tag:blogger.com,1999:blog-46939735635630078932024-03-28T20:30:03.654-07:00La ProseThe Pochoir Re-creation of La Prose du TranssibérienKitty Maryatthttp://www.blogger.com/profile/12899974572999863424noreply@blogger.comBlogger16125tag:blogger.com,1999:blog-4693973563563007893.post-30913356275990070542021-09-27T06:34:00.032-07:002021-09-28T06:39:58.465-07:00 CONTEMPORARY BINDERS of LA PROSE DU TRANSSIBÉRIEN<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhk3ZeVa5QNzx0AQI-nHljroUC61f4O8TUfMrBCZy5G_ZqMM69j7K3l83Pd9TvsCQOWdI3XNJov2gET-RNJ4Ns_9oFHrhXCcJTrY8s__raQCJuXmpx_vh13PJyQ3rY2oV7HNx1yW61VMl1R/s488/RileyPicture1.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="488" data-original-width="468" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhk3ZeVa5QNzx0AQI-nHljroUC61f4O8TUfMrBCZy5G_ZqMM69j7K3l83Pd9TvsCQOWdI3XNJov2gET-RNJ4Ns_9oFHrhXCcJTrY8s__raQCJuXmpx_vh13PJyQ3rY2oV7HNx1yW61VMl1R/w192-h200/RileyPicture1.png" width="192" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i style="font-family: "AI Prospera II", serif; text-align: left;"><span style="color: #221e1f; font-family: Cambria, serif;">Detail from Dominic Riley Binding</span></i></td></tr></tbody></table><div style="text-align: center;"> </div><div style="text-align: center;"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHdlRNbejWBKSAjtUfJWPWx-kVo0yIP2tPaHstwT7fkPDOzYxe5jjK8IbllK3h9lUGfQtQeNK55UkQ2U4s2JTf9sLMyYZD0sqU78_6nveynSfmuJbeI_yhYgHO8dW8-yHwE2a6Ic40ELRY/s468/LallierPicture2.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="452" data-original-width="468" height="193" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHdlRNbejWBKSAjtUfJWPWx-kVo0yIP2tPaHstwT7fkPDOzYxe5jjK8IbllK3h9lUGfQtQeNK55UkQ2U4s2JTf9sLMyYZD0sqU78_6nveynSfmuJbeI_yhYgHO8dW8-yHwE2a6Ic40ELRY/w200-h193/LallierPicture2.png" width="200" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i style="font-family: Calibri, sans-serif; text-align: left;"><span style="color: #221e1f; font-family: Cambria, serif;">Detail from Monique Lallier Binding</span></i></td></tr></tbody></table><div style="text-align: center;"><i style="font-family: "AI Prospera II", serif;"><span style="color: #221e1f; font-family: Cambria, serif;"> </span></i></div><div class="separator" style="clear: both; text-align: left;"><i style="font-family: "AI Prospera II", serif;"><span style="color: #221e1f; font-family: Cambria, serif;"><span> </span></span></i></div><div><div class="separator" style="clear: both; text-align: center;"><p class="Default" style="font-family: "AI Prospera II", serif; margin: 0in 0in 0.0001pt; text-align: center;"><span style="font-size: xx-small;"><i></i></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEie9hwELL5ZB_vU2udybeoyeKEWrZ7glqzjMTAD9WHh3HCCua7WYR0DOtIOAzsfoY4qlFIwO3m16FxOA_Udz0qT2j9qBGI9U_XokkVaWacH-rwxTxSid1zx-ppwkpirRQUJ4WjNSsrOJSuj/s468/KirkpatrickPicture3.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="468" data-original-width="468" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEie9hwELL5ZB_vU2udybeoyeKEWrZ7glqzjMTAD9WHh3HCCua7WYR0DOtIOAzsfoY4qlFIwO3m16FxOA_Udz0qT2j9qBGI9U_XokkVaWacH-rwxTxSid1zx-ppwkpirRQUJ4WjNSsrOJSuj/w200-h200/KirkpatrickPicture3.png" width="200" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i style="font-family: "AI Prospera II", serif; text-align: left;"><span style="color: #221e1f; font-family: Cambria, serif;"><span>Detail from George Kirkpatrick Binding</span></span></i></td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"><span style="font-size: xx-small;"><i> </i></span><i> </i></div><div class="separator" style="clear: both; text-align: center;"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieqkOEQ62UBy8Xne8g25yf1hMeIDkahQbAOgvGLxOl16sQ_6M2aWbOMMmRrjTokVy3WHhTU9Em4vNMJOI-l2qoNnKp1tlUJ4AfThckmydJrYcbD7kJa3xy-Vlm85UugVujrYVt41iNI85e/s468/NiesPicture4.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="458" data-original-width="468" height="196" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieqkOEQ62UBy8Xne8g25yf1hMeIDkahQbAOgvGLxOl16sQ_6M2aWbOMMmRrjTokVy3WHhTU9Em4vNMJOI-l2qoNnKp1tlUJ4AfThckmydJrYcbD7kJa3xy-Vlm85UugVujrYVt41iNI85e/w200-h196/NiesPicture4.png" width="200" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i style="font-family: Calibri, sans-serif; text-align: left;"><span style="color: #221e1f; font-family: Cambria, serif;"><span>Detail from Sabina Nies Bindin</span><span style="font-size: x-small;">g</span></span></i></td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"><span style="font-size: xx-small;"><i> </i></span></div><div class="separator" style="clear: both; text-align: left;"><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;"><i style="font-family: "AI Prospera II", serif;"><span style="color: #221e1f; font-family: Cambria, serif;"> <span style="font-size: x-small;"> </span></span></i></p><p class="Default" style="margin: 0in 0in 0.0001pt;"><span style="color: white; font-family: times; font-size: large;">October 2, 2021 from 11:00 AM to 1:30 PM PDT, 7:00 PM to 9:30 PM in the U.K. </span></p><p class="Default" style="margin: 0in 0in 0.0001pt;"><span style="color: white; font-family: times; font-size: medium;"> </span></p><p class="Default" style="margin: 0in 0in 0.0001pt;"><i><span style="color: white; font-family: times; font-size: medium;">Zoom Event Sponsored by the Designer Bookbinders, and open to the public.<o:p></o:p></span></i></p><p class="Default" style="margin: 0in 0in 0.0001pt;"><i><span style="color: white; font-family: times; font-size: medium;"> </span></i></p><p class="Default" style="margin: 0in 0in 0.0001pt;"><span style="color: white; font-family: times; font-size: medium;">Kitty Maryatt, Creator of the 2018 <i>La Prose du Transsibérien Re-creation</i>, will moderate this event.<o:p></o:p></span></p><p class="Default" style="margin: 0in 0in 0.0001pt;"><span style="color: white; font-family: times; font-size: medium;"> </span></p><p class="Default" style="margin: 0in 0in 0.0001pt;"><span style="color: white; font-family: times; font-size: medium;">Meet the U.S. and U.K. binders of the 2018 facsimile by Kitty Maryatt of the 1913 book, <i>La Prose du Transsibérien, </i>by Blaise Cendrars and Sonia Delaunay. The binders will discuss their process of designing and executing a binding for the new facsimile of a book that was groundbreaking for its time.<o:p></o:p></span></p><p class="Default" style="margin: 0in 0in 0.0001pt;"><span style="color: white; font-family: times; font-size: medium;"> </span></p><p class="Default" style="margin: 0in 0in 0.0001pt;"><span style="color: white; font-family: times; font-size: medium;">The binding by Paul Bonet of a copy of the original in 1963–64 was the inspiration for the idea to commission twenty-five binders to bind the 2018 facsimile, which replicated the original techniques of letterpress and pochoir. The resulting bindings were shown at the exhibit titled <i>Drop Dead Gorgeous</i>, which toured the country starting in San Francisco in 2019, and went to Los Angeles, and Boston in 2020. The exhibit closed in Minneapolis at MCBA on May 9, 2021 and shows in London from October 4 to 25, 2021. An exhibition catalog for <i>Drop Dead Gorgeous </i>is available. <o:p></o:p></span></p><p class="Default" style="margin: 0in 0in 0.0001pt; text-align: center;"><br /></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmQ1ELMiljq3nMEe3GgQtrxrpVy68w_DZJkn_OjZo2R-Ouh1aJH3b6c80aIAr6doUnWgCNvIAXnqLt2-hiRPwov020WhdbrieMyq5lcWAw1qhW3_mx8NDsZK0kO7jriV4fZmOmLM8CO2ZF/s1200/PaulBonet_LeatherCOVERand+BOOKPP.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="529" data-original-width="1200" height="176" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmQ1ELMiljq3nMEe3GgQtrxrpVy68w_DZJkn_OjZo2R-Ouh1aJH3b6c80aIAr6doUnWgCNvIAXnqLt2-hiRPwov020WhdbrieMyq5lcWAw1qhW3_mx8NDsZK0kO7jriV4fZmOmLM8CO2ZF/w400-h176/PaulBonet_LeatherCOVERand+BOOKPP.png" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="color: #221e1f; font-family: Cambria, serif; text-align: start;"><i>The Paul Bonet binding from 1963-64 was the inspiration for commissioning<br />25 fine binders to bind La Prose du Transsibérien Re-creation </i></span><span style="text-align: start;"></span></td></tr></tbody></table><p class="Default" style="margin: 0in 0in 0.0001pt; text-align: center;"><br /></p><p class="Default" style="margin: 0in 0in 0.0001pt;"><span style="color: white; font-family: times; font-size: medium;">The 1913 book was printed on four large sheets of paper, trimmed, glued into a scroll, then folded in half vertically and folded again into an accordion-fold book. The original binding was a piece of vellum, painted in oils, folded in half, which was to be glued to the top edge of the book. The Paul Bonet binding folded the pages differently from the original; he received the pages unglued, so he decided not to fold the pages in half first; then he folded them into an accordion book. The newly commissioned binders were free to glue and fold the book as they wished, though a few binders were given the book already glued and folded by the original method.<o:p></o:p></span></p><p class="Default" style="margin: 0in 0in 0.0001pt;"><span style="color: white; font-family: times; font-size: medium;"> </span></p><p class="Default" style="margin: 0in 0in 0.0001pt;"><span style="color: white; font-family: times; font-size: medium;">The eighteen participating binders will give presentations in groups of five, with breaks in between each of four sessions for brief questions and/or comments. It will be organized alphabetically, so that you can be sure to know when your favorite binders will be presenting. The slides for the missing binders will be presented by Kitty Maryatt. There will be time at the very end of all the sessions for the binders to ask each other questions, and to interact with the audience.<o:p></o:p></span></p><p class="Default" style="margin: 0in 0in 0.0001pt;"><span style="color: white; font-family: times; font-size: medium;"> </span></p><p class="Default" style="margin: 0in 0in 0.0001pt;"><span style="color: white; font-family: times; font-size: medium;"><b>Session 1</b>: Kathy Abbott, Servane Briand, Hannah Brown, Coleen Curry, Sue Doggett. <b>Session 2</b>: Samuel Feinstein, Erin Fletcher, Don Glaister, Derek Hood, Susan Hulme, Lang Ingalls, George Kirkpatrick.<o:p></o:p></span></p><p class="Default" style="margin: 0in 0in 0.0001pt;"><span style="color: white; font-family: times; font-size: medium;"><b>Session 3</b>: Midori Kunikata-Cockram, Monique Lallier, Kitty Maryatt, Sabina Nies, Patty Owen, Eleanore Ramsey.<o:p></o:p></span></p><p class="Default" style="margin: 0in 0in 0.0001pt;"><span style="color: white; font-family: times; font-size: medium;"><b>Session 4</b>: James Reid-Cunningham, Dominic Riley, Tracey Rowledge, Haein Song, Priscilla Spitler, Julian Thomas, Jonathan Tremblay.<o:p></o:p></span></p><p class="Default" style="margin: 0in 0in 0.0001pt;"><span style="color: white; font-family: times; font-size: medium;"> </span></p><p class="Default" style="margin: 0in 0in 0.0001pt;"><span style="font-family: times; font-size: medium;"><a href=" https://www.eventbrite.co.uk/e/contemporary-binders-of-la-prose-du-transsiberien-zoom-event-2nd-october-tickets-174303134367" style="color: #2b00fe;" target="_blank">Registration required</a><span style="color: white;"> f</span></span><span style="color: white; font-family: times; font-size: medium;">or this Zoom event.</span></p><p class="Default" style="font-family: "AI Prospera II", serif; margin: 0in 0in 0.0001pt;"><span style="color: white; font-family: Cambria, serif;"><br /></span></p></div><p class="Default" style="font-family: "AI Prospera II", serif; margin: 0in 0in 0.0001pt; text-align: center;"><span style="font-size: xx-small;"><i><br /><span style="color: #221e1f; font-family: Cambria, serif;"><br /></span></i></span></p><p class="Default" style="font-family: "AI Prospera II", serif; margin: 0in 0in 0.0001pt; text-align: start;"><i><span style="color: #221e1f; font-family: Cambria, serif;"><o:p></o:p></span></i></p><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><p style="text-align: justify;"><br /></p><p class="Default" style="font-family: "AI Prospera II", serif; margin: 0in 0in 0.0001pt;"><span style="color: #221e1f; font-family: Cambria, serif;"><o:p></o:p></span></p></div>Kitty Maryatthttp://www.blogger.com/profile/12899974572999863424noreply@blogger.com12tag:blogger.com,1999:blog-4693973563563007893.post-28025553294464283932021-09-22T07:10:00.025-07:002021-09-27T06:52:42.007-07:00Drop Dead Gorgeous exhibition in London<p><span style="font-family: times;"></span></p><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEig9ogr4VkQbeDcoa5w9jGgThedGwKzJPg6QnVK_UX-E9n_x4-OWZBDPZL-PexNZrmnyvrt3vRyOR7oH9aRFcfPH2Vyhyphenhyphenhzl0yyzLwZSgU_dZEwBFbbBop4oKy5MYkroDsdF8Weqk9MLm-H/s1380/ExhibitGlobalShot_SF.jpg"><img alt="Exhibit at San Francisco Center for the Book" border="0" data-original-height="1020" data-original-width="1380" height="148" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEig9ogr4VkQbeDcoa5w9jGgThedGwKzJPg6QnVK_UX-E9n_x4-OWZBDPZL-PexNZrmnyvrt3vRyOR7oH9aRFcfPH2Vyhyphenhyphenhzl0yyzLwZSgU_dZEwBFbbBop4oKy5MYkroDsdF8Weqk9MLm-H/w200-h148/ExhibitGlobalShot_SF.jpg" width="200" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times;"></span></div><span style="font-family: times;"><span><span face="Arial, sans-serif" style="background-color: white;"><div style="text-align: center;"><div style="font-family: -webkit-standard;"><span style="font-family: times;"><i>Drop Dead Gorgeous was first shown at the San Francisco Center for the Book in the Fall of 2019. </i></span></div><div style="font-family: -webkit-standard;"><span style="font-family: times;"><i>A catalog of the exhibit is available from SFCB; see details below.</i></span></div></div></span></span></span><div><span style="font-family: times;"><span><br /></span></span></div><div><span style="font-family: times;"><span><br /></span></span></div><div><span style="font-family: times;"><span style="font-size: medium;"><span><span face="-webkit-standard"></span>DROP DEAD GORGEOUS, an exhibition of twenty-five fine bindings of</span><span> </span><i>La Prose du Transsibérien Re-creation, </i><span>will finally be shown at Maggs Bros. Ltd. Rare Books and Manuscripts in London from October 4 to October 25, 2021. The exhibit, originally slated for June 2020, had been postponed due to Covid. The exhibit was curated by Kitty Maryatt; Simon Eccles and Toby Schwartzburg are the Co-Curators. Twenty-five binders from the U.S., Canada and the U.K. were commissioned to bind a copy of this facsimile of the 1913 La Prose du Transsibérien by Sonia Delaunay and Blaise Cendrars, published in 2018 by Two Hands Press. The exhibit commenced in 2019 in San Francisco, traveled to Los Angeles and Boston in 2020, and was shown virtually at the Minnesota Center for the Book in 2021. The exhibit is open from 9:30 am to 5:00 pm during the week at 48 Bedford Square, London WC1B 3DR.</span></span><br /></span><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><span style="font-family: times;"> </span></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><span style="font-family: times; font-size: medium;">You can still <a href="https://www.mnbookarts.org/drop-dead-gorgeous-fine-bindings-of-la-prose-du-transsiberien-recreation/" target="_blank">view the virtual MCBA exhibit</a> in “past events.” </span></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><span style="font-family: times; font-size: medium;"> </span></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><span style="font-family: times;"><span style="font-size: medium;">There are several </span><span><span style="font-size: medium;">events coordinating with the DROP DEAD GORGEOUS exhibit at Maggs in October 2021:</span><o:p></o:p></span></span></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><span style="font-family: times;"> </span></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><span style="font-family: times; font-size: medium;"><b>1. October 2</b>: Zoom event with the binders of <i>La Prose du Transsibérien Re-creation</i>, 7:00 pm UK time, 11:00 PDT. More details to come on the next blog entry. <a href="https://www.eventbrite.co.uk/e/contemporary-binders-of-la-prose-du-transsiberien-zoom-event-2nd-october-tickets-174303134367" target="_blank"><span style="color: #2b00fe;">Registration required</span></a>.</span></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><span style="font-family: times; font-size: medium;"> </span></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><span style="font-family: times; font-size: medium;"><span><b>2. October 9-10</b>: Traditional French Pochoir Workshop at St. Bride’s Library, London, 8:30 am to 4:30 pm. </span><span><a href="http://www.eventbrite.co.uk/e/workshop-introduction-to-traditional-french-pochoir-tickets-168089422989" target="_blank"><span style="color: #2b00fe;">Book here</span></a>.</span></span></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><span style="font-family: times; font-size: medium;"> </span></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><span style="font-family: times; font-size: medium;"><span><b>3. October 11</b>: Showing of the hour-long documentary by Rosylyn Rhee, “</span><i>The Re-creation of a Masterpiece: La Prose du Transsibérien</i><span>”, at Maggs Bros. at 6:00 pm. Interviews with scholars, booksellers, collectors, and underwriters of the project, and demonstrations of traditional French pochoir technique. Reservations required: </span><a href="mailto:ben@maggs.com"><span style="color: #2b00fe;">ben@maggs.com</span></a><span>.<o:p></o:p></span></span></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><span style="font-family: times; font-size: medium;"> </span></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><span style="font-family: times; font-size: medium;"><span><b>4. October 25</b>: Special visit to the Victoria & Albert Museum at 1:00 pm to view an original copy of the 1913 <i>La Prose du Transsibérien, </i>Blaise Cendrars’ <i>La Fin du Monde</i>, and Sonia Delaunay’s 1925 portfolio <i>Ses Peintures, Ses Objets, Ses Tissues Simultanés, Ses Modes.</i> Reservations required: </span><a href="mailto:twohandspress@gmail.com"><span style="color: #2b00fe;">twohandspress@gmail.com</span></a><span><span style="color: #2b00fe;">.</span><o:p></o:p></span></span></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><span style="font-family: times; font-size: medium;"> </span></p><p class="Default" style="margin: 0in 0in 0.0001pt;"><span style="font-family: times; font-size: medium;"><span>The 110-page catalog for <i>DROP DEAD GORGEOUS, Fine Bindings for La Prose du Transsibérien Re-creation</i> is available from the San Francisco Center for the Book for $50 plus tax and shipping, at <a href="http://www.sfcb.org"><span style="color: #2b00fe;">www.sfcb.org</span></a>. You can also purchase the catalog for £45 from Maggs Bros. at </span><a href="http://www.maggs.com/"><span style="color: #2b00fe;">www.maggs.com</span></a><span>. The catalog includes a fold-out of the facsimile and a section on traditional French pochoir. Photos from the catalog will be forthcoming in the next blog.</span></span><span style="font-family: AI Prospera II, serif;"><o:p></o:p></span></p><p class="Default" style="margin: 0in 0in 0.0001pt;"><span style="font-family: times; font-size: medium;"><span><br /></span></span></p><p class="Default" style="margin: 0in 0in 0.0001pt;"><span style="font-family: times; font-size: medium;"><span><br /></span></span></p><p class="Default" style="margin: 0in 0in 0.0001pt;"><span style="font-family: times;"></span></p><div class="separator" style="clear: both; font-size: large; text-align: center;"><span style="font-family: times;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQUhg91XGEwlEfUC9tY3MbGfECyo_8Dq9jKcutddwEEniAOd2g-0w-bO18zklAD5-T7vwaMfvT5nwq96BBQ3rnXxX-bngb4EWhhAqOh8-RkVqPx1vr57poa25zfMiEb1ysrGt1vv3iB0sH/s1273/Haein+Song+09.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1020" data-original-width="1273" height="160" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQUhg91XGEwlEfUC9tY3MbGfECyo_8Dq9jKcutddwEEniAOd2g-0w-bO18zklAD5-T7vwaMfvT5nwq96BBQ3rnXxX-bngb4EWhhAqOh8-RkVqPx1vr57poa25zfMiEb1ysrGt1vv3iB0sH/w200-h160/Haein+Song+09.jpg" width="200" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQVVX9dCbDhhjuVdbczwdWPP5V9iINsyHeu2a06dM7VsbNQ72ywK61p1Sg2miUtd5PgpLxDaky4ADDXTFMewYozTjBrx2calucnk51Jkmji61UkqBCuBq9_JeUjFLAd1KdwoTNX1N170dl/s1273/Haein+Song+15.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1020" data-original-width="1273" height="160" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQVVX9dCbDhhjuVdbczwdWPP5V9iINsyHeu2a06dM7VsbNQ72ywK61p1Sg2miUtd5PgpLxDaky4ADDXTFMewYozTjBrx2calucnk51Jkmji61UkqBCuBq9_JeUjFLAd1KdwoTNX1N170dl/w200-h160/Haein+Song+15.jpg" width="200" /></a> </span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLYjcsa6iqzVOyg5aiuFu_ocmuFCqYmh4R7ibkrZrqzXc93OdYr3es5ZvC8Z0SufXbuf_h9gjNR_PTSLEzLqnL0ZJkSeXBxC3k6s0XpZTBw-JWpRWrKcWthit_3kx5y4jSUuyZGCvFZDxn/s1273/Haein+Song+05.jpg" style="font-family: times; margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1020" data-original-width="1273" height="160" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLYjcsa6iqzVOyg5aiuFu_ocmuFCqYmh4R7ibkrZrqzXc93OdYr3es5ZvC8Z0SufXbuf_h9gjNR_PTSLEzLqnL0ZJkSeXBxC3k6s0XpZTBw-JWpRWrKcWthit_3kx5y4jSUuyZGCvFZDxn/w200-h160/Haein+Song+05.jpg" width="200" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqEiqAYCpyLVjXiwTUzCQzLakxCbzb9YAy0eWIVCs9VAT99UF7Yc3KY3eoRly9EqQptJ5524YApebLODjwGGfuKYL0KjDqXL1kRD7zY2T5-5SfrhT39KZb3AF63pdUQAWy5gXlBylzcLWg/s1273/Haein+Song+03.jpg" style="font-family: times; margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1020" data-original-width="1273" height="160" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqEiqAYCpyLVjXiwTUzCQzLakxCbzb9YAy0eWIVCs9VAT99UF7Yc3KY3eoRly9EqQptJ5524YApebLODjwGGfuKYL0KjDqXL1kRD7zY2T5-5SfrhT39KZb3AF63pdUQAWy5gXlBylzcLWg/w200-h160/Haein+Song+03.jpg" width="200" /></a></div><span><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times;"><i>Binding by Haein Song</i></span></div><p class="Default" style="font-family: times; margin: 0in 0in 0.0001pt;"><span style="font-family: times;"><br /></span></p><span style="font-family: times; font-size: large;"><br /></span></span><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOX4fz4-gR1dKBrAW73BQYMIBHbACzq5GefiT_WkFVL6yW00cb1Jc-eOKDP8-ZbObFhlaVZg28aGaYFxX_QqKtianemhipoSG2MgNZS1oIYNbwIGf08o3tlwTtkvCLPxar5-zCCNS-9kha/s1555/1+Ingalls+-+cover+and+spinePP.jpg" style="margin-left: 1em; 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margin-right: 1em;"><img border="0" data-original-height="1020" data-original-width="1253" height="163" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1_2C5hWny_57F7_r6r7oxDC9-869AAqhztvdTwqCdx00w0NjFASdn5gCxlpJRi5VsKQ_IlJTXw6mglnOQSCWTLdORE0VFjsnYmpZ19n1N-yr7AnEEAqd7_W01pmH79McYbhGARXe008yg/w200-h163/2+Ingalls+-+2+volumesPP.jpg" width="200" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times;"><i>Binding by Lang Ingalls</i></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-small;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-small;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-small;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_Fn9Nb3gNg9MnRlPluiaNfW2Blc1ZTLUdQ3kt6LIz1w6RwatqUOIe87EArW_PCBkU0a46V6gXbnl9qtLcw4mds2mhxRwuAGSbTZWO2GE0E_Y4voJe8QGS2GXYr2g3X2H3MHEUXYmejGYz/s1200/2_Curry.jpg" style="margin-left: 1em; 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margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="2048" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqnTAx6FRYoWm1AqcTDCPuvORRFNLGHHKMTOrO0sceEF2FuDY7NFXAaeeEvZxuPTzDJTVhoxGEi_ePS_r5rD-V9TRKF8aX2pA8NHR9axTFUTY7HDvgZHdC62Mjq_SyloSw74BlnoQC6-ra/w200-h200/4_Curry.JPG" width="200" /></a><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times;"><i>Binding by Coleen Curry</i></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-small;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-small;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-small;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmd1Mnkcn-Z2nymbxwiztGV8myaAqei40dYxUelZLFULe4QfnAyR1oaOOMsQkRYII6tt_2rLr6dr3tumc_rY58WSisu7Z9WdAN_tpO-m9d_Dpzyt23I3JI0TNLGLlUMl5D_gQ6JroJWfxA/s2048/9+Rowledge.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1536" data-original-width="2048" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmd1Mnkcn-Z2nymbxwiztGV8myaAqei40dYxUelZLFULe4QfnAyR1oaOOMsQkRYII6tt_2rLr6dr3tumc_rY58WSisu7Z9WdAN_tpO-m9d_Dpzyt23I3JI0TNLGLlUMl5D_gQ6JroJWfxA/w200-h150/9+Rowledge.jpg" width="200" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiafWA0YWtr-XXQBdjZJjRLULOLwQ1yARmTW8xivhzssePpmsZhIS548dPbQlxrSPfBi2b-RSP_C_7fDIoQuHKEsi56czrKHqRkjNQ9l4FsASV1YTiz2BFe5V_2tF1hOGJ_iVAsjPcViIpH/s2048/8+Rowledge.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1540" data-original-width="2048" height="151" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiafWA0YWtr-XXQBdjZJjRLULOLwQ1yARmTW8xivhzssePpmsZhIS548dPbQlxrSPfBi2b-RSP_C_7fDIoQuHKEsi56czrKHqRkjNQ9l4FsASV1YTiz2BFe5V_2tF1hOGJ_iVAsjPcViIpH/w200-h151/8+Rowledge.jpg" width="200" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuOxtIlDeWJmFlKjuSOD43SdXtxbKW7sy3dzGpJsGcG0vT_gj-WOAgO1WL7przo9OOKBKgal1y6AZuLSEnuDJnO92khWW5v2LUcSoSDf5vncDfVNAzPESSl7pXjyxKYukl0psSHER6FleA/s1961/10+Rowledge.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1471" data-original-width="1961" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuOxtIlDeWJmFlKjuSOD43SdXtxbKW7sy3dzGpJsGcG0vT_gj-WOAgO1WL7przo9OOKBKgal1y6AZuLSEnuDJnO92khWW5v2LUcSoSDf5vncDfVNAzPESSl7pXjyxKYukl0psSHER6FleA/w200-h150/10+Rowledge.jpg" width="200" /></a></div></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times;"><i>Binding by Tracy Rowledge</i></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-small;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-small;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-small;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_pJX7vVG9g3XWFus3hzDEiEqw3AR6bWi0Ity7kdQTE-TFX3KjWcIuHyTUyvpNcq7HgwArNpD38AUXFpIRc2spOYMpEJU89p5WfgIKUDMis84HNYFA9e1hreWDXhanvs2HegH9FnbO3YbF/s1322/DH+LA+PROSE+8.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1322" data-original-width="990" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_pJX7vVG9g3XWFus3hzDEiEqw3AR6bWi0Ity7kdQTE-TFX3KjWcIuHyTUyvpNcq7HgwArNpD38AUXFpIRc2spOYMpEJU89p5WfgIKUDMis84HNYFA9e1hreWDXhanvs2HegH9FnbO3YbF/w150-h200/DH+LA+PROSE+8.jpeg" width="150" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhXdgSA2Sx041jHtoJr9BgQp7YBm9a1w4r6TuDb_CTHQv3_kKva0zLnbCWoxyComcoQshlkDwHbm3ESpXmT7dcjdbXAT7ztnz4OUAHkRlXFj9vBQx-CF6yD_bxhsgxq84DIl_08a9RSC2t/s1320/DH+LA+PROSE+9.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="990" data-original-width="1320" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhXdgSA2Sx041jHtoJr9BgQp7YBm9a1w4r6TuDb_CTHQv3_kKva0zLnbCWoxyComcoQshlkDwHbm3ESpXmT7dcjdbXAT7ztnz4OUAHkRlXFj9vBQx-CF6yD_bxhsgxq84DIl_08a9RSC2t/w200-h150/DH+LA+PROSE+9.jpg" width="200" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times;"><i>Binding by Derek Hood</i></span></div><br /><span style="font-size: x-small;"><br /></span></div></div></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-small;"><br /></span></div></div><p></p></div>Kitty Maryatthttp://www.blogger.com/profile/12899974572999863424noreply@blogger.com13tag:blogger.com,1999:blog-4693973563563007893.post-28129037468443169442019-09-02T11:08:00.005-07:002021-09-27T06:51:08.746-07:00Drop Dead Gorgeous: Fine Bindings of "La Prose du Transsibérien Re-creation"<div><span><span style="font-family: times; font-size: medium;"><span style="background-color: transparent; font-style: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><br /></span></span></span></div><span><span style="font-family: times; font-size: medium;"><span style="background-color: transparent; font-style: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">We're pleased to announce the following exciting events relating to <i>La Prose</i>: <span id="docs-internal-guid-b16605d0-7fff-88e8-c2b6-782cbf8abe13" style="background-color: transparent; color: black; font-style: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;"></span></span><b><span style="background-color: transparent; font-style: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> </span></b></span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJeyzjg0mWsJTs3aQ7XyeY9pcHgR4dtUHBGomP0r0apW5DTQIfZbLlS3f7msy36nT1gez7cOa7BggCjdVvdHWMCQxA8Xd5GP4CrjqVYNARElP_AqmtV4wOcMMDIOomlpAW3GDtWRm48i4M/s1600/Screen+Shot+2019-09-02+at+2.04.12+PM.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="878" data-original-width="1246" height="140" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJeyzjg0mWsJTs3aQ7XyeY9pcHgR4dtUHBGomP0r0apW5DTQIfZbLlS3f7msy36nT1gez7cOa7BggCjdVvdHWMCQxA8Xd5GP4CrjqVYNARElP_AqmtV4wOcMMDIOomlpAW3GDtWRm48i4M/s200/Screen+Shot+2019-09-02+at+2.04.12+PM.png" width="200" /></a></div>
