private presses for art projects.
I thought it might be fun to use the woodblock letters to help me start a poster image for the 1976 science fiction film Logan’s Run. The showdown scene between Logan 5 and Francis 7 always reminded me of 19th Century American Western genre, so, I chose the Slab Serifs font mixed with the smaller LHF Becker font to reflect that drama visually. I plan to use the large “0” to represent the tunnels used to flee the city in the film. Logan’s Run explores utopian and dystopian themes. The 1970s were dubbed the “Me Decade” by writer Tom Wolfe. An important concept expressed in the film is “the dangers of hedonism” (Wolfe,1976), meaning youth worship. Sexual freedom and seeking pleasure or luxury at whatever cost of the 1970s has also reflected in the current social demographic term “Millennials”. I’m interested in exploring this link and what effect hedonism has on a cohort of people.

Hartlebury Castle (The Bishop’s Palace)

The land that Hartlebury Castle sits on was granted to the Bishop of Worcester by King Burghred in the late 9th century, although the foundations of the building that now stands here are believed to date back to the 13th century. 

Since the 12th century, it has been a centre of ecclesiastical and administrative power in Worcestershire with its resident bishops involved in some of the significant events of British history from political and military guardians of a frontier with Wales to active participants in political decision making in modern times.

The building is grade 1 listed and it contains the famous Hurd Library was built by Bishop Hurd in 1782. It still contains his extensive and unique collection of books including works from the libraries of Alexander Pope and William Warburton. The copy of the Iliad from which Pope’s translation was made is among them.

The grounds include a period cider mill, A Transport Gallery which has amazing Romney Gypsy wagons and The Worcestershire County Museum which houses the servants’ quarters of Hartlebury Castle. The house also has the period rooms which displays including a schoolroom, nursery and scullery, and Victorian, Georgian and Civil War rooms. The exhibits focus on local history and include toys, archaeology, costumes, crafts by the Bromsgrove Guild, local industry, and area geology and natural history. You are now able to walk along the old moat and enjoy local produce at the shop. 

We had a fantastic time, and hope you will take a trip to Hartlebury Castle too.

 

BRISTOL HARBOUR FESTIVAL 2018

For many people the Bristol Harbour festival is an opportunity to celebrate the heart of the beautiful city, and the harbour itself.

In 1802, famous architect William Jessop proposed installing a dam and lock at Hotwells to create the floating harbour and a £530,000 scheme was approved by Parliament. Construction began in May 1804 and today the Harbour still provides the city with a bustling centre filled with activity. 

The docks used to be a vital part of Bristol’s economy but in the second half of the 20th Century its prominence began to fade, its economic power waned and questions were asked about what to do with the waterway and the land alongside it. Sadly the Port of Bristol Authority decided to close the city centre docks in the 1960s.

Local groups took up the fight to save the docks, and the first Harbour Festival in 1971 was a massive part of the plan. The festival is free for all and brings over 250,000 people together each summer to celebrate Bristol’s rich maritime history and enjoy some of the city’s best music and entertainment. 

“CIRCUS SKILLS. STREET DANCE ACTS. BOLLYWOOD MOVES. FIREBRAND STREET POETS. ALL THESE AND MORE WILL FEATURE THROUGHOUT THE WEEKEND.CATERING FOR ALL AGES, A PACKED PROGRAMME OF ENTERTAINMENT HAS BEEN PUT TOGETHER TO ENSURE THERE’S SOMETHING FUN AROUND EVERY CORNER.”

[https://www.bristolharbourfestival.co.uk/]

Bristol two weeks circus

2018 is the 250th anniversary of modern circus in Britain and there are celebrations taking place throughout the year all over the country. Here Bristol is the UK’s leading City of Circus, with the largest concentration of circus professionals living and working in the city.

Cirque Bijou are Bristol-based show-makers who push the boundaries of contemporary
circus, street theatre and spectacle to make work that is unexpected, unforgettable and
celebratory.

Circomedia (founded in 1993 by Bim Mason and Helen Crocker,) is a school for contemporary circus and physical theatre based in BristolEngland.The school offers a variety of training courses and workshops that teach circus skills in the context of physical theatre, performance and creativity.

