Geometries: It Will Have a Cover After All

As some of you know, I am in the process of developing a body of work that uses elements in Euclidean geometry as metaphors for patterns in narrative (specifically from folk tales and/or common human interactions). A major goal for this project is to apply for a project grant through the Regional Arts and Culture Council, primarily to purchase paper and hire a leather worker to produce custom folios to house each edition of this body of work. (If the grant doesn’t work out, we’ll go to plan B, but I’m feeling pretty optimistic at the moment.)

After some searching and many conversations with an array of artisans and shop owners, I am pleased to announce that Wood and Faulk has agreed to create the folios. You may already be familiar with the fine products made by Matt Pierce, the designer and self-described tinkerer behind the Wood and Faulk label. If you are not, please check out his wares at his newly-redesigned online shop,, or visit any of the fine stores listed here (I’m a fan of Beam & Anchor myself). I’ve followed Matt’s blog for a little while now, and have long been impressed with the quality of Wood and Faulk wares. I’m certain that the folios will be the perfect packaging for the Geometries prints – even though neither party is quite certain how they’re going to look yet, so don’t ask.

Belts, bags, and beautiful leather baubles.
Wood and Faulk wares from their recent sample sale.

I’m particularly grateful that Anna, who also works at Wood and Faulk, and Matt have agreed to take on this commission because they don’t typically do custom work, and what I’m asking for is definitely out of the ordinary. I realized pretty early in the planning process that I wasn’t going to be able to do it by myself. I’m a printmaker, and learning all about leather just for this project is not feasible time-wise, and nothing I could produce on my own could possibly meet my standards for quality. Besides, why would I want to miss out on an opportunity to work with some of the talented people who are already knowledgeable about working with leather? Though, in all honesty, I don’t think I realized exactly how clueless I am until Matt started asking me questions about what I wanted.

Don’t get too excited yet though – this project will be a while in the making. If you’re interested in learning more about it as things develop, please check back periodically for updates (all posts regarding this project will be tagged “Geometries”). You can also subscribe to this blog to get my posts directly in your inbox (or in your WordPress Reader if that’s your thing). If you’d rather only get updates about the Geometries project in particular, I suggest signing up for my newsletter through Tiny Letter, since that’s pretty much all I’m going to write about in the newsletter for the next year. I’ll likely be sending out the inaugural letter in the next few weeks.

On a more personal note:

My partner and I celebrated our third anniversary this weekend, and it was wonderful. He gave me a book: Suppressed Plates by G. S. Layard, 1907. I’m looking forward to reading it; a casual perusal piqued my interest. But then, he always does such a good job choosing books for me. It’s got cancelled plates from Charles Dickens and Punch, stuff by William Hogarth and George Cruikshank, and switched heads and taboo subjects (not that much of it is salacious, really; there are plenty of boring reasons why a publisher or an author might object to an illustration). Anyone who reads this blog with any regularity knows how much I love sharing books, so you can check out a digital (and not nearly as pretty) copy of this book here.

Old green book with a sexy, sexy burin-and-brushes design on the cover.
Suppressed Plates by G. S. Layard, 1907. Check out that sweet burin and brushes design on the cover!

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