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<span style="font-family: times; font-size: medium;"><span><span><b><span style="background-color: transparent; font-style: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><div><span style="font-family: times; font-size: medium;"><span><span><b><span style="background-color: transparent; font-style: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><br /></span></b></span></span></span></div>1. EXHIBITION </span></b></span></span></span><br />
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<span><span style="font-family: times; font-size: medium;"><b><span style="background-color: transparent; font-style: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">"Drop Dead Gorgeous: Fine Bindings of </span><span style="background-color: transparent; font-style: italic; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">La Prose du Transsibérien Re-creation"</span></b></span></span></div>
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<span><span><span style="background-color: transparent; font-family: times; font-size: medium; font-style: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">DATES: September 6 to October 6, 2019</span></span></span></div>
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<span><span><span style="background-color: transparent; font-family: times; font-size: medium; font-style: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">OPENING RECEPTION: Friday, September 6, 2019, 6:00–8:00 pm</span></span></span></div>
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<span><span><span style="background-color: transparent; font-family: times; font-size: medium; font-style: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">LOCATION: San Francisco Center for the Book, 375 Rhode Island Street, San Francisco, California.</span></span></span></div>
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<span style="font-family: times; font-size: medium;"><br /></span></div>
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<span><span style="font-family: times; font-size: medium;"><span style="background-color: transparent; font-style: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Debuting in San Francisco, the exhibition will feature the work of twenty-two design binders, including Don Glaister, Monique Lallier, Midori Kunikata-Cockram and Julian Thomas. Tools, materials, and supplemental material used in the creation of Maryatt’s edition of </span><span style="background-color: transparent; font-style: italic; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">La Prose</span><span style="background-color: transparent; font-style: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> will also be on display. Upon closing in San Francisco in October, the exhibition travels to additional venues in the United States, Canada and England. See the blog home page for details.</span></span></span></div>
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<span><span><b><span style="background-color: transparent; font-family: times; font-size: medium; font-style: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">2. DOCUMENTARY SCREENING</span></b></span></span></div>
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<span><span style="font-family: times; font-size: medium;"><b><span style="background-color: transparent; font-style: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">The Re-creation of a Masterpiece: </span><span style="background-color: transparent; font-style: italic; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">La Prose du Transsibérien</span><span style="background-color: transparent; font-style: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">. </span></b></span></span></div>
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<span><span><span style="background-color: transparent; font-family: times; font-size: medium; font-style: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Documentary by Rosylyn Rhee. Los Angeles, 2019. </span></span></span></div>
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<span><span><span style="background-color: transparent; font-family: times; font-size: medium; font-style: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">DATE: Friday, October 4, 2019, 6:00–8:00 pm</span></span></span></div>
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<span><span><span style="background-color: transparent; font-family: times; font-size: medium; font-style: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">LOCATION: San Francisco Center for the Book, 375 Rhode Island Street, San Francisco, California</span></span></span></div>
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<span><span style="font-family: times; font-size: medium;"><span style="background-color: transparent; font-style: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">In this documentary, we follow Kitty Maryatt as she produces her re-creation of the gorgeous 1913 book by painter Sonia Delaunay and poet Blaise Cendrars, </span><span style="background-color: transparent; font-style: italic; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">La Prose du Transsibérien</span><span style="background-color: transparent; font-style: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">. Unique to its time, the book pushed boundaries of book structure, painted imagery and poetic expression. Using original techniques of letterpress printing and pochoir (stenciling) to reproduce her edition of </span><span style="background-color: transparent; font-style: italic; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">La Prose</span><span style="background-color: transparent; font-style: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">, Kitty develops insight into the creative and conceptual challenges faced by Blaise and Sonia, while attempting to discover why they did not complete their planned edition.</span></span></span></div>
<span style="font-family: times; font-size: medium;"><span><span><div><span style="font-family: times; font-size: medium;"><span><span><br /></span></span></span></div><br /></span></span></span>
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<span><span style="font-family: times; font-size: medium;"><b><span style="background-color: transparent; font-style: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">3. LEGION OF HONOR VIEWING </span><span style="background-color: transparent; font-style: italic; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">of</span><span style="background-color: transparent; font-style: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> ORIGINAL</span></b></span></span></div>
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<span><span style="font-family: times; font-size: medium;"><span style="background-color: transparent; font-style: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">TITLE: Viewing of the Logan Collection’s </span><span style="background-color: transparent; font-style: italic; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">La Prose du Transsibérien</span><span style="background-color: transparent; font-style: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">, led by Kitty Maryatt</span></span></span></div>
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<span><span><span style="background-color: transparent; font-family: times; font-size: medium; font-style: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">DATE: October 5, 2019, 3:00–5:00 pm</span></span></span></div>
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<span><span><span style="background-color: transparent; font-family: times; font-size: medium; font-style: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">LOCATION: Achenbach Foundation for Graphic Arts, Lower level, Legion of Honor, 100 34th Avenue, San Francisco CA 94121</span></span></span></div>
<span style="font-family: times; font-size: medium;"><span><span><br /></span></span></span><div dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt;"><span><span style="font-family: times; font-size: medium;"><span style="background-color: transparent; font-style: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Join Drop Dead Gorgeous curator Kitty Maryatt and Collections Specialist Steve Woodall (Achenbach Foundation for Graphic Arts) for this rare opportunity to view the Logan Collection’s original 1913 copy of </span><span style="background-color: transparent; font-style: italic; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">La Prose du Transsibérien,</span><span style="background-color: transparent; font-style: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> created by artist Sonia Delaunay and poet Blaise Cendrars. Related books from the Reva and David Logan Collection of Illustrated Books will also be on view.</span></span></span></div>
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<span><span><span style="background-color: transparent; font-family: times; font-size: medium; font-style: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Note: reservations are required for this event and seating is limited to 20 people.</span></span></span></div>
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<span><span><span style="background-color: transparent; font-family: times; font-size: medium; font-style: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Email <a href="mailto:exhibitions@sfcb.org">exhibitions@sfcb.org</a> to reserve your space.</span></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRsKHTnVOxR71My9WRuipIZ4XRw49mmLHpw3asqtRxena2ii6vcn2RpzfngSlEwuYd_DPpwmwd1kYGv8UKaw1lUcMiHNok9FP3iQyyGMXIUNfdVOyW6Pj9SCTFm_cTXkVhyBKwSxvL0qpD/s1600/Screen+Shot+2019-09-02+at+2.04.33+PM.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="847" data-original-width="984" height="171" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRsKHTnVOxR71My9WRuipIZ4XRw49mmLHpw3asqtRxena2ii6vcn2RpzfngSlEwuYd_DPpwmwd1kYGv8UKaw1lUcMiHNok9FP3iQyyGMXIUNfdVOyW6Pj9SCTFm_cTXkVhyBKwSxvL0qpD/s200/Screen+Shot+2019-09-02+at+2.04.33+PM.png" width="200" /></a></div>
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<span><span><span style="background-color: transparent; font-family: times; font-size: medium; font-style: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-variant: normal; font-weight: 700; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><br /></span></span></span></div><div dir="ltr" id="docs-internal-guid-93a692da-7fff-7d16-a62b-88448eaa2ae8" style="line-height: 1.2; margin-bottom: 14pt; margin-top: 14pt;"><span><span><span style="background-color: transparent; font-family: times; font-size: medium; font-style: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-variant: normal; font-weight: 700; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">4. POCHOIR CLASS</span></span></span></div>
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<span><span><span style="background-color: transparent; font-family: times; font-size: medium; font-style: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-variant: normal; font-weight: 700; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Introduction to Traditional French Pochoir</span></span></span></div>
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<span><span style="font-family: times; font-size: medium;"><span style="background-color: transparent; font-style: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">September 7</span><span style="background-color: transparent; font-style: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="vertical-align: super;">th</span></span><span style="background-color: transparent; font-style: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> and 8</span><span style="background-color: transparent; font-style: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="vertical-align: super;">th</span></span><span style="background-color: transparent; font-style: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">, 2019 9:30 AM – 5:30 PM</span></span></span></div>
<div dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt;"><span><span><span style="background-color: transparent; font-family: times; font-size: medium; font-style: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">San Francisco Center for the Book</span></span></span></div><div dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: times; font-size: medium; white-space: pre-wrap;">Instructor: Kitty Maryatt</span></div>
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<span><span><span style="background-color: transparent; font-family: times; font-size: medium; font-style: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">The word pochoir in French simply means stencil, which has been done by every culture since mankind blew iron oxide around their hands onto cave walls. As the French are known to do, they developed particularly sophisticated stencil techniques in the early twentieth century. This workshop will introduce the basics of printing multiples through such stencils. The steps involve the following: trace the imagery that you want to reproduce, develop a registration system, identify and separate the colors, cut aluminum plates by hand, mix gouache colors, prime the French pochoir brush and apply the liquid in a swirling fashion.</span></span></span></div>
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<span><span><span style="background-color: transparent; font-family: times; font-size: medium; font-style: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Demonstrations of tracing images and cutting the plates will be shown first. Participants will trace one color from the image and cut an aluminum plate. The instructor will bring a pre-designed image with plates already cut so that participants can immediately learn the brush techniques. The six colors will be applied as the group makes an edition of the image. Then we will look at the images brought in by participants and discover which images are appropriate to reproduce in this way, including printing a base image.</span></span></span></div>
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<span><span><span style="background-color: transparent; font-family: times; font-size: medium; font-style: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Next, participants will select or create an image to be reproduced and go through the steps to make an edition of that image. Since this is an introduction, the focus will be on problem-solving and experiencing the joy of vibrant and true color. Additional techniques used on La Prose will be highlighted and demonstrated.</span></span></span></div>
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<span><span style="font-family: times; font-size: medium;"><span style="background-color: transparent; font-style: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-variant: normal; font-weight: 700; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Materials to Bring: </span><span style="background-color: transparent; font-style: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Removable scotch tape, pochoir brush from Talas: $50 for size 44 (optional), drawing pencil (hard lead) with sharpener or technical mechanical pencil (Staedtler or Faber-Castell) with H lead if possible, eraser (Pentel Clic Eraser if possible), printmaking papers to experiment with: Arches Cover, Rives BFK, Frankfurt, etc. Images that might be appropriate for pochoir; example: Kandinsky early paintings, letterpress printed works that you want to add color to, your own imagery.</span></span></span></div>
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<span><span style="font-family: times; font-size: medium;"><span style="background-color: transparent; font-style: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Optional and available at SFCB for student use during workshop:</span><span style="background-color: transparent; font-style: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-variant: normal; font-weight: 700; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> </span><span style="background-color: transparent; font-style: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Cutting mat, utility knife with snap-off blade, ruler</span></span></span></div>
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<span><span style="font-family: times; font-size: medium;"><span style="background-color: transparent; font-style: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-variant: normal; font-weight: 700; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Workshop Fee (includes $56 materials fee): </span><span style="background-color: transparent; font-style: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">$400.00</span></span></span></div>
<div dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt;"><br /></div>Kitty Maryatthttp://www.blogger.com/profile/12899974572999863424noreply@blogger.com225tag:blogger.com,1999:blog-4693973563563007893.post-3028647694068834092018-10-28T18:25:00.001-07:002021-09-28T06:36:30.296-07:00View Originals of La Prose in the U.S.<div class="MsoNormal">
<span style="font-family: times; font-size: medium; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">I
apologize for the gap in blog entries, but I have been assiduously working on the edition of <i>La Prose</i> and am now almost done with 106
copies, 30 of which are for the underwriters and for Atelier Coloris. That
means that there are 74 more copies to make, which will take another nine
months to a year. We plan to return to a more regular schedule of blog entries
once we return from our trip to the Oak Knoll Book Fest and from our travels to
view more originals of La Prose, two in Pennsylvania and two in Boston. </span></div>
<div class="MsoNormal">
<span style="font-family: times; font-size: medium;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: times; font-size: medium; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">If
you wish to make your own tour of originals in the United States, you can
consult the list I have compiled below. There are 13 copies in public
institutions and at least two in private hands that I know of. Wouldn’t it be a
miracle if we could organize an exhibition of several of them to be hung
side-to-side for comparison? That’s what I have been doing virtually through
photographs I have taken at various institutions over the past several years,
when allowed. You can compare the intensity of the colors, the different
folding schemes, the signing of the books, and look at the most complicated
areas to determine if they are different enough to be done by different hands.</span></div>
<div class="MsoNormal">
<span style="font-family: times; font-size: medium;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: times; font-size: medium; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">This video shows my facsimile alongside the Legion of Honor copy: </span></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/lvjVg8fRR3o/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/lvjVg8fRR3o?feature=player_embedded" width="320"></iframe></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: times; font-size: medium; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"> And here, you can see my facsimile alongside the Getty Research Center copy:</span></div>
<div class="MsoNormal">
<span style="font-family: "Times","serif"; font-size: 10pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/I80Ojqs780M/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/I80Ojqs780M?feature=player_embedded" width="320"></iframe></div>
<div class="MsoNormal">
<span style="font-family: "Times","serif"; font-size: 10pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><br /></span></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 2;">
<br /><b><span style="font-family: "Times","serif"; font-size: 18pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"></span></b></div>
<div class="MsoNormal">
<span style="font-family: "Times","serif"; font-size: medium; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">List
of institutions holding an original copy of La Prose du Transsibérien in the
United States (this is an update to my census published in this blog last year;
all copies are on simili Japon except one):</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times","serif"; font-size: medium; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">1.
Getty Research Institute, Los Angeles, CA, #124, glued and folded into 21
panels, inscribed to Archipenko, vellum cover not attached</span></div>
<div class="MsoNormal">
<span style="font-family: "Times","serif"; font-size: medium; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">2.
Yale University (Beinecke Library), New Haven, CT,<span style="mso-spacerun: yes;"> </span>#131, glued and folded into 21 panels, vellum
cover attached </span></div>
<div class="MsoNormal">
<span style="font-family: "Times","serif"; font-size: medium; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">3.
Palace of the Legion of Honor (David and Reva Logan Collection), San Francisco,
CA, unnumbered, on Japon (the only one in the US on Japon in a public
collection)), glued and folded into 22 panels, vellum cover not attached</span></div>
<div class="MsoNormal">
<span style="font-family: "Times","serif"; font-size: medium; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">4.
Los Angeles County Museum of Art, Los Angeles, CA, #139 (note that #139 was
also assigned by Blaise Cendrars to the copy donated by Sonia Delaunay to the
Musée Nationale d’Art Moderne in Paris), glued and folded into 22 panels,
inscribed to Chilean painter Manuel Ortiz de Zarate: Noël 1916, vellum cover
attached</span></div>
<div class="MsoNormal">
<span style="font-family: "Times","serif"; font-size: medium; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">5.
New York Public Library (Spencer Collection), New York, NY, #47 (note that #47
ws also assigned by Blaise Cendrars to the copy in l’Hermitage in St.
Petersburg, Russia), unglued and unfolded, inscribed to M. Jean Decloux, 21
June 1938</span></div>
<div class="MsoNormal">
<span style="font-family: "Times","serif"; font-size: medium; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">6.
Rutgers University, New Brunswick, NJ, #97, glued and folded into 21 panels but
now framed under glass, vellum cover detached</span></div>
<div class="MsoNormal">
<span style="font-family: "Times","serif"; font-size: medium; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">7.
