Plot: South

T: First investigation around the South section of my garden led to the blue shed behind the apple tree. Home to a range of DIY paraphernalia, I began by photographing each wall, recording types of objects, and noting their shape, colour, and approach to storing them. Taking inspiration from the abstract prints produced by Terry Frost, I explored arrangements of objects as simplified shapes aligned to their position within the shed. Returning to read the dictionary definition of DIY, notions of making repairs and decorating resonated and I selected specific objects from the shed which I have recently made use of within each of these categories and made two alphabetical lists. Objects were paired according to their position in each list and then arranged around the page from left to right, with a nod to a methodology employed within Common Ground, beginning with the original position of the South section of the garden. Within each pair, the object used first to make repairs was positioned in the middle of the object used second to decorate to over an overlap of process and time. Colour was determined by the given colour of each object.

P: During a FaceTime discussion regarding T’s proposed ideas for the South section I recorded a list of words ­– stack and store both resonated and became the starting point for initial letterpress exploration. Reading the blog post after the work had been completed enabled a greater understanding of the system adopted; using the word paraphernalia from T’s post, I began to consider how I could appropriate a similar methodology to reflect the content of the linocut and echo both the four sections and her working practice. By dividing the letters of the word as equally as possible into four, I selected the first tray of type in my collection to set the first three letters, then working methodically each subsequent set of letters used an adjacent set of type until the four-part words were complete. The composition was formed by dividing the page format into four and placing each group of letters within their own quartered section and printed using the same colours and in the same order as the lino-cut. 

Plot: North

P: Exploring this section of the garden, first ideas focussed on a large damson tree, and a found phrase we do not meet with it abroad afforded an opportunity for initial testing of ideas; however during a FaceTime discussion we determined to produce work that had a personal rather than generic emphasis – by re-examining the plot I identified that the only plant left belonging to the previous owners was a peony which had been divided and transplanted from another area of the garden – a horticultural faux pas according to many gardening sources. Using a range of different sized type, ideas around dividing and moving text were explored – the proportion of the chosen book format restricted use of some larger fonts ­­– the final artwork is printed using a colour to reflect that of the peony.  

T: Informed by first research into the peony plant, I explored alternative representations around the five petals which surround the central pollen section. With a nod to the colour and concept of division made use of by P, I played with pattern, shape and tone re-printing shapes multiple times.

Plot: East

P: This section of the garden offered a range of options, however initial investigation into the parterre ­– a low box hedge planted three years ago beneath the apple tree – afforded the most opportunity for exploration. Much research highlighted the formality and symmetry associated with this form of planting, however I was drawn to an account of how the outer section of the parterre is permanent whilst inner planting is changeable; I set about trying to communicate this through typographic experimentation ­– two words – permanent and changeable reflect a quarter section of the parterre and are printed using colours relating to the actual planting within the garden. 

T: In response to themes of permanence and change explored by P, I began by returning to multi-directional printing exploring the idea single and overprinting responses this offered as a border and central shape. Further investigation around notions of change led to thoughts of altering, modifying and moving shapes to print the central patterns off-centre and shifted in some way from the symmetry of the outside border.

Meeting & Making. Printing & Plotting.

The making-day has become a regular part of our collaborative process and traditionally takes place during the final stages of each project; it enables us to assemble the various elements that have been produced independently in the finalisation of a book work; working alongside each other, tasks are divided equally and any decisions are discussed and trialled before a conclusion is reached. Common Ground was formed of a wide range of individual components which meant this particular making-day involved undertaking a variety of processes; whilst the initial ‘to do’ list was extensive, confidence in a shared approach to working enabled the completion of all printed and typed elements; unfortunately restricted drying time meant that the final task of collating the pages and binding each book was delayed. 

In addition to finalising Common Ground, time together afforded an opportunity to discuss the next project which will be produced specifically for an upcoming book fair; a decision was formed based on the ‘nothing in common’ pages and will be founded on the cardinal points from the original memory drawings of our gardens.

Rule 7: Cover story

The covers are formed of gridded paper in the style of that used within garden design, the traditional blue grid is replaced with pink and green – representing the colour of our gardening gloves. The cover of each book is one of the 16 individual squares from our original plan drawings – meaning each is unique. We continue the theme of T placed on the left-hand page (back cover) and P right-hand page (front cover). Returning to our original research we denote each tree as a large grey circle within the relevant squares. Further research is undertaken into the placement and number of plant pots within each garden, these are added using a small grey circle; finally a mid-sized roundel is used to represent each of the circular tables within each plot. No title appears on either the front or back – instead a fluoroscent orange sticker indicates the square’s location – i.e South 1 = S1.

Inside front cover: uses the existing system of nine words to form an introduction to the book.
Inside back cover: a key to highlight the specific squares where common ground was discovered.

Rule 6: Opposite directions

In consideration around how to introduce North, South, West and East responses, conversations returned to the observation that our gardens are in opposite directions. This seemed to offer the potential for a visual response and we began by considering rotating and over printing individually produced cardinal points. Developing first ideas within our original areas of creative study offered links to rule 2 in which we made separate responses employing techniques from textiles and typography respectively. Extending upon this idea, we determined to include both areas of creative study within one page. P began by printing N, S, W and E in the appropriate position, and T overprinted a two colour relief print within a nod to the colour of our current gardening gloves.