 

Writer’s Statement.

Writer’s Statement.

I’m Seraphim Bryant and I write for young adults who like thrillers and a bit of fantasy. Also, I write and illustrate picture books in young children’s fiction which are frequently about social issues and citizenship.

My style is very open, it’s quite conversational. This is because I like people so much and I love talking to them about their life, theories, and what their passions are.

That that’s how my writing often sounds; I write like a person who is telling you a story about what they’ve witnessed. The tone of my work can be quite serious, but I always have a dash of humour. Humour and love are essential in my writing because It’s my belief that life itself is full of humour and held together by love; it’s how people survive though hard times and massive challenges. I want my characters to go through parts of a real life too.

I was brought up on traditionalist writers like Beatrix Potter, Enid Blyton, CS Lewis, JRR Tolkien and stories from the Bible. I was very lucky to be read to as a child by my dad. These writers gave me a great sense of imagination, of new worlds, and the importance of people’s values and beliefs. Unfortunately, I was very sick child in my early years so I didn’t have a lot of schooling and this made be very slow to learn to talk, to read and ultimately communicate with the written word. For a long time, I struggled, and avoided reading.

Thankfully, in high school an amazing English teacher, Mr Young took the time to know me. He would constantly give the books that he knew I wouldn’t put down. This meant I felt compelled to read and I was launched into high fantasy, Gothic fiction and thrillers. From famous writers like Stephen King and Piers Anthony, to new writers at the time such as Carlos Ruiz Zafon, Christopher Paolini, Phil Pullman and Sally Green. My head was now full of stories, stories and escapism that I wanted to hear for myself. Ideas of the kinds of magic that I thought would interest me. Until I felt duty-bound to write too. This lead me into a degree in Creative writing and Illustration, bonding my two passions into production.

This is why I write, read, and I love, young adult fiction and I’m sure I will be buried with a children’s novel in hand.

SB

 

 

Why do you write?

Why do you write what you write?

Why does it matter that you write?

Why do you put the time and effort into writing?

What are you trying to convey to readers through your writing?

What do you want your writing legacy to be?

How did you become a writer?

What About Raymond Carver?

Though Raymond Carver published only a handful of books in his lifetime, he is often considered one of the great American short story writers. Debate still exists as to whether to consider Carver a minimalist for his frequent use of sparse language, a voice of the working class for his commitment to ‘ordinary’ characters, or a champion of “dirty realism” for his frank depictions of modern American life. But no matter how you might regard his work, Carver’s legacy and reputation have only grown since his death in 1988, at the age of 50.

“Well, of course I had to keep him on a leash,” his mother, Ella Carver, said much later — and seemingly without irony. Mrs. Carver might have had the right idea. Like the perplexed lower-middle-class juicers who populate his stories, Carver never seemed to know where he was or why he was there.

Born in Oregon in 1938, Carver soon moved with his family to Yakima, Wash. In 1956, the Car­vers relocated to Chester, Calif. A year later, Carver and a couple of friends were carousing in Mexico. After that the moves accelerated: Paradise, Calif.; Chico, Calif.; Iowa City, Sacramento, Palo Alto, Tel Aviv, San Jose, Santa Cruz, Cupertino, Humboldt County . . . and that takes us up only to 1977, the year Carver took his last drink.

His two passions were stories (which he failed to get published despite a strong work ethic for submissions) and Maryann Burk, a local girl four years his junior. When his parents moved to California for work, Carver already had the plans in motion for their marriage.

The relationship between Raymond and Maryann would define much of Carver’s life. Within two years of marriage, they’d had two children, Christine and Vance. Most of their early life was fraught with financial difficulty. Carver’s passion for writing was intense, but was at odds with his disdain for any other kind of work. As such, Maryann tended to act as breadwinner, usually through waitress jobs, as she supported Carver’s attempts to get recognized and also his attempts to earn a college degree, a goal thwarted by both financial trouble and Carver’s insecurities.

Carver’s most important break came through a long-time friend, Gordon Lisch, who had become an editor at Esquire. Through the connection, Carver published his first major-press collection, the Lisch-edited Will You Please Be Quiet, Please? In the years following, he and Maryann finally separated and Carver gained control of his drinking. The book was widely praised, and it is clear in light of his biography how well he made use of the sadness and desperation he had experienced in his own life and those of his lower middle-class communities.