Philadelphia Museum of Art, Philadelphia, PA, #38, glued and folded into 20
panels, signed by both Blaise and Sonia, vellum cover not attached, cover has
snaps on front and back cover</span></div>
<div class="MsoNormal">
<span style="font-family: "Times","serif"; font-size: medium; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">8.
Allentown Museum of Art, Allentown, Pennsylvania, unnumbered, four pages unglued
and unfolded, vellum cover is surely a maquette with dark blue lines drawn everywhere
as the pattern for painting the oil colors, cover is non-rectangular trapezoid,
never folded</span></div>
<div class="MsoNormal">
<span style="font-family: "Times","serif"; font-size: medium; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">9.
Harvard University (Houghton Library), Cambridge, MA, unnumbered, four pages
unglued and unfolded, vellum cover not attached</span></div>
<div class="MsoNormal">
<span style="font-family: "Times","serif"; font-size: medium; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">10.
University of Texas (Harry Ransom Center), Dallas, TX, #41, folded and glued,
cover attached</span></div>
<div class="MsoNormal">
<span style="font-family: "Times","serif"; font-size: medium; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">11.
MoMA, New York, NY, #150, glued and folded into 21 panels, inscribed to Louis
Brun, cover not attached (see Inventing Abstraction exhibition catalog, exhibit
shown 2012-2013)</span></div>
<div class="MsoNormal">
<span style="font-family: "Times","serif"; font-size: medium; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">12.
Minneapolis Institute of Art, Minnesota, MN, #130, glued and folded into 21
panels but now framed under glass), cover still attached</span></div>
<div class="MsoNormal">
<span style="font-family: "Times","serif"; font-size: medium; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">13.
Wolfsonian-Florida International University, Miami Beach, FL, #147</span></div>
<div class="MsoNormal">
<span style="font-family: times; font-size: medium;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: times; font-size: medium; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">In
private hands in the U.S.:</span></div>
<div class="MsoNormal">
<span style="font-family: times; font-size: medium;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: times; font-size: medium; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">#111
in Massachussetts (note that #111 was also assigned by Blaise Cendrars to the
Victoria & Albert Museum in London)</span></div>
<div class="MsoNormal">
<span style="font-family: times; font-size: medium; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">#29
in Louisiana on Japon, folded and glued, inscribed to Mr. Kaplan, vellum cover
attached</span></div>
<div class="MsoNormal">
<span style="font-family: times; font-size: medium;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: times; font-size: medium; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">I
have assembled a list of books held outside the U.S. in institutions, which
still needs to be updated since last year: (many books on my earlier list show
evidence of existence, but I don’t yet know where they are, so they are not
listed here; all are on simili Japon unless noted))</span></div>
<div class="MsoNormal">
<span style="font-family: times; font-size: medium;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: times; font-size: medium; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">#4
Muséo Reina Sofia, Madrid, Spain, (vellum copy)</span></div>
<div class="MsoNormal">
<span style="font-family: times; font-size: medium; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Tate
Modern, London, unnumbered (vellum copy), maquette</span></div>
<div class="MsoNormal">
<span style="font-family: times; font-size: medium; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">#11
Jean Bonna Collection, Switzerland (Japon copy)</span></div>
<div class="MsoNormal">
<span style="font-family: times; font-size: medium; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">#16
Bibliothèque Nationale, Paris, France (Japon copy)</span></div>
<div class="MsoNormal">
<span style="font-family: times; font-size: medium; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">#34
Jacques Doucet Library, Paris, France (Japon copy)</span></div>
<div class="MsoNormal">
<span style="font-family: times; font-size: medium; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">#47
l’Hermitage, St. Petersburg, Russia</span></div>
<div class="MsoNormal">
<span style="font-family: times; font-size: medium; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">#51
Bibliothèque Nationale, Switzerland</span></div>
<div class="MsoNormal">
<span style="font-family: times; font-size: medium; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">#57
Foundation Martin Bodmer, Geneva, Switzerland</span></div>
<div class="MsoNormal">
<span style="font-family: times; font-size: medium; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">#71
Bibliothèque Nationale, Paris, France</span></div>
<div class="MsoNormal">
<span style="font-family: times; font-size: medium; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">#110
Zadkine Museum, Paris, France</span></div>
<div class="MsoNormal">
<span style="font-family: times; font-size: medium; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">#111
Victoria & Albert Museum</span></div>
<div class="MsoNormal">
<span style="font-family: times; font-size: medium; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">#119
Biblioteca Marío de Andrade, São Paulo, Brazil</span></div>
<div class="MsoNormal">
<span style="font-family: times; font-size: medium; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">#137
National Gallery, Canberra, Australia</span></div>
<div class="MsoNormal">
<span style="font-family: times; font-size: medium; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">#139
Musée Nationale d’Art Moderne, Paris, France</span></div>
<div class="MsoNormal">
<span style="font-family: times; font-size: medium; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Jacquet
Doucet Literary Library, unnumbered (quite faded)</span></div>
<div class="MsoNormal">
<span style="font-family: times; font-size: medium; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Musée
d’Art et Histoire, Geneva, Switzerland, unnumbered (maquette painted by Sonia
Delaunay)</span></div>
<div class="MsoNormal">
<span style="font-family: times; font-size: medium; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">British
Library, London, England, unnumbered (“epreuve d’artiste”, artist proof with
note to pocheurs)</span></div>
<div class="MsoNormal">
<span style="font-family: times; font-size: medium;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: times; font-size: medium; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Private
Collection:</span></div>
<div class="MsoNormal">
<span style="font-family: times; font-size: medium; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">#9
South Africa, four pages on Japon, unglued and unnumbered, vellum cover not
attached </span></div>
<div class="MsoNormal">
<span style="font-family: times; font-size: medium;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: times; font-size: medium; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Additions
and corrections to the list are most welcome. Note that another census was
published in the catalog for the exhibition at the Foundation Jan Michalski
last November which I still need to correlate with my census. More to come.</span></div>
<div class="MsoNormal">
<span style="font-family: times; font-size: medium;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: times; font-size: medium; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Besides
making books and trying to sell them, I have written a new long article, to be
published later this year in <i>The Codex Papers</i>, with my latest theories about
where the pochoir was done and why the edition was not completed, and more
information about the type styles used by Blaise Cendrars and about Sonia
Delanunay’s painting vocabulary. I also plan to have a table at Codex next
February and hope to see you there.</span></div>
Kitty Maryatthttp://www.blogger.com/profile/12899974572999863424noreply@blogger.com55tag:blogger.com,1999:blog-4693973563563007893.post-64204643993051421932018-06-24T08:30:00.003-07:002021-09-28T06:39:04.494-07:00Legion of Honor Symposium and an update on Ongoing Sales<br />
<h3><span style="font-family: times; font-size: medium;">
Legion of Honor Symposium</span></h3>
<span style="font-family: times; font-size: medium;">The 2018 Reva and David Logan Symposium on the Artist’s Book will be held on Saturday, July 14, 2018 from 1:00 to 4:00 at the Legion of Honor in San Francisco. It is free after museum admission and open to the public with no reservations needed. It accompanies the exhibit at the Legion of Honor in San Francisco called Paris 1913: Reinventing the Artist’s Book. <br /><br />Organizer Steve Woodall writes: By 1913, Cubism was firmly established as a dominant mode for French artists of the avant-garde. Writers and artists traveled in the same circles, especially in the bohemian communities of Montmartre and Montparnasse, and frequent artist/poet collaborations produced radical new experiments with text and image. In that year, artist Sonia Delaunay and poet Blaise Cendrars collaborated on a groundbreaking artist’s book built around the Cendrars poem “La Prose du Transsibérien et de la petite Jehanne de France.” The 2018 Reva and David Logan Symposium takes this milieu, and La Prose du Transsibérien, as the background for an afternoon of discussions that examine poet/artist collaboration and the book as an art medium.<br /><br />The keynote speaker is Marjorie Perloff, author of <i>The Futurist Moment: Avant-Garde, Avant-Guerre</i>, <i>and the Language of Rupture</i>, and many other books. Her talk is titled <i>Simultaneity and Difference in La Prose du Transsibérien</i>. <br /><br />There are four other speakers: <br />
</span><ul>
<li><span style="font-family: times; font-size: medium;">Craig Dworkin, Cubist Language: The Abstraction of the Word</span></li>
<li><span style="font-family: times; font-size: medium;">Harry Reese, Pattern Recognition</span></li>
<li><span style="font-family: times; font-size: medium;">Inge Bruggeman, Archives and Histories: Collecting and Recollecting</span></li>
<li><span style="font-family: times; font-size: medium;">Kitty Maryatt, Construction and Deconstruction of a Masterpiece</span></li>
</ul><span style="font-family: times; font-size: medium;">
For more information, please see the <a href="https://legionofhonor.famsf.org/calendar/reva-and-david-logan-symposium-artists-book-paris-1913-reinventing-artist-s-book" target="_blank">symposium website</a>.<br /></span>
<br />
<span style="font-family: times; font-size: medium;"><br />
</span><h3><span style="font-family: times; font-size: medium;">
Ongoing Sales </span></h3><span style="font-family: times; font-size: medium;">
The project to re-create the Blaise Cendrars/Sonia
Delaunay 1913 publication, La Prose du Transsibérien, was published by
Two Hands Press on January 1, 2018 and completed books are now shipping.
It will take another nine months to a year to complete the entire
edition. The title of the book is La Prose du Transsibérien Re-creation.
The edition is limited to 150 copies, with 30 hors commerce. The price
is $3500 plus shipping and may include sales tax if you live in
California. To reserve your copy, please email me at <a href="mailto:twohandspress@gmail.com">twohandspress@gmail.com</a>. I will send you more information about the book, a reservation form, and a pdf with several images.<br /><br />The
type for the book was printed last June by printer Richard Siebert in
San Francisco. Two Hands Press licensed a high-resolution scan of La
Prose from The Palace of the Legion of Honor in San Francisco. Richard
removed the surrounding pochoir colors from the Blaise Cendrars poem and
then went through the whole text for weeks, cleaning up nearly every
letter. Sixteen photo-polymer plates were needed to print the four 16 x
23 inch pages, with each one printed in four colors: orange, ruby red,
green and blue. Each of the one thousand sheets was printed four times
on his Heidelberg letterpress. The printing is very crisp and uses
exactly the format of the original.<br /><br />The gouache color for the
Sonia Delaunay imagery is being hand-applied at Two Hands Press using
thin metal stencils (pochoir = stencil in French). There are about
twenty-five aluminum stencils for each of the four sheets, or one
hundred in all. The sixty-six colors have been selected with great care
to match the originals. I worked primarily with originals at the Getty
Research Institute, Los Angeles County Museum of Art, and the Palace of
the Legion of Honor, and viewed nine other originals in the US, France
and England. The 2008 Yale University facsimile was invaluable in the
process; about one hundred tracings of the Yale facsimile were needed as
patterns for cutting the aluminum pochoir plates.<br /><br />The over
six-foot book is folded once down the center and folded again into
twenty-one panels to result in a book that is 3.625 by 7.125 inches. On
one side you see the Delaunay image and on the facing side you see the
Cendrars poem with the enhancing pochoir surrounding the type. A booklet
with a description of the processes accompanies La Prose. The book is
held unattached in its painted vellum cover. Both the book and the
booklet are contained in an acrylic slipcase. </span><br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiB7KTEPqUJnZPphYZf7UYQ2iTC4iRKUM_KjjkEnShlRz7j724YxU9g0lgJyvCC6XNZ-Q9qroVrrPB1EFFtHxGlBF6NHknYkeSNxSySxZf9Pqhp1SwqE0MrUYdVPwBSIpS1Q2yT3Egacmk/s1600/1+LaProseKittyatLegion_5277PP.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiB7KTEPqUJnZPphYZf7UYQ2iTC4iRKUM_KjjkEnShlRz7j724YxU9g0lgJyvCC6XNZ-Q9qroVrrPB1EFFtHxGlBF6NHknYkeSNxSySxZf9Pqhp1SwqE0MrUYdVPwBSIpS1Q2yT3Egacmk/s320/1+LaProseKittyatLegion_5277PP.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: times;"><i>Finished, unfolded copy of La Prose du Transsibérien Re-creation</i></span></td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSKGL2xUIrAmmFy2h3dDDirOVi5f6REU2yGqjv3bhXPEvKrfXsWnqNRcFjW_orv5emOB-nGzoTxfB38j-IndRNO7h9hnwpS3_5YwqiYQixEho9QMBecqmoXU69qPaRqRRClGmCAzG1ZsNr/s1600/2+AllPartsFINAL_6371PP.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSKGL2xUIrAmmFy2h3dDDirOVi5f6REU2yGqjv3bhXPEvKrfXsWnqNRcFjW_orv5emOB-nGzoTxfB38j-IndRNO7h9hnwpS3_5YwqiYQixEho9QMBecqmoXU69qPaRqRRClGmCAzG1ZsNr/s320/2+AllPartsFINAL_6371PP.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: times;"><i>Painted vellum cover holds folded La Prose (left), Booklet with
description of processes (right), vellum cover and booklet cover
(center); all these parts fit into the acrylic slipcase</i></span></td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_MQh6fcJtmbU4iOazV2xkgoP0-OQh32yO3iw3hnwpFOH7KbBQ9pcR-61Pqc9JN78JjNWBORxQkYbS2ti4mI-LlC7VbR8s9cSj1v9ICIJ29gFFaCvyk-ZC39DnU-R3qwUjUj4CneBkep7S/s1600/3+FrontBackFINAL_6367PP.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_MQh6fcJtmbU4iOazV2xkgoP0-OQh32yO3iw3hnwpFOH7KbBQ9pcR-61Pqc9JN78JjNWBORxQkYbS2ti4mI-LlC7VbR8s9cSj1v9ICIJ29gFFaCvyk-ZC39DnU-R3qwUjUj4CneBkep7S/s320/3+FrontBackFINAL_6367PP.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: times;"><i>Front and back of vellum covers, with acrylic slipcase</i></span></td></tr>
</tbody></table>
<br />Kitty Maryatthttp://www.blogger.com/profile/12899974572999863424noreply@blogger.com64tag:blogger.com,1999:blog-4693973563563007893.post-48445888169182193542017-12-02T15:38:00.000-08:002017-12-24T10:56:46.718-08:00It's time to reserve your copy at the pre-sale price!<div style="margin-bottom: 0; margin-top: 0;">
The project to re-create the Blaise Cendrars/Sonia Delaunay 1913
publication, <i>La Prose du Transsibérien</i>, is in its
pre-publication phase. I am planning an edition of 150 copies, with 30
hors commerce. The publication date is <span class="aBn" data-term="goog_136805063" tabindex="0"><span class="aQJ">January 1, 2018</span></span> with pre-sales starting November 1, 2017. The discounted price of $2750 will be in effect from November 1 to <span class="aBn" data-term="goog_136805064" tabindex="0"><span class="aQJ">December 30, 2017</span></span>. The price will be $3500 on <span class="aBn" data-term="goog_136805065" tabindex="0"><span class="aQJ">January 1, 2018</span></span>. </div>
<div style="margin-bottom: 0; margin-top: 0;">
<br /></div>
<div style="margin-bottom: 0; margin-top: 0;">
To reserve your copy at the prepaid prepublication price of $2750, please email me at <a href="mailto:twohandspress@gmail.com">twohandspress@gmail.com</a> or by snail mail. The check should be sent to Two Hands Press before <span class="aBn" data-term="goog_136805066" tabindex="0"><span class="aQJ">January 1, 2018</span></span>.
The delivery date will be subject to the completion of the printing of
the booklet and the binding, but is planned be close to <span class="aBn" data-term="goog_136805067" tabindex="0"><span class="aQJ">January 1, 2018</span></span>.
Delivery of the first 43 will be made in the order prepaid reservations
are received. If there is a deluge of pre-sales orders, then the next
copies will be shipped by March 2018.<br />
<br />
The type for the book was printed last June by printer Richard Siebert
in San Francisco. Two Hands Press licensed a high-resolution scan of <i>La
Prose</i> from The Palace of the Legion of Honor in San Francisco. Richard
removed the surrounding pochoir colors from the Blaise Cendrars poem and
then went through the whole text for weeks, cleaning up nearly every
letter. Sixteen photo-polymer plates were needed to print the four 16 x
23 inch pages, with each one printed in four colors: orange, ruby red,
green and blue. Each of the 1000 sheets was printed four times on his
Heidelberg letterpress. The printing is very crisp and uses exactly the
form of the original.<br />
<br />
The gouache color for the Sonia Delaunay imagery is hand-applied using
thin metal stencils (pochoir = stencil in French). There are about 25
aluminum stencils for each of the four sheets, or 100 in all. The 50 or
so colors have been selected with great care to match the originals. I
worked primarily with originals at the Getty Research Institute, Los
Angeles County Museum of Art, and the Palace of the Legion of Honor, and
viewed nine other originals in the US, France and England.<br />
<br />
The pochoir for five display copies was completed in France; the pochoir
for 43 more copies has been completed at Two Hands Press. The remaining
137 copies in the edition will take another six to nine months to
complete. About 75% of the first copies were done in France where Kitty
and her assistant Chris Yuengling-Niles spent almost two months working
daily with Christine Menguy at Atelier Coloris, who fine-tuned their
skills in the pochoir process. The next step is to paint the vellum
covers and print the booklet that accompanies La Prose.<br />
<br />
The book is folded once down the center and 21 times across to result in
a book that is 3.625 by 7.25 inches. On one side you see the Delaunay
image and on the facing side you see the Cendrars poem with the
enhancing pochoir surrounding the type. The book is held unattached in
its vellum cover. A booklet will accompany La Prose and will have a description of
the processes.</div>
<div style="margin-bottom: 0; margin-top: 0;">
<br /></div>
Kitty Maryatthttp://www.blogger.com/profile/12899974572999863424noreply@blogger.com25tag:blogger.com,1999:blog-4693973563563007893.post-90478023712593311682017-10-25T18:21:00.001-07:002017-10-25T18:21:25.913-07:00Prepublication parties in New York and Boston!We are pleased to announce TWO pre-publication events on the East Coast!<br />
<br />
<h2>
New York</h2>
Monday, November 20, 2017<br />
6:30 to 8:30 p.m.<br />
Center for Book Arts, 28 W. 27 th Street, New York, NY 10001<br />TICKETS: Admission is free! RSVP to the CBA: 212-481-0295<br />
<br />
<h2>
Boston</h2>
Tuesday, November 21, 2017<br />
6:00 to 8:00 p.m.<br />
North Bennett Street School, 150 North Street, Boston, MA 02109<br />TICKETS: Admission is free! RSVP to NBSS (617) 227-0155<br />
<br />
<br />
ABOUT the PARTY: You are invited to the pre-publication party to preview the re-<br />creation of the1913 book, <i>La Prose du Transsibérie</i>n, by poet Blaise Cendrars and<br />painter Sonia Delaunay, published in a new edition by Kitty Maryatt of Two Hands<br />Press. <i>La Prose</i> is considered to be one of the most remarkable artists’ books of the<br />twentieth century.<br />
<br />ABOUT the LECTURE and EXHIBITION: Kitty Maryatt will give a talk about her<br />extensive research on <i>La Prose</i> and will premiere a short video detailing the making<br />of this new edition. There will be a pop-up exhibition of several copies of the book in<br />both folded and scroll formats.<br />
<br />ABOUT the BOOK: The type was letterpress-printed by Richard Siebert with photo-<br />polymer plates, and the gouache imagery was hand-painted using the original 1913<br />pochoir techniques. Kitty Maryatt and her assistant Chris Yuengling-Niles have been<br />producing the pochoir under the supervision of Christine Menguy of Atelier Coloris<br />in Ploubazlanec, France and will complete the edition at Two Hands Press in Playa<br />Vista, California next year.<br />
<br />The size of the edition is 150 copies plus 30 hors commerce. The price is $2750 until<br />the publication date of January 1, 2018 after which time it will increase to $3500.<br />The book is made up of four 16 x 23 inch parent pages, which are cut to size after<br />printing and after application of the 100 pochoir stencils and extensive handwork.<br />The four pages are glued together, folded vertically and then accordion-folded into<br />sections. The finished book size when folded is 7 1/8 inches by 3 5/8 inches and is<br />housed in a painted vellum cover. When unfolded, the book is 14 1/4 inches wide x<br />6 ½ feet long. The book will be accompanied by a booklet containing a description of<br />the production processes and an English translation of the poem by Timothy Young<br />of Yale University.<br />
<br />ABOUT the LECTURER: Kitty Maryatt is Director Emerita of the Scripps College<br />Press and was also Assistant Professor of Art at Scripps College in Claremont,<br />California. She taught Typography and the Book Arts at Scripps for 30 years. She<br />recently received the Oscar Lewis Award for the Book Arts from the Book Club of<br />California.<br /><br />FOR FURTHER INFORMATION about the project: laprosepochoir.blogspot.com or<br />contact Kitty Maryatt at twohandspress@gmail.comKitty Maryatthttp://www.blogger.com/profile/12899974572999863424noreply@blogger.com39tag:blogger.com,1999:blog-4693973563563007893.post-16177066971899225702017-10-08T19:04:00.002-07:002017-10-08T19:04:27.708-07:00 You're invited to the Pre-publication Party in San Francisco!!!
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<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="mso-ascii-font-family: Cambria; mso-bidi-font-family: Helvetica; mso-hansi-font-family: Cambria;">EVENT: La Prose du Transsibérien Pre-Publication
Party</span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="mso-ascii-font-family: Cambria; mso-bidi-font-family: Helvetica; mso-hansi-font-family: Cambria;">DATE: Friday, November 3, 2017</span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="mso-ascii-font-family: Cambria; mso-bidi-font-family: Helvetica; mso-hansi-font-family: Cambria;">TIME: 6:00 to 8:00 p.m.</span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="mso-ascii-font-family: Cambria; mso-bidi-font-family: Helvetica; mso-hansi-font-family: Cambria;">LOCATION: San Francisco Center for the
Book, 375 Rhode Island Street, San Francisco, CA</span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="mso-ascii-font-family: Cambria; mso-bidi-font-family: Helvetica; mso-hansi-font-family: Cambria;">TICKETS: Admission is free! RSVP to the
SF Center for the Book<span style="mso-spacerun: yes;"> </span>(415) 565-0545</span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="mso-ascii-font-family: Cambria; mso-bidi-font-family: Helvetica; mso-hansi-font-family: Cambria;">ABOUT the PARTY: You are invited to the
pre-publication party to preview the re-creation of the1913 book, <i>La Prose du
Transsibérien</i>, by poet Blaise Cendrars and painter Sonia Delaunay, published in
a new edition by Kitty Maryatt of Two Hands Press. <i>La Prose</i> is considered to be
one of the most remarkable artists’ books of the twentieth century.</span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="mso-ascii-font-family: Cambria; mso-bidi-font-family: Helvetica; mso-hansi-font-family: Cambria;">ABOUT the LECTURE and EXHIBITION: Kitty
Maryatt will give a talk about her extensive research on <i>La Prose</i> and will
premiere a short video detailing the making of this new edition. There will be
a pop-up exhibition of several copies of the book in both folded and scroll
formats. </span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="mso-ascii-font-family: Cambria; mso-bidi-font-family: Helvetica; mso-hansi-font-family: Cambria;">ABOUT the BOOK: The type was
letterpress-printed by Richard Siebert with photo-polymer plates, and the
gouache imagery was hand-painted using the original 1913 pochoir techniques.
