Archive for the ‘typography’ Category

lost property

June 28, 2017

Philippa would like to thank the gentleman at BABE 2017 who gave her the idea for this book… Lost & Found follows on from a previous edition called On the Line, but this time uses left over train tickets and a 1974 Southern Region timetable to form a maze book that documents all the weird and wonderful items left on the London Transport system. This is probably the smallest book in the Caseroom catalogue, measuring just 45 x 55mm

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greetings to nyc

May 26, 2017

This week we heard from Angie Butler who shared the good news that the letterpress animation made from LENvention 1 in 2013, of which Philippa was part of, will be shown at the New York Centre for Book Arts from July-September 2017 as part of the exhibition ‘Animation and the Book Arts’ – having visited the Centre several times, we never imagined that we would ever have work on show in NYC!

type tells tales

May 8, 2017

Many, many months ago we were approached by someone working for Steven Heller to see if we were interested in having some work published in a new book he was producing with Gail Anderson – needless to say we jumped at the chance – and last week the rather wonderful Type Tells Tales arrived on our desk. We feel honoured to be in such company as Werkman, Sam Winston, Paula Scher, Robert Massin, Marian Bantjes and many more type heroes and heroines.

blogging the blog

April 16, 2017

Eye magazine recently uploaded a post about Barrie’s Typographic Dante.

The piece talks about the starting point for the project – which began when he was a final year student at the Chelsea School of Art, way back in 1989.

The first roughs and preparatory sketches for Canto I.

Planning the Letterpress overprints in detail.

The original ‘note to self’, which led to a project that has carried on over the next 28 years (and counting).

The Typographic Dante is on display at the National Museum of Print, Dublin, until Wednesday 19th April and the exhibition has recently been reviewed by newsfour.ie.

the lure of the caseroom

March 14, 2017

In complete contrast to the beautiful and impressive exhibition of Barrie’s in Dublin, Philippa has been doing some small projects in the Caseroom whenever there is a spare 10 minutes! Six postcards have been added to the Endangered Species series – an on-going project with ABPress since 2015… #BABE2017 is looming, hence the flurry of recent activity!

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dante in private

February 15, 2017

Brenda Dermody at the Typographic Dante

The Private View for the Typographic Dante took place at Dublin’s National Print Museum last Thursday.

Brenda Dermody is a graphic designer, and design educator with an interest in typography, she represents Ireland on the education team of the International Society of Typographic Designers. Brenda was instrumental in bringing the show to the Museum and spoke about Barrie’s career and the stories behind the work on display.

Dermody Folder

 

Brenda Dermody’s beautiful set of poster designs based on on the Dante prints.
Dermody Folders
Dermody Folder Red
The work looked wonderful in the setting of the gallery space and quickly drew people in to Dante’s journey.
Dante Looking 1
Dante Looking 5
Dante Looking 3
Dante Looking 4
Carla
Again, a huge thank you to Carla and her team for putting on such a wonderful exhibition of the work.
Photos courtesy of Mark Henderson.

fond farewells

October 5, 2016

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By comparison to Barrie’s recent blog post and the nine year saga of Utopian Tales, the collaborative project between Philippa and Angie Butler of ABPress has been a mere 18 months in the making, but nonetheless it is with a sigh of relief that their limited edition artists’ book has finally rolled off the production line. Fond Farewells is part of an on-going project called Endangered Species, this particular edition is a pair of books that examines lost language.

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utopia (at long last)

August 10, 2016

Utopian Tales

After more years than Barrie would like to admit to, Utopian Tales/Utopische Märchen is finally in print, and copies are now in the post to the contributors.

The never-ending story starts in 1987 – at the Chelsea School of Art, whilst he was learning the joys of typography, magazine design and letterpress. The Chelsea School of Art opened his eyes to a great many other things too – music, dance, literature, theatre. It was an education in the arts in the broadest sense. Through the recommendations of his tutors, particularly Frances Corner, Rob Mason, Jon Newman and Dave Strickland, he discovered (amongst many other things) the work of Kurt Schwitters and the writings of Jack Zipes, which have led directly to the blog post that you are just about to read.