From there, Carver’s fortunes improved. Sober and committed, Carver published another collection – What We Talk about When We Talk About Love – and though it’s often criticized as having been too heavily edited by Lisch, it won even more acclaim than the previous collection. Along with another poetry book (Fires), Carver then prepared his final collection of all-new stories, considered by many to be his masterpiece: Cathedral. In this time, Carver met and moved in with Tess Gallagher, a poet who would eventually become his wife and partner until his death.

Financially stable through both fellowships and book sales, Carver spent his final few years cementing his reputation as a great American literary figure. His relationships with his mother, Maryann, and his children grew stronger. And then he was diagnosed with cancer.

On August 2, 1988, Carver died from lung cancer at the age of 50. He is buried at Ocean View Cemetery in Port Angeles, Washington. The inscription on his tombstone reads:

LATE FRAGMENT

And did you get what

you wanted from this life, even so?

I did.

And what did you want?

To call myself beloved, to feel myself

beloved on the earth.

 

His poem “Gravy” is also inscribed.

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The Prize-winning Poem

The Prize-winning Poem

It will be typed, of course, and not all in capitals: it will use upper

and lower case

in the normal way; and where a space is usual it will have a space.

It will probably be on white paper, or possibly blue, but almost

certainly not pink.

It will not be decorated with ornamental scroll-work in coloured ink,

nor will a photograph of the poet be glued above his or her name,

and still less a snap of the poet’s children frolicking in a jolly game.

The poem will not be about feeling lonely and being fifteen

and unless the occasion of the competition is a royal jubilee it will

not be about the queen.

It will not be the first poem the author has written in his life

and will probably not be about the death of his daughter, son or wife

because although to write such elegies fulfils a therapeutic need

in large numbers they are deeply depressing for the judges to read.

The title will not be ‘Thoughts’ or ‘Life’ or ‘I Wonder Why’

or ‘The Bunny-rabbit’s Birthday Party’ or ‘In Days of Long Gone By’.

‘Tis and ‘twas, o’er and e’er, and such poetical contractions will not be

found

in the chosen poem. Similarly cliche´s will not abound:

dawn will not herald another bright new day, nor dew sparkle like

diamonds in a dell,

nor trees their arms upstretch. Also the poet will be able to spell.

Large meaningless concepts will not be viewed with favour: myriad is

out;

infinity is becoming suspect; aeons and galaxies are in some doubt.

Archaisms and inversions will not occur; nymphs will not their fate

bemoan.

Apart from this there will be no restrictions upon the style or tone.

What is required is simply the masterpiece we’d all write if we could.

There is only one prescription for it: it’s got to be good.

 

Fleur Adcock

 

Adcock, Fleur (1983) Selected Poems, Oxford: Oxford University Press.

Worst poem ever

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Haha, (evil laughter) the task set to our class this week was to write the worst poem ever to illustrate what a poem should not be. so….

 Poorly poem

Yer, well it has been written

And it ani’t got real words in places

Some odd stanza brakes like a lot of bad poet’s mistakes

Every line starts with a capital letter and the punctuation is all over the place and it has mixed pace so you sound as if you have been training for a marathon race by the time you have got though and read to the end of the line.

Also Kev and I think is a crime not to have some kind of rhyme.

Your getting stressed about the stresses and iambic meter which you don’t know if that’s AABB or ABAB C

And well, it just

Ends.

But, it never actually ends cause you read it to your friends and they have to say well that was nice but it lacks a little in places and they have fake smiles on their faces.

So ya think you have a gooden and you send it to the Guardian and they don’t even email back and just, just, don’t know if you should have never got out of bed.

Then forget what your tutor said about cliché use and do it all again

Repeat the pain until you are a poet.

And you didn’t even know it.

