tag:blogger.com,1999:blog-79275674444220282352024-03-05T18:25:54.856-08:00Titanic LetterpressAn exploration of the phenomenon of the RMS Titanic through traditional Letterpress printing.JMhttp://www.blogger.com/profile/16253647475950079717noreply@blogger.comBlogger25125tag:blogger.com,1999:blog-7927567444422028235.post-89946354808198483382012-05-24T01:23:00.000-07:002012-05-24T01:23:02.046-07:00TITANIC LETTERPRESS VIDEO<div dir="ltr" style="text-align: left;" trbidi="on">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Thanks to Rich Gilligan for shooting the footage and to Alex Bradley for the edit. Click </span><a href="https://vimeo.com/42681888"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">here</span></a><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"> to see the promo video for the book on Vimeo.</span><br />
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<br /></div>JMhttp://www.blogger.com/profile/16253647475950079717noreply@blogger.com0tag:blogger.com,1999:blog-7927567444422028235.post-61911172652539761332012-05-15T04:12:00.003-07:002012-05-15T04:14:46.275-07:00WEBSITE FOR THE BOOK<div dir="ltr" style="text-align: left;" trbidi="on">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">The book now has it's own new website where you will find details, photography and video. Kindly built by </span><a href="http://maryplunkett.ie/"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Mary Plunkett</span></a><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">.</span><br />
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<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><a href="http://www.albertandernest.com/">www.albertandernest.com</a></span></div>JMhttp://www.blogger.com/profile/16253647475950079717noreply@blogger.com0tag:blogger.com,1999:blog-7927567444422028235.post-42780429232773395662012-05-04T11:51:00.003-07:002012-05-04T11:53:30.880-07:00Colm Tóibín visits Distiller's Press<div dir="ltr" style="text-align: left;" trbidi="on">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Colm Tóibín dropped by yesterday for over an hour and a half to see the book as it nears the end of production. Since coming on board to write the foreword he has been in contact many times and has been great to work with. After a quick tour of the press we spent a long while analysing each and every illustration up close. Colm has meticulously signed all copies of his foreword with his own beautiful fountain pen. We're delighted with this development and we must thank Colm for his generous support of this project from the outset.</span><br />
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<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span></div>JMhttp://www.blogger.com/profile/16253647475950079717noreply@blogger.com0tag:blogger.com,1999:blog-7927567444422028235.post-85896660109773707622012-04-11T04:41:00.000-07:002012-04-11T05:40:56.772-07:00'ALBERT, ERNEST & THE TITANIC' (pre-launch sale)<div dir="ltr" style="text-align: left;" trbidi="on">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">This day 100 years ago Titanic steamed into Queenstown, Co. Cork. This was to be the last time she would weigh anchor before heading across the Atlantic towards New York. <b>To celebrate this event I'm now offering ten copies of my book for sale at a discounted rate.</b></span><br />
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<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><b></b></span><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><i>Albert, Ernest & the Titanic</i> tells the story of the Titanic’s ill-fated on board printers, Abraham ‘Albert’ Mishellany and Ernest Corbin as they travel on the ship’s doomed maiden voyage.</span><br />
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<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Irish author Colm Tóibín writes in his foreword for the book: “As we mark the centenary of the sinking of the Titanic, we are reminded of the amazing gallery of prose and poetry prompted by the events of 1912. However, as well as the passengers, we cannot forget the skilled craftsmen who worked on the ship.”</span></div>
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<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Letterpress printed at Distillers Press, NCAD, Dublin, Ireland. The book runs to 176 pages with 40 linocut illustrations and is hand bound in a limited edition of 36 copies.</span></div>
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<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><i>Albert, Ernest & the Titanic</i> will be launched on June 8th 2012, priced at €950. Ten copies are available to purchase pre-launch at a special price of €850. These copies are accompanied by a signed and very limited edition print of one of the book’s illustrations. The discounted rate ends when these ten are sold or on June 8th, whichever comes first.</span><br />
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<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Images: Mock up of binding, Colm Tóibín's foreword, foreword coming off the press, foreword as hand set.</span><br />
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<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"></span><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><b><i>Production Details.</i></b></span><br />
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><b><i></i></b></span><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><b>Foreword: </b><b><a href="http://www.colmtoibin.com/content/biography">Colm Tóibín</a></b></span><br />
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><b><a href="http://www.colmtoibin.com/content/biography"></a></b></span><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><b>Illustrations:</b> 40 linocuts 230 x 230mm.</span><br />
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"></span><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><b>Type:</b> Hand set in newly cast Garamond (Hand & Eye, London), Grotesque light and Grot no. 8 (Stephenson & Blake, early 20th century)</span><br />
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"></span><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><b>Paper:</b> Zerkall 225gsm mouldmade, deckled edge kept throughout.</span><br />
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"></span><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><b>Inks:</b> Rubber based black, blue and 'Titanic Coal Ink' (made from coal recovered from the reck site).</span><br />
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"></span><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><b>Binding:</b> Exposed glueless bind, hand bound in hard case, blind embossed with tipped in title. Binding by Tom Duffy.</span><br />
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"></span><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><b>Presses:</b> Printed on a 1960's ADWEST double crown proofing press and a 19th century treadle platen.</span><br />
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"></span><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><b>Measurements:</b> 15 inches x 13 inches x 2.5 inches approx.</span><br />
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"></span><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><b>Edition:</b> 36 copies in total. 6 for private distribution, 30 for sale. All copies editioned and signed.</span><br />
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<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><i>For further information please contact me.</i></span></div>
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<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">+353 87 9626365 or jamie@fjord.ie</span></div>
