I spent time on the weekend trying to put some type together, that would work with the images I have draft-printed.
I am trying to create a 10cm x 10cm type square and so I began with working out how many picas (that is the type measurement) that would mean. I had a lovely moment when my 10cm = 4 inches = 24 picas!
I thought it was a sign.
But perhaps not.
I worked out that using 18pt type that would mean 16 lines of type and for some obscure reason, I was up for it! And off I went.
My first error was trying to use a tiny weeny font upon the 18pt typeface. My second error was trying to just pull the letters out of a box of mixed type - it was really hard to find the letters when they hadn't been sorted. Whilst most were generally in the right spot; you can see they were a bit muddled and upside down and pretty tricky to find at times.
So I learnt another lesson - best to sort your type first; then use it. So I did. Another four or so hours were spent sorting the type.
I then looked at what I had achieved and decided that there was probably no way that I could really keep going with such a tricky small type anyway - and now that I had sorted it; I doubted I would have enough letters to complete the square anyway.
Such is life.
And it was back to the drawing board and looking around the studio to see which 24pt typefaces I had that might work. Barry brought me over a cup of coffee and together we talked about the kind of type I had and how it might work for the jobs I was doing. We went this way and that; and came up with these four typefaces - all upright, no italics, and one a bit difficult to read. And then Barry went back to his own work!
Despite having planned to have the etched or lino print in side the square of type, whilst sitting quietly the other day I thought oh - it would look better hanging out slightly! And so I played around with my paper templates and tested how it might look if it was hanging out by 1 cm or 2 cm.
I am pretty sure I've mentioned before just what a cut and paste kind of gal I am.
And then I sat down with some 24pt type, and the timber block Barry had cut me to represent the etched/lino print and then slowly put together a square of type, finishing with spacers to show where the etching/lino might sit.
Still nothing much to show for all that work; but it was nonetheless a real sense of achievement. I flipped the photo and printed it off the computer and have decided that I need to change a few words here and there before proofing. But we have begun.
And to what end?
I am proud to be represented by Good to Print Studio at the Paper Contemporary, part of the Sydney Contemporary Art Fair. This prestigious event has over 90 exhibitors and in 2015, 32,000 people passed through the doors over the weekend. It is a massive undertaking and I am excited, proud, scared and all the rest of it!
The Paper Contemporary showcases 16 international print studios and galleries, so I really am honoured to be part of it.
See here for days and times and other news...
I am trying to create a 10cm x 10cm type square and so I began with working out how many picas (that is the type measurement) that would mean. I had a lovely moment when my 10cm = 4 inches = 24 picas!
I thought it was a sign.
But perhaps not.
I worked out that using 18pt type that would mean 16 lines of type and for some obscure reason, I was up for it! And off I went.
My first error was trying to use a tiny weeny font upon the 18pt typeface. My second error was trying to just pull the letters out of a box of mixed type - it was really hard to find the letters when they hadn't been sorted. Whilst most were generally in the right spot; you can see they were a bit muddled and upside down and pretty tricky to find at times.
So I learnt another lesson - best to sort your type first; then use it. So I did. Another four or so hours were spent sorting the type.
I then looked at what I had achieved and decided that there was probably no way that I could really keep going with such a tricky small type anyway - and now that I had sorted it; I doubted I would have enough letters to complete the square anyway.
Such is life.
And it was back to the drawing board and looking around the studio to see which 24pt typefaces I had that might work. Barry brought me over a cup of coffee and together we talked about the kind of type I had and how it might work for the jobs I was doing. We went this way and that; and came up with these four typefaces - all upright, no italics, and one a bit difficult to read. And then Barry went back to his own work!
Despite having planned to have the etched or lino print in side the square of type, whilst sitting quietly the other day I thought oh - it would look better hanging out slightly! And so I played around with my paper templates and tested how it might look if it was hanging out by 1 cm or 2 cm.
I am pretty sure I've mentioned before just what a cut and paste kind of gal I am.
And then I sat down with some 24pt type, and the timber block Barry had cut me to represent the etched/lino print and then slowly put together a square of type, finishing with spacers to show where the etching/lino might sit.
Still nothing much to show for all that work; but it was nonetheless a real sense of achievement. I flipped the photo and printed it off the computer and have decided that I need to change a few words here and there before proofing. But we have begun.
And to what end?
I am proud to be represented by Good to Print Studio at the Paper Contemporary, part of the Sydney Contemporary Art Fair. This prestigious event has over 90 exhibitors and in 2015, 32,000 people passed through the doors over the weekend. It is a massive undertaking and I am excited, proud, scared and all the rest of it!
The Paper Contemporary showcases 16 international print studios and galleries, so I really am honoured to be part of it.
See here for days and times and other news...
Great to be a part of such a big thing! And, beginning is good. :)
ReplyDeleteThanks Valerianna - great and scary all at once! And yes beginning is so important...
DeleteWow congratulations, the Sydney Contemporary Art Fair is buzz but an almost overwhelming experience, what with the crowds & trying to focus on the diverse work shown by 90 galleries in just a few short hours... each time it's on I end up going as I get given a free pass but it's not a day for feeling fragile or faint hearted especially on the opening night! I prefer visiting art in the quiet space of a gallery, allowing intimate time for the work to unfold it's secrets.
ReplyDeleteThanks Mo - I think you just confirmed my greatest fears! I am scared I will be overwhelmed by the buzz and exhausted; but its a great opportunity. We might get to see each other if you visit! Openings can be frightful, and whilst I love the excitement about art that they generate; I prefer to look at the art in the quieter, down-times too.
DeleteI have read this a second and third time, lingering over the telling, delighting in the images. And I would beg to differ, for there is indeed much to show for your efforts.
ReplyDeleteI even took the time to decipher the powerful words in the type ... and look forward to seeing the image that will accompany them.
Paper Contemporary chose well.
Oh Liz - thank you so much. This blog post was just like talking out loud about my days; its pretty much exactly as it happened and as I am still a novice letterpress person, and pretty much self-taught at that, I struggle to know how easy it will be to do some things and how hard; but I enjoy the learning. I have changed a few words in the piece - referencing she rather than they at the end; and replacing strong with resourceful. I also turned a few Ss back up the right way! Now ell.
DeleteCongratulations, how exciting, I am very happy for you!
ReplyDeleteThanks Cat - happy and scary times all together!
DeleteBrilliant news Fiona and so well deserved. Great recognition of your skills as a printer. Way to go!!
ReplyDeleteYou are too kind Lesley - I am fortunate indeed to be part of this group and am really excited!
Delete