It was cathartic, in a way, seeing the hard work our group did on the front cover of Joe O’Connor’s chapbook “Why Poetry?” translate into physical printing upon our return to Meshwork. The processes took a while to “make sense”, in terms of that one was an entirely digital work, and the other, entirely physical, but a similar mindset could be applied, as it puts objects of a process into motion, towards the completed project.
Given the mock-ups of the finished cover that our group had worked on prior to the visit, I had wondered how we would fit the cover into a physical form, as the digital mock-up was just that; digital. There are things that are difficult to account for when translating digital images to physical print, like pixels making the image come out blockier than it would if it were hand drawn. However, after seeing Haylee’s process in action, I didn’t really doubt anything after that. Haylee had us roll paint onto a canvas, which had the cover illustration of “Why Poetry?” as a stencil. The paint flooded the stencil and, with a squeegee tool, we pressed blue-green paint blends onto card-paper. The end result looked really great, and I felt a lot of pride leaving the covers out to dry after printing.
Actually working with silk screening was possibly the most engaging thing we worked on this semester, as, until this class, the actual physical formatting of the text I work with and on is something I don’t really think about, and this was possibly the most hands-on example of that. The second excursion to Meshwork was possibly the most prominent example of “hey, I can do that too!” that I find so interesting about that class, and I’ll admit, I want to do it to.