Some ten years after graduating, he was living and working in Edinburgh, and was lucky enough to freelance for Polygon Books. As part of getting to know the imprint, he was allowed his pick of their back catalogue, including Polygon Sigma – which according to the intriguing blurb on the flyleaf was ‘a series of books which challenge the barriers between disciplines. It will include weird fictions, half-truths, plagiarisms, anarchisms, aphorisms and…’

He never found out what the ‘and’ was, as that was where the statement finished, but one of their books in particular caught his eye. It was called Utopian Tales from Weimar and was edited and translated from the German by none other than Jack Zipes. What’s more, it contained two fairy tales by Kurt Schwitters. It just couldn’t get any better.

Weimar

And of course, it didn’t. The book was originally published in America and it was photo typeset. It appeared to have been designed between the end of paste-up and the beginning of the Macintosh revolution. The text was quite dense, a condensed sans-serif, on a tight leading, and no matter how many times he picked it up to read it, something about the typography and design defeated him. Utopia always remained out of reach.

At various points when he was teaching in Edinburgh and Glasgow, Barrie would lend the book to students as research for their projects, but whoever the reader, it always seemed to be a hard book to engage with. Wonderful though the content was, the typography and layout just lacked readability.

In 2005, Jantze and Barrie had moved down south and he was teaching at Lincoln School of Art – making Artists’ Books as part of The Caseroom Press, as well as continuing to freelance. One of his clients was the Scottish Poetry Library, and at the time he was working on a series of books for them. One book in particular, How to Address the Fog: XXV Finnish Poems 1978–2002 seemed to be going through an endless series of corrections (which in turn led him to make to another book, The Ghost in the Fog, but that’s another tale). During a particularly trying set of alterations – as he recalls, it included an argument between two translators as to whether a series of ‘o’s should have a ‘^’ or not – he looked up to see, on his bookshelf, his copy of Utopian Tales from Weimar, and he thought, ‘now that I’m working as part of an Artists’ Book collective, I could maybe make a new version. A better version.’

So, Barrie searched the web for Jack Zipes, found an e-mail address and wrote to him to ask if he’d consider working on a new edition of it. Much to his surprise, Jack wrote back, said that he was going to be in London and asked if Barrie fancied meeting him for lunch?

So they met, discussed Utopian Tales, Kurt Schwitters, Gianni Rodari and many other things, and as a result, Philippa Wood, Brian Peacock and Barrie started working on a number of projects based around Jack’s translations – these became Lucky Hans and Other Merz Fairy Tales (published by Princeton University Press), Tales to Change the World, The MerzBox, The Good Man, The Onion MerzPoem No. 8 and Fairy Tale, all published through The Caseroom Press.

But of course, what he’d really wanted to publish was Utopian Tales.

The first problem was that none of the text matter existed digitally. Jack had originally researched the book in East and West Germany back in the early 1970s and had photocopied the stories at the time, ready to translate when he returned home. These were quite ‘soft’ copies, often from poor quality photocopiers and had hand written notes where the copied text was illegible.

The only copy for the English translations was that in the Polygon Sigma book itself.

So. The first task was to scan the entire book, run it through Optical Character Recognition (OCR) software and create a new clean digital file. This was time consuming, but fairly straightforward. The text matter was good enough quality to be picked up fairly well and required very little editing.

The German texts were a different story. The tales published after 1941 were usually set in sans serif, but those before that tended to be set in blackletter. The scanning software had a language option, so it could recognise German words, but even the sans serif stories were only partially successful. The age and poor quality of the copies often meant that the OCR didn’t pick enough information up and the stories needed to be transcribed letter by letter (Barrie doesn’t speak German) and typed in to form the final digital copy (He can’t touch type either, so this took a while).

The blackletter script was impossible to scan at all and each of those stories needed to be typed in, in their entirety, letter-by-letter, word-by-word. And, to add to his woes of not speaking German and not being able to touch type, the forms of blackletter script are fairly unfamiliar. As Zuzana Licko said back in 1990, ‘you read best what you read most’.

So, there were many, many nights of slowly typing in texts, half of which barrie could read, and half that he couldn’t. Luckily Jack was very happy to re-proof-read his original translations, and Ken Cockburn, a long time collaborator, proof-read, amended and – on occasion – completed the missing parts of the German stories, working back from Jack’s English texts.

