Captain's feed tray served as a platform for my supplies.
On Sunday, I painted with toothpicks and cotton swabs. After a productive week of printing, I decided to try a little something that I haven't done before: apply watercolor to letterpress. After printing the Cold Moon Press tagline page, I noticed a little something that continued to bother me. I was really excited when I found a candlestick among my printing dingbats to use as a decorative initial "I." It looked great in among the set type, but when printed there was one feature of the candlestick dingbat that made it slightly... confusing when trying to read. That little fingerhold at the bottom right looks just like a letter "O," and I found myself reading "On the light of a winter's night..." That's a problem. Not a big one, but from a design perspective, that little confusion gets in the way of the overall idea/image you are trying to present: clarity is the objective. But I love that little dingbat: it captures the atmosphere of the text it precedes perfectly. I wasn't willing to give it up. So I brainstormed for possible solutions, and this seemed like a good one. I wanted some visual element that tied that problematic fingerhold to the greater candlestick image, so it didn't appear as a separate letter overlapping the image. And I had a bit of fun along the way.
As Month One in this year of poetry, January is a month primarily dedicated to generating new material: WRITING. My poetic meditations this cold month have been on the implications of a certain fun, little homophone:
atom = Adam So naturally, my thoughts have been on the gaps and surprising bridges between world creation and mass destruction, Christianity and chemistry. I'm sure that does not sound very poetic, but these linguistic explorations have led to some very interesting conclusions and possibilities.
In February, I will be polishing these new poems and deciding where-oh-where to submit them. Here's hoping I stay on track.
This has been a stressful, overwhelming, and horrifying year for most of us as we stare daily into the void of the pre-apocalypse. Although keeping calm hasn't been an option, we have been carrying on. So, reflecting on everything I've accomplished in my writing life this year has been a welcome boost. I finished writing my first full-length poetry manuscriptCatechesis: a postpastoral, and I've begun sending it to small press open reading periods and contests. My second chapbook Blackbird Whitetail Redhand was accepted for publication at Porkbelly Press and it is in production right now. I had new Alien poems accepted in Passages North and The Account, two journals that I admire. My first visual poems were accepted for publication. These five pieces will appear in an upcoming issue of Duende. So despite all of the terribly traumatic global goings-on, 2017 has been a huge writing year for me. My writing goals for 2018 are not modest, but they are fairly simple: I'm hopin…
My new chapbook Blackbird Whitetail Redhand is getting a letterpress cover and I am just thrilled! One of my favorite parts of my job at the Rose O'Neill Literary House is getting to create designs for and print letterpress broadsides of other writers' work. Because of my (very happy) time served as letterpress-bridesmaid, it really is so personally meaningful and exciting to be the recipient of the letterpress treatment for the very first time.
Nicci Mechler—editor, book designer, artist, and printer extraordinaire at Porkbelly Press—put together this typographical design for my chapbook cover using varying fonts and faces of wood type—some even hand-carved. You can see the creatively-arranged Tetris-like lock-up in the type bed at Tiger Lily Press below. What fun!
It will always be such an honor to have another artist render a visual impression of my textual work. This black and white, letterpress cover is the pitch-perfect opening into my new chapbook of fairytale poems. I …