Criss-crossing and Plotting

Pattern Pairings: This proposal is to produce a series of postcards by combining pairs of patterns – the starting point is our individual collections of pressed glass.

Having photographed and paired cake stands and dishes, the images were examined to find potential shapes for development into repeat patterns. After initial research T suggested the idea of criss-cross as a format for applying each pattern, with one person working with the vertical application, the other the horizontal. Discussions took place around media – linocut, rubber stamp, collograph and printing from found objects were identified, but we recognised that the selected shapes would have to remain simple for this form of production.

Plot #2: Having determined to produce a new version of Plot, work began with the discovery of a phrase by T on the RHS website ‘A productive plot is easier than you think’ – using productive as a starting point, enabled four words to be identified: reward, useful, valuable, abundant. We discussed how these words could be applied to our individual gardens and each drew up a list based on the following: reward = what we grow to eat, useful = functional structures or objects, valuable = where we sit/dine/relax, abundant = favourite multiple planting. 

During our regular Facetime discussions a series of decisions were formed. Using the original Plot format as inspiration, a new mock-up was produced with a page structure that would enable T to work within a portrait format and P a landscape format – thus reflecting the layouts of our individual gardens. In terms of content each of the four themes would be positioned on a double page spread. 

Taking four as a model, we determined to work with groups of four items from each of our lists. The four items would be plotted onto the page grid to reflect their position within our gardens, the four points would be joined to form a contained shape. The text on each pair of pages would relate to the specific subject matter and the proposal was to use phrases from vintage gardening books. At this stage we realised that each page would contain 2 shapes and a phrase, a fourth element would be required to meet our imposed system of four.

Eight (2) Examining and Extending

P: work began by examining the seven individual double page spreads and initially identifying numeric values within each with which to work; in addition, shapes and letterforms were considered as potential starting points. Having trialled a series of typewriter patterns, work began on each pair of pages – working randomly the patterns were applied, however the process was unstructured, and the results lacked coherence. Work was halted and the pages reviewed again to allow a simpler approach to be acquired. The existing elements on each page would be either framed (using the +++ symbol) or deleted using repeated xxx marks. 

T: Thinking about the what and where of adding new pattern began by looking at each of the seven sheets in turn. Pairs were collated and repeated elements considered as a first starting point. Having already determined to work in blue, and unsure of how to continue, I returned to looking and noticed elements of blue which could offer ideas to inform my additions. In this way typewritten shapes and letters were selected to echo those already on each sheet to extend existing ideas.

Keepsakes: Tracing around and printing with

T: Having received the pages from P, I began by returning to the given list of holiday keepsakes to select which to represent. Noting multiple and single items began to suggest a visual approach and I determined to trace around objects collected in multiples and make a single print with individually found objects. With a nod to the colour palette from round trip, I tested a range of colours and objects exploring alternative placements in response to the printed pages received from P.  I looked for connections and spaces to inform the final positioning, enjoying the opportunity to work with the text and extend given stories with the suggestion of other objects.

Having added the second layer of images to the text sheets, I added similar traced lines and printed shapes to the blank pages to share with P for the final printing. Having enjoyed working in response to the text, to connect, overlap and embellish each page, I found this section much more challenging and as a result was more cautious with the use of the page. 

Type and Titling

P: Working with printed pages received from T, the process of overprinting text began by selecting a range of short phrases from the gathered stories; the initial proposal was to ignore the book’s imposition to enable the type to appear at random places throughout the pages (as with Recollections), after further consideration it became clear that the narrative would become lost, therefore the idea was reconsidered to allow the stories to be read in a more logical manner. Tests were carried out using a range of typefaces, however the relatively small scale of the book meant that choice was limited, and the decision was made to work with two fonts, using a single colour from the pre-determined colour palette. Once printing began, decisions were made swiftly, often using WhatsApp messages to discuss and confirm details. There were some reservations about the type dominating specific pages, however, like the process for Kitchenalia, this can be adjusted when in receipt of the image-based sections from T. The final part of the process was to discuss and confirm the title and sub-title of the book to enable all pages to be completed before returning to T to add the image-based element.

An Ending and a Beginning

To conclude Tuesday@5pm a series of discussions took place in relation to book title, sub-title, front cover and key. Ideas were trialled and images sent back and forth via WhatsApp, until agreeing and finalising at a weekly online meeting.

Having gathered limited data at Small Publishers Fair for a book proposal based on Souvenirs, further stories were gathered via email and conversations with family and friends. This information was plotted onto a spreadsheet to enable potential connections to be highlighted; the form and format was led by two factors: a donation of a bundle of 5 x 4” glassine envelopes and a desire to return to a process of working adopted for Recollections, whereby work is undertaken on large sheets then cut-up to form the imposed pages. Dummies were made and reviewed enabling decisions around content, form and methodology. The process will be formed of three tasks, two image-based (TM) and one text-based (PW) – a return to previous practice, with printed pages developed and exchanged at different stages to inform a range of unique pieces.

