Japanese Anenome Linocut in Progress

I have been working on my Japanese Anenome Linocut, 3 colours down and 2 more to go. This is a reduction linocut, which means after I have printed a colour, I remove more material from the lino block to print the next colour.

The design has changed a bit as I’ve been cutting and printing the block in reaction to the colours I can produce with the inks I have.

I have been using strips of mountboard glued to a plastic sheet to register the lino block with the paper. The registration has been excellent, but the strips of mountboard have embossed their shape on the paper print. Once I have a final edition of prints I will window-mount them so that the unwanted embossed effect is hidden.

(© Catherine Cronin)

 

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Editioning – Moth

MothPagesweb

Still editioning my ‘Moth’ artists’ book; pages are curing, then to cut, fold and glue; then box making.

If you would like to purchase one and it isn’t stocked in my Etsy shop; please email me which one you would like and I can make it as a priority, email  catamongthepigeonspress@gmail.com

You can read all about ‘Moth and see the finished books in this blog post.

(© Catherine Cronin)

 

New Artists’ Book – Moth

Moth-Kentish-Glory-open-CopyrightCACRONIN

I have at finished making the first books of a new artists’ book I have been working on since 2012! It has been a labour of love. The book is called ‘Moth’, it is a shaped concertina that opens up at the folds at approximately a 45 degree angle. This means it opens up in a circular motion rather like apple peel. One ‘page’ consists of a moth folded in half and then it is attached to the next ‘moth page’ at the wingtip at a 45 degree angle. On one side of the concertina, the ‘inside’ pages consist of faint grey line drawings of various moths with a poem in black text overlaid on top. The ‘outside’ of the concertina features an image of a moth in full colour, repeating page by page.

The poem is about moths that are attracted by artificial lights, and their ultimately futile circling around and around these lights to no purpose. The shape of the concertina opening in a circle reflects this motion. The typeface I have used for the poem has scratchy and splotchy letters in different weights and sizes, the idea was if a moth could write what would the letters look like! The poem reads

Confused, lost in light

exhausted fluttering

suspends gold pinpoints

in beams glittering

a trail captured

chaotic wing beats

that change nothing

night after night

lost, confused in light

I chose to illustrate three moths; Kentish Glory, Cinnabar and White Prominent; two moths that I had recently spotted and after research one that I liked the look of, that complimented the other two.  I adapted the illustrations to the form of my book so they are not anatomically correct, rather they carry similar marks of these moth species.

I decided to box my ‘Moth’ books in my idea of a specimen box; reflecting moth specimen collections, moths easily lured by artificial lights to obtain them. The containing box is brown card, folded and glued with an acetate window, hand printed in black ink. The ‘Moth’ concertina is printed with six colour Epson inkjets onto Epson Matte Heavyweight Inkjet Paper; the concertina consists of 9 moth pages, 3 moths printed to one A4 page and then cut, folded and attached to the next set of three moths.

Approximate Dimensions ‘Moth’ – one open moth page   L = 15.5cm   H = 6.5cm

Approximate Dimensions Box   L = 16.3cm   W = 7.5cm   H = 4cm

I intend to make 10 sets of each moth species, an edition totalling 30. So far I have made 3 and two boxes, so a long way to go. You can buy the two finished boxed ‘Moths’ here online.

(Note on Sept 2014 – there are no ‘Moths’ in-stock right now; they are quite time-consuming to make, and so are produced slowly. I will be stocking them again; let me know which one you would like to purchase and I can make that up as a priority. Email catamongthepigeonspress@gmail.com)

I would love to hear what you think of my ‘Moth’ concertinas.

 

(© Catherine Cronin)

 

Sanctuary Inside Outside – Artists’ Book

I have just been updating my ‘Artists’ Books’ tab on this website with details of a book I made a while ago called ‘Sanctuary Inside Outside’.

It is an artists’ book looking at the influence of church architecture on the emotional state of visitors who seek to occupy these spaces, the faithful and the non-believer alike.

The book itself is a star concertina design binding incorporating windows, when opened and viewed from above the book forms the shape of a 7 pointed star. The book utilises printing on paper and coloured acetate, and hand printed text. Please see ‘Artists’ Books’ tab bottom of page for more information and pictures.

I see Alhambra – Making the book – Mock-up design

It has been awhile but at last I am ready to make a mock-up of my ‘I see Alhambra’ book. I have finished making the lino prints and I have decided on the order I want them to be viewed. I always find it best to make mock-ups first; as I often find that an idea I have of how the book will look, will often turn into something different when you actually try to make it. Your mind’s eye often doesn’t encounter the 3D problems of making.

So to make a mock-up book I will be using some of the lino cut prints that had a few faults; as I am experimenting I don’t want to use good prints. I am making a concertina, so the first step is to cut the prints to size, including enough paper for a folding tab on one side. This tab will be glued to the back of the next print and the fold creates the first two pages of the concertina. Tips on glueing; use PVA glue and press glued pages and book covers in a press or underneath heavy books. This ensures everything dries flat. I have now folded and glued all the pages, so I now have my concertina book.

The second step is to consider what type of cover would suit the book; a hard cover? a paper cover? a textile cover? Should the book cover be illustrated? What text shall I put on the cover? How shall I attach the cover?

After much consideration, and playing around with card and paper; I have decided to make a grey board card cover, which will have a paper print with text on the front, and the back will be left bare. The two covers will be attached with a folded spine of heavy paper. I am using simple materials for the cover, as I want to compliment the bold and colourful prints inside.

I am choosing to incorporate a book spine in my design, rather than attaching the boards at either end of the concertina, because I have an odd number of prints. I want the viewer to be able to pull the concertina straight and view the prints together. As I have an odd number of pages I can’t attach a board at either end of the concertina unless I insert another page at the end. I do not want to do this as I am happy with the arrangement of the prints as they are. I don’t want to insert a blank page or make another print just so I can attach the board covers at either end. In this case the content of my book and the way I wish it to be viewed is defining the design of the cover.

So the last step is to glue the first page to the inside of the front cover, and that’s it, I have made a mock-up that I am happy with. All to do now, make the first edition of ‘I see Alhambra’.

(All images and works under copyright © Catherine Cronin)

I see Alhambra – Cutting lino continued – Part 5

So far I have explained my inspiration behind, and intention to make an artists’ book on my experience of visiting the Alhambra. I have explained how I transfer my drawings onto lino plates; how to cut and print the lino plates. I am aiming for ten images in my book and I have so far cut 4 lino plates. I am still exploring the other possible images from my photographs, but I already feel that the images are coming in ‘natural pairs’.

(All images and works under copyright © Catherine Cronin)