Kitty Maryatt and her assistant Chris Yuengling-Niles have been producing the
pochoir under the supervision of Christine Menguy of Atelier Coloris in
Ploubazlanec, France and will complete the edition at Two Hands Press in Playa
Vista, California next year. </span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="mso-ascii-font-family: Cambria; mso-bidi-font-family: Helvetica; mso-hansi-font-family: Cambria;">The size of the edition is 150 copies plus
30 hors commerce. The price is $2750 until the publication date of January 1,
2018 after which time it will increase to $3500.</span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="mso-ascii-font-family: Cambria; mso-bidi-font-family: Helvetica; mso-hansi-font-family: Cambria;">The book is made up of four 16 x 23
inch parent pages, which are cut to size after printing and after application
of the 100 pochoir stencils and extensive handwork. The four pages are glued
together, folded vertically and then accordion-folded into sections. The finished
book size when folded is 7 1/8 inches by 3 5/8 inches and is housed in a
painted vellum cover. When unfolded, the book is 14 1/4 inches wide x 6 ½ feet
long. The book will be accompanied by a booklet containing a description of the
production processes and an English translation of the poem by Timothy Young of
Yale University.</span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="mso-ascii-font-family: Cambria; mso-bidi-font-family: Helvetica; mso-hansi-font-family: Cambria;">ABOUT the LECTURER: </span><span style="mso-ascii-font-family: Cambria; mso-hansi-font-family: Cambria;">Kitty Maryatt
is Director Emerita of the Scripps College Press and was also Assistant
Professor of Art at Scripps College in Claremont, California. She taught <i style="mso-bidi-font-style: normal;">Typography and the Book Arts </i>at Scripps
for 30 years. She recently received the Oscar Lewis Award for the Book Arts
from the Book Club of California.</span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="mso-ascii-font-family: Cambria; mso-bidi-font-family: Helvetica; mso-hansi-font-family: Cambria;">FOR FURTHER INFORMATION about the
project: laprosepochoir.blogspot.com or contact Kitty Maryatt at twohandspress@gmail.com</span></div>
Kitty Maryatthttp://www.blogger.com/profile/12899974572999863424noreply@blogger.com47tag:blogger.com,1999:blog-4693973563563007893.post-73382641611924022642017-10-05T19:37:00.000-07:002017-10-05T19:37:42.424-07:00Letterpress Printing<style>
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<br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: inherit;">The type for <i>La Prose</i> was originally printed by letterpress with
metal type at Imprimerie Crété in Corbeil, France, about 115 miles from Paris. Blaise
Cendrars already had a relationship with this important printing company where
he had his second book, Séquences, printed in early 1913. Crété was an enormous
firm taking up an entire city block in Corbeil. (1)</span></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: inherit;"><br /></span></span>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDiNikNVmccOM0nIgPYvLNlUryaF6gaPzrc4xOzmeRy7mz6_GmZTbomafyrbUEe4SOBGX1YXqPachOFuPbpV1H4qhTgTNER5xTQgyfJ3GxM23Yt9CdjFEQoZefBYMkrzhf6aGs1q9-oJ9y/s1600/%25281%2529+Cre%25CC%2581te%25CC%2581Building_1354PP.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1020" data-original-width="1330" height="306" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDiNikNVmccOM0nIgPYvLNlUryaF6gaPzrc4xOzmeRy7mz6_GmZTbomafyrbUEe4SOBGX1YXqPachOFuPbpV1H4qhTgTNER5xTQgyfJ3GxM23Yt9CdjFEQoZefBYMkrzhf6aGs1q9-oJ9y/s400/%25281%2529+Cre%25CC%2581te%25CC%2581Building_1354PP.jpg" width="400" /></a></span></span></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: inherit;">Aerial
view of the entire city block inhabited by Imprimerie Crété in Corbeil, France</span></span></td></tr>
</tbody></table>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: inherit;"> Not only did they have the
latest printing equipment and hundreds of type cases, they also had a bindery
and a large room for pochoir.</span></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: inherit;"><br /></span></span>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5AtVyUeNj7WXBiSgzCbc5aPhJNw8BDwZkWjdRmdwiN21VsxI1ULlOYmg13rDAWxlRINmE2OKp53qLqLl5xd4NvfN-1dIEvvl3booa0Vi3v9IcVxGjnZZ6cnwCophwHR1e8JI9gfOZbqTJ/s1600/%25282%2529+Cre%25CC%2581te%25CC%2581PrintingEquip_1371PP.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1357" data-original-width="1020" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5AtVyUeNj7WXBiSgzCbc5aPhJNw8BDwZkWjdRmdwiN21VsxI1ULlOYmg13rDAWxlRINmE2OKp53qLqLl5xd4NvfN-1dIEvvl3booa0Vi3v9IcVxGjnZZ6cnwCophwHR1e8JI9gfOZbqTJ/s400/%25282%2529+Cre%25CC%2581te%25CC%2581PrintingEquip_1371PP.jpg" width="300" /></a></span></span></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: inherit;">Crété
had many large rooms full of printing equipment, including photogravure</span></span></td></tr>
</tbody></table>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: inherit;"><br /></span></span>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjXiP_SRNG0NyUdY0IShz6_omemP320VAu_xN43_NZbbtVeX6UQlGtdCxkwiWcFTpfk-AkdhOne9wie2KLc4JfyOKcOA3ZzYFi50VYErtqhxkGmPd_mNDth-YVM2YTGg9UYnpnMfuVgdxR/s1600/%25283%2529+Cre%25CC%2581te%25CC%2581TypeComposition_1442PP.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="796" data-original-width="1200" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjXiP_SRNG0NyUdY0IShz6_omemP320VAu_xN43_NZbbtVeX6UQlGtdCxkwiWcFTpfk-AkdhOne9wie2KLc4JfyOKcOA3ZzYFi50VYErtqhxkGmPd_mNDth-YVM2YTGg9UYnpnMfuVgdxR/s400/%25283%2529+Cre%25CC%2581te%25CC%2581TypeComposition_1442PP.jpg" width="400" /></a></span></span></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: inherit;">One
of the type composing rooms at Crété</span></span></td></tr>
</tbody></table>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: inherit;"><br /></span></span>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHdi08zRZmx8DnFbDwIN_sUfWAGR2vQSc4JCTQ_ZKwgEeJ99amlDonsieRZM1DLXSVqRxWR1-5y_puzjGGCIvGT9BahWIifEBxtKIEJvpmqQbZxA-BzDT0Wl-U0OeYfNaaGtgd9Q-JOEfi/s1600/%25284%2529+CreteColorLG_1414PP.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="796" data-original-width="1200" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHdi08zRZmx8DnFbDwIN_sUfWAGR2vQSc4JCTQ_ZKwgEeJ99amlDonsieRZM1DLXSVqRxWR1-5y_puzjGGCIvGT9BahWIifEBxtKIEJvpmqQbZxA-BzDT0Wl-U0OeYfNaaGtgd9Q-JOEfi/s400/%25284%2529+CreteColorLG_1414PP.jpg" width="400" /></a></span></span></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: inherit;">There
are at least nine pocheurs in this photo of the pochoir room at Crété; it’s
possible that La Prose was colored here</span></span></td></tr>
</tbody></table>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: inherit;"><br /></span></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: inherit;">Blaise would travel frequently from
Paris to Crété to work with the typesetters, but Créte also had an office in
Paris. As with all large printing firms, they had a catalog of all the
typefaces they had in-house. Surely Blaise chose the 38 different typefaces for
La Prose from this catalog.</span></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: inherit;"><br /></span></span>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzOTOFGzI48NrzD73-HKPuTc2aKrhgxhcTpidU9m8Rt-agtc565QC-KDqhbbHD_ZG3519_J3fu9V553Gaeo07qXrn8ZOtEH7ED8RzZ_JrP0cyx7L-LyF5yK7L5SjW_D6lZSCKS-1rz3OmC/s1600/%25285%2529+Elzevir+Vieux+Style+16+a%25CC%2580+32PP.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1589" data-original-width="1020" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzOTOFGzI48NrzD73-HKPuTc2aKrhgxhcTpidU9m8Rt-agtc565QC-KDqhbbHD_ZG3519_J3fu9V553Gaeo07qXrn8ZOtEH7ED8RzZ_JrP0cyx7L-LyF5yK7L5SjW_D6lZSCKS-1rz3OmC/s400/%25285%2529+Elzevir+Vieux+Style+16+a%25CC%2580+32PP.jpg" width="256" /></a></span></span></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: inherit;">One
of the typefaces used in La Prose identified by Michael Caine from the Crété
catalog</span></span></td></tr>
</tbody></table>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;"> He would have received galley proofs of the
newly-set type and made corrections during the entire process. Proofs of the
poem were set on long galleys; this may have given Blaise and Sonia the idea to
orient the book vertically when they received the first proofs. These later
proofs in the photo are closer to the actual printing date since they already
are in layout position.</span></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: inherit;"><br /></span></span>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuhIQLAlFnaNK17U5bwxwyOg-1QIZ6nCc-SJ-TpJWTtPh8QU3iU7mtZY2Hg7aFlgVJPXfP4AQyjnvkobzOXFs11M3jOBjxEqSzsDeGqiAE7lK_vfRpfTGC8JmY9zcGZQ1QV_wNx7uKxuJZ/s1600/%25286%2529+ProofPageA_1392PP.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1360" data-original-width="1020" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuhIQLAlFnaNK17U5bwxwyOg-1QIZ6nCc-SJ-TpJWTtPh8QU3iU7mtZY2Hg7aFlgVJPXfP4AQyjnvkobzOXFs11M3jOBjxEqSzsDeGqiAE7lK_vfRpfTGC8JmY9zcGZQ1QV_wNx7uKxuJZ/s400/%25286%2529+ProofPageA_1392PP.jpg" width="300" /></a></span></span></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: inherit;">These
proofs were reproduced by Edition Pierre Seghers in 1966 in his facsimile of
the type in La Prose</span></span></td></tr>
</tbody></table>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: inherit;"><br /></span></span>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiU20IVwMagL6eoxnegHMMLfDz12gQ1pMZy_N27b7t6uWf5N_77JiFN9fg49w-45DYLlhuU35xO0EMpflDl2jCvV1kmjAlOQf4v0NQlwU7EXb4YCbD8NivefroHr_QRo-aB2JJb0PaNymPH/s1600/%25286%2529+ProofPageB_1397PP.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1360" data-original-width="1020" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiU20IVwMagL6eoxnegHMMLfDz12gQ1pMZy_N27b7t6uWf5N_77JiFN9fg49w-45DYLlhuU35xO0EMpflDl2jCvV1kmjAlOQf4v0NQlwU7EXb4YCbD8NivefroHr_QRo-aB2JJb0PaNymPH/s400/%25286%2529+ProofPageB_1397PP.jpg" width="300" /></a></span></span></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: inherit;">These
proofs were reproduced by Edition Pierre Seghers in 1966 in his facsimile of
the type in La Prose</span></span></td></tr>
</tbody></table>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: inherit;"><br /></span></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">All of the facsimiles of La Prose published to date have
been photographic copies of an original copy in a museum or university and were
printed by the offset process. For my re-creation of La Prose, I wanted to use the
original techniques of pochoir and letterpress. My plan was to find digital
equivalents of the original typefaces in order to print the type by letterpress
with photo-polymer plates. I didn’t imagine that I could find the original typefaces
in metal. I met type expert Steven Coles at the Letterform Archive in San
Francisco on December 19, 2016, just as I started to look through French type
catalogs like Deberny et Peignot to identify the main typefaces used. He
expressed interest in helping me with the project, and so he embarked on the
quest to find digital <span style="font-size: small;">equivalents of the many typefaces.</span><span style="font-family: inherit;"> </span></span></span><br />
<br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><span style="font-family: inherit;">During the Codex book fair in early February, I met Jamie
Murphy from Ireland who told me about Michael Caine, a collector of early 20<sup>th</sup>
century metal type, who might help me with locating the original typefaces.
Michael became quite excited about the possibility of finding the fonts and
printing the book in Paris at his studio. I asked Stephen Coles to stop his
searching when Michael assured me that he could find the necessary typefaces. I
asked Michael to research the actual names of the typefaces used and to look
for the Crété catalog of their faces. Happily, he found the catalog and
eventually sent me the names of the many faces used. I will post the list when
it is in final order. Unfortunately, by the beginning of April, it was clear
that he could not find the metal type in Paris, though he did find one major
typeface in Switzerland that could be newly cast for 5000 Euros. I finally had
to acknowledge that the project could not be done in metal in my time frame at
a reasonable cost and sadly asked Michael to stop work on April 3.</span></span><span style="font-size: small;"><span style="font-family: inherit;"> </span></span></span><br />
<br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><span style="font-family: inherit;">When I visited the Legion of Honor’s copy of La Prose again
on March 28, I noticed that the printing of the type was quite beautiful and
sharp and realized suddenly that the copy was on Japon paper. Conservator
Debbie Evans double-checked this for me with a microscope. The copy is
unnumbered, so I had assumed earlier that it was on simili Japon like all the
other unnumbered copies. This is the only copy on Japon in the US in a public
institution. Steve Woodall had told me that they had made high-resolution
digital scans of La Prose, so when I was at a crossroads on April 3, I
remembered those digital scans. I sent a request to Steve to license the scans
and I had a license from the Legion of Honor in hand in two days. What a
lifesaver! In the video below, Steve talks about the relationship between their copy and the facsimile project:</span></span></span><br />
<br />
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: inherit;"><br /></span></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: inherit;"><iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/d912Km491ng" width="560"></iframe></span></span>
</div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: inherit;"><br /></span></span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><span style="font-family: inherit;">I immediately contacted Richard Siebert in Berkeley who
agreed to manage the scans and prepare the sixteen photo-polymer plates needed
and print the book by letterpress on his beautiful Heidelberg press.</span></span></span></span></span></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: inherit;"><br /></span></span>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgO66pJIk0x6S0ad47SVyIalBO-0PZcO2kVQ58qbaQPdZPmFfZH1oodY8BpALP6GofujgeHNIbM87AsIpYpAGHfGnmfZ2MthkL8ya33XBssZp73MZqFXzYFkdNm9QJDfQ4QHz6Yoa5oa4G2/s1600/%25287%2529+SiebertHeidelberg_2463PP.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1020" data-original-width="1320" height="308" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgO66pJIk0x6S0ad47SVyIalBO-0PZcO2kVQ58qbaQPdZPmFfZH1oodY8BpALP6GofujgeHNIbM87AsIpYpAGHfGnmfZ2MthkL8ya33XBssZp73MZqFXzYFkdNm9QJDfQ4QHz6Yoa5oa4G2/s400/%25287%2529+SiebertHeidelberg_2463PP.jpg" width="400" /></a></span></span></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: inherit;">Richard
Siebert with his magnificent Heidelberg press</span></span></td></tr>
</tbody></table>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><span style="font-family: inherit;">My
plan was to have the printed pages ready for my trip to France in June for Atelier
Coloris to do the pochoir over the next several months. I was hoping that I
could be their assistant and help them. Unfortunately, Nathalie Couderc had
brain surgery and was unable to work on the project. I made a decision to ask
my assistant Chris Yuengling-Niles to join me in France for seven weeks. Chris
had been working on my facsimile projects and learning pochoir at my studio
since February. Christine Menguy agreed to supervise the two of us at Atelier
Coloris. I decided to take to France only 200 of the 1000 printed sheets; that means
I took 50 printed sheets for each of the four pages. That would limit any
disaster in transporting the unfinished and then finished pages to and from
Ploubazlanec, France.</span></span></span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><span style="font-family: inherit;"><br /></span></span></span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><span style="font-family: inherit;">Over the next several months, Richard Siebert worked on the
scans. Some of the lines of type were damaged because of the folds, and most of
the type needed fine-tuning. There are 445 lines in the poem (447 on the actual
printed La Prose version). Nearly every letterform needed cleaning up. Richard
called it “turning buckshot into type.”</span></span></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: inherit;"><br /></span></span>
<br />
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<tr><td style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggBnuzJtTuqHR6suS7ATZ4qZct18X8-yZdtG6Q8CDK27lIKU8WtbMkOFP3tiUM8BEybOoT3Kua3MyOrQ_wRib_hAgiNpFxaA_cRHTgy6djihVTJHEPpLPcea-2r8Mjb0LRZtac44cHzbZN/s1600/8_blogimage.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="947" data-original-width="1600" height="236" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggBnuzJtTuqHR6suS7ATZ4qZct18X8-yZdtG6Q8CDK27lIKU8WtbMkOFP3tiUM8BEybOoT3Kua3MyOrQ_wRib_hAgiNpFxaA_cRHTgy6djihVTJHEPpLPcea-2r8Mjb0LRZtac44cHzbZN/s400/8_blogimage.jpg" width="400" /></a></span></span></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: inherit;">Partial
scan from first of four pages</span></span></td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: inherit;"><br /></span></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: inherit;"><iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/gXwY3CQkyAA" width="560"></iframe></span>
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;"> </span></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><span style="font-family: inherit;">Richard eventually separated the
scans into the four colors for each page and sent me digital proofs by email. He
was actually done with the printing only two days before I left for France on
June 25. Here's Richard with La Prose running through his press: </span></span></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: inherit;"><br /></span></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: inherit;"><iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/_Rq1yTi3XDM" width="560"></iframe></span></span>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEik97iqcFI1gJrXEXNLPPvxBlfjLbkc3DB1vpK8c5WszQEqu9fcA1Ij7aLiGhZYCETFYX0lQ2ORc1bYPVCEsOh1ofl-iTQ7F1d3ICyk7ijdUNTEZLikL9mdMQQNvFXfeMAvIfQ8QZDOt1id/s1600/%252811%2529+LuggageParisEnd_5201PP.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1020" data-original-width="1184" height="343" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEik97iqcFI1gJrXEXNLPPvxBlfjLbkc3DB1vpK8c5WszQEqu9fcA1Ij7aLiGhZYCETFYX0lQ2ORc1bYPVCEsOh1ofl-iTQ7F1d3ICyk7ijdUNTEZLikL9mdMQQNvFXfeMAvIfQ8QZDOt1id/s400/%252811%2529+LuggageParisEnd_5201PP.jpg" width="400" /></a></span></span></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: inherit;">Luggage on September 6 return, five suitcases
and four carry-ons</span></span></td></tr>
</tbody></table>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: inherit;"><br /></span></span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><span style="font-family: inherit;">I placed my left side pochoir facsimiles on two of the
completed pages and took photos of the final printing.</span></span></span></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9N1puxZhSSZecODd4Xjv45e1JKxIMwJDI_QA7r4XAV3E7NHmW-JCSY-NSXuMdCffePopJ5HAbfEJa8vqksPbJO-o86qi_NvydQHixqzAFPlp6-IVQLwJDA6JEw6sC21Lg9rCnti-2rpop/s1600/%25289%2529+Page+2_ImagewithType_2459PP.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1425" data-original-width="1020" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9N1puxZhSSZecODd4Xjv45e1JKxIMwJDI_QA7r4XAV3E7NHmW-JCSY-NSXuMdCffePopJ5HAbfEJa8vqksPbJO-o86qi_NvydQHixqzAFPlp6-IVQLwJDA6JEw6sC21Lg9rCnti-2rpop/s400/%25289%2529+Page+2_ImagewithType_2459PP.jpg" width="286" /></a></span></span></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: inherit;">Page
2 freshly printed, with just completed left side pochoir laid on top</span></span></td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEho2hXcSdRYz9KZRaJIv-Kqc4jTxGB2nkt_N_jASkJePKGc42CIl-xZ8vYsvBEhd9lwogLU-DqUcE4hdr0O7HQMJn0Inboqq2Y-O5bYQ7gfLZMfMZ_9BgSI3B9mQVkEzOw7VxT_XvoGLUqx/s1600/%252810%2529+Page+4_ImagewithType_2458PP.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1385" data-original-width="1020" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEho2hXcSdRYz9KZRaJIv-Kqc4jTxGB2nkt_N_jASkJePKGc42CIl-xZ8vYsvBEhd9lwogLU-DqUcE4hdr0O7HQMJn0Inboqq2Y-O5bYQ7gfLZMfMZ_9BgSI3B9mQVkEzOw7VxT_XvoGLUqx/s400/%252810%2529+Page+4_ImagewithType_2458PP.jpg" width="293" /></a></span></span></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: inherit;">Page 4 freshly printed, with just completed left
side pochoir laid on top </span></span></td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: inherit;"><br /></span></span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><span style="font-family: inherit;">I then drove down to Los Angeles with 1000 pages and
proceeded to pack 200 sheets, 16 by 23 inches, (40 lbs.) in a big suitcase. The
other big suitcase held the 92 pochoir metal plates and extra uncut plates (42
lbs.). Jars and tubes of gouache, tools and clothes were in another suitcase,
and Chris even packed some leftovers in her suitcase. I returned on September 6
(having taken three more weeks to travel around Europe with my husband Gary
Lindgren) with five suitcases and four carry-ons. (11) Seventy-five percent of
all the pochoir was finished on those 200 printed pages, and five books were
completed but not glued. All the paper, plates, jars and brushes returned intact
and undamaged, thank goodness. </span></span></span><br />
<br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><span style="font-family: inherit;">Keep a lookout for the announcement of our pre-publication party, coming soon! </span></span></span></div>
Kitty Maryatthttp://www.blogger.com/profile/12899974572999863424noreply@blogger.com140tag:blogger.com,1999:blog-4693973563563007893.post-7408636861815271652017-09-28T16:37:00.003-07:002017-09-28T16:37:49.397-07:00Maquettes for all four pages<div class="separator" style="clear: both; text-align: center;">
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<div class="separator" style="clear: both; text-align: center;">
</div>
An edition of sixteen copies of the pochoir on the first page was made for the eleven underwriters for this project. One copy was sent to each of them just before I left for France on June 25. This edition was a chance to finalize the colors for the entire edition and to work out some pesky issues with the half-moon shapes at the top and side of the page. I decided to cut an entire new set of stencils after I adjusted some of the shapes. These eighteen new stencils worked like a dream on the Rives heavyweight paper chosen for the project, though if you swirl your brush too much the paper will abrade, and you still have to watch for seepage under the stencil shape if your brush is too wet, or if the direction of the gesture is wrong for the shape.<br />
<br />
I went to the Legion of Honor with Richard Siebert, who would be printing the book, to check yet again the colors for the type and for the pochoir. Note that the Legion copy is on Japon, and the colors are somewhat softer than those on simili Japon. <br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcCX217TLQDyO6Ps-SaSNNkceTY9bcSBkijzAgYXpF_xr-DNh2tf3NJRvSe5ijjd7ghziO38DbrZ3i2dUyGGkbAOdBBXGm7ELEChWLC97m40L5OcGpPcozeOBP0_QkG-NLeeoMgx5aZa0t/s1600/%25281%2529+Pg1LegionKitty_2467PP.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1241" data-original-width="1020" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcCX217TLQDyO6Ps-SaSNNkceTY9bcSBkijzAgYXpF_xr-DNh2tf3NJRvSe5ijjd7ghziO38DbrZ3i2dUyGGkbAOdBBXGm7ELEChWLC97m40L5OcGpPcozeOBP0_QkG-NLeeoMgx5aZa0t/s400/%25281%2529+Pg1LegionKitty_2467PP.jpg" width="328" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Comparison of my facsimile (left) with the Legion of Honor copy (right) </td></tr>
</tbody></table>
