my first letterpress book
to see what works
a real edition
for my friends who say to me
"edition, edition, edition"
samplesto see what works
(one of the first drafts-many typos, some words got changed!)
how it unfolded:
how it unfolded:
i wanted to work with mark mcmurray
friend and magician/archivist/printer
essential to november
who once upon a time, long, long ago,
called me up after seeing my book Winter Papers
(a sample book of botanical papers)
in the collection at SLU's Owen D Young Library,
and came to visit
who once upon a time, long, long ago,
called me up after seeing my book Winter Papers
(a sample book of botanical papers)
in the collection at SLU's Owen D Young Library,
and came to visit
bringing me a gift of one of his letterpress books.
we've know each other
for years, and on occasion
i help him with a book
(like making day lily paper for his edition of The Tempest)
(like making day lily paper for his edition of The Tempest)
or he helps me with a book
and i go to the special collections where he presides
with an assistant called paul (also very cool).
they let me look at the special books.
mark used some of my earlier ecoprints in his ADIRONDACK SUTRA.
(sampling)
so i asked him if we could print a "simple" project
so i asked him if we could print a "simple" project
a one piece of paper, LARGE paper, book,
printed on two sides
a meander/map fold book
making a meandering map of autumn.
november.
i wrote that poem, actually i had written that poem,
(sometimes it seems that i only write about november)
and i ecoprinted 50 or so half sheets of arches velin (text wove)
which took some time,
in fact all winter,
in fact all winter,
and brought them to the press.
printing on a VERY old press posed some challenges,
but it was also great pleasure
here you see the large sheet folded down to half the original size
except when mistakes, a couple big ones, happened.
except when mistakes, a couple big ones, happened.
then there was that big stack,
we folded and tore down.
i sewed up map envelopes,
i sewed up map envelopes,
die cut (on the press) moons
27 holes on each side
punched with the awl i made(well over 2,500 holes in all)
green, blue, brown (and two purple) with linen thread.
27 holes on each side
punched with the awl i made(well over 2,500 holes in all)
green, blue, brown (and two purple) with linen thread.
after he cut lovely moons in them
and here they are.
what began in march
was intended to be complete for the summer solstice,
was complete on the autumnal equinox,
and edition of the odd prime number: 41.
i have 22 available,
(mark and priscilla juvelis get some)
(mark and priscilla juvelis get some)
three with some stitching on the paper
and two with stitched on titles and/or colophons.
they are $225.00.
you can purchase from me
using the SHOP button at the top of the page.
using the SHOP button at the top of the page.
the flora in these maps include:
berries from staghorn sumac, wild grapes, blueberries, black raspberries, rose hips, juneberries, leaves from maple, sumac, cherry, buckthorn, rose, aspen, ginko, black walnut, apple, flowers from black eyed susan, bergamot, dandelion, hawkweed, rose, petunia, aster, goldenrod, hibiscus, lilies, st johns wort, milkweed and many more,
a few lichens and fungi,
ferns of many kinds with their fruiting bodies.
hard well water and occasional pickle jar leavings were the brew licquor
and metals of copper, steel, iron, aluminum, brass, nickel, and many old graters and tin lids helped the pigments come home and stay put
(with a few clamps and string).
a wet sheet,
unfolding.
berries from staghorn sumac, wild grapes, blueberries, black raspberries, rose hips, juneberries, leaves from maple, sumac, cherry, buckthorn, rose, aspen, ginko, black walnut, apple, flowers from black eyed susan, bergamot, dandelion, hawkweed, rose, petunia, aster, goldenrod, hibiscus, lilies, st johns wort, milkweed and many more,
a few lichens and fungi,
ferns of many kinds with their fruiting bodies.
hard well water and occasional pickle jar leavings were the brew licquor
and metals of copper, steel, iron, aluminum, brass, nickel, and many old graters and tin lids helped the pigments come home and stay put
(with a few clamps and string).
a wet sheet,
unfolding.