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</div>JMhttp://www.blogger.com/profile/16253647475950079717noreply@blogger.com0tag:blogger.com,1999:blog-7927567444422028235.post-43448844127609282022012-02-23T08:24:00.001-08:002012-03-06T08:59:43.380-08:00TITANIC TYPE<div dir="ltr" style="text-align: left;" trbidi="on">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">As mentioned in a previous post I've been experimenting with a quirky typeface over the last few months. The face first appeared in the 1870's and was digitally redrawn in recent years. The face caught my attention because it appeared on an advert for the Titanic in 1912. More on the history of the face is in that previous post. The complete latest version of the face has been laser cut in 4mm birch ply. It has been illustrated with an abstract horizon which is similar in feel to carnival and circus poster types of the 19th Century. It measures 216 points high / or 18 lines / or 3 inches. Another reason for getting the type made at this stage is that I've been asked to show at an upcoming exhibition called 'Crafting Type' and I intend to show this typeface as a traditional printing form created using contemporary techniques. From the press release: <i>"Dublin’s Grand Canal Dock is soon to be hit with Ireland’s only established creative festival, ‘OFFSET </i></span><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><i>2012’. To celebrate this bringing together of all things graphic and cutting edge, an exhibition </i></span><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><i>curated by Orlaith Ross entitled ‘Crafting Type’, will cross the craft and design divide by exploring </i></span><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><i>the creations of Ireland’s finest visual elite." </i>This exhibition runs in conjunction with <a href="http://iloveoffset.com/">OFFSET</a>, a weekend I've been looking forward to since the last OFFSET two years ago!</span><br />
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<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><i><br /></i></span></div>JMhttp://www.blogger.com/profile/16253647475950079717noreply@blogger.com0tag:blogger.com,1999:blog-7927567444422028235.post-2847488930281527992012-02-13T10:23:00.000-08:002012-02-13T10:23:17.993-08:00COAL INK<div dir="ltr" style="text-align: left;" trbidi="on">
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<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">An hours grinding with a heavy pestle and mortar produced a very fine dust out of a piece of coal, approximately the size of the piece I have which was salvaged from the Titanic wreck site. This dust was then mixed in varying amounts to a transparent base (Pantone Transparent White) before printing. The results were interesting and when the prints dried the ink was stable - it didn't wipe away under normal conditions. With the next experiment I hope to be able to achieve consistentcy so that I can print all the title pages of the book with very little variation in colour. The type I experimented with here is the typeface that will be used for the title page - S&B Gtot no.8.</span></div>
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<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span></div>JMhttp://www.blogger.com/profile/16253647475950079717noreply@blogger.com0tag:blogger.com,1999:blog-7927567444422028235.post-76311459565823071702012-02-10T03:44:00.000-08:002012-02-10T03:47:58.078-08:00ILLUSTRATIONS (post 2)<div dir="ltr" style="text-align: left;" trbidi="on">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Further to yesterday's post, here are some more proofed illustrations. They are a mix between both narratives and not in any particular order. The printers were aged 27 and 52. Myself and my father have acted as models for many of the printer's illustrations.</span><br />
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<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span></div>JMhttp://www.blogger.com/profile/16253647475950079717noreply@blogger.com1tag:blogger.com,1999:blog-7927567444422028235.post-24892561004409706962012-02-09T09:50:00.000-08:002012-02-09T09:50:43.750-08:00ILLUSTRATIONS<div dir="ltr" style="text-align: left;" trbidi="on">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Although originally intended to be an information graphics project in the back of my mind, it has slowly manifested itself into quite an illustration heavy one. The illustrations form the main body of work and carry both narratives through the book. When deciding on how the book would read, what length was comfortable and how it was to be constructed I decided to create 40 illustrations. These illustrations are divided equally between the 'Printer's narrative' and the 'Titanic's narrative' ie. 20 each. Some illustrations work together with the type elements, some are independent, but as a whole they bring the book together and create a linear progression through out. They act as story tellers in their own right. </span><br />
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<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">They are heavily influenced by photographs of the ship and by photography of the period. </span><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">All the illustrations are black and white. </span><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">They assume vantage points, sometimes detailed, very close to the action from the point of view of a character and sometimes more removed, quieter, taking in the landscape. As linocuts, they are carved quite graphic i</span><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">n style with clean lines and interesting compositions. Linoleum was specifically chosen as the means of producing the illustrations due to the time period concerned. <i>From <a href="http://en.wikipedia.org/wiki/Linocut">Wikipedia</a></i> <span class="Apple-style-span" style="color: white;">"</span></span><span class="Apple-style-span" style="line-height: 19px;"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><span class="Apple-style-span" style="color: white;">Although linoleum as a floor covering dates to the 1860s, the linocut printing technique was used first by the artists of </span></span><a href="http://en.wikipedia.org/wiki/Die_Br%C3%BCcke" style="background-attachment: initial; background-clip: initial; background-color: initial; background-image: none; background-origin: initial; text-decoration: none;" title="Die Brücke"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><span class="Apple-style-span" style="color: white;">Die Brücke</span></span></a><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><span class="Apple-style-span" style="color: white;"> in Germany between 1905-13 where it had been similarly used for wallpaper printing. They initially described their prints as </span></span><a href="http://en.wikipedia.org/wiki/Woodcut" style="background-attachment: initial; background-clip: initial; background-color: initial; background-image: none; background-origin: initial; text-decoration: none;" title="Woodcut"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><span class="Apple-style-span" style="color: white;">woodcuts</span></span></a><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><span class="Apple-style-span" style="color: white;"> however, which sounded more respectable."</span></span></span><br />
