Tuesday, January 28, 2020

Fiddling with the letters

I was merrily working my way along with the embossed lino cut and managed to create a nice frame for the letterpress type. All good.

Then I had to work out how to get my type to fit, and so another rather long process got underway.

I knew the quote I wanted to use and the size of the frame; I just needed to work out if I had the right amount and right size of type to do it. I also wanted to fully justify it - to help retain that solid sense of the frame.

So I began with the type on the left. But it was too square and didn't quite fit. So I went and tried the bold version, which became a bit too heavy and strong (even though it took up more space). Feeling a bit like Goldilocks I was.



The other challenge was did we have enough pieces of type to do the quote? So I had to do the maths on how many of each letter I would need.


The bold type really did look too heavy and squat against the lovely long thin lines of the tree trunks.


Here are a few of the options I tried.  Also getting the attribution for Mabel Thynne in properly was proving a bit of a challenge.  Again very Goldilocks-like: too high, too low, too big...


I landed on this layout, but couldn't work out how to sort out the big gaping holes. A note to self here - maybe hand emboss after printing?


I went to proof the text on the Adana and for whatever reason, it just wasn't working. I turned the chase around and tried to proof sideways - and damaged my type.  I had forgotten to check if the paper arm holders would hit the type and I got my answer for sure. They most definitely did.

Lead type is quite soft it seems.


The top line was most affected - the s, the e and the o.
This was a bit of a worry as I only had one more s and one more e in the case!
For some unknown reason an r disappeared from 'are' as well, and that used up the last r in the case! A close call.


 I wondered where Mabel's name should sit and it clearly was a bit wobbly when I sat it up higher.


It also didn't finish the frame edge off firmly up there, so I decided to drop it down and use lead not spacers to keep it firm


I inked up a dark green and it looked pretty good,  But those gaps were still a worry.


I had originally thought I would need to print the words first, then wait for them to dry, then put the print through to emboss it and therefore lining up would be tricky and hence the thought re hand embossing afterwards.

As I proofed the type on a proof emboss I realised I could emboss first, then print the type because the type print process wouldn't flatten the emboss. Technical issue which no one else would care about but it did make me very happy.

So I cut the lino again with fingers crossed that this was where the tree trunks would run; and went ahead and embossed first. I was working towards an edition of 5.


And I got them!



It is really hard to get the deep green colour of the ink in the photos, but there's a hint of it here.


I was pretty happy in the end; after all the thinking and problem solving. The print looks like it is mine; the quiet emboss and the words are all there is.

19 comments:

  1. ooooooo this is superb Fiona ... superb!

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    1. So glad you like it G! She was a remarkable women for sure and I am pleased that patience and persistence has paid off this time. Go well.

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  2. Thanks Lynne - Fiona here. Blogger is misbehaving so I hope this publishes...I appreciate your thoughts - thanks much! Go well

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  3. not that I have much experience with printing, but it occurs to me at you trialed each font that you were pulling type ... and then having to put it all back ... again and again ...

    your persistence, so ably documented here, is a wonder ... and the tree trunks rising through the quote fit so well that it seems it couldn't have been any other way ... brava!

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    1. It's Fiona replying - don't start me on IT today! Thanks Liz; and your are right. Each time I lugged the case out sorted the type put it out, put it back, put the case back, tried again - slow but sure. I was pleased with he tree trunks through the gaps - you see them like that in forests too don't you? Go well

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    2. Ugh ... this is why I left Blogger ... couldn't comment on my own blog from my iPhone (and haven't been able to comment on your blog from an IOS platform for ages ... I have to use my Windows-based laptop) ... I don't know if you have access to a non-Apple computer, but you might try to see if that helps

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  4. Replies
    1. Fiona here! Thanks Mo; I think it worked and felt like me...go well

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  5. The concept and design are a beautiful, sad realisation of Mabel's words. It's always intriguing to read how you reach solutions. Thank you for sharing the process and the work.
    Robyn

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    1. Thanks Robyn - Google and Safari and Blogger are fighting so here I am anonymous only own blog! This was quite the problem solving process, but a nice resolution...thank you!

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  6. Fantastic print. The emboss in the spaces really unifies the whole piece

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  7. Thanks Jac - the filling-in of the spaces really does help finish it off doesn't it? I think that they were verticals really helped as well. I am pleased (and relieved!).
    Go well.

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  8. Oh Fiona, I just love this piece. The tree trunks among the lettering is a perfect resolution.

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    1. Thank you Dana - it is quiet and gentle piece in the end. Glad you like the resolve!

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  9. Breathtakingly gorgeous. Love it, love it, love it. Thanks für sharing. Eli

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    1. Thanks Eli - so glad you like it!! and love it even! Go well.

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    1. Thanks Annick - I really like the result and am so happy the tree trunks through the middle worked out. Go well.

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I appreciate your thoughts and comments; thanks for taking the time.