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Just before I went to France I visited the Getty with my assistant Chris Yuengling- Niles to see their original copy again on simili Japon for another color check. Finally nearly all of the colors for the three copies I have been working with extensively (Getty, LACMA, Legion of Honor) match according to my numbering system. The newest list follows. <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsnTdFo_EcDXXW0oEEYzt2IlSZ_XCuOSVQ40agwSPPS7H8ydf1ZZJoNRAWbzaUr1Js2Amvh0AkYOf18sdDsJraoXN_f6aclOhbaj9LbqJX4Tmr6sTaAzmFVxvxg7_EuzCqLBleFGuudI_D/s1600/image2.tiff" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1230" data-original-width="952" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsnTdFo_EcDXXW0oEEYzt2IlSZ_XCuOSVQ40agwSPPS7H8ydf1ZZJoNRAWbzaUr1Js2Amvh0AkYOf18sdDsJraoXN_f6aclOhbaj9LbqJX4Tmr6sTaAzmFVxvxg7_EuzCqLBleFGuudI_D/s640/image2.tiff" width="494" /></a></div>
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The pochoir for La Prose might have been done at Imprimerie Crété, where they employed at least six pocheurs. Normally each pocheur would have one color to work on for the whole edition, possibly all in one day if the edition were small. In that way she could make all the pages in the edition the same color. Small differences in color within an edition could be due to having to mix more color if you run out, or having more color in the pochoir brush than planned, or less. If you have to stop at the end of the day and return to the editioning the next day, getting the color exactly the same intensity again takes skill. The humidity and temperature in the room can affect the application of the color as well.<br />
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The next task I had was to make an edition of five copies of all the left side pages, which meant first making a master tracing of each page.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi54SyZttuKbQ6tXjhCh35db6K2m1gqZfsolxh8Uh_vHGX78RSxE45aQbrwjilgLoQn3J2OqCJKKqnvZSI9jUIhCSkPEX0q4dkGF50XwUHl9Xv1P1Q99vQmPiQtAC1teiVzrOvvY3yJ9onT/s1600/%25283%2529+Page2Tracing_2375PP.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1360" data-original-width="1020" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi54SyZttuKbQ6tXjhCh35db6K2m1gqZfsolxh8Uh_vHGX78RSxE45aQbrwjilgLoQn3J2OqCJKKqnvZSI9jUIhCSkPEX0q4dkGF50XwUHl9Xv1P1Q99vQmPiQtAC1teiVzrOvvY3yJ9onT/s400/%25283%2529+Page2Tracing_2375PP.jpg" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Master tracing of p. 2</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrah_UOOiJwuhCHXUWIQwChGZ8CUJ9Leh9SZy_V-oK0VJ4gFIoEYlKw4ogVPhl-v5j18yEaHFpnIPJZYf3QBTmdK2qOZ5r5IbsVJGh5UBbhx_zIihyphenhyphenFa624PeROqgDxrPnTlHLL-63heLj/s1600/%25284%2529+Page3Tracing_2374PP.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1360" data-original-width="1020" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrah_UOOiJwuhCHXUWIQwChGZ8CUJ9Leh9SZy_V-oK0VJ4gFIoEYlKw4ogVPhl-v5j18yEaHFpnIPJZYf3QBTmdK2qOZ5r5IbsVJGh5UBbhx_zIihyphenhyphenFa624PeROqgDxrPnTlHLL-63heLj/s400/%25284%2529+Page3Tracing_2374PP.jpg" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Master tracing of p. 3</td></tr>
</tbody></table>
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After comparing all of the colors on pages 2, 3 and 4 to the colors on the first page, I made a master list of colors for the whole book. There are 21 base colors in total, plus 20 tints of the base colors, just for the left side.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2u8z0LZk1G6INd23aYqOZ9ySEbnP2JLf7WPAyvhD0dWyYw_dvsXXJJW7C5mswsQvcKttNewu01CsDlFh5IfVSiudqjhaJ14Hdl7eoYngTSgAuYvAUWx56TUeRqYs9GTN-sV6KP_2UUnBd/s1600/imagebrushes.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1020" data-original-width="1360" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2u8z0LZk1G6INd23aYqOZ9ySEbnP2JLf7WPAyvhD0dWyYw_dvsXXJJW7C5mswsQvcKttNewu01CsDlFh5IfVSiudqjhaJ14Hdl7eoYngTSgAuYvAUWx56TUeRqYs9GTN-sV6KP_2UUnBd/s400/imagebrushes.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Forty-one jars and brushes are needed for the left side colors</td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqJcdQ2CXbNJmJ984OJ88bSajf-LVwhmwr3qi-yhCxnV3U3z9VHMzwvvGeUYpa_yIxN8WJF7HK4qT0yBUNN8vVMVD9C4g2_hQFJLk7K3sp2W5pKug4YnJVa5n8hSsHi1PUCrxh7bOPt2cQ/s1600/greys.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1020" data-original-width="1360" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqJcdQ2CXbNJmJ984OJ88bSajf-LVwhmwr3qi-yhCxnV3U3z9VHMzwvvGeUYpa_yIxN8WJF7HK4qT0yBUNN8vVMVD9C4g2_hQFJLk7K3sp2W5pKug4YnJVa5n8hSsHi1PUCrxh7bOPt2cQ/s400/greys.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"> Mixing tints of black</td></tr>
</tbody></table>
For each page, you have make tracings for each color and cut the stencils so you can start the pochoir.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBjda49VQft00wcUp-D8dw0WtquLfE0Zuo-Ao80oncYt-JipZwXiHYSs2oFhIufwbQERjRnww14PlNd_dTNxuIeuqorAS6_Zx7PpTTifQij5D09sqisgowfmPmtliejrSNaHbHRYbj55Bj/s1600/imagetransparencies.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1020" data-original-width="1360" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBjda49VQft00wcUp-D8dw0WtquLfE0Zuo-Ao80oncYt-JipZwXiHYSs2oFhIufwbQERjRnww14PlNd_dTNxuIeuqorAS6_Zx7PpTTifQij5D09sqisgowfmPmtliejrSNaHbHRYbj55Bj/s400/imagetransparencies.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">All the tracings for the colors on page 3</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWjj-1iFgRuEQXeRtjvqmnS_Fhn6LpPBz_7eZlLEWe3H94Rhu5XBv4RMbi4oeVDZ8ryCzQd3QlIDCKMNHJDBK72yCblP8pVoGFYaWB7Cf8_uz9QX1eaJPf34ELNKBvaJuCUhUp4uQQfNIp/s1600/imagetransparencies2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="629" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWjj-1iFgRuEQXeRtjvqmnS_Fhn6LpPBz_7eZlLEWe3H94Rhu5XBv4RMbi4oeVDZ8ryCzQd3QlIDCKMNHJDBK72yCblP8pVoGFYaWB7Cf8_uz9QX1eaJPf34ELNKBvaJuCUhUp4uQQfNIp/s400/imagetransparencies2.jpg" width="156" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Tracing for color 8 (light blue) on page 3</td><td class="tr-caption" style="text-align: center;"></td></tr>
</tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSvGnz5NL_BXtpI6lisDDbozqCTOdgcVRbhWSRRab7X_rGoSnH7bQ8M9a3FIkw13EGPex4b6tT0wQvBQrvTsTFmJJhz3LNGw2WSGfWxIqXuOYrYlwidr2i42tlEY4QgBTjBJuMFogHtY9F/s1600/imagestencil.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1390" data-original-width="1020" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSvGnz5NL_BXtpI6lisDDbozqCTOdgcVRbhWSRRab7X_rGoSnH7bQ8M9a3FIkw13EGPex4b6tT0wQvBQrvTsTFmJJhz3LNGw2WSGfWxIqXuOYrYlwidr2i42tlEY4QgBTjBJuMFogHtY9F/s320/imagestencil.jpg" width="234" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Detail of stencil for color 8 on page 3</td></tr>
</tbody></table>
<br />
Instead of working on one page at a time, I decided to work on all four pages in series, so that I could mix one color, use one brush, and just change pages. <br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuZeZo5K231n4R6HSq0ymnmTuOXaauVU_U3vnNh9iidTxnd9ToAxkd0WH5MeAQeuXra9gq9a2q-nZRPXZFEQqP3aNo8H7UqjZkxDkyQtsjCVargs60S3oGYmiFhVhGcsELK3F-brnnNMI2/s1600/greensyellows.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1020" data-original-width="1345" height="242" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuZeZo5K231n4R6HSq0ymnmTuOXaauVU_U3vnNh9iidTxnd9ToAxkd0WH5MeAQeuXra9gq9a2q-nZRPXZFEQqP3aNo8H7UqjZkxDkyQtsjCVargs60S3oGYmiFhVhGcsELK3F-brnnNMI2/s320/greensyellows.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Five colors on four pages</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2QsJK3TbGqoINjeYuGC1upOaLu0-4m3eSBwYfiPpA2aVpy8maeo58vlr3C8SbXwxl47IG0_4iBrFI_dxtMQ1AySiXRlEnNhU_ntS_H8BkB-9uOBvuXs9pkEe9P4qj638z3rhuctTa5Een/s1600/redsblues.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="947" data-original-width="1233" height="245" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2QsJK3TbGqoINjeYuGC1upOaLu0-4m3eSBwYfiPpA2aVpy8maeo58vlr3C8SbXwxl47IG0_4iBrFI_dxtMQ1AySiXRlEnNhU_ntS_H8BkB-9uOBvuXs9pkEe9P4qj638z3rhuctTa5Een/s320/redsblues.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Thirteen colors on four pages</td></tr>
</tbody></table>
<br />
I hoped that the order of laying down the colors would be nearly the same for each page. Normally you work from light to dark, but I had to examine closely the Yale facsimile (and the original copies) to see which color was on top when there were several layered colors.<br />
<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhyphenhyphenJabJrhwmYNwCZB7_cCDfN7YowP_0wz7PByoyhS3n4_ctABJqdcr5NpsszXWbn-nRQfmh84qmXp_GKHiuEgGR68xeXyZgXJcP3Yh0mNHTWL3Jf9DZ9jGq73xV-ZxVX3an5wNEifKWwrV/s1600/closeupParis.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="900" data-original-width="1200" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhyphenhyphenJabJrhwmYNwCZB7_cCDfN7YowP_0wz7PByoyhS3n4_ctABJqdcr5NpsszXWbn-nRQfmh84qmXp_GKHiuEgGR68xeXyZgXJcP3Yh0mNHTWL3Jf9DZ9jGq73xV-ZxVX3an5wNEifKWwrV/s400/closeupParis.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Getty Research Institute copy, layered colors</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcYxed5l4gFV07vcR5wCSnVOOHfT1Nk6_bOafzkw4sMC0IVSTu6HK76H4M3C1TuiFybqa9-H7fsRmRW76OHhbXmPGqPNDWZewfRaaEp60ArGVluyhKqoS9Oj4S1HeaF_i75REHuxin2r2I/s1600/closeup.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="900" data-original-width="1200" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcYxed5l4gFV07vcR5wCSnVOOHfT1Nk6_bOafzkw4sMC0IVSTu6HK76H4M3C1TuiFybqa9-H7fsRmRW76OHhbXmPGqPNDWZewfRaaEp60ArGVluyhKqoS9Oj4S1HeaF_i75REHuxin2r2I/s400/closeup.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Getty Research Institute copy, note light green is under the pink andyellow-orange, the pink is on top of the green, and the bright yellow is on top<br />
of the green</td></tr>
</tbody></table>
The fourth page order was remarkably different after the third color, so it was a little crazy-making to do the edition this way. To facilitate this effort, my assistant Chris placed each stencil on its tracing master and prepared each color as I worked through the series.<br />
<br />
Once I completed all the colors and tints on all the pages (14), I was finally able to place them in vertical order and see how they looked all together. (15)<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEialfNdcLJBQS568Jy_ZTQ-bdAlJbaajISBRC3Ck6tmBKE3YXf0IDZQ84dzU75HeprM6fvuHO2AiIbs5yrJGz_tALu6Tc6xBaj3PovPy_AGVN6QHrkr_00Ay4LRjjKzcZxrYOFKa_WK6Pxe/s1600/allpanels.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1020" data-original-width="1352" height="301" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEialfNdcLJBQS568Jy_ZTQ-bdAlJbaajISBRC3Ck6tmBKE3YXf0IDZQ84dzU75HeprM6fvuHO2AiIbs5yrJGz_tALu6Tc6xBaj3PovPy_AGVN6QHrkr_00Ay4LRjjKzcZxrYOFKa_WK6Pxe/s400/allpanels.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Forty-one colors on four pages</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVMYiz9YD8W2e9oGw9b6x1ZHcfUkl2TYDAqzdCMSfgW6nM8vDemacSy_DaGfBtPTGwAcHN73DSwmcMKb2SZF_WqGOnM-YOI9QSVCKhjWCUJJ8yBcjSSjkcwOrF4A_xo7qMJXGXiFk_PJVF/s1600/allpanelsrow.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="725" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVMYiz9YD8W2e9oGw9b6x1ZHcfUkl2TYDAqzdCMSfgW6nM8vDemacSy_DaGfBtPTGwAcHN73DSwmcMKb2SZF_WqGOnM-YOI9QSVCKhjWCUJJ8yBcjSSjkcwOrF4A_xo7qMJXGXiFk_PJVF/s400/allpanelsrow.jpg" width="180" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Vertical order of the pages, uncut and unglued</td></tr>
</tbody></table>
<br />
They were completed the night before I was to drive to San Francisco to pick up the printed pages from Richard Siebert, which was two days before I left for France. I had hoped to have the printed pages in hand at least a week before I left, so that I could do the same process for all the right side pages. I wanted to cut all the stencils and make maquettes for the right side, but I couldn’t do that until the printed pages were done. So I had to do that task once I arrived at Atelier Coloris in France.Kitty Maryatthttp://www.blogger.com/profile/12899974572999863424noreply@blogger.com7tag:blogger.com,1999:blog-4693973563563007893.post-36643597810760553622017-07-30T19:15:00.000-07:002017-07-30T19:26:51.681-07:00Paper Choices<blockquote class="tr_bq">
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</style>Editor's Note: Vistors may be interested to know that we have recently uploaded Kitty's census of copies of La Prose. Check it out <a href="http://laprosepochoir.blogspot.com/p/census.html" target="_blank">here</a>.</blockquote>
<div class="MsoNormal">
<br />
In the early days of pochoir (1910s to 1930s), color was
added by stencil to an image after it was printed by the collotype process. This
process preceded offset printing; the image was either a keyline or could be a continuous
shaded image. Pochoir was the first choice for the Parisian fashion magazines
at the time because of the large numbers of colors that could be applied
efficiently. The atelier where Nathalie and Christine worked in the late 70s,
Daniel Jacomet, was established early in this period. Occasionally there was no
printed image before the pochoir was applied, as in Blaise Cendrars’ 1919 book <i style="mso-bidi-font-style: normal;">La Fin du Monde</i>. There were 1225 copies
of this book printed. A substantial number of Léger textual images were added by
pochoir, an enormous task for the pocheurs at Atelier Richard in Paris.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhM6SMLi8SUsP-7w1GFhPPIiEp_sQq0roNAdReZ8c3-4ENqTTkA46-fQppa4EtNWI2zlI0HXfpXqijX663JYjZNeokK882ElZyMqVMQnc2KucPLEZxuL03ke24CgbuEGbenZHmMe-JhCALM/s1600/1+LaFinDuMondeA_1277PP.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1360" data-original-width="1020" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhM6SMLi8SUsP-7w1GFhPPIiEp_sQq0roNAdReZ8c3-4ENqTTkA46-fQppa4EtNWI2zlI0HXfpXqijX663JYjZNeokK882ElZyMqVMQnc2KucPLEZxuL03ke24CgbuEGbenZHmMe-JhCALM/s320/1+LaFinDuMondeA_1277PP.jpg" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>La
Fin du Monde</i>, text by Blaise Cendrars, images by Fernand Léger</td></tr>
</tbody></table>
</div>
<div class="MsoNormal">
The pochoir images in <i style="mso-bidi-font-style: normal;">La
Prose du Transsibérien</i> are based on Sonia Delaunay’s oil painting and her
gouache maquette. Only the text and the Michelin map are printed by letterpress.
The paper for the majority of the planned 150 copies is called "simili Japon,"
which appears to be a commercial French laid paper. Twenty-six copies were
printed on Japon, one of many types of Japanese paper sold by the Japan Paper
Company. The simili Japon is neither cream nor white, but rather a darkish
white/cream (it may have darkened over time), whereas the Japon is somewhat
whiter.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilZ7v2E6GrtDo4FDHnHJ5EaQ5unwxW64PIoJZpxuziVcmNEBtbRxzGRVWR3L0Wx3iKHcDJFX85ZdagUb5xoIrvDpXsIoKL-Tc1In3-2duXk_VRHkpqy8ChDjwID8xEvT-_DK8Frdu_f9tr/s1600/2+TitleLegion_1785PP.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="909" data-original-width="1360" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilZ7v2E6GrtDo4FDHnHJ5EaQ5unwxW64PIoJZpxuziVcmNEBtbRxzGRVWR3L0Wx3iKHcDJFX85ZdagUb5xoIrvDpXsIoKL-Tc1In3-2duXk_VRHkpqy8ChDjwID8xEvT-_DK8Frdu_f9tr/s320/2+TitleLegion_1785PP.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Title
on Japon, Legion of Honor copy</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi47edzucMaQyvIRDZ9iNmfw2QZfeFDMCdqPVvk725ooiRDOSkOBmOoEDXJmWLnHmE_TekEUkDhAloSHuH2nYSqOcDh65MWSlmnHgjWppDWk_FvuZb3dwVl7nrI4q1SBUOK4siYJnY2a7yk/s1600/3+TitlePage1Getty_3592PP.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1038" data-original-width="1600" height="207" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi47edzucMaQyvIRDZ9iNmfw2QZfeFDMCdqPVvk725ooiRDOSkOBmOoEDXJmWLnHmE_TekEUkDhAloSHuH2nYSqOcDh65MWSlmnHgjWppDWk_FvuZb3dwVl7nrI4q1SBUOK4siYJnY2a7yk/s320/3+TitlePage1Getty_3592PP.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Title
on simili Japon, Getty Research Institute copy</td></tr>
</tbody></table>
</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The printing of the text on the Japon copies is beautiful
and sharp, whereas on the simili Japon it is somewhat grainy and overinked. This
shows how the choice of paper affects not only the end result for the printing,
but also for the pochoir.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjh7ldLAUJ8VzRZlH70S_9jo45Og7dSRonfP1LGHkU_cv5xIcP8zwx57H32DHgpmVcoKDGlSzdxq2q44KaOVc-367hC2AZRAu18LFnyn9hSoI6yOnJRQ13EH6NMk3jVsbGYa5JaavaKXg-o/s1600/4+CloseupLegion1_1812PP.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1020" data-original-width="1360" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjh7ldLAUJ8VzRZlH70S_9jo45Og7dSRonfP1LGHkU_cv5xIcP8zwx57H32DHgpmVcoKDGlSzdxq2q44KaOVc-367hC2AZRAu18LFnyn9hSoI6yOnJRQ13EH6NMk3jVsbGYa5JaavaKXg-o/s320/4+CloseupLegion1_1812PP.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Text
on Legion of Honor copy</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOF4iGBGarFMWFVR2bqqKDVx0yNf6dK4jIbA0pWgVip-zJOuO1Zu42YU4X54ozZDrqDpSU065M7VS8FzXpeoj_oFLLf-48v0cauyAa2kGYsQcwjRNm8INHo4sP3rPyA27OYXX2uigYlT-Q/s1600/5+Lines1_29GettyC_3600PP.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1020" data-original-width="1360" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOF4iGBGarFMWFVR2bqqKDVx0yNf6dK4jIbA0pWgVip-zJOuO1Zu42YU4X54ozZDrqDpSU065M7VS8FzXpeoj_oFLLf-48v0cauyAa2kGYsQcwjRNm8INHo4sP3rPyA27OYXX2uigYlT-Q/s320/5+Lines1_29GettyC_3600PP.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoListParagraphCxSpMiddle" style="mso-list: l0 level1 lfo1; text-indent: -.25in;">
Text
on Getty Research Institute copy</div>
</td></tr>
</tbody></table>
<br /></div>
<div class="MsoNormal">
Atelier Coloris is often commissioned by museums to make
reproductions of artworks to sell in museum stores, and they nearly always use
Rives BFK papers. This is too thick for my purposes because of the folding
scheme. I sent samples of letterpress-friendly papers for Atelier Coloris to
test: Bugra, Zerkall Book, Zerkall Laid, Biblio, Frankfurt Crème, Frankfurt
White, Arturo, Rives Heavyweight. Christine Menguy responded that her preferred
papers for pochoir were: Biblio, Bugra and Rives HW. The problems she
encountered were: poor color absorption with Zerkall, Frankfurt makes stripes
(shows the brush strokes) though it softens well, and Arturo makes stripes. <span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
While I was waiting for her results, I made a facsimile edition
for the Zamorano Club on Frankfurt Crème, which I talked about in the last blog
entry. The issues my assistant Chris Yuengling-Niles encountered were these:
the color slipped under the stencil more often than desired, possibly because
of the sizing, and the brush strokes showed on dark colors like blue and showed
even on the light blue. So the absorption of the gouache into the paper is a critical
factor to consider. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I chose three papers to test for my next full-page
facsimiles, four sheets for each type of paper for an edition of twelve. The
papers tested were: Zerkall Crème, Biblio, and Rives HW.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6Uh_UE5MP-oCCOHY3lG1UuR6CpO07ZI4ehKxVUYOs9f1oOwLSvyEz9uw0P4iqNbid__LzuhYn2_z_21EFD1lY9jQO7UDLT5Rs6pjMR5x_GdTpWMdb3tz5oVwAAhfeOIbRc4_dsu58QTTd/s1600/6+TestPapers_1755PP.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1020" data-original-width="1350" height="241" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6Uh_UE5MP-oCCOHY3lG1UuR6CpO07ZI4ehKxVUYOs9f1oOwLSvyEz9uw0P4iqNbid__LzuhYn2_z_21EFD1lY9jQO7UDLT5Rs6pjMR5x_GdTpWMdb3tz5oVwAAhfeOIbRc4_dsu58QTTd/s320/6+TestPapers_1755PP.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">A
new edition of 12 facsimiles on three papers: Biblio, Zerkall Crème, and Rives
Heavyweight</td><td class="tr-caption" style="text-align: center;"></td></tr>
</tbody></table>
</div>
<div class="MsoNormal">
<br />
The Zerkall paper had the same difficulties as the Frankfurt
Crème with seepage under the stencil and the brush strokes, and the Biblio
paper tended to pill up if you swirled with the brush too long. So Rives HW was
chosen, even though it is not a laid paper like the original, nor is it the
same color as the original, which proved impossible to match. But it looks more
like the Japon paper, which is a soft white color and has a smooth surface. I
had tested a number of possible Japanese papers at Hiromi’s in LA, but the
fibers pulled up rather quickly when the brush swirled, so I rejected using
Japanese paper. Those pocheurs in 1913 must have had a very light touch while
making the copies on Japon, since I only saw one or two areas on the Legion of
Honor copy on Japon which had this same problem. I did not notice this on the
Bibliothèque Nationale copy or the one at the Jacques Doucet Library in Paris, both
on Japon, but at that time I wasn’t looking for it. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I had originally chosen Rives HW in 2015 to take to France
for the first facsimiles, but Nathalie preferred a paper she had in-house. I had
made a sample binding with that paper in 2015 so I could see the issues in
gluing and folding the book. The Rives paper measures 11 mil, while the simili
Japon is 10 mil and the Japon is 7.5 mil, so it seemed like the Rives HW was an
appropriate thickness for the project. It also folded well against the grain
when making the first fold along the over six-foot length of the book.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Once the Rives HW paper was selected, I took the new sample
to LACMA to compare it with the original. A few of the areas had a slightly
different brush stroke, like the light blue at the bottom, but the basic
stencils were all the same shape.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsL7SPZ5hZthQ9Poj2qZWyY4-3SqfATe6duSANGnv1tc3TSNwJyZ3qjWVRBNj4Mssc85pviAqK_frTnodF20MH5hKPhV234VR9CSMwUkNL0GKcFyIlEb1icwZr9oXcsXirgaYUdH3ezZ2G/s1600/7+LACMACompareFacs3_2024PP.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1320" data-original-width="1173" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsL7SPZ5hZthQ9Poj2qZWyY4-3SqfATe6duSANGnv1tc3TSNwJyZ3qjWVRBNj4Mssc85pviAqK_frTnodF20MH5hKPhV234VR9CSMwUkNL0GKcFyIlEb1icwZr9oXcsXirgaYUdH3ezZ2G/s320/7+LACMACompareFacs3_2024PP.jpg" width="284" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="mso-bidi-font-family: Cambria; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Cambria; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font: 7.0pt "Times New Roman";"> </span></span></span>Comparison
of the Rives HW facsimile (left) with the LACMA copy (right)</td></tr>
</tbody></table>
</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Some of the colors were still slightly different from the
original, and so my master list of colors was adjusted again. I am depending on
a combination of Pantone colors and gouache samples to pin down the exact
colors, but it’s difficult when there’s a finite number of Pantone colors. It
would be so exciting and helpful<span style="mso-spacerun: yes;"> </span>to see
all three originals right next to each other. Here's the updated list of colors for three originals:<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcN8aDtJh7w9gsQpWKx481fb-NRUYk9Ttwr8z6bgJ5eCYt0VVLD2lFgO5voLnZhTlvsFjOKdwT5ItymnSbnJMzZXtEykWoPF2tsC0DuZvA56QA7ITu_c5boUHKSEOLDB_6dgXUFm8YEr1Q/s1600/8_image.tiff" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1038" data-original-width="868" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcN8aDtJh7w9gsQpWKx481fb-NRUYk9Ttwr8z6bgJ5eCYt0VVLD2lFgO5voLnZhTlvsFjOKdwT5ItymnSbnJMzZXtEykWoPF2tsC0DuZvA56QA7ITu_c5boUHKSEOLDB_6dgXUFm8YEr1Q/s640/8_image.tiff" width="532" /></a></div>
<br /></div>
<div class="MsoNormal">
My next task is to make a new facsimile of the first page with
adjusted colors to match the LACMA copy and take it there for a final check. When
I am in France, I will not have a copy nearby to check the colors, so this has
to be done now. I have to make new tracings of pages two, three and four and
identify the colors, trusting that many are the same as the first page. Then I
will cut as many stencils as possible, make facsimiles and check the colors
again before I go off to France. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Meanwhile, the digital scans we licensed from the Palace of
the Legion of Honor are being worked on by Richard Siebert in San Francisco.