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<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><span class="Apple-style-span" style="line-height: 19px;">Over time I decided to create the illustrations square instead of portrait or landscape. The book was calling out to be illustrated landscape but I felt that the square offered a more interesting perspective, the book already being landscape in format. Each illustration is contained by a frame of approx. 6mm. This was an addition which I made after several weeks planning the thumbnails. The images that follow are four proof prints, 15 have been completed to date. I'll try get more up tomorrow. Each one takes between 10 and 20 hours to complete so progress has been quite slow. They measure 230mm x 230mm.</span></span><br />
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<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><span class="Apple-style-span" style="line-height: 19px;"><br /></span></span></div>JMhttp://www.blogger.com/profile/16253647475950079717noreply@blogger.com0tag:blogger.com,1999:blog-7927567444422028235.post-59912772585465353402012-02-08T02:52:00.000-08:002012-02-08T02:53:39.412-08:00ONE TITANIC YEAR LATER (post 5)<div dir="ltr" style="text-align: left;" trbidi="on">
<u><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Ink.</span></u><br />
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">One of the areas that I found interesting was the availability of only two inks to the printers. I've noticed the majority of their work required only black but some menus seem to also include a dark blue. Taking this information I decided to also limit the colours in the book to black and blue. The illustrations will be black linoleum prints and the type will also be black. Decoration within the type elements will be blue, as will the illustrated coordinates which tie everything together throughout the book. Blue may also appear in the binding chord and possibly on the cover as a foil or a tipped in illustration but these elements have not been finalised yet.</span><br />
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<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">There will also be a special ink used in the book. This ink will be made from coal salvaged from the wreckage on the Atlantic sea floor. It was salvaged by the 1994 Research and Discovery Expedition. Experiments are ongoing as to how best create this ink but it's looking like a very heavy stone mortal and pestle and a lot of elbow grease can grind it down to a fine powder. This powder could then be added to one of a number of bases - black, blue, transparent white etc. The inclusion of this ink adds another dimension to the book. There will be a part of the disaster included and linked directly to the printers as it will be applied by the very means that they themselves were used to, letterpress printing.</span></div>
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<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span></div>JMhttp://www.blogger.com/profile/16253647475950079717noreply@blogger.com0tag:blogger.com,1999:blog-7927567444422028235.post-90746574451073862272012-02-08T02:20:00.000-08:002012-02-08T02:55:16.881-08:00ONE TITANIC YEAR LATER (post 4)<div dir="ltr" style="text-align: left;" trbidi="on">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">One important decision to be made when designing any book is far too often an overlooked one, the paper stock. The paper plays a vital part in how a book feels and looks. Certain stocks take ink very well while others are more resistant. For this book I went down the road of mould made papers. These tend to be heavy, soft and usually have what's known as a deckled edge. This edge is achieved naturally in the mould and no two sheets are exactly alike because of it. I was struck with the simple fact that when stacked and viewed along their edge there is the illusion of waves at sea. After debating several I decided to go with a rough Zerkall 225gsm which is white in colour.</span><br />
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<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEqnAt4aYmZ4uwEr_EItjYkPXLHUOxYQUY8dPOjfskopOL34uqfud4bYltFY1lSBh78Lhza9-7vSpQumMYKM1sA80aO0paTZLu5JJwO9E3K8o-3H_qETD4KeYmYVzX5-8r7WglaUwDci0/s1600/DSC_0243.JPG" imageanchor="1" style="clear: left; display: inline !important; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="428" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEqnAt4aYmZ4uwEr_EItjYkPXLHUOxYQUY8dPOjfskopOL34uqfud4bYltFY1lSBh78Lhza9-7vSpQumMYKM1sA80aO0paTZLu5JJwO9E3K8o-3H_qETD4KeYmYVzX5-8r7WglaUwDci0/s640/DSC_0243.JPG" width="640" /></a><br />
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">The book will be housed in a solid, heavy case which is very protective. The case is built around 5.8mm thick board and covered in a charcoal grey book cloth. Although not to actual size the mock up of this case is very impressive, special thanks again to Tom Duffy of Duffy Bookbinders (mentioned in the last post). The exposed binding has drawn attention. The idea is that it is symbolic of the many layers to Titanic, it's many decks and also serves to depict the nautical nature of the subject through the exposed binding chord, reminiscent of ropes. The chord's aesthetic is not finalised yet but may eventually be dyed blue and finished in sea knots. I like the juxtaposition of the meticulously printed and finished book and the rough, exposed binding. The next step in the journey of the binding is to experiment with different finishing techniques for the cover - hot foiling, debossing etc.</span><br />
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<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg05n_h-yFr22ebrS_TQh-eVZH2eheq-TDaORMuwB5cN_MEPu_2umvnCCDMBNUfE_H2c64I2F3NaBuc64dhBK_7jp0R_3RIFhfQ4wOwxTD0JIfdiXkPpZE1E5BMByMf0A63O5BpK3lsSe8/s1600/DSC_0215.JPG" imageanchor="1" style="clear: left; display: inline !important; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="428" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg05n_h-yFr22ebrS_TQh-eVZH2eheq-TDaORMuwB5cN_MEPu_2umvnCCDMBNUfE_H2c64I2F3NaBuc64dhBK_7jp0R_3RIFhfQ4wOwxTD0JIfdiXkPpZE1E5BMByMf0A63O5BpK3lsSe8/s640/DSC_0215.JPG" width="640" /></a><br />
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</div>JMhttp://www.blogger.com/profile/16253647475950079717noreply@blogger.com0tag:blogger.com,1999:blog-7927567444422028235.post-42638930498759636322012-02-07T02:00:00.000-08:002012-02-07T02:00:53.423-08:00ONE TITANIC YEAR LATER (post 3)<div dir="ltr" style="text-align: left;" trbidi="on">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><u>Concept and Construction.</u></span><br />
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Until now the printers legacy has lain hidden behind that of the Titanic. This book aims to bring the printers to the fore. This is to be realised through the book's unusual construction. Through several drafts the idea was to use the idea of the hidden, achieved by portraying the Titanic's narrative on the inside of a series of 20 french folded pages, with the printer's story portrayed on the outside. This would make the Titanic's story difficult to gain access too, one would have to peer inside the folds possibly cutting at the pages to open them up.</span><br />
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<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"></span><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">After a visit to the <a href="http://www.fpba.com/fairs/oxford.html">Fine Press Book Association's Oxford Book Fair</a> I returned with a very different idea for the construction. I was uneasy with the idea that a book that took two years of work to complete might be torn or damaged in order to gain access to it's information. At the fair I came across Chicago based Bob McCamant and his <a href="http://www.sherwinbeach.com/new/PPatTable.php">Sherwin Beach Press</a>. He talked me through a few of the bindings produced by Trisha Hammer at <a href="http://collaborationtwostudios.com/">Collaboration Two Studios</a> for some of his publications. These are exquisite, unusual bindings that I took my time photographing. I arrived back in Dublin with the inspiration to develop a new binding method. I contacted Tom Duffy of <a href="http://www.duffybookbinders.com/">Duffy Bookbinders</a> who I have worked with on a previous Book and we discussed a new bind based on these images. The first of which is the most intriguing to me, the sections are hand bound and attached to the case by the last leaf, held in a pocket.</span><br />