Finally, the text matter for the book was complete and all the illustrators and artists began to produce varied and delightful works for each of the English and German versions of the stories. He really cannot thank them enough, both for their contributions and their endless patience.

Eventually, in the Summer of 2007, Utopian Tales/Utopische Märchen was ready to go to press.

The project had been given the go-ahead by the University; it was deep in the middle of the Research Assessment Exercise and, although the Head of Research at the time seemed to have had little truck for Graphic Design as a viable source of ‘research’, it was grudgingly agreed that Jack and Kurt carried the day and the book would be ‘reffable’.

It just couldn’t get any better.

And of course, it didn’t.

In a Series of Unfortunate Events, the funding was lost, and that was that. The book was dead and Utopia was further away than ever before.

Barrie contacted everybody to let them know what had happened, to apologise for the setback, and to say that he would continue to try and find a way to publish the book. And to be honest, it’s been on his mind ever since. Every so often he’s tried to raise funding for it to go to press, or to make an ‘in-house’ edition, but my attempts always came to nothing.

Which is where we are now. In 2015 Barrie finally realised that he has the methods of production that he needed to make the books. After a few false starts with the Glue Binder and some dead-end format changes, he made a dummy that he could produce in a very limited edition. He contacted everyone to get updated biographies … and found out that a few folk had forgotten they’d ever contributed in the first place.

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The first job – taking lots of big bits of paper and making them into…

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… lots and lots of smaller bits of paper

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The production line in progress.

It was quite a daunting, and time consuming task. Most of the Summer has seen Barrie trimming, cutting, folding, sticking and collating all the various elements that make the books up.

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The books getting their last trim on the guillotine. 

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Ready to ship. Only 9 years later than expected.

But. Finally. Wonderfully. Thankfully. Here it is. Utopian Tales/Utopische Märchen. With a heartfelt thank you to all the illustrators for their work, their patience, and  their support, here is the most ambitious book Barrie had never published. Utopia at last.

We shall leave you with a very apt quote from Jack Zipes himself.

     ‘Inevitably they find their way into the forest.

     It is there that they lose and find themselves.

     It is there that they gain a sense of what is to be done.

     The forest is always large, immense, great and mysterious.

     No one ever gains power over the forest,

     but the forest posses the power to change lives and alter destinies.’

LENvention 4

June 30, 2016

LEN7 work

LEN1

LENvention is an annual workshop for letterpress practitioners and was established by Angie Butler and Hazel Grainger in 2013. This year Philippa and the other LENventioners* returned to UWE in Bristol where they were fortunate to work with Dr Tim Mosely from Griffith University in Brisbane, Australia who had been invited by Angie to join and run this year’s event.

LEN2 tim

LEN4 angie

LEN6 group

Tim’s research practice includes haptic aesthetics in relation to the artists’ book. His research methodology, which we were introduced to, was a new way of working for the majority of the group and responding to the theme of Empathy we worked collaboratively to develop and produce a range of work that resulted in a rather impressive 19 finished artists’ books within a two day period.

https://www.griffith.edu.au/visual-creative-arts/queensland-college-art/staff/tim-mosely

LENvention regulars Angie Butler (ABPress), Andrew Morrison (Two Wood Press), Rachel Marsh (Semple Press), Hazel Grainger (HGmakes), Lucy Guenot and Philippa (Caseroom Press) welcomed Imi Maufe (bluedogstours) to the event this year. Elizabeth Willow who was unable to attend, kindly supplied the words with which we worked.

LEN5 work

LEN3 hazel

 

the stone texts

March 6, 2016

Stone_one

Followers of the blog might remember that in the Summer, Barrie worked for Mary Bourne and Ken Cockburn on a rather nice project called the Merkinch Circles. Barrie set some texts based on the results of a series of writing workshops and site visits to the new flood defences in Inverness.

As you can see, the circle poems written for the workshops have now been carved into stone and are located on the site.

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Stone_two

Mary Bourne is a visual artist whose work explores mankind’s emotional, intellectual and physical relationships with the world we live in. Based in rural Moray in the North East of Scotland she works principally in natural stone, using a variety of techniques (carving, sandblasting, heat and polishing) to find subtle physical forms for poetic ideas. More information about her work can be found on her website: http://www.marybourne.co.uk/