Publication: VISIONS Copy R; Misc. Plates & Impressions

The William Blake Archive is pleased to announce the publication of a digital edition of Blake’s Visions of the Daughters...

Blake in Sussex

Knowing how hard it is for me to put together a blog post with a couple of illustrations, I...

Serendipity and difficulty

Behind the scenes the indefatigable members of the Blake Archive are preparing a batch of separate plates for future...

Mirror-Writing Marginalia -- How Did It Happen and What Do We Do With It?

So the marginalia group have been slowly plugging away at the transcriptions for the Lavater, Watson and Thornton books,...

Tutorial Video: Finding and Using Digital Erdman

Did you know that the Blake Archive contains an entire digital edition of David Erdman’s The Complete Poetry and Prose...
Publications
Publication: VISIONS Copy R; Misc. Plates & Impressions
Blake Quarterly
Blake in Sussex
BAND, Blake Quarterly
Serendipity and difficulty
BAND
Mirror-Writing Marginalia -- How Did It Happen and What Do We Do With It?
Tutorial Videos
Tutorial Video: Finding and Using Digital Erdman
BAND

Teaching with the Archive

One of the more significant items on my busy schedule this semester is teaching Introduction to Digital Media Studies here at UR. It’s a class I very much enjoy teaching, and one for which I also very much enjoyed designing the syllabus.

Intended as a survey of all things DMS, the class cruises through a wide variety of ideas, tech, people, and histories. Given my close association with the Blake Archive for the last 4.5 years (really?!), I couldn’t help but sneak some BA in there. 

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BAND, XML

A New Guide to Choice Tags

Last time I blogged about the <choice> Tag Project, I established a semi-comprehensive list of situations that required <choice> tags, and ended with a series of unsettled questions. Since then I have investigated the issue more thoroughly and now, having answered those questions, I can put together a more definitive guide. 

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BAND

Reconciling the Four Zoas and Marginalia Encoding Schemas

A while back (actually it’s been more than a year) I wrote about our efforts to develop a set of shared terms to be used across the Four Zoas and Marginalia projects. We’ve been struggling with this since, with the use of <layer> in the marginalia encoding as an interim solution. Since the Four Zoas project has unusual (ahem) layout and intensive revisions, we introduced <zone> to represent the spatial structure of the text and <stage> as a child element of line in an attempt to represent every act of editing in detail. For the marginalia however, we needed a tag to distinguish between Blake’s writing and the typographic text more than anything to denote layers of revision and editing within the line. In order to avoid confusion, we decided to use <layer> for our schema. The results looked like this:

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Publications

Publication: VISIONS Copy R; Misc. Plates & Impressions

The William Blake Archive is pleased to announce the publication of a digital edition of Blake’s Visions of the Daughters of Albion Copy R from the Bayerische Staatsbibliothek, Munich; colored impressions of Visions Plates 1, 2, and 3 (Copy mpi) from the Morgan Library and Museum; a proof of Visions Plate 6 from the Fitzwilliam Museum that belongs to our previously published Visions Copy a; and five monochrome wash drawings for the wood engravings in Thornton’s Virgil added to the seven previously published designs.

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Blake Quarterly

Blake in Sussex

Knowing how hard it is for me to put together a blog post with a couple of illustrations, I can’t imagine what it would be like to make a film. That’s why I spoke to Matt Wilmshurst, a London- and Sussex-based filmmaker and visual effects artist. He’s the writer and director of Blake in Sussex, currently in production, which promises to tell the tale of the Blakes’ turbulent three years outside London.

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BAND, Blake Quarterly

Serendipity and difficulty

Behind the scenes the indefatigable members of the Blake Archive are preparing a batch of separate plates for future publication. In general, I would define separate plates as plates not published as illustrations in books, such as “Chaucers Canterbury Pilgrims” and “Albion Rose.” Each plate may have several states, or stages of execution—”Albion Rose” has two, so we’ll publish an impression of each. Each state may exist in several impressions (prints made from that state).

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BATS

Over-reading Overwriting? A Textual Anomaly in Songs of Innocence, Copy Q

Last year, I traded my work with archived issues of Blake: An Illustrated Quarterly for new tasks in text and image markup of Blake’s illuminated books. Last month, I began writing markup “without a net,” as we say. With Katherine Calvin’s guidance, I am learning to describe individual watercolor drawings without recourse to a previous editor’s text. So, rather than thinking comparatively, I consider only the image at hand, and I have to familiarize myself more thoroughly with the body of search terms The Blake Archive uses to describe and tag images.

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BATS

Do you see what I see?

Under the skilled eye of Katherine Calvin, I have completed training on illustration markup. With her help, I have gained practice in the art of seeing and of describing what I see, without inserting my interpretations. My introduction to the process of using templates to reflect on the new (to me) plate and spot the differences–a skill set that I first developed reading Highlights magazines–went smoothly. As I learned the ropes, there was only one instance where I thought the template itself was wrong.

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