Project Notes: Chapbook Visualizing and Brainstorming

Mood-board focuses…

  • Ominous, doom, looming
  • Space, cramping, vastness, extremes of scale
  • Shattering, breaking, remolding
  • Snowflakes, crystals, fractals
  • Microscopic, intricate
  • Cosmic, universes, seas, skies, moons
  • Dust, rust, rot, disuse – a vast space that is not being used
  • Rawness, elemental – fire, ice, water, dirt, building something from primary elements
  • Mixing of natural and unnatural, blending of old and new
  • Stretching nature to the extremes where it becomes unnatural
  • Delicacy, fragility, timidity, ice, wind
  • Quiet, walking through winter woods, blowing on the breeze, fresh-fallen snow
  • Astronomy, spacey, extraterrestrial, otherworldly, immersion
  • Seeing the unseen and yet seeing its vastness, vastness in a small space
  • Progressive meditation, move from messiness and contradiction and enmeshment to resolution
  • Inner proceeding to the outward, illumination from within to outside
  • Pangs, coming to newness, integration, harmony
  • Unbundled, unsheltered
  • Encased, smashed open, growing inward
  • Glacial, distance, isolation
  • Specificity, sharpness, acerbic, wind-chopped, crispness
  • Poems placed on the pages like snowflakes, smooth texture like glaciers
  • Ecopoetics and an ecopoetic distinction with non-nature as an outlier and yet also an interconnected part of everything


  • Something thinner, lighter, and neither too sharp nor too blunt
  • Serif adds an elegant frozen feel, giving it crystal edges while also enclosing the vastness and blocking it in
  • Ideas: Didot, Palatino, Syntax, Caslon, Baskerville, Sabon
  • Perhaps an entangled, “handwritten,” type font for the cover


  • Poems as snowflakes in the layout – and the rest of the space white
    • Keeps the messy, stream of consciousness feel while keeping it focused
  • Small font emphasizes the smallness
    • But, larger book size emphasizes the vastness by preserving the whitespace
  • Extremes – big, bold, uppercase of the title and the small lowercase of the author’s name, separated by the vastness and the divide of the whitespace


  • Something with a recycled quality but not a recycled color – more a cool undertone
  • Paper that is not noisy, but if you step on it, it will crunch
  • A base color with “feature sheets” – a pale blue/gray base with fibers, recycled qualities, and then a few red center sheets to vocalize the extremes (not a bright red, a dried red/orange) in a semi-circular pattern (vis-à-vis geodes, volcanoes, a wildness exploding beyond rigid control, etc.) – a “survival” feel of dried blood

Color and Cover

  • “Slightly less black” – not gray, but something navy-ish for the font
    • Gradient throughout the pages – starting light and moving dark, or perhaps, starting dark and moving light
  • Demarcation of “Cold” title being very dark and then fading the color of the text out from there throughout the pages of the book
  • Visual of the geode on the back cover, but positioned so that its identity as a geode is ambiguous

Form of Printing…

  • Letterpress imprint for the cover
  • Blank impressions for line images, such as snowflakes

Edition in General…

  • Overlay the poems with a frosty layer of a vellum page with images and/or Icelandic words (from the manuscript) – honoring that this book is a responsive book to a place and to a translation
  • Framing the water poems by printing them in light ink on dark paper, set off from the white paper by the vellum paper of the image pages
  • A simple stab binding with either blue or red string
  • Icelandic as a ghost-like, backgrounding note throughout the book

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