|Herrera Slate Inscription Carving Workshop Students|
They came prepared with their own work to share and simple designs they wished to use to learn the craft. By the end of the second day everyone was well on their way to completing their first slate inscription carving. The group plans to meet again in the Spring to compare notes on the progress they have made.
|Working on practice brush stroke cutting|
I have a new head gear magnifying set, with little lights, which really helps me see better for cutting. Since the workshop I have tried to keep cutting a little each day.
The group atmosphere was quite something. There seems to be an energy that develops in a studio filled with novice carvers. As they each cleared a hurdle, or realized they needed to do something differently, there would be a loud exclamation and they would invite us all to check their progress! I miss that group interaction in the studio now that I am back in Deep River, working on book arts, printing, and calligraphy projects on my own. I am thinking of hosting an open studio workshop day here in the Spring. Stay tuned!
|Nancy, Sheila and Paul examining MSS page.|
My dear friend Paul Herrera, joined me on this visit and helped to interview Sheila. We are currently sorting through the hundreds of photographs and hours of audio and video tape in preparation for completing the article. We hope to have it into the editor, Christopher Calderhead, in March. I will post when we know in which issue the article will be printed.
We were both very honoured to be given such rare access to the incredible archive and library that Sheila has in her studio. Her archive includes layouts and original work for historical maps created for publishers, certificates, book layouts, broadsides and more.
Sheila also has in her archive an original Catich Rubbing of The Trajan Inscription in Rome and a complete collection of her late husband, Peter Waters, bindings. Peter was the Conservator for The Library of Congress, and created the recovery system for National Library of Florence books after the Florence flood in the 1966. Sheila has written a wonderful book about that experience, Waters Rising: Letters from Florence, which can be found HERE.
|Hardouyn 1507 Book of Hours, Kislak Center|
I am currently completing codicological research on their 1505 Hardouyn Book of Hours and a 1507 book of hours from the collection of the Kislak Center for Rare Book and Manuscripts at The University of Pennsylvania, shown here. Both organizations have graciously invited me back to give a talk on the results of my research conclusions. I will present a preliminary draft of this talk to the CBBAG-OV march meeting.
Here is a bit of the blurb about the talk, which is open to the public:
The Archaeology of the Book: Codicology in Early Printed Parisian Books of Hours by The Hardouyn
March 8, 6:30 p.m., Sandy Hills Community Centre, Ottawa, ON
Nancy Mortensen Trottier, B.A., R.N.G., M.A. Art History, University of Iowa, CBBAG member, will present a brief lecture introducing the practice of codicology (from Latin cōdex, genitive cōdicis, "notebook, book"; and Greek -λογία, -logia). Codicology is a methodology utilized in the study of books as physical objects. It originally developed as a discipline that helped define how the historian would examine manuscripts written on parchment (or paper) in codex form. Codicology as applied to the study of early manuscripts and also early printed books bridges the area of paleography, (the study of hand written scripts), with the study of narrative and ornamental images contained within the structure of the book. The study of written features such as marginalia, glosses, ownership inscriptions, etc. falls in both camps, as does the study of the physical aspects of decoration, which otherwise belongs to art history.
Trottier's work in codicology looks specifically at the transition from script to print in early printed books of hours produced in the first quarter of the sixteenth century in Paris by Guillaum Anabat for the Hardouyn Publishing House. Her lecture will include a discussion of her methodology in examining early printed books as objects, how the information gleaned from such study can shed light on concepts dealing with book ownership by women in the sixteenth century, and how the analysis of the book as object can inform us about workshop practice in sixteenth century Parisian press rooms.
|Recipe Cards in process|
I have completed 4 "Book Arts Recipe" cards for the project. One was recipe was printed with letterpress, one was printed with inkjet as a title/colophon page, and two more recipes were printed with inkjet. Each of the recipe cards has a sample of the material produced with the recipe included. It was really fun to dig into my files for recipes related to my book arts studio practice.
When I have completed the book from the "Swap 2017" I will post a photo!
|Paste Papers hanging to dry|
Making the paste papers using 100% Rag Certificate paper as the substrate was really interesting. I found that the polished surface of the paper allowed me much more freedom in creating patterns that allowed the paper itself to show through, making lovely areas of white amidst the coloured portions.
It has really been a great joy to be back in the studio again and also to be able to attend CBBAG and Calligraphy Society of Ottawa meetings this past week. Being able to meet with colleagues and share their studio progress has been wonderful for me.
As we wrap ourselves in the warmth of the woodstove fire and select a movie for watching on these cold winter evenings, I am reminded of winters in Iowa. My father would light the living room fire each day before he left for work and my sister and I would add wood during the day to keep the warm fire burning. My mother would have hot chocolate on the stove for us when we came in from playing in the snow and if we behaved, there were always samores from the fireplace as the sun went down.
We are moving into the middle of winter now and the days, although very, very cold and full of snow, are getting longer. The sun we have enjoyed for the past three days here in Deep River has been a gift for the soul. My creative verve is beginning to stir again gently, and I know with all my heart, that as the winter wanes, all will be well and all will be well, with the grace and the light of God in my life, all will be well.
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