The new print project is complete. We have a final proof that will be used as the model for printing the editions. Jim Stroud, printer and producer for the project, shifted to a bone black printing ink and found that much more detail could be coaxed from the printing plates without sacrificing any of the dark value and presence of the black ink. The images are now far more reflective of my articulations in the copper printing surface. The housing, designed by Janine Wong is fantastic. It has the look of my journals but leaps to a different level with the deep, indigo colored housing and the collapsible, accordion-fold design.

Photograph of Janine Wong in her studio in Milton, Massachusetts as she refines the binding and the housing for the accordion print project now renamed April 2008.

The book consists of 12 accordion fold pages that include 13 images with text extracted from my journal, Book 130. I’ve retitled the volume April 2008 to indicate the pages of my journal encompassed in the printed transcription. The images are a fresh reinvestigation of the way I draw in my books, restudying the compositions in a wide range of intaglio processes. I was pushed to the edge of my knowledge and abilities while making this volume. It stretched me into new territory.

Janine’s design for the housing is very smart. It has a raw linen cover, like my journals do, but is protected by a linen covered indigo slip case.

The accordion fold allows a variety of configurations in which the pages can be arranged and read. Note the Title Page and Colophon are inside the raw linen cover.

The text of the Colophon reads:

“This accordion fold volume is extracted from Book 130 of the artist’s journals.

The copper plates were produced in whiteground and spitbite aquatint, mezzotint, etching and drypoint and executed at both Center Street Studio, Milton, Massachusetts and the artist’s studio in Silver Spring, Maryland between 13 May and 15 September 2008.

Printed by James Stroud assisted by James Ovid Mustin III on Hahnemühle paper at Center Street Studio.

Housing for the volume was designed and constructed by Janine Wong and Iris Grimm.

Thanks to Jenny Ritchie.

There are one hundred edition copies, five artist’s proofs, four Center Street Studio proofs, a printer’s proof, and one BAT.”

Inquires about April 2008 can be directed to Center Street Studio. A deep bow of thanks to Jim and Janine.

Trial Proofs for the Accordion Print Project, etching and aquatint on Hahnemühle paper, six sheets: each approximately 4 x 12″. These pages will eventually be linked horizontally. Upper left is Page 1, lower right is Page 12.

New Print Project Part 7

Proofs for the Accordion Print Project have been returned to me from Center Street Studio. They look excellent. Selections from a few of the 12 pages are included below and an overview of the sheets is shown above. I wrote notes on those proofs indicating to printer Jim Stroud where ink should be wiped selectively from the plates to bring out highlights. Those proofs with notes, seen as details below, were returned to Jim. After another proofing session, Jim has refined the printing a sent me a set of proofs (above) that have been torn out and folded in the configurations that will eventually be linked to form the print. Janine Wong is constructing a case that will hold the assembled volume.  That will be available soon for review. After looking at the proofs for a few days in the studio, I have decided that the plate work is complete.  Our aim is to have an assembled set of final edition prints available for review at the fine art book fair that Jim will be traveling to in late October. (To be continued).

Working Proof for Page 1

Working Proof for Page 2

Working Proof for Page 11