Cataloguing colours within my Blue Book revealed 127 individual references to just 10 colours with black and white being the two colours used most frequently. In the majority of instances each colours is used as a metaphor, with references to age and emotional states being the most common. I have become interested in this symbolic approach to using colour linked to a specific parlance through time and place. Perhaps this is an approach to making with meaning which could be applied to stories and subject matter concerned with domesticity and the everyday?
In order to combine page 99 of both Blue Books, I began by alternating sentences. Whilst not altogether successful, this did get me started, and I began to see the body of text as individual pieces similar to that of a jigsaw. By cutting out words, and smaller phrases I started to group similar words and look for potential stories within the text. Small sentences began to emerge, almost as extracts from some bigger story. Whilst these are a combination of words from both books, I struggled to make one sequential piece of text and instead made 10 short stories taking inspiration from the reference to chapter 10 within P’s book.
P and T: Following a visit to Windham, we took the opportunity to determine our next project. A face to face meeting enabled us to exchange books and view first hand commonalities. We questioned if there were any? and if we wanted to alter, combine or produce by-products of these volumes. A leading issue was the discovery that ‘Twenty Years A’Growing’ is considered a seminal work documenting the Irish language which presents some challenges in making responses which haven’t previously been considered. This, together with some initial reservations around the author of ‘Venture to the Interior’, resulted in the decision not to focus on the main characters in the book but to search out something new.
We started to talk about cataloguing, and how we had both really enjoyed the inventory aspect of the Windham instructions. We were reminded of the Vera project, and spent some time talking through how we had catalogued the seemingly random collection of broken jewellery and the subsequent value this had given to 5 miscellaneous pieces. This seemed to give us a way forward. We questioned – why we can’t catalogue these books in the same way that we catalogued Vera? This could be a new way of looking at the books – a visual examination of the whole rather than the narrative or the leading character. From this point, we began to generate a list of categories to catalogue. These became: colour, transport, animals, clothing, food, drink, occupation, climate, building, equipment (domestic or otherwise).
We agreed on a system and will plan a FaceTime conversation on 15 March to review emerging ideas.
P and T: A pre-arranged face to face meeting enabled the opportunity to visit Windham in the Bucks County Museum, as part of an exhibition called Ex Libris: Altered Books (http://www.buckscountymuseum.org/museum/events/498/ex-libris-altered-books/).
As our first venture into the genre of altered books, it was interesting to note the similarities and differences within the rationales and books presented. Windham Volume 1 and 2 was shown alongside 2 other books that utilised similar approaches to either the production or research methodology. A large proportion of the books appeared to place greater value on decorative elements, whilst on reflection we concluded that the process we had put in place to re-work Windham had greater importance to the development of our practice and it is this that will inform our next collaborative Blue Book project.
T. A pre-arranged FaceTime conversation provided the opportunity to share and exchange initial observations made individually in response to first readings of our new blue books. Selected independently, it was interesting to note a number of actual and potential similarities as we talked through our findings.
In consideration of this new project, we both agreed that we remain interested in continuing to question our established collaborative practice, and that whilst we had enjoyed our first altered book project, we do not want to repeat Windham, but use what we learnt in the process to move our practice forward. With this in mind, P introduced the notion of the production of a series of by-products at a continuum of the process of altering our new blue books. These may provide the opportunity to further explore scale, text and image in alternative formats.
Beginning to exchange the stories and characters contained within our books, we noted the emergence of content similarities. Both books contain maps and document journeys and both tell stories with male leads and references to other languages. Time and place may be significant alongside characters met along the journey. As a starting point we both agreed to begin to list the characters and geography contained within our books in preparation for our next planned face to face meeting in two weeks time.
P. Considering the random selection of two ‘blue books’, it is interesting how many perceived similarities there are between the two editions, are these coincidences a matter of chance? or could we have found similarities within whatever books we had chosen?
As well as reading the novel, I did some primary research into the author Laurens van der Post – sadly he does not have the same charm as Windham; a friend of Prince Charles, and godfather to Prince William, the story of his seduction of a 14 year old girl entrusted to his care during a sea journey, which resulted in her becoming pregnant, does little to endear him to me; however I should not let this colour my opinion of the book or the potential development of the project.
Initial research around the notion of oratory brilliance, in response to instruction 8, led to articles claiming that the content of successful speeches informs, entertains and offers immediate audience engagement often employing chronological or alphabetical organisation. I read about the value of charts and tables to convey data and the use of visual imagery to make the speech more powerful. Alongside this reading, I reviewed the book itself and began to consider how I could respond to this instruction and affect the whole page at the beginning of each section. I observed that volume 1 covered the first 45years of Windham’s life and that within key content outlined at the beginning of each section there were multiple references to the colour blue. From shades of blue representing Windham’s education (Eaton Blue, University of Glasgow blue, Oxford Blue) to the blue of Windham’s political beliefs. I noted all links to the colour blue within the introductory text for each section and used the copy machine to re-print this in the single colour blue. By increasing the scale, I have attempted to add further importance and value to these links. I constructed a table of the numbers 1 – 45 to fit on a single page of the book and reprinted these using the copier machine to achieve 7 shades of blue to convey a significant happening within each section – these became: Eaton Blue, Dublin Blue, Sky Blue (to represent Windham’s assent in a hot air balloon), French Revolution Blue, Pastel Blue (to represent the clothes favoured by Marie Antoinette), Tory Blue and Navy Blue (to represent the Royal Navy). Beginning with a black and white and reversed negative image I produced each of the shades I blue I had selected by altering the density, choice of single colour, depth of saturation and altering the colour balance functions on the copier machine within the colour/image quality options provided. By removing specific years which each table I have identified the relevant years written about within each section, and attempted to draw upon some of the issues identified as strengths within successful speech writing.
