[Vancouver, British Columbia]: HM Editions, 2019. One of 10 deluxe copies in a special full calf binding by Claudia Cohen, with the two added portfolios of pattern prints, and signed by Barbara Hodgson and Cohen on the colophon. 20 regular copies and 6 hors commerce copies were also made. With 38 plates, including a leaf of wire mesh, hand-painted patterned paper, and drafting vellum leaves hand-illustrated in red and black. Includes 23 mounted paper samples decorated with patterns from sources including Japanese, Indian, and Moroccan artwork (full list of sources on p. 49). Also with a fold-out (17.5” x 13.25”) textile grid design leaf from Franz Donat’s Grosses Bindungs Lexikon (1904). All text was handpress-printed by Rollin Milroy on dampened Arches paper. As new. Bound in gray calf with red-and-yellow onlay and gilt patterns. Title in gilt on spine. With hand-stenciled patterned endpapers in red and yellow. Housed in a blue-gray clamshell case with patterned paper accents and a gray calf label lettered in gilt. A blue drafting vellum portfolio with three additional textile grid leaves (all also 17.5” x 13.25”) from Donat’s Lexikon is included in the clamshell case, along with two additional blue paper portfolios (both 10” x 13”). Portfolio one contains 10 samples of patterned paper by Cohen and Hodgson; portfolio two contains 11 samples from Russian, German, and French sources, ca. 1900-1940 (sources listed on p. 51). Quarto, 9 inches by 9 inches. 50 pp. Item #16739
PatternPattern is the latest HM Editions collaboration between book artists Barbara Hodgson and Claudia Cohen, preceded by their collaborative books Cutting Paper (2013), Decorating Paper (2015), and Folding Paper (2017). The extensive bibliography and list of pattern sources included in PatternPattern (pp. 45-49) cite numerous influences from all over the world and throughout history. A post on the Heavenly Monkey Blogspot site explains that the focus of PatternPattern “is on design development, progression, and variety, emphasizing the possibilities for infinite interpretations of basic styles.” In an interview included in the same post, Hodgson explains the decision to hand-draw rather than print the illustrations in PatternPattern: “For me, there wasn’t a choice. Drawn patterns relate to the principles of design by showing, at least in part, the rationale or basis of the pattern and the sequence of its development. Here, the human hand and mind is visibly at work.”.