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<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Together we decided to leave an exposed bind as it hints at the various levels of the ship and allows us to show the binding chord, hinting at sea faring ropes etc. The hand bound book will be placed into a case and held there by the last leaf in a pocket in the inside back cover. In the front inside cover will be housed a map of the route. The first mock up is shown below.</span></div>
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<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span></div>JMhttp://www.blogger.com/profile/16253647475950079717noreply@blogger.com0tag:blogger.com,1999:blog-7927567444422028235.post-47241334878325333672012-02-07T01:16:00.000-08:002012-02-07T01:16:37.782-08:00ONE TITANIC YEAR LATER (post 2)<div dir="ltr" style="text-align: left;" trbidi="on">
In choosing the typefaces I had a clear idea of what they were to be used to portray. 48pt Grot no. 8 will be used solely for the title page of the book, it has a beautifully quirky nature and is heavy enough to carry the title well. The case I found has certainly been used often as the type is quite worn, this adds a certain dynamic to the characters which I'm fond of.<br />
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The body of the book carries two narratives, one referring to the Titanic and another to the printers. 18pt Grotesque light was chosen to portray the printer's journey through the book as it has a heavy presence, with noticeable nicks and scrapes to it's appearance. I like the idea of using a hard working fount here directly referencing the printing trade as such. These were working men, on the ship as employees, in stark contrast to the wealthy passengers who also travelled on board. The printer's narrative is depicted through 20 short paragraphs.<br />
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This leaves the newly cast 14pt Garamond. This will be used to carry the aesthetic of the ship itself, sharp, exact and beautifully luxurious. The fount has been cast with a full set of ligatures in both roman and italic. The Titanic's narrative is depicted through 20 quotes from crew and survivors.</div>
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</div>JMhttp://www.blogger.com/profile/16253647475950079717noreply@blogger.com0tag:blogger.com,1999:blog-7927567444422028235.post-50282580735644330372012-02-06T02:33:00.000-08:002012-02-07T00:48:06.059-08:00ONE TITANIC YEAR LATER (post 1)<div dir="ltr" style="text-align: left;" trbidi="on">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Since last posting a busy year has past. Research has continued to develop the book into it's current form and printing has begun. Over a number of posts I'll try to provide an overview of progress to date.</span><br />
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><u><br /></u></span><br />
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"></span><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><u>Type.</u></span><br />
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Following on from and being motivated by Bob Richardson's article I acquired a Stephenson Blake 'Point Line Type and Printing Material' catalogue from 1921 (which coincidentally was found in one of James Joyce's former houses). Included in this catalogue was De Vinne and several grotesque faces, giving further weight to Richardson's notion that Stephenson Blake did indeed fit out the printing Shop. I then read Roy Millington's 'Stephenson Blake: The Last of the Old English Typefounders'. Further evidence to Stephenson Blake being the suppliers was that according to Millington, Westminster Old Style, The White Star's 'house' face, was acquired from ATF (American Type Founders) in 1907 by the company.</span><br />
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<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace; font-size: small;">I approached the <a href="http://www.nationalprintmuseum.ie/">National Print Museum</a> here in Dublin and gained access to their archives on a number of occasions. This resource can't be be overlooked to a letterpress researcher as it is undoubtedly the largest collection of printing equipment in the country. Being a personal fan of the Grotesque faces utilised by the printer's on board Titanic, I was delighted to find 6 cases of grot faces, the highlight of which was Grot no.8 (1920), cast by Stephenson Blake of Sheffield. My intention here was to find two typefaces used by the printers which I in turn could use in my book. Unsuccessful in this quest I decided to use three faces in the end, 48pt Grot no. 8, 18pt Grotesque Light and 14pt Garamond (newly cast by Phil Able and Nick Gill at <a href="http://handandeye.co.uk/">Hand & Eye</a>, London).</span></div>
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<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">The book also borrows from a Titanic Advertisement for the return leg from New York. I was struck by an</span><span class="Apple-style-span" style="line-height: 18px;"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"> 1870's font designed originally by William Hamilton Page, which has been digitally redrawn by Dan X Solo and is known as Minnesota. My idea was to take this font and illustrate it to give a subtle nautical theme. Several drafts later and I was experimenting with Philip at </span><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><span class="Apple-style-span" style="color: black;"><a href="http://thelasercompany.ie/">The Laser Company</a></span></span><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"> cutting the face into wood. The results were great but the depth of the line could only be .4mm thick before the piece caught fire. That meant that the face would be too large for my intentions, but perfect for poster work etc.</span></span></div>
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</div>JMhttp://www.blogger.com/profile/16253647475950079717noreply@blogger.com0tag:blogger.com,1999:blog-7927567444422028235.post-40653230073749660632011-02-14T08:02:00.000-08:002011-02-16T03:16:11.480-08:00POSSIBLE TYPEFACES OF THE TITANIC<span class="Apple-style-span" style="font-family: inherit;">As with the previous post, I'm referencing Issue 13 of </span><i><span class="Apple-style-span" style="font-family: inherit;">Voyage</span></i><span class="Apple-style-span" style="font-family: inherit;">. In Bob Richardson's article 'Titanic's printers: Their legacy endures' he also tries to get to the bottom of where the print room was located and what typefaces may have been used by the printers and by the White Star Line at the time.</span><br />