Trains, Planes and Automobiles

Alongside the realisation of 33: Patterns of Making, time was also afforded to discussing ideas for the next project. En-route began with individual data extracted from summer holiday travel being collated onto a shared spreadsheet. This included date, mode of transport (on each individual day), length of journey time and postcode of destination. After discussing and reviewing the information we realised we would have to differentiate between walking as part of a journey and walking as a separate sightseeing activity, thus offering further data to consider. 

Early interactions led to ideas based on a concertina fold and a system of coloured stripes reminiscent of deck chairs and/or wind-breaks to represent each journey type, however as the concept progressed it became evident that the required process was over-ambitious and not time-efficient. 

Having taken time to reconsider the direction of the project, we arrived at a series of decisions, namely: 
• The book title was altered to Round Trip and ideas tested for using individual overall mileage as a graphic device.
• Using individual data, we will each produce a 12pp bound book, to be collated within a glassine envelope.
• Size, format and paper stock were determined by the size of the envelope.
• The books will be designed and produced independently, with a shared digital ‘key’ as a separate element within the envelope.

This process, whilst partly indicative of previous project Recovered/Recorded, will enable the opportunity to develop a new working practice with each making an individual response which will be presented collectively.

Plan. Produce. Present.

Over a period of several weeks we collected a range of data in relation to the process of making. Regular pre-arranged FaceTime meetings enabled an ongoing discussion around comparing and formulating how the data could be utilised. The largest sized paper available and a mathematical approach dictated the size and format of the book – a 10pp concertina with three inserted sewn sections to relate to the three stages of making – planning, production and presentation. We determined to use the following information within the book: equipment used, mapping of movement in connection with the three stages and verbs that express the process of making. Whilst some production decisions were made swiftly, others remain unresolved, however we will use the opportunity of a face-to-face meeting in a weeks’ time to discuss and explore solutions.

Kitchenalia: two sides of a story 1/7

Having made a series of seven independent responses to the kitchen, we are beginning to combine our work – adjusting content and placement in response to the work of the other to inform new pairings of prompts and props.

The kitchen project: 7/7

P: Disaster, set solid. Squidgy chocolate log. Dessert. Black biro

This phrase was not part of the original selection, however after re-jigging the page order at week 4 it seemed an appropriate inclusion for the remaining single page. Within typographic terminology ‘set solid’ means to set type without any leading, therefore this sentiment seemed to align perfectly with the phrase itself; mindful that as a single page there has to be space for T to ‘add to’ the work, I produced several visuals of different layouts with type that overlapped and merged together, however after test-printing just one idea, I was pleased with the result and proceeded to produce the final prints. The use of a fluorescent ! acts as a form to align the letters to.

T: Sunday Lunch: A great opportunity for wine

Consideration around the final response, led to ideas around last – last day of the week, last remaining objects of a set, last drawer in the kitchen, last place to look….. I began to list objects and memories connected with this which led to reading around the traditions associated with a Sunday lunch. Having been gifted a gravy boat and custard jug from my parents dinner service years ago, I undertook some first research about these items noting the crown and mark of Johnson Bros on the base of each object. Ideas around family resonated and multiple connections emerged including the three brothers who manufactured the ceramics being the grandsons of a famous potter, and the rituals of a Sunday dinner revolving around family. With a nod to previously employed systems and methodologies, I traced around the saucer of the gravy boat and identified my mother and her three grand daughters through typewritten self adhesive labels. A relief print of the last remaining wine glass from a set given as a wedding present employs a colour from my wedding dress and links with the found phrase selected from research into the Sunday lunch.

The kitchen project: 5/7

P: Use milk chocolate instead. Nigel Slater’s Real Food. Chocolate Apple Betty. Dessert. Pencil

Learning from the process adopted previously, I again returned to the original recipe for inspiration – whilst reading it, I noted the list of verbs used as part of the cooking instructions; in addition, a close-up photograph accompanying the recipe showing the finished dessert offered visual clues as to how typography could potentially be used to interpret the pudding’s visual appearance. Working with letters from the phrase, I began by using two sizes of type which were laid out randomly to suggest a sense of displacement, although whilst still being readable. A main consideration was to leave space within the design for when the book work is combined with T’s page, therefore on the opposite page letterpress printing was kept to a minimum but combined with the list of verbs which were visually explored through a set of typewriter patterns that loosely suggest their meaning.

T: Beating and Baking: butter, caster sugar, eggs, lemons, milk, self-raising flour

The process of looking around the kitchen and finding objects once used led to first reading about a traditional mixing bowl inscribed Made in England which I purchased from a charity shop in Derby one year ago and is now displayed on a top shelf just above the weighing scales

I believe the traditional white and cane glazed earthenware mixing bowl may have been manufactured by Mason Cash & Co and is the bowl with the special all-round grip and the choice of home cooks and bakers for centuries! Continuing with the idea of the then and now, I explored the location of ingredients around my current kitchen space, traditional recipes, colour, and equipment used in the process of beating and baking a cake. arranging these systematically and connecting each to the location of beating and baking. With a nod to the rim of the Mason Cash & Co mixing bowl two colour self-adhesive labels record the location of beating together and then baking a cake, whilst six self adhesive labels document the current location of each of the six ingredients used within within the process of making a lemon drizzle cake.