Despite the various ups and downs of the intersect project, we now seem to be back on track. With my sections of the book typed and sent to T – using recorded delivery (to ensure against further losses!); I have been able to move on to the covers, whilst T begins the typing of her sections, whenever she gets some spare time… thanks to the portable typewriter!
We are using the covers from my book but the (new) title has been taken from the title page of T’s book. The initial idea for the front cover was to translate the title using code, however the symbols +*=:/ are not all available as wood type, therefore it was decided to overprint the full title using black ink to reflect the typed code of the inner pages. The inscription from T’s original book was also letterpress printed, this time using red to reflect the second colour of the typing, it was placed in the same position as the original book – the inside front cover; these processes continue the concept of intersect.
Text message from PW to TM 11.52, 22 May
Using the portraits of recipients, depict/illustrate/communicate some aspect of
Windham’s correspondence with the individual. Deadline 12 June.
Highlighting a particular aspect of Windham’s correspondence was reasonably straightforward as in the majority of cases the illustrations within volume 2 depict recipients who
received limited letters from Windham – the exception being Lord Grenville who received 23! However finding a common theme in each of his 23 letters was not as difficult as anticipated.
Working on illustrations that are bound within such a large volume was challenging, and as suspected the folded pages from instruction no.1 also impeded some production methods.
Rubber-stamping, letterpress (albeit hand printing) and collage techniques were adopted to develop a range of individual solutions rather than a thematic approach. The final illustrations are not wholly successful due the restrictive nature of the bound pages. With hindsight more effective pre-planning would have helped improve both composition and technique – photocopying each illustration to practice upon prior to beginning would have been advantageous, however as with the first instruction, I worked directly onto the pages after only limited testing of media and techniques.
Unlike instructions 1 and 2, this was the first time that a system was not put in place
in response to the instruction, instead each of the 8 illustration pages is an individual reaction to the topic of correspondence.
Day 1: The day started with tea, coffee and discussion. Multiple strands of conversation enabled the sharing of visual processes made use of to date. We discovered a commonality in our individual working practices and methodology through the use of found image, colour and decoration. Strengths were recognised and celebrated in each others practice and the focus remained positive – affirming decisions made. We shared and exchanged materials and constructed purposeful ‘to do’ lists for the making day ahead. The choice of working methods required us to work in separate studios, although we came together at relevant times throughout the day to support and discuss progress.
Having pre-arranged this day, making extended beyond the time spent in the studios and decisions continued throughout the evening. The day’s progress was discussed and new decisions were made collaboratively.
Day 2: After a brief discussion about the sequence in which we could both achieve the day’s objectives, we quickly adopted a similar routine to day 1 – our individual areas of focus and requirement of specialist equipment resulted in working in separate studios again. We utilised a wide range of techniques including lino printing, screen printing, letterpress printing, photocopying and digital printing and foiling, and met at regular intervals to share progress and seek advice from each other. Towards the end of day 2 we were able to review the project’s current status and plan potential tasks for the final Making Day in the south in three weeks time.