{"id":4983,"date":"2017-10-05T12:05:35","date_gmt":"2017-10-05T12:05:35","guid":{"rendered":"http:\/\/glasfrynproject.org.uk\/w\/?p=4983"},"modified":"2025-05-20T07:37:59","modified_gmt":"2025-05-20T07:37:59","slug":"lucy-sheerman-and-karline-van-der-beukel-rem-press","status":"publish","type":"post","link":"https:\/\/glasfrynproject.org.uk\/w\/4983\/lucy-sheerman-and-karline-van-der-beukel-rem-press\/","title":{"rendered":"LUCY SHEERMAN AND KARLIEN van den BEUKEL: Rem Press"},"content":{"rendered":"

To offer an overview of rem press it seems important to begin with an account of the design principles behind the press. To a large degree they reflected what was going on in the books. While creating a simple and inexpensive way to make the books was one factor in the design,\u00a0when we devised it we also actively wanted the resistance of the black covers. It was impenetrable and gave nothing away. It was a symbol of the poetry that could seem, at first glance, on the surface, so ungiving. This was balanced against the bright colours of the title and end pages – writers chose a colour for their book, revealed, of course as you opened the book but also visible as a thin line of cover viewed side on. The minimalist covers were blank except for the small embossed name of the press going up the side edge of the front and back cover. Again the idea was they mirrored each other so unless you had the code you didn\u2019t know which way up they would be. I still open them the wrong way up even though I hand embossed and silvered most of them and should know instinctively how they are put together.<\/span><\/span><\/p>\n

TO READ THIS ARTICLE, CLICK HERE:<\/span>\u00a0rempress<\/span><\/a><\/span><\/p>\n

Click below\u00a0to activate links included in the article:<\/span><\/p>\n

Black Square<\/span><\/a><\/span><\/p>\n

Tom Ford for Gucci<\/span><\/a><\/span><\/p>\n

How2<\/span><\/a><\/span><\/p>\n

 <\/p>\n

Dr Karlien van den Beukel is a Senior Lecturer and Course Director BA (Hons) Creative Writing.\u00a0After her MA degree in English Literature at the University of Utrecht, Karlien completed her doctoral research on the influence of dance on modernist poetics at Gonville and Caius College, Cambridge University.\u00a0Before joining London South Bank University, she worked at the BBC in Specialist Factual Arts programme making and in independent broadcast production.\u00a0Her research interests include modernist poetry and twentieth century dance, and digital poetics in translation.<\/span><\/p>\n

Lucy Sheerman is currently lead artist on Collusion\u2019s Brink of the Future<\/em> interactive digital artwork commission for Wisbech.\u00a0As an artist in residence at Metal Peterborough she co-created a new Evensong for Peterborough Cathedral using interview material drawn from couples who were asked whether they could travel to the Moon together on an extended trip. Two plays, including a collaboration with the Apollo astronaut and poet Al Worden were commissioned by Menagerie and the sequence ‘Rarefied: Falling without Landing’, based on the moon landings, was published by Oystercatcher Press.\u00a0She is creating a series of fan fiction versions of iconic novels including Rebecca<\/em> (Dancing Girl Press) and Jane Eyre<\/em>.\u00a0Before taking up writing full time she worked at the Arts Council supporting the development of artists and arts organisations. She has a PhD from the University of Cambridge, on Language Writing.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

To offer an overview of rem press it seems important to begin with an account of the design principles behind the press. To a large degree they reflected what was going on in the books. While creating a simple and inexpensive way to make the books was one factor in the design,\u00a0when we devised it […]<\/p>\n","protected":false},"author":2,"featured_media":4833,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"footnotes":"","_jetpack_memberships_contains_paid_content":false},"categories":[45,12],"tags":[],"jetpack_featured_media_url":"https:\/\/glasfrynproject.org.uk\/w\/wp-content\/uploads\/2017\/09\/pen-for-10h.jpg","jetpack_shortlink":"https:\/\/wp.me\/p42xiC-1in","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/glasfrynproject.org.uk\/w\/wp-json\/wp\/v2\/posts\/4983"}],"collection":[{"href":"https:\/\/glasfrynproject.org.uk\/w\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/glasfrynproject.org.uk\/w\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/glasfrynproject.org.uk\/w\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/glasfrynproject.org.uk\/w\/wp-json\/wp\/v2\/comments?post=4983"}],"version-history":[{"count":12,"href":"https:\/\/glasfrynproject.org.uk\/w\/wp-json\/wp\/v2\/posts\/4983\/revisions"}],"predecessor-version":[{"id":5036,"href":"https:\/\/glasfrynproject.org.uk\/w\/wp-json\/wp\/v2\/posts\/4983\/revisions\/5036"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/glasfrynproject.org.uk\/w\/wp-json\/wp\/v2\/media\/4833"}],"wp:attachment":[{"href":"https:\/\/glasfrynproject.org.uk\/w\/wp-json\/wp\/v2\/media?parent=4983"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/glasfrynproject.org.uk\/w\/wp-json\/wp\/v2\/categories?post=4983"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/glasfrynproject.org.uk\/w\/wp-json\/wp\/v2\/tags?post=4983"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}