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<span class="Apple-style-span" style="font-family: inherit;">It is difficult to pinpoint the exact location of the print room on the <i>Titanic</i> and different plans show various possible locations that it could have been. 'Various plans of </span><i><span class="Apple-style-span" style="font-family: inherit;">Titanic</span></i><span class="Apple-style-span" style="font-family: inherit;"> show differing locations for the print shop, but the tiny office adjacent to the First Class Pantry on D-Deck, and marked "Printers Room" (see page 198 of Susan Wel's </span><i><span class="Apple-style-span" style="font-family: inherit;">Titanic</span></i><span class="Apple-style-span" style="font-family: inherit;">) is far too small to have been anything other that a tiny administrative area... ...An enlarged deck plan of the RMS Olympic faxed to me by Harland & Wolff last July shows a good sized room on the port side of E-Deck, close to the Potato Store, which is clearly marked "16 printers"... ...The size of the room is perfect for a ship's print shop... ...The small D-Deck office may well have been used by the printers, for it made sense to have an office close to their main customer (the restaurants) and also permitted easier access for others requiring printed matter, saving a trip downstairs to the crew quarters.'</span><br />
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<span class="Apple-style-span" style="font-family: inherit;">When it comes to the typefaces used onboard, we have proof of certain faces but can only speculate at others. Suprisingly enough, the 'Grot' face that Richardson puts forward is still very much in use today under various similar guises and digital forms ie. Akzidenz Grotesk and it's many modern variations. 'The typefaces in use in </span><i><span class="Apple-style-span" style="font-family: inherit;">Titanic's</span></i><span class="Apple-style-span" style="font-family: inherit;"> print shop were commonplace in 1912. White Star exercised an uncommon degree of restraint in the use of ornamented faces. Their stationery used clean, modern layouts featuring unfussy typefaces, whilst many small British and American commercial print shops still favoured some of the over decorated Victorian gingerbread typefaces commonly seen in printed ephemera of the period. If White Star had a 'house' face, then it was Stephenson Blake's "Westminster," known as "Della Robbia" in the United States. Menus were printed using English "Grot" sans serif faces ("Gothic" in the U.S.) in a range of sizes. Many of these are still available from stock today, although Stephenson Blake no longer casts new type and can only supply from the limited range in their warehouse. Perhaps the most decorative face used on White Star stationery is Theodore De Vinne's distinctive design shown alongside, and used for passenger stationery headings such as "On Board RMS </span><i><span class="Apple-style-span" style="font-family: inherit;">Titanic</span></i><span class="Apple-style-span" style="font-family: inherit;">."'</span><br />
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<span class="Apple-style-span" style="font-family: inherit;">'The cargo manifest for <i>Titanic</i> shows a wide range of printing related items. There were large quantities of books and stationery in the various cargo holds, including tissue, paper and parchment, and four boxes of printer's blankets. One of the most curious items, shipped for Brown Brothers, was 76 cases of dragon's blood. This material had nothing to do with the mythical beast, but was in fact a type of acid-resisting resin commonly used in the manufacture of printing plates.'</span><br />
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<span class="Apple-style-span" style="font-family: inherit;">'On the night of the sinking Albert and Ernest probably worked late. Orders for the breakfast menus would have come in during the afternoon, and although there was a set menu for certain days of the week this was </span><i><span class="Apple-style-span" style="font-family: inherit;">Titanic's </span></i><span class="Apple-style-span" style="font-family: inherit;">maiden voyage and many bills of fare were being set up from scratch, necessitating extra work. Had the ship managed to avoid the iceberg, the printers on subsequent voyages would have needed to change little more than the date on some later menus. Perhaps the men also printed Monday's lunch menus that Sunday evening. If the ship's print shop was indeed the area originally intended for 16 waiters, then it is possible Albert and Ernest also slept in the same area. We can only guess what happened to the printers when </span><i><span class="Apple-style-span" style="font-family: inherit;">Titanic</span></i><span class="Apple-style-span" style="font-family: inherit;"> struck that great mass of ice, for none of the accounts make reference to them after the collision.'</span><br />
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<span class="Apple-style-span" style="font-family: inherit;">'Both printers died in the disaster and their widows received financial assistance from the <i>Titanic</i> Relief Fund, for the White Star Line topped their wages at the moment the ship sank.'</span>JMhttp://www.blogger.com/profile/16253647475950079717noreply@blogger.com2tag:blogger.com,1999:blog-7927567444422028235.post-91108604795070206992011-02-12T07:25:00.000-08:002011-02-23T09:42:42.381-08:00PRINTERS OF THE TITANIC<span class="Apple-style-span" style="font-family: inherit;">I've just been pointed towards issue 34 of </span><i><span class="Apple-style-span" style="font-family: inherit;">Voyage</span></i><span class="Apple-style-span" style="font-family: inherit;">, the official Journal of the Titanic International Society (Autumn 2000). Contained within is what I've been searching for since Christmas, an article focusing on the printers onboard the titanic. The article written by Bob Richardson (London Branch Secretary of the British Printing Society) gives a great insight into their backgrounds, conditions of work, possible equipment used and likely onboard roles as printers ie. what they may have been printing on the ship in the days before it went down.</span><br />
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<span class="Apple-style-span" style="font-family: inherit;">The chief printer was Abraham Mansoor Mishellany (born 1860) and his assistant was Ernest Theodore Corbin (born 1885). For their services for White Star Line they were paid £1.50 and £1 per week respectively. 'Both men earned a few extra shillings by printing private dinner menus, visiting cards and luggage labels for wealthy passengers.'</span><br />
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<span class="Apple-style-span" style="font-family: inherit;">They were likely to have been kept busy on a boat the size of Titanic but because they were such skilled compositors, they 'would have made short work of restaurant menus which he (Ernest) could easily have been set up in 20-30 minutes. Printing each batch on an "Arab" treadle press would take perhaps anothter half hour.'</span><br />