With no margin marks at all within Volume 1 of the Windham papers, I was initially unclear about how to respond to Instruction 7. Reading around the notion of markings in books led to articles in celebration of marginalia, claiming that this process enables a heightened form of engagement in which the reader can collaborate with the text and mingle with the author on some primary textural plane (O’Connell, M; The Marginal Obsession with Marginalia 2012). Whilst previous readers had not engaged with the process of making marks, I had observed occasional thin strips of additional paper within the inner page margins dotted throughout the book. These presented a contrast to the printed page of text and I began to consider that these could be the margin marks which I identify in some way. I think that these strips are connected to the insertion of illustrations within the book which seemed to link to standpoint O’Connell presents in which margin marks retain something of the former owner’s presence, in this case the former owner may have made the book! In order to identify these strips of paper, I inserted sequential numbers in the top left and right page corners to highlight the quantity and positioning throughout the book and then marked up each strip in black. I contrasted these with blank white self-adhesive labels in the corners of all of the pages which contain no additional papers. Interestingly the addition of so many labels has increased the thickness of the book and produced a slight tonal change to the colouring of the page edges.
The examination of dictionary definitions and their accompanying synonyms once again framed my visual response to instruction 6. Processes of working emerged through this initial research around how to select, organise and present text decoratively to include both the voice of the author of the introduction and provide clues to the life and times of William Windham.
Some research into endpapers provided information about their placement and early methods claiming that endpapers were originally made within anything to hand including manuscript off cuts. This seemed to suggest making use of sections of the introduction in some way.
Returning to a system of colour coding established within Instruction 2 to catalogue Windham’s personal and professional life, I introduced a new colour to include the voice of the Earl of Rosebery, the introduction author and golden boy of the early 20th century. Reading through the introduction I searched for the essence of the texts – clues to the successes and failures within Windham’s life and the standpoints made by Rosebery. The process of highlighting these added decoration to the introduction and provided a starting point to build upon. These selections were copied and over-printed with scale increased through the use of the copier machine in an attempt to visualise the charm of conversation which is what Rosebery claims to be the ‘real reputation of Windham’. Decorative and non-functional text sections emerged and I considered drawing attention to punctuation markings and key phrases. A selection of words which‘survived’ the numerous copier machine overprinting are still functional, in that they can be read. These have been embellished with text removed from the introduction to add additional decorative elements exploring scale and placement.
Positioning the end papers within the book, I made use of the markings already in place so that the words wrap around the book plate, Christ Church library bar code, and date of entry to the original library collection.
Completion of Instruction 2 enabled first investigation of the locations from which Windham wrote his letters within Volume 1. Of the 49 letters he wrote, 25 included listed addresses from 10 different locations, 4 of which were from his home of Felbrigg Hall in Norwich. Taking the idea that Windham would have departed and returned from his home at Felbrigg Hall, I used this as the starting point, and began by listing the distance of each town recorded from the Hall. When only streets were listed, I used known information about the life of Windham to determine which town the street may be from the list of options provided on Google Maps! This resulted in addresses in Glasgow, where Windham was a student, the Netherlands, and a further 2 in London, including one of the oldest Gentleman clubs in London!
Utalising this system of distance, I constructed a network of lines radiating from and back to the library windows at Felbrigg Hall to catalogue additional places of writing. The original library stamp from Christ Church, Oxford provided an opportunity to present a key to each location and record the number of times that a letter was written from each address.
Taking an idea from the given word connection, I began by exploring potential links with previous responses and reflected upon the similarities and differences within this instruction and the last. I considered how I might draw upon making practices employed within my response to instruction 3 to undertake instruction 4. The similarity of scale and placement of the portraits enabled a returning to the idea of the Oxford frame. Within this response I chose to remove the shape of the frame to amplify a lack of connection to Windham. I also returned to the idea of printing multiple initials to decorate the back of the portrait pages embellishing these with gold leaf to further illuminate the gaps in between the individual letters which I had previously filled with the initials of William Windham in instruction 3. With a further reference to the notion of illuminating, and historical illuminated letters, I made use of the paper removed from the book in cutting out the Oxford frame and embellished these with emerging connections with Windham’s life, loves and letters. These are placed decoratively within the original portrait and will be made use of again to embellish the list of illustrations at the front of Vol.1
In response to the third instruction, I once again began by gathering a list of connected synonyms. Alongside this, I observed that each portrait is contained within a single page with blank paper surrounding it and considered constructing a frame around each recipient to decorate this empty space. Drawing upon the idea of decorating, adorning and adding ornament, taken from the given word illustrate, I explored the idea of what a frame could be and came upon a historical style called an Oxford frame in which the sides cross each other and project out at the corners. I noted that this was considered a popular style for framing prints and that it is similar to the Oxford corners used by printers in which a corner is formed by a ruled border which cross and extend slightly beyond each other. I had never heard of either term before this research and was drawn to the connection with Oxford, historical eras and printers!
Having already altered the book in response to instruction one and two, I have decided to employ techniques used within this earlier work to form the frames that I construct. This will enable relevant individual ingredients to be mixed together around each portrait. Colour will be taken from the inventory constructed in response to instruction two and I also plan to make use of paper cutting, letter stamps and repetitive mark making found within the work of Mira Schendel and Cy Twombly.