Byzantium’s second publication was issued in late November. I got my Printer’s Copy. It’s a study of how the paper used affects the results when marbling. Octavo in format, 35 leaves from frontis (i.e. the marbled sheet facing the title page) to colophon. The type is Fournier, the paper Arches Text. Before you get excited, it’s OP.
The title page was marbled before printing. I was concerned the colors might flow when the sheets were dampened for printing, but she was using acyrilics (and she did a test).
Barbara made the sections’ initial letters by laying a “mask” cut to the shape of the letter on the marbled surface, then laying down the sheet. It’s amazing what clean edges she achieved.
The four samples on this spread were all made by Reg Lissel. The one lower left is part of a leftover from Jim Rimmer’s Duensing Titling (HM 2003).
This spread is from the section on Western mouldmade papers, which Barbara’s deemed the most succussful as a group for marbling. At left is a piece of blue Fabriano Ingres, at right is cream MBM Ingres d’Arches (plain samples below marbled of each).
Barbara made me sign the colophon. She might have done that once before. I don’t think the printer has any reason to sign but she’s just making me feel included.
Claudia bound the books in a russet goat with her glorious tooling. Combining those two materials seamlessly is the kind of subtle and seemingly simple detail that delight the experienced eye.
A THIS & A THAT
Stay tuned for an announcement later this month about HM’s next project. A sort-of return/coda to 2005?
The day my copy of Marbled Papers arrived, I also got my personal & unique copy of HM=XX, specially bound in full goat with inlays and tooling, by Claudia Cohen. The box for my copy was a half-inch deeper than the others, to accommodate some extra loose samples.
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