The background has to be removed so that the type is as sharp as possible.
Sometimes the pochoir covers the type, and often the fold of the paper mars the
type, so that probably each letter of the 447 lines has to be fixed. Then the
type has to be separated into the sixteen print runs for the four colors on
each page and photopolymer plates made. Richard will print the book on his
beautiful Heidelburg press that will take sheets of 15.5 x 23 inches, exactly big
enough for my project.</div>
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<br /></div>
Kitty Maryatthttp://www.blogger.com/profile/12899974572999863424noreply@blogger.com7tag:blogger.com,1999:blog-4693973563563007893.post-38226728807117020412017-06-04T11:38:00.002-07:002017-06-04T11:38:38.807-07:00Making Zamorano Club Facsimile Keepsakes<b>First, a word from your blogger. I must apologize for the delay in posting. Kitty has been working away at her project, diligently sending me posts that have languished as I have been juggling too many things at my day job to get them up online. My apologies, as I know many of you are waiting eagerly to learn of her progress! I'll speed up the posting a bit to get us back on track. Allons-y!</b><br />
<br />
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ul
{margin-bottom:0in</style>I mentioned earlier that I spent a week at Atelier Coloris
in July of 2015, cutting and coloring about fifteen stencils for the five
facsimiles in the edition. The decisions about the more complicated areas at
the top and in the half-moon area on the first page had to be made quickly
during that week. So I decided that I would spend a couple of weeks in February
and March of 2017 looking carefully back at all those decisions. <span style="mso-spacerun: yes;"> </span>I was scheduled to give a talk at the Zamorano Club
in Los Angeles on April 5, 2017, so I made a new edition of facsimiles on 8.5 x
11 paper as keepsakes for the club members and for my underwriters. </div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnJIKcXI4c8qN9bAjj6u9LkBlIRm-78bTjV3nbD_5JBZaYbUCWUmYsURsnPEVx76V05d82U3BlwL-VAS5U2ogEXILLm3IpRbccH2Jm2_KkT_VJ-b7GKZ9e4rVkoSFnabTL_rrErG7VSfow/s1600/%25281%2529+DoublePile_1532PP.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1020" data-original-width="1360" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnJIKcXI4c8qN9bAjj6u9LkBlIRm-78bTjV3nbD_5JBZaYbUCWUmYsURsnPEVx76V05d82U3BlwL-VAS5U2ogEXILLm3IpRbccH2Jm2_KkT_VJ-b7GKZ9e4rVkoSFnabTL_rrErG7VSfow/s320/%25281%2529+DoublePile_1532PP.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The
keepsake edition for the Zamorano Club on Frankfurt Crème paper.</td></tr>
</tbody></table>
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<br /></div>
<div class="MsoNormal">
<br /></div>
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There were several items that I needed to pin down. How long
would it take on average to complete one color on 200 sheets of paper? How many
might be rejected upon completion (hoping for no more than 10% waste)? I wanted
to look at the special effects that were added once the stencil plate was
removed. I also had to decide which of the original color systems would be copied--I
chose to use the Los Angeles County Museum of Art's newly-acquired copy. Then, I had to mix all of the colors anew to match that copy, rather than the Yale facsimile I
had used in France. I was keeping track now of the Pantone colors I had
assigned to three originals: the LACMA copy, the Getty copy, and the Legion of
Honor copy. This document is being refined continually each time I see the
originals again. Gouache swatches are made for each original as well. </div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhd1nWyDcUGr1djHbfJcNXDuoptM89eh1Ssz8zFXQlLYxhWN6fpIEXrkiw8B9MzsaGj7hMAnaryfXN8xou-KMRLGs3apwYrk7X9btl0KYLzd259gQ3TqSeFaxFipejjVHTZ5phrn0sTfkMm/s1600/pantones-post+5.tiff" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1004" data-original-width="860" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhd1nWyDcUGr1djHbfJcNXDuoptM89eh1Ssz8zFXQlLYxhWN6fpIEXrkiw8B9MzsaGj7hMAnaryfXN8xou-KMRLGs3apwYrk7X9btl0KYLzd259gQ3TqSeFaxFipejjVHTZ5phrn0sTfkMm/s640/pantones-post+5.tiff" width="547" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Pantone
colors for the pochoir and the type on three originals.</td></tr>
</tbody></table>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The plates I made in France were for twenty-inch tall paper,
and I had a quantity of already-cut 8.5 x 11 Frankfurt Crème paper to use for
the keepsakes. I had to attach an extender piece of scrap paper at the top so
that I could still use the registration system for the taller paper. The normal
registration system of cutting holes to match parts of a previously stenciled
color needed to be refined. In addition to those holes, I decided to draw
perpendicular lines on a board for the paper position so it could be placed in
the same position every time and taped down with removable 3M label tape, and
to use artist tape to hold the stencil into position to align with the holes.
Then you could just flip over the stencil once the paper was in place, and then
make tiny adjustments if necessary. This is not the way that I was taught at
Atelier Coloris. There we simply placed stencil into position carefully over
the paper and did the coloring, without any tape holding down the paper. Your
left hand would hold everything in place as you swirled with your right.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The stencils were already cut (I showed that technique on
the last blog entry). I’ll show even more details about cutting stencils on the
next entry. So I just needed to mix colors, make my registration boards, put
bacon fat onto the reverse side of the holes and swirl it around with a
dedicated brush, and manage the amount of color put onto the brush each time.
(3)</div>
<div class="MsoNormal">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhba8K14kMsq86gvTTRkOqkrnQ1l0g8pbywAX0eiLIXbwXtJ1Zs6vh3_P5dq9wNjYMCsANTyQe9vfgRudnLHZqrrMI0DAXtOO3KnNoh7yNYsQyRZXFk48WdqQ80gXwYCAE9Jzt943N2NXkJ/s1600/%25283%2529+FatOnBack1_1504PP.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1360" data-original-width="1020" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhba8K14kMsq86gvTTRkOqkrnQ1l0g8pbywAX0eiLIXbwXtJ1Zs6vh3_P5dq9wNjYMCsANTyQe9vfgRudnLHZqrrMI0DAXtOO3KnNoh7yNYsQyRZXFk48WdqQ80gXwYCAE9Jzt943N2NXkJ/s320/%25283%2529+FatOnBack1_1504PP.jpg" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Bacon
fat, held in tin foil and kept in the freezer, is dabbed near the edges of the
stencil hole; a dedicated brush is used to swirl around the fat to make it even
and minimize the application.</td></tr>
</tbody></table>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The sequence of application is shown in the following five
photographs. Note that the stencil for the red color is small and has only two
registration holes. Often we would tape additional pieces of aluminum onto the
stencil to extend it, in order not to be wasteful with the expensive plates. I
enlarged this one to add more registration holes for the next set of facsimiles
that I made for testing three new papers. I will talk about this in the next post. </div>
<div class="MsoNormal">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtX7sTCTQIhKNYtDcthqyacUgYe7jGnO0n1IpoBauol5FAmz7v1bZS9lMt35ynjr_b9XZlex84abnhU33eUmWSvRninQjsms9_KXGoVwdEf1TwnL6o1vAR-4ndROW-tpcxh8oBrR15cUl3/s1600/%25284%2529+Red1_1471PP.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1360" data-original-width="1020" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtX7sTCTQIhKNYtDcthqyacUgYe7jGnO0n1IpoBauol5FAmz7v1bZS9lMt35ynjr_b9XZlex84abnhU33eUmWSvRninQjsms9_KXGoVwdEf1TwnL6o1vAR-4ndROW-tpcxh8oBrR15cUl3/s400/%25284%2529+Red1_1471PP.jpg" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="mso-bidi-font-family: Cambria; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Cambria; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font: 7.0pt "Times New Roman";"></span></span></span>Paper
taped into position onto two perpendicular lines (note waste paper added to the
top of the page, to be removed later). The dark green area was previously stenciled
over two yellow areas and the edge was softened with a brush filled with water.</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmk_Aosi8-wMCoeJhbV6jOe5f6XAlXJt0btrCXD95ih46YvXPh544wmBV78I-94MTJx0jQHxE2powiFFZB1Zg29P9sLBM4Y83hxsJPvS7bfvWdBDDMDn-3QhZxZ8NsdqP1QKhBa836p_zf/s1600/%25285%2529+Red2_1466PP.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1360" data-original-width="1020" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmk_Aosi8-wMCoeJhbV6jOe5f6XAlXJt0btrCXD95ih46YvXPh544wmBV78I-94MTJx0jQHxE2powiFFZB1Zg29P9sLBM4Y83hxsJPvS7bfvWdBDDMDn-3QhZxZ8NsdqP1QKhBa836p_zf/s400/%25285%2529+Red2_1466PP.jpg" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="mso-bidi-font-family: Cambria; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Cambria; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font: 7.0pt "Times New Roman";"> </span></span></span>The
stencil for red is placed into position matching the registration holes and is
taped onto the board with artist tape at left; the tape on the right edge is
used for lifting the stencil repeatedly. Note that several colors are under the
stencil already.</td></tr>
</tbody></table>
<div class="MsoNormal">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhm3qEHkvqOAZiPp9C4EZ-PqfUSzENuCVXK9vN4jx3Oxo_iONZuHWPuL1QfWuKb262nz5Lfd9YLTzxjLcY1JLh6vaZQPl5CRjitHKMp26BZ-WAr00gm4MoB4FaTdly0cdjSpqillVEYkD2z/s1600/%25286%2529+Red3_1467PP.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1360" data-original-width="1020" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhm3qEHkvqOAZiPp9C4EZ-PqfUSzENuCVXK9vN4jx3Oxo_iONZuHWPuL1QfWuKb262nz5Lfd9YLTzxjLcY1JLh6vaZQPl5CRjitHKMp26BZ-WAr00gm4MoB4FaTdly0cdjSpqillVEYkD2z/s400/%25286%2529+Red3_1467PP.jpg" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The
red color is swirled on, watching out for the unwanted mixing of the green
underneath into the red. The last strokes of the brush are not swirled but are
vertical toward the top edge to pull any mixing of colors to the edge.</td></tr>
</tbody></table>
<div class="MsoNormal">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgc9M_5LFk07BVjaRvjVwc64VTtrzlf8AzzPcxgUmm9kN4klMcE__sjrulCqUC72hO9QXEdkzz18PYyVn98hZ-ps7X8Pih-DY1J9qNo8V8jSIrTlc5r6v61ZWsxMk6rGgS10EAyPkViF9Ta/s1600/%25287%2529+Red4_1468PP.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1360" data-original-width="1020" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgc9M_5LFk07BVjaRvjVwc64VTtrzlf8AzzPcxgUmm9kN4klMcE__sjrulCqUC72hO9QXEdkzz18PYyVn98hZ-ps7X8Pih-DY1J9qNo8V8jSIrTlc5r6v61ZWsxMk6rGgS10EAyPkViF9Ta/s400/%25287%2529+Red4_1468PP.jpg" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The
stencil is now flipped over to the left and the red edge is ready to be
softened with a brush.</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiU6XsiWx8mOF0lfIs4JL8x8iu2h3NVAdeGW_5ziaTgmJi0hJ1IR1FzEXrQJ0IukWDqNyXR8UIYy-5R4hyphenhyphenJxdlCrI2fSfMqAxhHjSg0Ro1PEPdcRcEJB9-r_OWYCoZFbL4051x28M99auiU/s1600/%25288%2529+Red5_1469PP.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1360" data-original-width="1020" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiU6XsiWx8mOF0lfIs4JL8x8iu2h3NVAdeGW_5ziaTgmJi0hJ1IR1FzEXrQJ0IukWDqNyXR8UIYy-5R4hyphenhyphenJxdlCrI2fSfMqAxhHjSg0Ro1PEPdcRcEJB9-r_OWYCoZFbL4051x28M99auiU/s400/%25288%2529+Red5_1469PP.jpg" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The
small brush is dipped in water and smoothed over the red edge with an up and
down motion.</td></tr>
</tbody></table>
<div class="MsoNormal">
The insights that I gained by making these keepsakes over a
period of over two weeks, with the help of my assistant Chris Yuengling-Niles,
are many. First, the very simplest stencil color took at least five hours to
complete two hundred and nine sheets, not including the mixing of the color or
preparation of the boards and stencils. We found that we needed to clean the
plate and add bacon fat more frequently on some colors. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Starting with two hundred and nine sheets, there were
seventeen that were rejected at the end, with less than 10% wasted, which was
excellent. We also made a set of seventeen progressive prints. The final count
was an edition of one hundred and seventy-five copies. We gave the Zamorano
Club one hundred and thirty sheets and sent a sheet to each of the highly
appreciated underwriters for the project and to several other supporters. The
others will be used for publicity. (9) </div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNmZzwTzuYceHav7RunCVtrXHhxlRGp_ZNbxD7PYtMt5a7PdISU7F1vEMS-j1NQLsTdZBHqAkd1sKzlb7YqqajFYyd0tsFcQTaE_ChezHQQ7bjBxeDeOHtuzpKgzC_MNnaFtY2xDYIL8ZB/s1600/%25289%2529+ZamClubEdition1_7363PP.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1360" data-original-width="1020" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNmZzwTzuYceHav7RunCVtrXHhxlRGp_ZNbxD7PYtMt5a7PdISU7F1vEMS-j1NQLsTdZBHqAkd1sKzlb7YqqajFYyd0tsFcQTaE_ChezHQQ7bjBxeDeOHtuzpKgzC_MNnaFtY2xDYIL8ZB/s400/%25289%2529+ZamClubEdition1_7363PP.jpg" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The
final edition with all the colors on 8.5 x 11 paper.
<div class="MsoListParagraphCxSpMiddle">
<br /></div>
</td></tr>
</tbody></table>
<div class="MsoNormal">
There are several videos following that show the action of
applying the color. The yellow color was a dream to apply; it slid easily over
the stencil holes and rarely seeped under the edges. But the green color at the
right edge posed problems. The solution to minimize mixing of colors was to
make only one long pass directly over the green towards the top, lightly. I had
even put six to eight drops of gum Arabic into the bottle of gouache, but that
did not help significantly.</div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<iframe width="320" height="266" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/gcaav0-bIfg/0.jpg" src="https://www.youtube.com/embed/gcaav0-bIfg?feature=player_embedded" frameborder="0" allowfullscreen></iframe></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The dark green was applied over the yellow. Note that the
color separated quickly in the bowl and had to be mixed again every time it was
used. The stencil is removed in order to soften the lower edge of the green
area with a brush filled with water. Note that this video was made before I
decided to tape down the stencils: </div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<iframe width="320" height="266" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/XAWf8UL5FMY/0.jpg" src="https://www.youtube.com/embed/XAWf8UL5FMY?feature=player_embedded" frameborder="0" allowfullscreen></iframe></div>
<div class="MsoNormal">
<br /></div>
<br /><div class="MsoNormal">
The orange color was applied and the stencil was removed, in
order to put on the little brushy areas at the edge of the orange. We found
that it was best to pinch the big pochoir brush somewhat so that the marks
stayed in the desired area. You also had to start this action near the center
of the area and not try this just at the edge. In the video, watch as the stencil is removed so that the
brushy marks can be applied with the same pochoir brush:</div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<iframe width="320" height="266" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/HgagweDcA_c/0.jpg" src="https://www.youtube.com/embed/HgagweDcA_c?feature=player_embedded" frameborder="0" allowfullscreen></iframe></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The darker colors were in general harder to apply. On this
Frankfurt Crème paper, they would show streaks easily. So we dipped the brush
into the color only after using the brush on the stencil, in order to give it a
little time to sink into the bristles. We also put more pigment into the small
bottle. The sky blue is more pigmented than
many of the other colors and required a light touch to avoid streaks:</div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<iframe width="320" height="266" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/9ssW22IJk1A/0.jpg" src="https://www.youtube.com/embed/9ssW22IJk1A?feature=player_embedded" frameborder="0" allowfullscreen></iframe></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
We found that we didn’t need to fill the bottle to the top for
almost all of the colors. Only a few times did we need to mix more color, and
that’s where you have to have your gouache samples in front of you to match the
new color to the old. This might explain the slight difference between some of
the colors on the different original copies. We mostly used a pipette to
extract the color from the bottle, squirt it into the cup, and then lightly dip
into that shallow puddle and swirl around the brush in the second cup to even
out the color. At Atelier Coloris, we used a brush dipped into the bottle,
placed a bit onto a flat plate, and then swirled around the brush on the plate.