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<div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpfLXiO81nWgtlxgVUfCbFQ7nqCpU_545rDinxDemjqsjf8XvKbX732eDrYqztkzaZtRoFxqz3mUBMRrI4ULZ11sbS4YCO4e1WCuD6NBxAsp8Ly4u9z9qxfEnhodCCr2cBHQ2zZ5szl0I/s1600/menu+1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span class="Apple-style-span" style="font-family: inherit;"><img border="0" height="528" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpfLXiO81nWgtlxgVUfCbFQ7nqCpU_545rDinxDemjqsjf8XvKbX732eDrYqztkzaZtRoFxqz3mUBMRrI4ULZ11sbS4YCO4e1WCuD6NBxAsp8Ly4u9z9qxfEnhodCCr2cBHQ2zZ5szl0I/s640/menu+1.jpg" width="640" /></span></a></div><span class="Apple-style-span" style="font-family: inherit;">'... many items, particularly those bearing the vessel's name, were produced on board. There varied from menus and waiters' notepads for the many restaurants through to tickets for the Turkish bath. A large number of different menus were printed on board </span><i><span class="Apple-style-span" style="font-family: inherit;">Titanic</span></i><span class="Apple-style-span" style="font-family: inherit;">. Some were basic black text on white card but these were sometimes presented in an attractive folder decorated with a colour illustration of White Star training ships, one of which was the </span><i><span class="Apple-style-span" style="font-family: inherit;">Mersey</span></i><span class="Apple-style-span" style="font-family: inherit;">. These folders were reused with different inserts for each meal. A surviving second class menu was printed on white card which carried a coloured banner at the top featuring the British and American flags, surmounted by a pair of beaming white stars and framing a painting of the liner. Some others such as the first class luncheon menu on April 14th, were simple white cards with the company flag printed in scarlet and the gold embossed monogram of White Star's parent company beneath it. The full-colour printing was carried out onshore, and Albert and Ernest added only the black text when at sea.'</span><br />
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Other likely printing jobs consisted of 'raffle tickets, programmes of events on board, lists of pieces to be played in musical recitals and general stationery for the purser's office.'JMhttp://www.blogger.com/profile/16253647475950079717noreply@blogger.com4tag:blogger.com,1999:blog-7927567444422028235.post-71256270452332384042011-02-09T08:22:00.000-08:002011-02-15T06:42:45.609-08:00A MUCH NEEDED UPDATE<span class="Apple-style-span" style="font-family: inherit;">It's been a busy few months researching the Titanic through books, films and online. I've recently got in contact with Mr. Timothy Trower, an avid Titanic buff and working letterpress historian. This has been a breakthrough as far as any narrative is concerned because Tim is hoping to publish an in depth review of the letterpress facilities on board the Titanic and has a lot of valuable information for me. The fact that my project will be printed letterpress and that the titanic had on board letterpress machinery shouldn't be overlooked. I will use this as my starting point when trying to create a narrative for the book. To sum up briefly what Tim has provided me with to date...</span><br />
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<span class="Apple-style-span" style="border-collapse: collapse;"><span class="Apple-style-span" style="font-family: inherit;">"</span></span><span class="Apple-style-span" style="border-collapse: collapse;"><span class="Apple-style-span" style="font-family: inherit;">Almost certainly the press(es) used were platen presses (or clamshell-style presses); these are commonly called a Gordon platen press and the type used on the </span></span><span class="Apple-style-span" style="border-collapse: collapse;"><em><span class="Apple-style-span" style="font-family: inherit;">Titanic </span></em></span><span class="Apple-style-span" style="border-collapse: collapse;"><span class="Apple-style-span" style="font-family: inherit;">was probably the English-manufactured Arab press or the USA-manufactured Chandler & Price press. G</span></span><span class="Apple-style-span" style="border-collapse: collapse;"><span class="Apple-style-span" style="font-family: inherit;">enerally speaking, what was printed on board were the daily menus, invitations to private parties, and such oddball items as labels for crates of roosters that were being transported (none of the chickens survived the sinking), a press of a large size would not have been needed."</span></span><br />
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</span> </div><div style="border-collapse: collapse;"></div><div style="border-collapse: collapse;"><span class="Apple-style-span" style="font-family: inherit;">"Due to the look and feel of the menus that I've examined, I am confident that two presses were employed given changes in impression, transfer of ink, etc. between the examples I've looked at."</span><br />
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</span> </div><div style="border-collapse: collapse;"></div><div style="border-collapse: collapse;"><span class="Apple-style-span" style="font-family: inherit;">"That I am aware of, there are no photographs of the printing offices on board any of the </span><em><span class="Apple-style-span" style="font-family: inherit;">Olympic</span></em><span class="Apple-style-span" style="font-family: inherit;">-class liners."</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUzJwqbWACahI_AXv68cZ8ed2sa3pdDCkN5jM-_wDuhKswHAwu-ZooqaUx4vDCPTLVzhFdYJ4WWDoNSXoTUvV6J7TUfz2QtuPZAeltizbRoOygxvVTuZTteMfzXqXuCaYNAB3Vlq2PBi8/s1600/Press_02.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span class="Apple-style-span" style="font-family: inherit;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUzJwqbWACahI_AXv68cZ8ed2sa3pdDCkN5jM-_wDuhKswHAwu-ZooqaUx4vDCPTLVzhFdYJ4WWDoNSXoTUvV6J7TUfz2QtuPZAeltizbRoOygxvVTuZTteMfzXqXuCaYNAB3Vlq2PBi8/s640/Press_02.jpg" width="585" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="border-collapse: collapse; font-size: small;"><span class="Apple-style-span" style="font-family: inherit;">Here's a working Chandler & Price press I found on </span><a href="http://www.briarpress.org/museum/browse?page=3&t=4"><span class="Apple-style-span" style="font-family: inherit;">Briar Press</span></a></span></td></tr>
</tbody></table><br />
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWqzDcXbiiOgtONTzIdRmiSIruTf87X7ZfFtkH80JcfRVukwev3Vna9m2IFDnbsJVv2j5HzUljl9hxi2ZfsKpKrR5NNu1e3TQhQayFhPBNvniVgsfflDIWHWNDSRiiEYcK7g-olUOAfUI/s1600/Press_01.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span class="Apple-style-span" style="font-family: inherit;"><img border="0" height="478" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWqzDcXbiiOgtONTzIdRmiSIruTf87X7ZfFtkH80JcfRVukwev3Vna9m2IFDnbsJVv2j5HzUljl9hxi2ZfsKpKrR5NNu1e3TQhQayFhPBNvniVgsfflDIWHWNDSRiiEYcK7g-olUOAfUI/s640/Press_01.jpg" width="640" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="border-collapse: collapse; font-size: small;"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><span class="Apple-style-span" style="font-family: inherit;">Here's a working </span></span><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><span class="Apple-style-span" style="font-family: inherit;">Chandler & Price press I found on </span><a href="http://www.flickr.com/photos/7258790@N06/4641058752/in/set-72157624068260698/"><span class="Apple-style-span" style="font-family: inherit;">Flickr</span></a></span></span></td></tr>
</tbody></table></div>JMhttp://www.blogger.com/profile/16253647475950079717noreply@blogger.com0tag:blogger.com,1999:blog-7927567444422028235.post-17831802541841342552010-11-17T09:04:00.000-08:002010-11-17T09:13:51.738-08:00Ghosts of the Abyss<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLrqhxk5Y1jlXohhurHdtHcVlJGf430We6Qhp-_k0_EP3bBphs995TCz6cFPaWw3xwR2h8j6hcym30eu2okhCRqsiLodPKv-0sjc5CMkEoM7JZDiMAYcZpQjghQ9CLUzPGL9qE6eUtKHo/s1600/Ghosts+of+the+Abyss.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="362" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLrqhxk5Y1jlXohhurHdtHcVlJGf430We6Qhp-_k0_EP3bBphs995TCz6cFPaWw3xwR2h8j6hcym30eu2okhCRqsiLodPKv-0sjc5CMkEoM7JZDiMAYcZpQjghQ9CLUzPGL9qE6eUtKHo/s640/Ghosts+of+the+Abyss.png" width="640" /></a><br />
