Artwork

The artwork in the Petra Mathers Collection consists of a dummy book, graphite pencil drawings, watercolor paintings, and the photomechanical. In total there are 100 items in the collection. In terms of digital images these 100 items translate into 139 master digital files because each page of the dummy book counts as an individual digital image whereas The Zimmerli treated the dummy book as a single object.

The dummy book is perhaps the most interesting item in the collection. It is the oldest item in the collection. There is a note on the cover that reads “first attempt at Kisses from Rosa in 1982.” Additional, on the first page there is another note indicating that the photographs are of painting made in 1982. In this case, Mathers has taken a large sized sketchpad and created a collage laying out her view of what the book will look like. She has used photocopies of her manuscript, small color photographs of paintings she had completed earlier, and graphite drawings on transparent paper. Everything has been securely taped into the spiral bound sketchbook. This dummy book provides the viewer with a snapshot of what the author was thinking at this early stage in the development of the book. Dummy books are often the first time the text and the illustrations have been brought together other than in the authors mind. Dummy books are often created so that the editor and book designer can see the author vision. It is the starting point of this three-way collaboration. In addition to being the oldest item in Petra Mathers collection the dummy book is also the most delicate and hardest to preserve. In this respect, it may have the most to gain by the availability of digital images.

The pencil drawings are preparatory drawings that were completed before the final paintings were begun. In this way Mathers is able to more quickly work out any design issues before beginning the artwork that will be sent to the printer. In some cases, there are multiple versions of a single scene. It is always interesting to try to identify all of the changes between such images. Usually by examining the final artwork it is possible to identify the preferred drawing, although occasionally additional changes have been made in the final painting. It is only with the final artwork that the illustrator is able to completely share his/her vision of the book. In this case, the watercolor not only brings color but it also provides texture in a way that the drawings couldn’t. Once the paintings are complete they are sent to the book designer along with the completed manuscript. The book designer is responsible for creating the photomechanicals, which are black and white versions of the printed book. The photomechanicals are shared with the author and the editor; this is the last chance for corrections to be made. Look closely for handwritten corrections in the photomechanical for Kisses from Rosa.

Note about images on the website

All of the images are available in three sizes, with a few exceptions. Due to the enormous size of the digital masters they are not available on the website. By clicking directly on an image you will be taken to larger image if one is available. In order for the manuscript to remain legible only one size of the image is available. Additionally, digital master records and core records are available for all of the artwork included on the website. These records immediately follow this essay in the navigation on the left side of the page. Please select an image to open the full record.