Saudé said in his 1925 book that you could actually do four or five stencils
without charging your brush again, but we were cautious in trying to get a
system going. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In the next entry, I will talk about paper choices. The paper you use for pochoir is quite particular: streaks
can be avoided and color seeping under the stencil can be minimized with the
right paper. Note that the longer you swirl over the stencil hole, the darker
the effect is, but then there is danger in abrading the paper. Keep an eye out for the next post to learn more.</div>
<br />Kitty Maryatthttp://www.blogger.com/profile/12899974572999863424noreply@blogger.com18tag:blogger.com,1999:blog-4693973563563007893.post-73913502400913768042017-04-09T18:57:00.002-07:002017-05-19T07:25:07.278-07:00Metal Stencils<style>
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<div class="MsoNormal">
Jean Saudé was the first to write instructions on how to do
pochoir. In his 1925 book, <i style="mso-bidi-font-style: normal;">Traité d’enluminaire
d’art au pochoir</i>, he gave a brief overview of the history of pochoir,
explained the techniques which were accompanied by drawings, and showed
examples, including several progressives. They used metal stencils, copper,
tin, pewter, aluminum or zinc, in varying thickness. The knife could be
straight or slightly curved, and they used linoleum as the cutting mat under
the plate. You will find a link to Saudé’s magnificent, intricate copper
stencil in my March color blog.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I had been taught to use acetate stencils with a dry brush
in 1988. <span style="mso-spacerun: yes;"> </span>I just learned that the
Letterform Archive is publishing a new book on William Addison Dwiggins, which
explains how he used that technique in 1928 for his variable design elements. I
took the time to translate the Saudé book into English so that I might
understand the cutting of the metal stencils, a few months before Havilah Press
came out with an English edition. But it still wasn’t entirely clear how to cut
the metal stencils.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I received a faculty research grant from Scripps College in
2015 to travel to Paris for a month to research why <i style="mso-bidi-font-style: normal;">La Prose</i> had not been completed. I did research at the Bibliothèque
Nationale, Bibliothèque Fornay, and the Jacques Doucet Library, and I took the
train over to the Tate Modern in London to see the blockbuster Sonia Delaunay
retrospective. I had found Atelier Coloris online through an article by Zwartkruis
online and now wrote to them, asking if I could visit them in Ploubazlanec,
France. I spent a glorious week learning how to cut the metal stencils and use
the brush in the traditional way.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Nathalie Couderc and Christine Menguy work together on pochoir
projects at Atelier Coloris, and Christine also runs a framing atelier in the
same building. They had worked together at the famous pochoir atelier, Daniel
Jacomet, for five years. Nathalie agreed to work with me for a daily fee. It was thrilling to be there, amongst the stencils and brushes that she used
every day.</div>
<div class="MsoNormal">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIwsJgn4oAy1B5qcMMjuUm900tmv3kqcs6k72sJBlJFU1yFHd4kUbOqPgFn0asuWAt_v4TPNKzc8WsZb4eAU6bMIughk-7qEaLsNK_I_Hk4rcihsp5FLpdMq93NXaFFTYpqC3wNJSqW1sL/s1600/1+NathalieKitty_2011PP.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIwsJgn4oAy1B5qcMMjuUm900tmv3kqcs6k72sJBlJFU1yFHd4kUbOqPgFn0asuWAt_v4TPNKzc8WsZb4eAU6bMIughk-7qEaLsNK_I_Hk4rcihsp5FLpdMq93NXaFFTYpqC3wNJSqW1sL/s320/1+NathalieKitty_2011PP.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Nathalie
Couderc with Kitty at Atelier Coloris</td></tr>
</tbody></table>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The very first task is to study carefully the image that you
are reproducing by pochoir. You will need to separate the colors and decide
which colors to use first, usually light to dark. Our model was the Yale
facsimile, but we also had my photos from the Getty copy and the online version
from the British Library. I had already studied the colors and made tracings
earlier, but now we decided on which color to start with, the light green. We
set up the first registration system by marking the corners of the page on the
tracing paper. Then I traced the light green areas. </div>
<div class="MsoNormal">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgV5wBHBSdeXTYnPsM4Z813pYhTOIWvHaoNUp35ExZwiytgdGm0HSOhgFK_xY4Jv8EnNf38PsaSWbFFcBN0vwzBVssJqUJ-K1o1WJOCBNPWx1qVh0j3YKYniscZdkTXcS9Cxiy5Pc7UDeM/s1600/2+KittyatAtelierColorisTracing_1919PP.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgV5wBHBSdeXTYnPsM4Z813pYhTOIWvHaoNUp35ExZwiytgdGm0HSOhgFK_xY4Jv8EnNf38PsaSWbFFcBN0vwzBVssJqUJ-K1o1WJOCBNPWx1qVh0j3YKYniscZdkTXcS9Cxiy5Pc7UDeM/s320/2+KittyatAtelierColorisTracing_1919PP.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Tracing
the light green areas on the glued but unfolded Yale facsimile given to Kitty
by Timothy Young at Yale</td></tr>
</tbody></table>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Next you tape the tracing onto the plate, which was .0055”
aluminum, an offset printing plate by AGFA. The knife that Nathalie used was
given to her by her pochoir master, so I felt I couldn’t use that. Her knife
was slightly curved and was held in a round metal ferrule so that you can
rotate while cutting. Naturally it needed sharpening as you went along. </div>
<div class="MsoNormal">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1AoJpbM2pcbC-2rvdFviycWWAb-ePD3mSNXG2yZFDmZX2nOvK8hHtLe4pgAIKjHrXdJjbSERDGfoZGeh-57fVCxDW48u63-XGxr-gZimUFtjsrA_d2JUQqEP36KCdHLWdYJjvPwnmj8hm/s1600/3+KnifeNathalie_1938PP.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1AoJpbM2pcbC-2rvdFviycWWAb-ePD3mSNXG2yZFDmZX2nOvK8hHtLe4pgAIKjHrXdJjbSERDGfoZGeh-57fVCxDW48u63-XGxr-gZimUFtjsrA_d2JUQqEP36KCdHLWdYJjvPwnmj8hm/s320/3+KnifeNathalie_1938PP.jpg" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Nathalie
showing how to cut the aluminum plate</td></tr>
</tbody></table>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I
had brought an Olfa knife with changeable blades, and that worked well enough. It
has a very sturdy blade that doesn’t bend much while cutting. </div>
<div class="MsoNormal">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjivpyqhLHXbBaWb1HFBkF_xq4alxcO7QSr1uHEef9AQzwZ81rB6jyNa3IgWzc523fzg9BMQtrRf2eMdGsuNx90PRradD7hyphenhyphencoa1AHFZZeUddOjmqxYfTsNaAJCP0Sk8pSn0vQRCuI_oH3e/s1600/4+KnifeComparison_2078PP.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="244" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjivpyqhLHXbBaWb1HFBkF_xq4alxcO7QSr1uHEef9AQzwZ81rB6jyNa3IgWzc523fzg9BMQtrRf2eMdGsuNx90PRradD7hyphenhyphencoa1AHFZZeUddOjmqxYfTsNaAJCP0Sk8pSn0vQRCuI_oH3e/s320/4+KnifeComparison_2078PP.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="mso-bidi-font-family: Cambria; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Cambria; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font: 7.0pt "Times New Roman";"> </span></span></span>Olfa
knife with changeable blades compared to Nathalie’s knife</td></tr>
</tbody></table>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Under the
aluminum was a rubber mat. Nathalie gave me a piece to take home, and I just
found out what it is: 65 durometer solid neoprene rubber. The normal cutting
mats we use are too hard, as the knife has to plunge into the rubber just so. </div>
<div class="MsoNormal">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJ6PAx5V5fPnaBEenkGethswhRzafJ9rXOHZhMB33fuofiNjsppSd19-AO9BX3S-_7a10919QQLwuOKbKl6o00g_OnLllzrve9n3L6373ttr71AeJE7WRtz3zNnOKMv28Dap78FQtONG7Z/s1600/5+RubberMat_2047PP.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="237" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJ6PAx5V5fPnaBEenkGethswhRzafJ9rXOHZhMB33fuofiNjsppSd19-AO9BX3S-_7a10919QQLwuOKbKl6o00g_OnLllzrve9n3L6373ttr71AeJE7WRtz3zNnOKMv28Dap78FQtONG7Z/s320/5+RubberMat_2047PP.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Rubber
mat, 65 durometer, solid neoprene rubber, one-half inch thick</td></tr>
</tbody></table>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
You hold the knife normally, but you place your index finger (or sometimes
middle finger) of the left hand onto the ferrule to help push the blade along.
So the action is: plunge through the tracing and plate, push with the left hand
and drag with the right all at once, and plunge again. Slowly you work along
the pencil line you drew. It works more easily if you push the tip into some
pig fat (I use bacon fat at home now, kept in the freezer).
</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The result is a series of short cuts that need to be
flattened. The following short video demonstrates the cutting technique:</div>
<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/0wKVMgQH55M" width="560"></iframe>
<br />
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJ9bxeFwPhFVCmwL-GwTihoZxw8jzWboZo2RkmHTUYmKUSVhB6stN2Ps8jKuoT8aHtYeHpn4l5Lq3R6DJiwAOC32-T4z9Gq2QK_FeM4rJRDb4WklCRkueF0qbJUuDtGNAjdhFz69VbVlim/s1600/6+CutAluminum_1945PP.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJ9bxeFwPhFVCmwL-GwTihoZxw8jzWboZo2RkmHTUYmKUSVhB6stN2Ps8jKuoT8aHtYeHpn4l5Lq3R6DJiwAOC32-T4z9Gq2QK_FeM4rJRDb4WklCRkueF0qbJUuDtGNAjdhFz69VbVlim/s320/6+CutAluminum_1945PP.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Cuts
into the aluminum plate</td></tr>
</tbody></table>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
We used a wine bottle filled with lead shot and rolled it over the
cut areas on both sides. This is done on a marble base, using full body weight. </div>
<div class="MsoNormal">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVhzKQUHYySEBffd1YZqzFBJjQpoO_tK71faT6i4OvQMsaiP1WIha5J4md2VgzxbaTehIMjy7gWw0a1bGfOH5V0zzF_NBtHGgeqTtse32U7tlr89RfUeQVdjXyJ6zA5-JERDf4MrAVa9RH/s1600/7+WineRoller_1953PP.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVhzKQUHYySEBffd1YZqzFBJjQpoO_tK71faT6i4OvQMsaiP1WIha5J4md2VgzxbaTehIMjy7gWw0a1bGfOH5V0zzF_NBtHGgeqTtse32U7tlr89RfUeQVdjXyJ6zA5-JERDf4MrAVa9RH/s320/7+WineRoller_1953PP.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Flattening the cuts on a stencil using a wine
bottle filled with lead shot</td></tr>
</tbody></table>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Now you are ready to pochoir. You want to be in natural light coming from
the north, since you want to make sure your colors are matching your original.
The gouache colors are mixed in a bottle to the consistency of skim milk. For
an edition of five, as I was doing, you don’t need to make very much, but
normally a half-bottle would be mixed. You choose a brush that had earlier used
a similar color and was the right size for the stencil hole. </div>
<div class="MsoNormal">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhL7q3-wX5jSqbxm4O-FkMiStUmQ4bb0qpNuSW10cDlsfefIyLdR8s54NewjIJ2jOmUCBH_BkSWEKn4FlrD29xjH-dI50CvXKseFAr2IFRE97PdckpbaGWvQQ6gk00hI_UIR3rDm2XIJLQc/s1600/8+Brushes_2020PP.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhL7q3-wX5jSqbxm4O-FkMiStUmQ4bb0qpNuSW10cDlsfefIyLdR8s54NewjIJ2jOmUCBH_BkSWEKn4FlrD29xjH-dI50CvXKseFAr2IFRE97PdckpbaGWvQQ6gk00hI_UIR3rDm2XIJLQc/s320/8+Brushes_2020PP.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The
hog-bristle pochoir brushes are grouped by color</td></tr>
</tbody></table>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Place some gouache from the bottle into a plate and swirl
around the brush to activate it. Now the challenge is to have exactly the right
amount of moisture in the brush each time to do an edition, and to have them
all look the same. In the photo, I am practicing the new darker green color
before I work on the edition, which you can see near the window. </div>
<div class="MsoNormal">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJnkSosPS4RDg6_ri6jVUB-Jt0QALRnFfriqg6a7yCYk4gInRCp7P0IDM47LP_yn9yoFVecd0yvoCPyEKrlQ6QDS4lyXhPYARScILwVtHj_vCww8xMCpAH-ZqpWpLymTGgbDnUzRxwbz2g/s1600/9+KittywithBrush_2081PP.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJnkSosPS4RDg6_ri6jVUB-Jt0QALRnFfriqg6a7yCYk4gInRCp7P0IDM47LP_yn9yoFVecd0yvoCPyEKrlQ6QDS4lyXhPYARScILwVtHj_vCww8xMCpAH-ZqpWpLymTGgbDnUzRxwbz2g/s320/9+KittywithBrush_2081PP.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Practising
pochoiring the darker green area</td></tr>
</tbody></table>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The registration scheme is as follows: after the first
stencil where you marked the corners of the paper, on the second stencil you
trace several areas that you just stenciled for registration positions. It’s
best to have two or three areas for position. Those areas are cut out and are
taped with scotch tape on both sides. You can see one of the areas in the upper
left corner of the plate in the photo. The third plate then is registered to
the second plate, and so on.
</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
One of the most vexing problems while stenciling with
acetate is that the color can easily seep under the edge of the hole, and that
is the main reason for the dry brush. So I was really curious how that would be
solved at Atelier Coloris when using metal stencils, which have the same
problem, and a wet brush. Their solution was to put a little pig fat on the
edges of the cut-out on the reverse, about 1/16” in from the edge, which is
then brushed with a dedicated brush to even it out. Since grease repels water,
it minimizes the problem, but you still have to be quite vigilant and choose an
appropriate paper. You also need a very light touch.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Many of the 15 color areas on page one had special effects,
some of which puzzled Nathalie and Christine, particularly the half-moon area.
We decided to have four different colors in this area, but then use a small
flat brush once the stencil was off to blend two areas. </div>
<div class="MsoNormal">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihq3HXFqID_PeX7Uan3lEg8IQoLM8IVtdx5R0yB2BWXdnZv9OYZvtYxDrRlrbjx3qrB6FL5bdbc56nbM8MPQVlz7zitVfWxlCv3uxNK17XZtmj4SXcIqe-otlKoQuqfnr2GfqZ2kF7i6gw/s1600/10+BrushingHalf-moon_2165PP.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihq3HXFqID_PeX7Uan3lEg8IQoLM8IVtdx5R0yB2BWXdnZv9OYZvtYxDrRlrbjx3qrB6FL5bdbc56nbM8MPQVlz7zitVfWxlCv3uxNK17XZtmj4SXcIqe-otlKoQuqfnr2GfqZ2kF7i6gw/s320/10+BrushingHalf-moon_2165PP.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Brushing the half-moon area
to blend colors, plate removed</td></tr>
</tbody></table>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
This was not
entirely successful, so I will be explaining next time about the many special effects
we figured out how to do last month when I was making my most recent edition of
182 copies for the Zamorano Club, for a talk on April 5, 2017. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
It was rewarding to have been able to cut all 15 of the
stencils and to do the pochoiring myself, under the supervision of Nathalie and
Christine. I made an edition of five copies and let them choose which one they
wanted to keep. </div>
<div class="MsoNormal">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvkmjdhR3CKrpd4E4hkr6a9Hl5TWrhcBZjsgn0XXnqf-0Unb1Se3hBEK2p8q7tNebkmG82PN4aTSS5QIYZrG2iYwTj_Y4qrKaGg5skrkCVgqjRBXVcrmoMH5p6oaE_0WFixu9wSeE8hebg/s1600/11+FacsimileNathalieChristine_2172PP.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvkmjdhR3CKrpd4E4hkr6a9Hl5TWrhcBZjsgn0XXnqf-0Unb1Se3hBEK2p8q7tNebkmG82PN4aTSS5QIYZrG2iYwTj_Y4qrKaGg5skrkCVgqjRBXVcrmoMH5p6oaE_0WFixu9wSeE8hebg/s320/11+FacsimileNathalieChristine_2172PP.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Nathalie and Christine holding
the completed facsimile of page one</td></tr>
</tbody></table>
Kitty Maryatthttp://www.blogger.com/profile/12899974572999863424noreply@blogger.com8tag:blogger.com,1999:blog-4693973563563007893.post-25990767163625203412017-03-23T04:59:00.003-07:002017-03-23T17:04:02.595-07:00Reproducing a Kandinsky Painting in Pochoir<style>
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<div class="MsoNormal">
The main artistic work of pochoir ateliers in Paris in the
1910s was to reproduce facsimiles of manuscripts and paintings in limited
editions; they also added color to printed (phototypie) fashion plates in
fashion magazines.<span style="mso-spacerun: yes;"> </span>Many large printing
firms had a contingent of pocheurs in addition to an on-site bindery, like
Crété in Corbeil, the company that printed <i style="mso-bidi-font-style: normal;">La
Prose du Transsibérien</i>.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I wanted to work with pochoir again in my Typography class
at Scripps College, and so I invited Julie Mellby to give the Fall 2014
Frederic W. Goudy Lecture for the Scripps College Press on the history of
pochoir. <span style="mso-bidi-font-family: "Times New Roman";">She is the
graphic arts curator within Rare Books and Special Collections at Firestone
Library, Princeton University. Normally the Scripps College Press offers a workshop
to accompany the lecture. </span>I thought it would be possible to reproduce a
Kandinsky painting in a small edition with the workshop participants. I was
still working on a timeline for the production of the pochoir for <i style="mso-bidi-font-style: normal;">La Prose</i>, and I hoped this experiment
might give me some clues.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In 1988, I had taken a pochoir workshop where we made the
stencils from acetate and worked with French pochoir brushes, so I taught the
workshop. My husband had mentioned that our Kandinsky calendar probably had a
good candidate for attempting a pochoir reproduction, so I chose the <i style="mso-bidi-font-style: normal;">Landscape Near Murnau with Locomotive</i> painting
from 1909. </div>
<div class="MsoNormal">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjfWGtN6inKfTVj7EDMvpYEcdgOzgJAMqi0_vW_Z-p2RwxZ4jsRSZL8c14F5CGc0rJPttokVlqml3SBOBTN_phmHtKo0Cq15CPGouWOhyizXtn7ATYhYVGY02dgaVLOh38RHTzL-b_1uVw/s1600/1+KandinskyMurnau4LG.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="301" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjfWGtN6inKfTVj7EDMvpYEcdgOzgJAMqi0_vW_Z-p2RwxZ4jsRSZL8c14F5CGc0rJPttokVlqml3SBOBTN_phmHtKo0Cq15CPGouWOhyizXtn7ATYhYVGY02dgaVLOh38RHTzL-b_1uVw/s400/1+KandinskyMurnau4LG.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Kandinsky,
<i style="mso-bidi-font-style: normal;">Landscape Near Murnau with Locomotive</i>,
1909</td></tr>
</tbody></table>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Since there would be fourteen participants, including Julie
Mellby, and there were fourteen colors in the painting, it would be a test to
see if we could produce an edition of sixteen copies in one day-long workshop. </div>
<div class="MsoNormal">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifIHxCEI-pnPgs7bbLKLbese6YmaNjN7VvyRWgc0am2Ti12My6EroAFPLVxAJgcKKWr6_PwqaxfmHVV7cYQ6nixfETDU7ECHYaWTNQ1w8d-VjJ_atxFmt_pITCHFs5tlOetj1AEL3w0zu7/s1600/2+WholeGroup_9756PP.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifIHxCEI-pnPgs7bbLKLbese6YmaNjN7VvyRWgc0am2Ti12My6EroAFPLVxAJgcKKWr6_PwqaxfmHVV7cYQ6nixfETDU7ECHYaWTNQ1w8d-VjJ_atxFmt_pITCHFs5tlOetj1AEL3w0zu7/s400/2+WholeGroup_9756PP.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Workshop
participants cutting stencils</td></tr>
</tbody></table>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The first task is to identify all of the colors in the
painting and make a tracing. </div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMEiJI-ylWBhKZWcAe4er-m1fanfnbIFg_0wzZEOPoyN-cwaNV9mZ7_uumouC9J89uGqmoR8ckQb1cqfSwabTQ4clbmewD4JRG3frqU_HuBdiPZpnoUSbAAwFqQw630MvfIuujRNF5DqED/s1600/3+TracingPattern_9770PP.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMEiJI-ylWBhKZWcAe4er-m1fanfnbIFg_0wzZEOPoyN-cwaNV9mZ7_uumouC9J89uGqmoR8ckQb1cqfSwabTQ4clbmewD4JRG3frqU_HuBdiPZpnoUSbAAwFqQw630MvfIuujRNF5DqED/s400/3+TracingPattern_9770PP.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Tracing
of the fourteen color areas</td></tr>
</tbody></table>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
You’re looking for areas that might need a
bridge; for example, if you have a donut shape, you have make a bridge from the
center circle to the outer circle to connect the two. I made color copies of
the painting and copies of the tracing so that each participant could choose a
color. A registration system with a three-hole punch was developed, where I
punched holes in both the Bristol paper and the acetate stencils. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Each participant had to mix their own gouache color to match
the color photocopy, and write down the recipe on a card. </div>
<div class="MsoNormal">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2HeVgRn9Ehz0EbvkcDyb-xqoyYJnx6Z9jxrYyOpmwkiPrkWYrLrzoG8UWWhgGlutyBgMmERkypJMcg8p__oRFRMUKp6hA-RnLjOlG3fSRKIyFePa4QmtDfjQQ-gskJ9NcdSaHtX6JUpH_/s1600/4+ColorRecipesKandinsky_1689PP.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="255" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2HeVgRn9Ehz0EbvkcDyb-xqoyYJnx6Z9jxrYyOpmwkiPrkWYrLrzoG8UWWhgGlutyBgMmERkypJMcg8p__oRFRMUKp6hA-RnLjOlG3fSRKIyFePa4QmtDfjQQ-gskJ9NcdSaHtX6JUpH_/s400/4+ColorRecipesKandinsky_1689PP.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Gouache
color swatches with recipes</td></tr>
</tbody></table>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
With a black
narrow marker, they traced their color areas onto acetate and then cut away
those areas with a knife. </div>
<div class="MsoNormal">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEh6CHm2mgz1UYjTN2wmeiaDhfW88im7isyFJVqAjA1MWsohwZlVT7v0y4-TzYN7q_ZMUQqslc6OqHkR_5eiKQhgwFHdH6NnxFyrhEidemo2rd2fBczRmk27P69lRKcYXuQXyfE7KlbIiB/s1600/5+KnifeStraight_9749PP.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="308" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEh6CHm2mgz1UYjTN2wmeiaDhfW88im7isyFJVqAjA1MWsohwZlVT7v0y4-TzYN7q_ZMUQqslc6OqHkR_5eiKQhgwFHdH6NnxFyrhEidemo2rd2fBczRmk27P69lRKcYXuQXyfE7KlbIiB/s400/5+KnifeStraight_9749PP.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Knives
used for cutting included Olfa (my favorite), X-acto, and inexpensive snap-off
knives (above)</td></tr>
</tbody></table>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I brought in several different kinds of knives
and let them choose whichever one worked well for them. It is difficult to cut
tight curves in acetate because the plastic pulls up while cutting, so they
practiced first. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The gouache is mixed to the consistency of milk in a
canister. We bought a double-cup holder for the gouache. You charge the fat
French pochoir brush with a small amount put into one cup and swirl it around
in the second cup. Then you test on scrap paper to make sure you are not too
wet. One of the challenges of editioning is to add just the right amount of
gouache to the brush each time you are ready to do the pochoir. Attach the
acetate stencil to the paper using the registration system and swirl lightly in
your color areas until you build up to the intensity of color desired.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgljUJsw9LGKWuLxzDcL4tpB-LNf1JUx1csAmvaIqrIB1oDrAsWtlCP7Gg-UV__FCJQSTbuFtbQZB02PopJHFqypBePBQBPeuwjwvClSRwlJsVmtmlAM4mOLsv-EC8zCNEV-yL4PwlSfEZe/s1600/6+Brushwork_9773PP.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgljUJsw9LGKWuLxzDcL4tpB-LNf1JUx1csAmvaIqrIB1oDrAsWtlCP7Gg-UV__FCJQSTbuFtbQZB02PopJHFqypBePBQBPeuwjwvClSRwlJsVmtmlAM4mOLsv-EC8zCNEV-yL4PwlSfEZe/s400/6+Brushwork_9773PP.jpg" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Swirl
in a continuous circular fashion with the French pochoir brush</td></tr>
</tbody></table>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
If
your brush is too wet, the color will seep under the hole. The paper you use is
critical, since the paper could abrade easily if it is too soft. We used medium-weight
Bristol paper. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Normally each pocheur would complete the edition in her
color, and then go on to the next color in succession. But in this workshop,
the participants had different completion times because some pochoirs were more
complicated, so the order was random.</div>
<div class="MsoNormal">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKz3e6uMOMEJihD0dpTqIuocH7NJ3KCHI3RlmNZDGFkUYGvt82ak59tkURi8hWC8goavSDlexHwdQBO-sEyAdGr-gqgq8lA-c-aMkgTkZ53WrxQc7s-369FJpv4gQ2i_lJ729OSH-W2CVx/s1600/7+Print17_9771PP.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKz3e6uMOMEJihD0dpTqIuocH7NJ3KCHI3RlmNZDGFkUYGvt82ak59tkURi8hWC8goavSDlexHwdQBO-sEyAdGr-gqgq8lA-c-aMkgTkZ53WrxQc7s-369FJpv4gQ2i_lJ729OSH-W2CVx/s400/7+Print17_9771PP.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Example
mid-stream with eight colors</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuPa0Z9D0vtuPiJJ4HfJd-8e4ysu2QLlkvbefS2Ki0EC1K5N0Ue5N67Bxevm34-l5eMb1ERwmXM3ao6q5woWpqd2Y-nuzrBWZc-zoumkw7LAUlNeVcSxsAZd5XoHjon4XvQN784QAbaMFf/s1600/8+Print15_9772PP.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuPa0Z9D0vtuPiJJ4HfJd-8e4ysu2QLlkvbefS2Ki0EC1K5N0Ue5N67Bxevm34-l5eMb1ERwmXM3ao6q5woWpqd2Y-nuzrBWZc-zoumkw7LAUlNeVcSxsAZd5XoHjon4XvQN784QAbaMFf/s400/8+Print15_9772PP.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Example
mid-stream with different colors completed</td></tr>
</tbody></table>
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We numbered the edition pages
to keep track. My press assistant, Chris Yuengling-Niles, made an accordion-fold
exemplar of all the colors in order. </div>
<div class="MsoNormal">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_bKPJe7A5gJjIYInCYvBvPtUK0cMQuviVEn9KnLrn4uP0Sd3CO27nV3RXMOKG9DCFxZ_2HawbhxhsN0z9NjzsLWOWQjYaZidCoXqM1yCb8gq5z-QaGXQYQy7c8StMk2fwOxSmK3jZi7Jg/s1600/9+KandinskyProgressiveBCrop_1699PP.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="101" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_bKPJe7A5gJjIYInCYvBvPtUK0cMQuviVEn9KnLrn4uP0Sd3CO27nV3RXMOKG9DCFxZ_2HawbhxhsN0z9NjzsLWOWQjYaZidCoXqM1yCb8gq5z-QaGXQYQy7c8StMk2fwOxSmK3jZi7Jg/s400/9+KandinskyProgressiveBCrop_1699PP.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Progressive
proofs in order by Chris Yuengling-Niles</td></tr>
</tbody></table>
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We completed all the pages by the end of the workshop,
hooray! But note that the cloud painting did not get done at the very end, so
the participants would have to finish that last area at home. </div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-QUUNQij2ZsmvfsAOYTLOvLXI2e49I0xHmkVsDQ7ZRwpwVVCikPU9IA-5_stq7tZXtgy16BHFG6yckdY9NzdkzkaMLdaoPztPAOVfG7FQSAvV4LTpgrnQ8ZVuYKsLocqmAPI9Rx-fj3dk/s1600/BeforeAfter_1701PP.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-QUUNQij2ZsmvfsAOYTLOvLXI2e49I0xHmkVsDQ7ZRwpwVVCikPU9IA-5_stq7tZXtgy16BHFG6yckdY9NzdkzkaMLdaoPztPAOVfG7FQSAvV4LTpgrnQ8ZVuYKsLocqmAPI9Rx-fj3dk/s640/BeforeAfter_1701PP.jpg" width="427" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The final proof (before cloud painting) compared to the original photocopy</td></tr>
</tbody></table>
<br /></div>
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I knew from reading Jean Saudé’s 1925 book on pochoir, <i style="mso-bidi-font-style: normal;">Traite d’enluminaire d’art au pochoir</i>,
that they originally used metal stencils: copper, tin, zinc, pewter and
aluminum in various thicknesses. I wished that I could see one. I had gone
twice in 2014 to the Firestone Library at Princeton for research, and on the
second trip, I actually discovered one of Saudé’s copper pochoir stencils,
which was stunningly intricate. It had originally been included in the deluxe
edition of Saudé’s book and got separated until I found it in the collection.
