Each book begins with a series of notes: the specs of the project, lists of related ideas, attempts at written sections, etc. Often all of these things swirl around in my brain for days or weeks before I actually sit down to write them. But actually writing them down is important, for a variety of reasons: 1) it records ideas so that they are not forgotten, 2) it takes ideas out the nebulousness of the mind and helps to build specific connections between them, 3) it begins to give the idea a (loose) shape, and 4) when the ideas are outside of my mind/voice, I can evaluate them more objectively and effectively.
The conceptual composition grows. It is not always a temporal-linear growth—sometimes it’s necessary to return to the beginning, either to harvest a particular idea, or to reboot a project that is getting out of hand. Things change.
What follows is the current state of the notes for a new project, the next book, a small insert to be included with the next issue of JAB. Other pieces can be found in posts below, and the image above is a second visual mock-up.
Letterpress & offset. Initial idea: use each medium for its strengths. New idea: use each medium for its weaknesses, or for qualities outside of transparent reproduction.
What is offset not good at?
Cover each page in multiple layers of opaque white, building back up to the silence of the page/white morning light. Print text with hard impression still visible under the offset layers. Different colors/shapes under the white? Different colors of paper? (The Heads)
What about solid black? Or black & white? Or other solid colors?
A book about light? Newton’s Opticks. Photographs. What about actual reproduction driven to abstraction? A photograph of the Rothko blinds in the morning. Close-ups of her skin in the morning light—filling the frame and covering the debossed text.
New plan. Offset, CMYK photo images of color fields in the morning light. Letterpress text, in negative, on top of those, in transparent colors and/or opaque white. Two or more “braided” lines of text. Use of perimeter text idea.
Writing without pronouns? Or indeterminate pronouns?
How do we move in the morning? Where does the world lie? As blinking, breathing, rising. It turns. It is suspended.Perimeter text could be a “list”: turning, moving, breathing, etc. Maybe not. Definitely not.
How do we move in the morning? Where does the world lie? As blinking, breathing, rising. Turning. Suspended. As light as such. Something in the spine stirs, folds, folds over. As blue light, now white light, stretches. The window sagging in the light. The light dizzy in the window. Morning. Reading. Stretching. Stretching over and across. Lines across an open body. Folding.
Font for interior text? Low contrast roman. Palatino? Centaur? Poliphilus? Investigate cost. Italic paired, instead of sans serif? Needs to print well in negative. Placard for perimeter text, possibly Arial/Helvetica.
How do the lines connect? What is each line? Above example could be perimeter. Could also be italic. Does use of italic make the “poetic” voice subordinate to the “theoretical” voice?
Structure: the page as unit (how many words?). Two sections of main text, each readable independently, forwards or backwards, and also able to be read in linear order. “Blank” sections? How to use? The swerve. Too much? Too “written?”
Reetum vel init adio esequat. Ut vel delisis nummy non ut doloboreet dunt vulluptat, sequat.165 words per section. Rough estimate.
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