Listening to Alexis Deacon

Listening to Alexis Deacon

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born in New York this award-winning illustrator and writer loves storytelling

“I always knew I was going to be in illustrator because sharing and trying to communicate was so important to me. understanding of the stories help us to do that”

Alexis’s number one tip for writers: “start as close to the end as possible”

Alexis read some of his stories to us and took us on a very cleaver memory trail which turn out to be completely made up. Why? To teach us in his own words… “imagination and forgotten memories, like my best friend being a chocolate rabbit are boundless sources of stories and images.” Alexis encourages us to live our imagination out and play with our own imaginary friends in our heads

We transport imagination through line drawing and image making.  “make it as real to you as you can and thoughts can be shared. draw and draw all your life children do this without being told as we get older we stop drawing and stop imagining but true illustrators don’t, so keep going nothing you do is a waste.”

Alexis went to art college at Brighton he found it hard to make drawings for other people thus he tells us his first book – monster zoo- was a big learning curve.

Watching a couple of Slow Norris’s one day gave him great pleasure and started his imagination going. “the two were just wondering towards each other down the same rope. They met in the middle had a staring contest, they both made a face and went the other way. This one moment inspired my first published book – Slow Norris” Alexis advise us to take moment like these and let your imagination go wild if you find it entertaining the chances are it will engage your reader too.

What is illustration? He asked us then answered “It is universal communication. The face is universal and universally understood. looking at the face we filter out other things and we see just the expression we only need simple values to tell this story. we are hardwired to understand expression from an early age. You need to keep that in your mind when you produce your character’s form on to the page.  just like the face gestures transporter and give us information too. Learn to love gestures as the context is strong. this gives you a good story and an expansive narrative from these simple ingredients of image.”

Alexis closing advise to us who are studying illustration this year – “By illustrating you give your story to someone else so you need to leave enough space for the reader to imagine too”

  
 

Artist Date: 4 hours with David Quantick

How to Write Everything is the name of David Quantick’s book. He has years of journalism, screenwriting, speeches and sketches under his belt. From sitcoms to novels. With thirty years’ experience as an award-winning scriptwriter. He is also a self-confessed Hack.

I am reading and taking notes on what DQ has to say to us about writing and how he got to the success he now has.

Chapter 1

The opening is summed up in “the secret to writing is oddly to write.” If you don’t write anything then there won’t be any words. Steven King said something very similar in his book on writing: “I constantly meet people who say they want to write and mentally to myself I say. No you don’t, because if you did, you would”

So I better stop fiddling with the stuff on my desk and get on with it. DQ’s advice is to start write anything. It will be terrible but the words will come and you will get better. Just like lifting heavy weights make you strong; constant word use and reading will make you write your best. So nothing you write is ever pointless. You never know who or what is trapped in your page. If you have an obstacle to your writing use the problem into your writing. It will help you get over it.

DQ tells us; don’t hate deadlines. I recall Douglas Adams in an online video say he likes the sound deadlines make when they fly past. But he is only joking. DQ warns that deadlines are to encourage you; it means that someone cares about you writing. Respect deadlines they are incentive and productivity.

Being a hack is okay if you produce work for someone else. Writers don’t get to be the lead singer very often. Writers are who work to make the actor or singer sound better than the monkey that they often are.

The ability to mimic another person’s voice is essential. You can’t just write from ones’ experience. If that was so than the Aliens movies would have been written by aliens. (Scary thought.) We are all standing on the shoulders of giants, so get over yourself and into your writing.

Chance can make you creative and everyone has different ways to writing.

Chapter 2 is about ideas. Where do you get your ideas? It’s all about making connections DQ tells us.

An idea can come from anything at all. It is not that it may be good or bad, but if you can write it, do it. Like planning a journey; you know the start and where you want to get to you just need to do the middle bit. If you need to borrow a map for your idea to follow, that’s okay. However, generating your own ideas even if you get lost on the way is just more rewarding.

Unless you have never been outside you still have your experience or your imagination. However, you have to be brave enough to cut and chop ideas that are just not working. You just don’t know if it will work until you write it a bit and a bit more. Then take a break. When you come back and read it you can be honest with yourself.

All stories are ‘xxx’ with a twist. So you don’t need to be overly original they just need you or just need it from you.

Borrow what you know works until your ideas strengthen. Take convention and mess with it until you are happy with it. Passing off is not allowed, being inspired is.

david Q

David Quantick