You can see this amazing stencil in a <a href="https://graphicarts.princeton.edu/2014/07/03/traite-denluminure-dart-au-pochoir-par-jean-saude/" target="_blank">Princeton blog post written by Julie Mellby</a>. If you
want to read Saudé’s book in English, Havilah Press commissioned an English
translation of two sections of Saudé’s text, and published this in 2013 in a
limited edition, accompanied by an introduction outlining the history of
pochoir, two pochoir illustrations, and a list of references.<span style="mso-bidi-font-family: "Times New Roman";"></span>
</div>
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<br /></div>
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I had experimented with various thicknesses of copper and
aluminum for my own stencils for <i style="mso-bidi-font-style: normal;">La Prose</i>,
but even after reading Saudé in French, it was not clear how to cut into the
metal effectively. There is a drawing of the knife they used, the blade of which
is slightly curved. When I discovered that Atelier Coloris in France was using
the original techniques, I wrote to them and asked if they would work with me.
The next blog will be about the magnificent time I had in Ploubazlanec with
Nathalie Couderc and Christine Menguy, and how to cut and use the metal
stencils.</div>
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Kitty Maryatthttp://www.blogger.com/profile/12899974572999863424noreply@blogger.com9tag:blogger.com,1999:blog-4693973563563007893.post-88761622178077389392017-03-13T18:21:00.001-07:002017-03-23T04:01:45.764-07:00On Color in "La Prose"<style>
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Early in my study of <i>La Prose</i>, I thought I might know why its makers failed to achieve the projected edition number of 150 copies: perhaps it was the complicated pochoir. I thought that it might
have been so complex that perhaps the edition wasn’t even completed by the time
WWI came around. If I could make my own facsimile of <i style="mso-bidi-font-style: normal;">La Prose</i>, then I could possibly figure out how long it would take
one pocheur to complete 150 copies. Therefore I would know how long it might take
if several people worked on it. The first few copies were done by November of
1913; if the pochoir process took a year or more (if only one pocheur was
working on the book), then the start of WWI in August of 1914 could have
interrupted the pochoir work on the book.</div>
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<br /></div>
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In early 2012 I embarked on a study of the making of <i style="mso-bidi-font-style: normal;">La Prose</i> and the pochoir techniques used
in the book in 1913. Marcia Reed, Chief Curator at the Getty Research
Institute, was extremely helpful and allowed me to photograph and study the
copy at the GRI (#124). I needed to find out how many stencils were required
for the four-page book (one stencil per color). Note that the four pages making
up the book were glued together by overlapping the approximately 14 x 20-inch pages,
and then folding the more than six-foot-long book in half, and finally folding the
book into 21 panels (or 20, or 22 panels). The book was normally glued into
its folded and painted vellum cover, although the Getty copy was separated from
its cover. </div>
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In order make a facsimile of <i style="mso-bidi-font-style: normal;">La Prose du Transsibérien</i>, I would have to study the color choices
Sonia Delaunay made for her imagery. <span style="mso-spacerun: yes;"> </span>I
printed out my photogaphs of the Getty copy, but of course, the colors on my
computer screen and my printed images would be rather different from the
original. In order to make a detailed study, I made basic tracings of the color
areas on the first page using the very handy Yale facsimile, noting
overlapping areas. </div>
<div class="MsoNormal">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6_qpTMxHtRsiBkqJSWvbKanPD__SneSuXDMk6UfPpdftAcac6yP9EeOwRoMpxmIPWeQKrZMIcuwe-i1vanufhBos_SsDOajVnZnchzOMqrmyi9L5pY9V2kWXu1K6fsVzKVEuhH_t_kg0C/s1600/1+TracingPanel1_0427PP.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6_qpTMxHtRsiBkqJSWvbKanPD__SneSuXDMk6UfPpdftAcac6yP9EeOwRoMpxmIPWeQKrZMIcuwe-i1vanufhBos_SsDOajVnZnchzOMqrmyi9L5pY9V2kWXu1K6fsVzKVEuhH_t_kg0C/s640/1+TracingPanel1_0427PP.jpg" width="480" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Basic tracing of the first page of the Getty copy of La Prose.</td></tr>
</tbody></table>
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The next step was to give each area a basic color indication,
red, yellow, blue, orange, noting tints and shadings and areas that weren’t
painted. Each major color on the first page was then given a Pantone number,
which includes a recipe for mixing ink colors for printing. </div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjENfiS77xUIzDQDZ02F99zAbDo6wkNDnBemu1hvTsE6Ry3x_Egxcs5qnf2y_nP3YctZBP-2q2nRHjpm94WiQkmoHZxnVhTnrMsAufS8S5nwFgz4KoqJxGsxZu_6wE50p2VJZCk2DeikfXw/s1600/2+TracingNumbersPanel1_0436PP.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjENfiS77xUIzDQDZ02F99zAbDo6wkNDnBemu1hvTsE6Ry3x_Egxcs5qnf2y_nP3YctZBP-2q2nRHjpm94WiQkmoHZxnVhTnrMsAufS8S5nwFgz4KoqJxGsxZu_6wE50p2VJZCk2DeikfXw/s640/2+TracingNumbersPanel1_0436PP.jpg" width="409" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Marking up the first page with color indications.</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaLDdG35goRvMeU4w4AG9lLuCsjlzHD9kioweA29xz-7auKapq89zEnmakOJxUNyfOFs8Ls6p9ac3U7AZF3l2h6W2RtEAncrS1ru1L624JFVR_NGIl_fNYx_46dl4yeHstZyvqfuPpDsbG/s1600/3+TracingPanel1Detail_0438PP.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaLDdG35goRvMeU4w4AG9lLuCsjlzHD9kioweA29xz-7auKapq89zEnmakOJxUNyfOFs8Ls6p9ac3U7AZF3l2h6W2RtEAncrS1ru1L624JFVR_NGIl_fNYx_46dl4yeHstZyvqfuPpDsbG/s640/3+TracingPanel1Detail_0438PP.jpg" width="512" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Detail of early markup of lower left corner of first page.</td></tr>
</tbody></table>
<div class="separator" style="clear: both; text-align: center;">
</div>
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The next
three pages were analyzed next, identifying matching colors while looking for
new colors to pop up. </div>
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<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJRG0Yx77Ult7li8JRez4fW5t136hWUdw2lf_oysjvvnSErWBVQ-VpqF6KdVPTKl52z9qFbdTlHqaAV7TL4NqSbMbDvhirGEwdxeSTwvue6JeCTaG5CmW-vdeMxN8fdaSbBryG8c-gS9g2/s1600/4+TracingPanel2_0439PP.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJRG0Yx77Ult7li8JRez4fW5t136hWUdw2lf_oysjvvnSErWBVQ-VpqF6KdVPTKl52z9qFbdTlHqaAV7TL4NqSbMbDvhirGEwdxeSTwvue6JeCTaG5CmW-vdeMxN8fdaSbBryG8c-gS9g2/s640/4+TracingPanel2_0439PP.jpg" width="411" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Marked-up tracing of page 2.</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJWHJujdFOAet1RwWgTPYbdOB0qvp6SZkobMLhN7Uq7xkEpUGgqIEx7EY3o-TdWSZbkF0dStYxbqF3b5cwuRm3QD5i0wZ4sUT1-5lSic9YXDr6fzklNg9gs8hVLlCrzeJngeHK848cweXx/s1600/5+TracingPanel2Detail_0440PP.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJWHJujdFOAet1RwWgTPYbdOB0qvp6SZkobMLhN7Uq7xkEpUGgqIEx7EY3o-TdWSZbkF0dStYxbqF3b5cwuRm3QD5i0wZ4sUT1-5lSic9YXDr6fzklNg9gs8hVLlCrzeJngeHK848cweXx/s640/5+TracingPanel2Detail_0440PP.jpg" width="480" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Detail of tracing of page 2.</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiP8ALQK6m3CBFPht5Q_g_OmJn5pkbK7ARev3GsAYiFe5Road6hyphenhyphenfD8MDJsqiSMQQsjHNYffFKiWXLTOX3jbEpLR_EyCK1pANNNBccqZGzkyXOynYhd7bGL945C6sQ5OBXIPzjyIpMoBDz_/s1600/6+TracingPanel3_0442PP.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiP8ALQK6m3CBFPht5Q_g_OmJn5pkbK7ARev3GsAYiFe5Road6hyphenhyphenfD8MDJsqiSMQQsjHNYffFKiWXLTOX3jbEpLR_EyCK1pANNNBccqZGzkyXOynYhd7bGL945C6sQ5OBXIPzjyIpMoBDz_/s640/6+TracingPanel3_0442PP.jpg" width="420" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Marked-up tracing of page 3.</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9LZNjzUgy6Kj6b-hQTvsIPRrp5ssPv5UQ3xTRVAB_j0fWqPMrOTRUfc21gF0AFx0Zk2pF-951eUyctAop5vRzgPY-0F94WZAb95h2HKO-ZN26yt62goqVYIutTtH215bXC__qggoOGUtV/s1600/7+TracingPanel4_0444PP.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9LZNjzUgy6Kj6b-hQTvsIPRrp5ssPv5UQ3xTRVAB_j0fWqPMrOTRUfc21gF0AFx0Zk2pF-951eUyctAop5vRzgPY-0F94WZAb95h2HKO-ZN26yt62goqVYIutTtH215bXC__qggoOGUtV/s640/7+TracingPanel4_0444PP.jpg" width="412" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Marked-up tracing of page 4.</td></tr>
</tbody></table>
<div class="MsoNormal">
The Pantone chart is printed in ink by the offset
process, but the original imagery is painted with gouache. So I had to make my
own gouache charts to supplement the Pantone choices in order to pin down the
colors more accurately in the Yale facsimile. </div>
<div class="MsoNormal">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgD_J6VbXh-NtSqhtkm_b_7QXg0WR6ZG016-r-MT46KC2Nu0u-U6qg2Wm32f81cwNYC0KiZOE8Hrw93jtnd-aC44IDY7V_ZAhiq61i_JXQq7aF5WHWWvy9EteX4oU10EzGxievAfz14kbYl/s1600/8+ColorPanels_0450PP.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgD_J6VbXh-NtSqhtkm_b_7QXg0WR6ZG016-r-MT46KC2Nu0u-U6qg2Wm32f81cwNYC0KiZOE8Hrw93jtnd-aC44IDY7V_ZAhiq61i_JXQq7aF5WHWWvy9EteX4oU10EzGxievAfz14kbYl/s640/8+ColorPanels_0450PP.jpg" width="480" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Gouache charts.</td></tr>
</tbody></table>
<div class="MsoNormal">
Meanwhile, I was teaching full-time at Scripps College and
making letterpress books in editions of about 100 copies with my students in
the typography class every semester, as well as teaching a Core Curriculum class.
So it wasn’t until June of 2014 that I was able to take all this data back to
the Getty to compare the original colors to the Yale facsimile colors. I
laid out the Yale facsimile next to the Getty original copy, brought my Pantone
and gouache charts and my printed photographs. </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgo_jFF8BniJlVOVvGeETtqWBvaB71EsGmLXQKj4x1KaonjI8elGKETfycDCcmQJ1hk6ErjEoA6DEorP2s93XzDtL4DduoYJU1jzURndyAIZD7X3gJdzMzp35f0gB20H6Jx_1PyZkWufmrt/s1600/9+YalenexttoGetty%25233_9033PP.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="478" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgo_jFF8BniJlVOVvGeETtqWBvaB71EsGmLXQKj4x1KaonjI8elGKETfycDCcmQJ1hk6ErjEoA6DEorP2s93XzDtL4DduoYJU1jzURndyAIZD7X3gJdzMzp35f0gB20H6Jx_1PyZkWufmrt/s640/9+YalenexttoGetty%25233_9033PP.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"> Comparing the Getty copy, Yale facsimile, and gouache samples at the Getty Research Institute in June, 2014.</td></tr>
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Every color was re-evaluated and
a master list of Winsor-Newton gouache colors and Pantone colors was developed. </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdua7-kt2VUmSGj-KQnsd8NejzU9e43u-pvHXS9TRcgXQak8AI2laWX22xOmSU_ZKH4pbDHY1jJoWxtgfMtTk7dB7Qv0abOBHZS9YmJ_A-pIqNs6tD5nibqtK1wZ-emLuZGmQkbSO5w3kA/s1600/10+ColorsFinal_0447PP.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="414" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdua7-kt2VUmSGj-KQnsd8NejzU9e43u-pvHXS9TRcgXQak8AI2laWX22xOmSU_ZKH4pbDHY1jJoWxtgfMtTk7dB7Qv0abOBHZS9YmJ_A-pIqNs6tD5nibqtK1wZ-emLuZGmQkbSO5w3kA/s640/10+ColorsFinal_0447PP.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Working on a color master list.</td></tr>
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My research took me to Princeton University in October of 2013
and again in July of 2014. Julie Mellby, the Graphic Arts Librarian, oversees
the Charles Rahn Fry pochoir collection among many others. I was able to order
books to study from the collection, and I actually found a Jean Saudé pochoir
copper stencil from his 1925 deluxe edition pochoir book that they did not
realize that they had. I’ll write more about the metal stencils used for
pochoir later, but Julie was able to arrange for me to see the <i style="mso-bidi-font-style: normal;">La Prose</i> copy at Rutgers University
nearby (#97). It was framed and under glass, but had once been folded into 21
panels. I compared my color charts to this copy as well, and later they helpfully
sent me a photograph of <i style="mso-bidi-font-style: normal;">La Prose</i> for
further research.</div>
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On that same trip in July 2014, my husband Gary and I
visited our son Jason and wife Yuka who were living on Roosevelt Island in New
York. Jason had made plans to play golf at his alma mater, Yale University,
with his Dad and two professors, so I had the opportunity to view the Yale copy
(#131) at the Beineke Library. </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXtPpdlL94gqGZSpfiSH8RbAUsQGQgYXzYkA5k7J31kxQ8PCCj6wttwiMAQY6UxfRkkIZXDaULWpr3EMQioAITSelq3nS0rxavrICCgRbh9HRKmo09WURQrYQ5Vj62SIjSuFUBJmV5HLrI/s1600/12+YalewithColorSwatches_9370PP.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXtPpdlL94gqGZSpfiSH8RbAUsQGQgYXzYkA5k7J31kxQ8PCCj6wttwiMAQY6UxfRkkIZXDaULWpr3EMQioAITSelq3nS0rxavrICCgRbh9HRKmo09WURQrYQ5Vj62SIjSuFUBJmV5HLrI/s640/12+YalewithColorSwatches_9370PP.jpg" width="494" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Comparing the Beinecke copy with gouache samples at the Beinecke Library, Yale University in July, 2014.</td></tr>
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Timothy Young, Curator of Modern Books and
Literature, who conceived and oversaw the project to print the Yale facsimile
in 2008, met with me to discuss my findings. The vellum cover was still
attached to the Yale copy on the map side, and the imagery did not fold toward
the text, as in the Getty copy. Tim brought out the prospectus which was used
for publicity, and I was able to photograph it alongside my color swatches as
well as take extensive photographs of the Yale copy. I modified one of my color
findings after studying the Yale original, but the colors were unsurprisingly
similar to and as vibrant as the Getty original. </div>
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Come back next time for the next step in my journey with <i>La Prose</i>.</div>
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Kitty Maryatthttp://www.blogger.com/profile/12899974572999863424noreply@blogger.com6tag:blogger.com,1999:blog-4693973563563007893.post-59696900409502860602017-03-05T07:09:00.000-08:002017-04-09T18:24:04.234-07:00Welcome to this exciting project!The first time I saw the fold-out copy of <i>La Prose du Transsibérien</i> (#37) in the July 1987 issue of Fine Print, I was struck by the vibrancy of the imagery and the unusual presentation for a book published back in 1913. I couldn’t believe that the imagery was done by "pochoir," a French stencil technique used for fashion prints and in limited edition books at that time. The techniques were far more painterly than those I had learned in a pochoir workshop that I took in 1988, where we used 5 mil acetate for the stencil and a dry French pochoir brush with gouache.<br />
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When I discovered that there was an original copy of the book at the Getty Research Institute (#124), I asked Marcia Reed if I could bring my Women of Letters group (founded in 1980, all letterpress printers) to view it. The elaborate opening of the folds, seeing nothing at all until the last unfolding, created a dramatic moment that was certainly intentional. I read that painter Sonia Delaunay and poet Blaise Cendrars had not completed the projected edition of 150 copies, and I wondered why. Thus began my eager quest to find out more about the pochoir techniques used for <i>La Prose</i>, and to research why the edition was not completed. (You can read my conclusions in the article in the pages area.) Absolutely essential for my research has been the offset facsimile of <i>La Prose</i> (#131) published by Yale University in 2008, now out of print.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGdf2hhNpSMMhvL1c6rn3nhekXYuSmlvjCX3VbmGlRmMevW34a_snI_9wSgfcoDX64Z9EAJNL_eW41aj1XkB7iUNT80EmdoU10fT2200Rdk3luPn_UVqOspCJ8wLB35kO36YWRJkZqnE0K/s1600/KittyHoldingLaProse_CROP1373PP.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGdf2hhNpSMMhvL1c6rn3nhekXYuSmlvjCX3VbmGlRmMevW34a_snI_9wSgfcoDX64Z9EAJNL_eW41aj1XkB7iUNT80EmdoU10fT2200Rdk3luPn_UVqOspCJ8wLB35kO36YWRJkZqnE0K/s400/KittyHoldingLaProse_CROP1373PP.jpg" width="132" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The 2008 Yale facsimile.</td></tr>
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I found Nathalie Courderc and Christine Menguy at Atelier Coloris in Ploubazlanec, France from an online article by Paul Zwartkruis titled, Masters of the Pochoir. I realized that they were probably the only commercial firm left who understood the techniques that were in place in 1913. They had been trained by the venerable firm Daniel Jacomet in Paris, where they used metal stencil plates and a wet brush. I worked with Atelier Coloris for a week in 2015 while on a month-long research grant from Scripps College.<br />
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One day that week, Nathalie Couderc drove me across the Brittany peninsula along a maze of curving roads to visit Mme. Miriam Cendrars, age 95. Mme. Cendrars is Blaise Cendrars’ daughter, and wrote a book about her father. She also produced a facsimile of the Geneva copy of <i>La Prose</i> (#11) in 2011, which sold out within two weeks. As we drove back from the visit, I became convinced that a new version of <i>La Prose</i> could be done with original pochoir, now that I had found Atelier Coloris. Mme. Cendrars gave me her son’s contact information should I need to obtain permissions.<br />
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I am now in the process of producing a re-creation of La Prose du Transsibérien in an edition of 150 copies. I will work with printer/type collector Michael Caine in Paris to typeset and print the book. I will take the printed sheets to Atelier Coloris to work on the pochoir with them. Then the pages will be bound and the vellum covers painted in oils at my own Two Hands Press. The first copies are projected to be completed by November of 2017. Pre-publication sales information will be available in due course.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmYkgjBe2Mk_Be_NbG0ivh7Ry2V_DPIlAV-OmnmnytrgFXobz-rWatUB5ePQZ6jDo50ahttuTstV5_5tsMX61XeH01otvmVY1ikY8_ryEOKVVQMv3ozLdP0QqpG_Y7Z1LAdHO1FnE9Ikth/s1600/AtelierColorisFront_2009PP.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmYkgjBe2Mk_Be_NbG0ivh7Ry2V_DPIlAV-OmnmnytrgFXobz-rWatUB5ePQZ6jDo50ahttuTstV5_5tsMX61XeH01otvmVY1ikY8_ryEOKVVQMv3ozLdP0QqpG_Y7Z1LAdHO1FnE9Ikth/s320/AtelierColorisFront_2009PP.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Atelier Coloris</td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlNat8MqEeR4YmW6JFAkdx0TY6L3sOKCq97izMw_xpLJagydi7iyCicKU6lx_J02tjeiQAoF7S-QdlJm1wzIvv-0_NSbYk63ZHUD3puJZ-tK1g_7l6U9gwBTn4D2au_fi-hBXEe7IGxPNr/s1600/atelier1.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlNat8MqEeR4YmW6JFAkdx0TY6L3sOKCq97izMw_xpLJagydi7iyCicKU6lx_J02tjeiQAoF7S-QdlJm1wzIvv-0_NSbYk63ZHUD3puJZ-tK1g_7l6U9gwBTn4D2au_fi-hBXEe7IGxPNr/s320/atelier1.jpeg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Nathalie Couderc and Christine Menguy at Atelier Coloris</td></tr>
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In this blog, I will discuss the distinctive production techniques used for the pochoir and explain how I discovered that Blaise used 38 typefaces for his poem. I will show where the book was printed and where the pochoir was probably done. The variations in the numbering of the edition and in the folding of the book will be addressed. I’ll have step-by-step photos of various pochoir techniques, and of the typesetting, printing and binding processes. For general information about the project and my work, please click the links on the right-hand side of the page. <br />
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My long-term goal is to re-introduce the original pochoir techniques so that book artists have a revitalized tool to add to their repertoire. In that vein, I asked Talas a few years ago to start importing pochoir brushes. For an explanation of early pochoir technique, I recommend the 1925 book by Jean Saudé, <i>Traité d’Enluminure d’Art au Pochoir</i>. In 2013, Havilah Press commissioned an English translation of two sections of Saudé’s text, and published this, in a limited edition, accompanied by an introduction outlining the history of pochoir, two pochoir illustrations, and a list of references.<br />
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In my next entry, I will show how I started my investigations with gouache color swatches and a Pantone color chart.
Kitty Maryatthttp://www.blogger.com/profile/12899974572999863424noreply@blogger.com7