<div class="separator" style="clear: both; text-align: left;"><span class="Apple-style-span" style="line-height: 24px;">Today's research has thrown up this 2003 documentary. A bit of weekend film watching is to follow I'm sure. Here's the <a href="http://www.youtube.com/watch?v=adPBxqBmIR0">trailer</a>.</span></div><div style="line-height: 1.5em; margin-bottom: 0.5em; margin-left: 0px; margin-right: 0px; margin-top: 0.4em;"><div style="text-align: left;">Ghosts of the Abyss is a documentary film released by Walt Disney Pictures and Walden Media. It was Disney's first film produced in 3-D and was directed by Academy Award winning filmmaker James Cameron after his Oscar winning film Titanic. It consists of Cameron and a group of scientists sailing out to the wreck of the Titanic, and then going down to get closer than anyone has before. With the help of specially created cameras, Jake and Elwood, the audience too can see inside the Titanic and with the help of CGI, people can see how it would have originally looked.</div></div><div style="line-height: 1.5em; margin-bottom: 0.5em; margin-left: 0px; margin-right: 0px; margin-top: 0.4em;"><div style="text-align: left;">Also along for the ride Cameron invites friend and actor Bill Paxton who played Brock Lovett in the 1997 film. He narrates the event through his eyes. The film itself was produced for IMAX 3D during the Summer of 2003. It was also nominated for a BFCA award for Best Documentary. The submersibles Mir 1 and Mir 2 carried the Ghosts of the Abyss team on twelve dives.</div></div>JMhttp://www.blogger.com/profile/16253647475950079717noreply@blogger.com0tag:blogger.com,1999:blog-7927567444422028235.post-73256329853793027672010-11-05T12:42:00.000-07:002010-11-05T13:22:39.181-07:00Masters in Design Symposium at NCAD<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihOVkpfQ0KmIbb5I52Mx2x8JUisTs9DvL04Nld55Wimo7g9_Z_ITQwd4_Z9YYbBef-eY2DAgJP_PAwL-WxFMuTGbURIlS4oDTlDCCoCJ6OMPh_mVI46EDhr3C2KDMuKSxRmxCMT-Tl4Bs/s1600/letterpress_04.11.10.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="428" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihOVkpfQ0KmIbb5I52Mx2x8JUisTs9DvL04Nld55Wimo7g9_Z_ITQwd4_Z9YYbBef-eY2DAgJP_PAwL-WxFMuTGbURIlS4oDTlDCCoCJ6OMPh_mVI46EDhr3C2KDMuKSxRmxCMT-Tl4Bs/s640/letterpress_04.11.10.JPG" width="640" /></a></div>It was great to see some projects from the Masters students in the various areas of design yesterday. For me it was interesting to see how many different approaches are being taken. The influences and directions are being fed from so many areas, from medical instruments and customisation to design incubation and fine art. This consideration of broad areas of art and design (having also been mentioned by my tutors) is a direction my own research will take. I had my camera with me and got the above shot of some poster type in the letterpress workshop before heading home again.JMhttp://www.blogger.com/profile/16253647475950079717noreply@blogger.com0tag:blogger.com,1999:blog-7927567444422028235.post-5056085013376957932010-10-20T06:25:00.000-07:002010-10-20T06:28:40.035-07:00TYPEFACE (Kartemquin Films)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg18C0fOMnGdVqXl8S-UV8z2fHSAA4Gj-kzOPeiYr9xK8dFWk9PmxbzLQmQ71mbO1iFh5IeYjsTbIB3Df-3kaVUi7qumQ1LdbeebqKIdtthvvikTGnsgnoH3pO61zWCcYwwr-raZI54q8c/s1600/typeface+the+movie.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><img border="0" height="338" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg18C0fOMnGdVqXl8S-UV8z2fHSAA4Gj-kzOPeiYr9xK8dFWk9PmxbzLQmQ71mbO1iFh5IeYjsTbIB3Df-3kaVUi7qumQ1LdbeebqKIdtthvvikTGnsgnoH3pO61zWCcYwwr-raZI54q8c/s640/typeface+the+movie.png" width="640" /></span></a></div><span class="Apple-style-span"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">In rural Wisconsin, a lone employee waits in a cavernous old museum for visitors to come. A few individuals straggle in every few days and then, come Friday, the museum fills with life. Machines hum, presses print, artists buzz about. One weekend each month, the quiet of Two Rivers is interrupted as carloads of artisans drive in from across the Midwest. The place comes alive as printmaking workshops led by, and filled with, some of the nation's top design talent descend on the sleepy enclave.<br />
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In a time when people can carry computers in their pockets and watch TV while walking down the street, Typeface dares to explore the twilight of an analog craft that is freshly inspiring artists in a digital age. The Hamilton Wood Type Museum in Two Rivers, WI personifies cultural preservation, rural re-birth and the lineage of American graphic design. At Hamilton, international artisans meet retired craftsmen and together navigate the convergence of modern design and traditional technique. But the Museum¹s days may be numbered. What is the responsibility of artists and historians to preserve a dying craft?</span></span><br />
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<span class="Apple-style-span"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"></span></span><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">See the trailers on </span><a href="http://www.youtube.com/watch?v=oAHQ2AGtZr8&feature=player_embedded#!"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">youtube</span></a>JMhttp://www.blogger.com/profile/16253647475950079717noreply@blogger.com0tag:blogger.com,1999:blog-7927567444422028235.post-48709247101895884982010-10-20T01:42:00.000-07:002011-02-15T05:57:48.371-08:00TITANIC: THE MISSION (Channel 4 documentary)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJ_VkQJsRV4j84p4HKN8N8rMLWb6xGZmjH-ay7uyTmxW6us4bqMx7y8FdZOyL1DMlB78kfHfpQ7-3HbreTVkoIT408b5t3hXxMzI9oOC_aX0Co3WdXNfSGN0GXjezVYzE3Lni9NmAEDYo/s1600/mission.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="346" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJ_VkQJsRV4j84p4HKN8N8rMLWb6xGZmjH-ay7uyTmxW6us4bqMx7y8FdZOyL1DMlB78kfHfpQ7-3HbreTVkoIT408b5t3hXxMzI9oOC_aX0Co3WdXNfSGN0GXjezVYzE3Lni9NmAEDYo/s640/mission.png" width="640" /></a></div><br />
Episode 5 (final episode) of the current series will air on Monday night next at 9pm. It's been quite an informative series about the construction of various elements of Titanic. Episode 4 has been my favourite to date, it dealt with the interior design of the 1st class smoking room and a third class cabin.<br />
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</div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">The episodes are available for a while on <a href="http://www.channel4.com/programmes/titanic-the-mission/4od">4OD</a> and on <a href="http://www.youtube.com/watch?v=aqRoHK3RSwQ&list=SL">youtube</a>.</div>JMhttp://www.blogger.com/profile/16253647475950079717noreply@blogger.com0tag:blogger.com,1999:blog-7927567444422028235.post-88573088173839488532010-10-20T01:22:00.000-07:002010-10-20T01:45:26.164-07:00STAR OF THE SEA by Joseph O'Connor<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgM60tLTJtHFYox7r9jtdt5swtMwHNG8j5xmDDVP1ssKkJ9KZhDn-ES2zBvbPEBnGqa2xH_mMm5YP1IUTXQ_CgZv5taVP0IqZRZMWaEwgKzntd8vFZ2yErBWRPFJmZWwTmQa_Wq5MWhcYo/s1600/SOTS.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgM60tLTJtHFYox7r9jtdt5swtMwHNG8j5xmDDVP1ssKkJ9KZhDn-ES2zBvbPEBnGqa2xH_mMm5YP1IUTXQ_CgZv5taVP0IqZRZMWaEwgKzntd8vFZ2yErBWRPFJmZWwTmQa_Wq5MWhcYo/s640/SOTS.jpg" width="416" /></a></div><br />
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Just about to finish this book as it was recommended to me as a good starting point for realising the conditions and previous history of emigration from Ireland. Although fiction and based 65 years before the Titanic set sail it gives a very energetic account of what conditions were like for emigrants during the famine. Some in dire poverty and some with much to lose. Conditions which I'm sure also prevailed on board Titanic and which I'd like to touch upon through the narrative of my book.JMhttp://www.blogger.com/profile/16253647475950079717noreply@blogger.com0tag:blogger.com,1999:blog-7927567444422028235.post-25760644608561108542010-09-10T04:12:00.000-07:002010-09-10T04:48:44.754-07:00ARTICLE ON TYPE IN TODAYS IRISH TIMES<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2jEpbTMTYNh9PaYxmzgMAW846isJ_5Ki0ZqVyM42799QF_ku8MQtwJaUBMtq6cwrwco8kwFlERfiYXX_ZhF4cmwBIssSTpnpVPi6gRuZQwEmU9BSbF2P495WvWBtfEaAz3UkFgm_A5oQ/s1600/1224278501680_1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="460" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2jEpbTMTYNh9PaYxmzgMAW846isJ_5Ki0ZqVyM42799QF_ku8MQtwJaUBMtq6cwrwco8kwFlERfiYXX_ZhF4cmwBIssSTpnpVPi6gRuZQwEmU9BSbF2P495WvWBtfEaAz3UkFgm_A5oQ/s640/1224278501680_1.jpg" width="640" /></a></div><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Nice article in todays Times by </span><span class="Apple-style-span" style="line-height: 18px;"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Joe Breen (former </span></span><span class="Apple-style-span" style="line-height: 18px;"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Irish Times</span></span><span class="Apple-style-span" style="line-height: 18px;"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"> managing editor – production, presentation and design). He talks about the importance of type design and gives a good plug to the </span></span><span class="Apple-style-span" style="line-height: 18px;"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">ATypI (Assocation Typographique Internationale)</span></span><br />
<span class="Apple-style-span" style="line-height: 18px;"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"></span></span><span class="Apple-style-span" style="line-height: 18px;"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">conference happening in Dublin at the moment (</span></span><span class="Apple-style-span" style="line-height: 23px;"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">8 to 12 September 2010)</span></span><span class="Apple-style-span" style="line-height: 18px;"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">.</span></span><br />
<span class="Apple-style-span" style="line-height: 18px;"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br />
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<span class="Apple-style-span" style="line-height: 18px;"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Read the article on the irish Times site </span><span class="Apple-style-span" style="color: black;"><a href="http://www.irishtimes.com/newspaper/features/2010/0909/1224278501680.html"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">here</span></a></span><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">.</span></span>JMhttp://www.blogger.com/profile/16253647475950079717noreply@blogger.com0tag:blogger.com,1999:blog-7927567444422028235.post-28886318510209800562010-09-08T07:50:00.000-07:002010-09-08T08:20:44.752-07:00NICE COLLECTION OF VIDEOS FROM EXPEDITION TITANIC<div class="separator" style="clear: both; text-align: center;"><a href="http://www.blogger.com/goog_728057997" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="355" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEge6wJQCDvh3yhGunGS1vwpqk2CZMfatbVDuXMyyK6M-NwVADlkpDp-4Opfyob2yT4lTk7ZM34_ojY1azZ0GasMMppQtq-p5L9qxCXXGZSLicxEbLDqOoc5bgpw6dSSBj4Naa94xOpMxuw/s640/link+to+youtube+vid.png" width="640" /></a></div><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><span class="Apple-style-span" style="font-size: small;">'On September 1, 1985, Bill Lange was working the nightshift in the control room onboard the Knorr. In the early morning hours, the team made a historic discovery. 25 years later, Bill reflects on the discovery of Titanic and the current Expedition to document the entire wreck site.'</span></span><br />
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><span class="Apple-style-span" style="font-size: small;"><br />
</span> </span><span class="Apple-style-span" style="font-size: small;"> </span><br />
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><span class="Apple-style-span" style="font-size: small;">Check out the Youtube </span></span><a href="http://www.youtube.com/user/titanic"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><span class="Apple-style-span" style="font-size: small;">channel</span></span></a><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><span class="Apple-style-span" style="font-size: small;"> for lots more, all very interesting.</span></span>JMhttp://www.blogger.com/profile/16253647475950079717noreply@blogger.com0tag:blogger.com,1999:blog-7927567444422028235.post-35962730152809149562010-09-01T07:43:00.000-07:002010-09-10T04:49:19.635-07:00NORTON & SONS / E. TAUTZ<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguqFAFXwepbOuaQuh4HzMZkEgeL9yzpJNZ6zY3BiCtCF9dKJ5OvyVE0P4XkT9Wf9tksI2T2zvZ5abTvE4aNqo8LJSJQofFkk5kC0ffQT3VhmUxu9mis-3VV9tqPdoe4mGMmLMHRVKjXC8/s1600/nortonsons_identity_6.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span class="Apple-style-span" style="font-family: inherit;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguqFAFXwepbOuaQuh4HzMZkEgeL9yzpJNZ6zY3BiCtCF9dKJ5OvyVE0P4XkT9Wf9tksI2T2zvZ5abTvE4aNqo8LJSJQofFkk5kC0ffQT3VhmUxu9mis-3VV9tqPdoe4mGMmLMHRVKjXC8/s640/nortonsons_identity_6.jpg" width="640" /></span></a></div><div class="separator" style="clear: both; text-align: center;"><span class="Apple-style-span" style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRBTApp3MsnTAJxySLQRybgAIyIMJZgqgbYe7qRZN1HPgSlEYuPtPMAx5bZTo32GhHb9m5Q8cecaXqWCsiAinRO-ptKTBDAF6lBp4CHG9Yn2KJod4LxcW5NT-H0tw_JjWFdJsbSBU9Npk/s1600/etautz_identity.jpg" imageanchor="1" style="clear: left; display: inline !important; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRBTApp3MsnTAJxySLQRybgAIyIMJZgqgbYe7qRZN1HPgSlEYuPtPMAx5bZTo32GhHb9m5Q8cecaXqWCsiAinRO-ptKTBDAF6lBp4CHG9Yn2KJod4LxcW5NT-H0tw_JjWFdJsbSBU9Npk/s640/etautz_identity.jpg" width="640" /></a></span></div><div class="separator" style="clear: both; text-align: center;"><br />
</div><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family: inherit;">Very impressed with the look and feel for </span></span><a href="http://www.movingbrands.com/?category_name=norton-work"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family: inherit;">Norton & Sons</span></span></a><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family: inherit;"> / </span></span><a href="http://www.movingbrands.com/?category_name=e.-work"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family: inherit;">E. Tautz</span></span></a><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family: inherit;"> by Moving Brands. The mix of old and new in their type treatment is especially nice. The idea of developing a style which is influenced by traditional and contemporary aesthetics is one which I hope to develop throughout this project.</span></span>JMhttp://www.blogger.com/profile/16253647475950079717noreply@blogger.com0tag:blogger.com,1999:blog-7927567444422028235.post-67453479593497709742010-09-01T06:12:00.000-07:002010-09-01T08:00:36.219-07:00MAKING A START<div class="separator" style="clear: both; text-align: center;"><a href="http://www.abratis.de/ship/construct/pic/prop1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="483" src="http://www.abratis.de/ship/construct/pic/prop1.jpg" width="640" /></a></div>Although this post acts as a test while I put some formatting to this blog, I hope to update here at least once a week for the foreseeable future. I'll be updating with links and images from everything I deem relevant to my Masters which I begin in September, 2010. This may take the shape of anything from Edwardian typography to steam engines. Pictured above is the <a href="http://en.wikipedia.org/wiki/RMS_Titanic">RMS Titanic</a>, my starting point.JMhttp://www.blogger.com/profile/16253647475950079717noreply@blogger.com0